Sammendrag
In the overarching part of the new Norwegian National Curriculum (hereafter referred to as Fagfornyinga), it is emphasized that the school should allow students to express creativity, commitment and exploration, and that students are to gain experience in translating ideas into action. Interaction, cooperation and creative work, and communication with an emphasis on listening and dialogue, are therefore important goals in Fagfornyinga. These can be achieved through a wide range of methods and learning activities, and varied teaching methods are seen as a key to learning.
Drawing on theories about performativity, didactics, aesthetics, and aesthetic learning processes, I discuss the potential of using process drama as a didactic tool for illuminating and working with the values of Fagfornyinga. I look at the diversity that lies in process drama as a method of expression and teaching, and how process drama can meet the targeted goals. Data from a process drama about Antigone conducted with preservice teacher students (PSTs) is used as an example. The teaching session is an example of modelling during which the PSTs on campus practice different teaching strategies before they start their teaching practice periods.
The findings from the abductive analysis show that the six discourses I have conceptualized as central to Fagfornyinga - the knowledge development discourse, the identity formation discourse, the creativity discourse, the critical thinking discourse, the democratic participation discourse, and the performative discourse, both separately and in interaction, can be worked on and developed using process drama in the classroom. The article concludes with a presentation to a model, inspired by the writing wheel, which highlights what characterizes aesthetic learning processes when process drama is the learning medium, and how the educator can use process drama to work with discourses, and thus support many of the inherent key values of Fagfornyinga.
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