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Reports about Programmes (English Version) (Concepto)

Año de Inicio: 2009
Año de Fin: 0000


The researcher-creator profile in postgraduate performing arts studies

Victoria Pérez Royo

Over the past ten years, a paradigm shift within performing arts education has occurred, namely a twist towards the researcher-creator profile, which is particularly manifest in postgraduate programmes. We could consider two previous education models in the performing arts, like the two poles of an opposition (Smith-Autard, 2002). On the one side there is the educative model: artistic training was mainly understood as a process of transformation and global spiritual development of the student; inherited both from philosophy and from the principles that led modern dance, education was based upon an equally distributed emphasis on the improvement of the physical, emotional, and social dimensions of personality. The learning process should be meaningful as such, and not be directed towards the attainment of any kind of further end; it was a matter of forming a personality, which would entail necessarily positive results in the artistic practice. On the opposite side, there is the professional model that is still to be found in art academies: it consists in producing professional performers and dancers with great abilities. On the opposite side of the process, the emphasis is put on the outcome, on the creation of definite products theatrically ready to be presented to the audience. The dancer or performer is a professional with high-level skills in her field, a virtuous expert in her area. Smith Autard states that these two models suppose the previous steps (the first covers the forties and extends until the seventies of the twentieth century, whereas the second prevails in the eighties) in a chronological and dialectical development, according to which it is a synthesis of both periods that currently defines the educative paradigm: the in-between model, consisting in the integration of the virtues of the previous two, and that – from her point of view – inaugurates a new stage of education. The paradigm shift in artistic education that we have observed during the elaboration of this report shows, indeed, that some of the elements of those systems persist, but it could never be reduced to an integration of some of their characteristics. It is rather a qualitative transformation defined by a turn towards research, an emphasis on knowledge production and on the integration of theory and practice. As a matter of fact, in the researcher-creator model there is a greater emphasis on the process than on the outcome; it is not about the spiritual or emotional process of the student, but most of all about a path in which new knowledge is produced. Yet, to dismiss the imposition of a series of techniques and knowledge that the student should learn according to a predefined structure doesn’t mean leaving everything up to her intuition and spontaneous creativity. Instead, the new paradigm is based on the exploration of unknown domains that are not predetermined, and on the acquisition of knowledge in an autonomous way, though in permanent dialogue with fellow students, tutors and advisors that assure a pondered and conscious research. So, knowledge is not to be understood as a particular route that is known in advance, that the student follows and others have explored before her; rather, it is better understood as a heterogeneous field in which the student moves forward creating an individual path where (s)he acquires a knowledge which does not apply to her from the outside, but that (s)he actively embodies. Instead of a transmission then, we speak in terms of knowledge production. As a consequence, in this paradigm special relevance goes to self-learning technologies, as well as to the integration of theory and practice, with special emphasis on reflexive practice. The student situates herself between the spheres of critique and creation.

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Tipo: concepto
Archivos adjuntos: AmsterdamMasterofChoreography-AMCh.pdf | DanceSchoolUFB-Bahia.pdf | DartingtonSchoolofArts-FalmouthCornwall.pdf | DasArtsMasterofTheatreMTh-Amsterdam.pdf | HTZ-Berlin.pdf | MACAPDLanimalalesquena-Girona.pdf | MITAV-Bogota.pdf | SectionDanceUNSA-Nice.pdf | StateTheatreAcademy-Warsaw.pdf | TeaK-Helsinki.pdf | TechnicalUniversity-Lisbon.pdf | TheInstitutforAppliedTheatreStudies-Giessen.pdf | TheStateDramaSchool-Cracow.pdf | TischSchooloftheArts-New York.pdf | Universite_du_Quebec (Montreal) -Dance Studies.pdf | UniversiteduQuebec-Montreal-Theatre Studies.pdf |

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