Playmaking for our life I read Daniel Judah Sklar's book called Playmaking, and I was moved by the fact that a project that seemed impossible actually turned out to be a success, and that the children, teachers, and community changed through this drama, and the clear evidence of that remains in the form of a film. Above all, the school where Sklar taught drama is a school for low-income children with various traumatic backgrounds, and it clearly shows the difference between teaching drama to children from well-ordered upper-middle-class families, as is often described in this book. Even when they talk about their trivial daily lives and express their emotions, various life experiences and wounds that adults have not already experienced are revealed. Even when the play was a success, Kim had to avoid people because of unresolved personal family issues. And even before this drama was released, there was a cancellation situation due to the backlash against the private demands and side effects of the family. In a word, this play was full of obstacles to overcome from beginning to end. As I read this book, I was able to learn not only the effects of the drama, but also the role and execution tips of the drama to children through the process of making this drama. This is because this book contains all the variables that occur when creatively creating and operating a project. Above all, it is impressive that when children participated in an unfaithful manner in the early days, he drew active participation from children by comparing the role of a drama to a musical instrument with the metaphor of an orchestra. And good writers and actors listen to each other is a very good tip. “Good writers listen to their characters. You have to let them do their job. That's what makes your artwork come alive. Your characters listen to each other and react to each other. Planning too much in advance will push them. And they will be puppets, not characters. “In other words, this means that if too many plans and intentions are put into making and planning a drama, it will become awkward like a puppet show rather than a scene of living life. I think this is a good tip for mindset and philosophy to learn before making a drama. And I thought the process of making this 52nd Street project a success was like a drama. The natural beginning, which started with an impromptu theme in the beginning, approached step by step from a small deep breath. And with the theme of the five senses that elementary school children already know, we started with the familiar senses around us. This coincides with the writer's philosophy that everyday experiences and emotional memories resulting from them make writing and acting richer. And teaching them how to trust their own memories, through which they can control and manage their own experiences and memories. I think it is an important tip to actually apply in the educational field. Then, through improvisation, Stanislavsky applied Creative Dramatics, which he practiced with his students, to the scene, learning how to use emotions to animate scenes. Children are starting to create characters at this stage, with their hands working with their bodies and their senses and emotions.
“I decided that playmaking was about developing an approach, not a solution to a particular play or problem. Teach children to explore. He or she can learn to explore their emotions. And dramatizes it in a believable way.” In other words, through this, I reaffirmed that it is not right to cut out the problems of children with problems with a scalpel, and that the main purpose of playmaking is to develop an approach rather than a solution. In this way, children explore, explore, figure out, control, manage, and eventually solve problems on their own. This is the true problem solving method. And since then, he has inspired dreams in children and taught them how to cherish dreams and the here and now by telling them about their daily lives. “‘Daily Life’ tells what happens to the characters during a typical day.” In other words, it reminds us that many actual dramas and creative materials are not too abstract or distant. As Sklar created the play with the children, he discussed how to share the play with the community and put it into practice. I was happy to see in detail the process of how this project started from his idea and turned it into a play in a tangible form. k’Kids often express their feelings more directly than adults, but they lose control more quickly and often let their emotions affect themselves, causing chaos, making hearing impossible, and sometimes seriously disturbing. “In other words, like Hector, who got out of control because he was a child and suddenly started screaming and rioting on stage, children express their emotions directly, but sometimes they feel chaos and interfere with the play. However, in this case, the author has a deep understanding of the characteristics of children and believes in them, emphasizing their strong point of direct expression. In the end, everyone finds out he was right. Play-making expression has made children feel better about themselves and will develop more directness, more action, and more self-esteem. As they come from different socioeconomic backgrounds and ages, they all respond to the supervisor's role and develop a new version of themselves. Find In other words, through collaborative filmmaking between children and adults, they learned how to create a new version of themselves under the direction of a single director, all from different socio-economic backgrounds. I was especially able to see this role with my own eyes through Chase by Gilbert Rosario, one of the children who worked on the 52nd Street Project. He observes a woman's day through this drama. She first waters the flower pots, but the flowers wither, and tries to watch TV, but fails due to communication problems. It's possible. I was able to read the frustration, fear, and hopelessness that Gilbert felt in his day while watching this film. In the middle, this woman is crouching in a narrow hallway, and this probably symbolizes the alienation, fear, and anxiety she felt. However, she discovers that she shares the same memories as one of the cops. Her cop, remembering a scene of her enjoying her corn flakes with her, approaches her and shows her a box of corn flakes. That's what Gilbert's muddy life means, I think. After thus expressing and dissolving his own pain and feelings, he remembers the sparkling experience of being happy and joyful in it. And this light shines through his life like a single ray. He sees this faint ray of light and follows it through the dark tunnel to the bright world. I was very happy to see this process in this book and in the movie. And I was able to confirm once again that it is the role of an educator to shed a ray of light into a child's life. “Theater is not therapy. Working on a character as a writer or actor, we deal with emotions, but always in the context of a play or practice. Such activities often have therapeutic value but should remain secondary. And if the moment ascends to art, the conflict from insult and violence to constructive understanding, that can lead to good play.”
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A significant note after reading "Playmaking" by Daniel Judah SklarSo an interest in writing skills often depends upon the success of the improvisations. And good improvisations often happen after a break from traditional classroom thinking.
When we pay attention to our breath, we can then begin to use our muscles, senses, and even our feelings in a new way. Most children memorize the Five senses in the second or third grade. They also, of course, understand seeing, hearing, touching, tasting, and smelling. But few connect the lesson with everyday experiences. Fewer still realize they can control those experiences. And almost none understand that memories of those feelings make their acting and writing fuller and richer. The writer or actor or artist learns to pay attention to them and trust his or her memory. Children often express their feelings more directly than adults but they are also quicker to lose control, often allowing the feelings to feed upon themselves, creating chaos, making listening impossible, and sometimes causing serious disturbance. As actors and writers, children learn to develop, harness, and enjoy their feelings. Theater games make the harnessing process not only feasible but also fun. From sound and motion we moved to improvisation. Stanislavsky and his disciples use improvisation extensively. Improvisation also serves as the cornerstone of Creative Dramatics. The emotion can then be used to enliven a scene. It's an effective technique, first articulated by Stankslavsky. Once the kids hand worked with their bodies, senses, and feelings, they began creating characters. Good writing always begins with genuine interest. Playmaking, I decided, develops an approach, not specific plays or solutions to problems. It teaches kids to explore. He or she can learn how to explore feelings. And dramatize them in a credible way. Theater is not therapy. Working on a character as a writer or actor, we deal with feelings, but always in the context of the play or the exercise. Those activities often haven therapeutic value, but that should remain secondary. And if moments ascend into art. Conflict from insults and violence to constructive understanding, that might be lead to nice plays. Writing monologues. It allowed the kids to broaden and deepen their characters, to find their respective voices-thereby moving from cliches and stock types to the special and compelling. By next week you should all write three images you do not understand: something that happened to you something you saw or heard something you dreamed The introduction of dreams caused a big stir. Almost all the kids remembered dream images. A character based on you. A day-in-the-life tells what happens to a character in a typical day. Good writers listen to their characters. You have to let them act-do things. That's what will make your work come alive: your characters listening to each other, reacting to each other. If you plan too much ahead, you'll be pushing them around. And they'll be puppets, not characters. So start with the first line and let the characters lead. They'll take you back to your baffling moment and help you to understand it. It's going to be a long road, but you'll get there-if you set them free. Don't worry about the story, the plot. It' ll come in its own good time. Many writers are always experimenting to find other ways, new ways. They are what's called the avant-garde, which is French for out ahead. But before they find new ways, they learn the old ways. Playmaking expressions made the kids feel better about themselves and would foster more directness, more action, and more self-respect. As different as they were in socioeconomic background and age, they all responded to the director's role and found a new part of themselves. As actors you have to listen, and if you do, your reactions will be true and powerful. And never boring. First read the lines slowly, making sure you understand what the character's saying and how he or she feels about it-and why he or she is saying it right now. If you really understand in the beginning, it cuts the memorizing time in half. Next, read it with another actor, and listen to the other characters' lines that come before and after. If you understand what they say and why they say it, that makes memorizing easier, too. The producer must build that belief and responsibility. Review of ART SHOW INTERNATIONAL GALLERY Artists advertise their work to the public in a variety of ways. And through the Juried Competition, we also find new opportunities. I am also using this opportunity to promote my work. In some cases, it has become a profitable opportunity for me. In fact, some would argue that artists don't even need these opportunities. The argument is that true artists would rather pay to participate in competitions, win prizes, or give up being known through competitions, and use that money to buy more paint or create their own promotional pamphlets. I also think that some of these claims are right and some are wrong. First of all, with this kind of logic, all forms of competitions such as ballet, music, and audition are worthless. However, artists certainly use these opportunities to develop themselves and to look at their level. And also advertise your own work. But you have to look at how commercially these opportunities turn out to be. In other words, it is a story that you should not be a victim of the commercial of the competition organizer. More than anything, if you have more than you can afford or are out of your budget, you should reconsider how helpful the competition is to your career. And in some cases, even official-looking competitions often have the nature of scams. For example, the judge system or committee are nonexistent(even though they announce that it is an juried competition), an it turned out that it was an equal opportunity for all participants, and after inducing participation in the competition, For example, publishing a book or encouraging them to participate in an exhibition may motivate them to spend more. So, blinded by these opportunities, you can rush forward without thinking about your budget. In fact, it is very rare for works to be sold through such competitions. But in my case, I think it's an opportunity when it's officially known, so I apply. I recently participated in an online gallery Juried Competition. It was a contest for a solo online exhibition. I paid $35 and applied because I thought it would be an opportunity to expose my work online if I was accepted here. And I received an email saying that my work has been selected for a solo exhibition along with a congratulatory message. And because there was a detailed explanation of why it was selected and what aspects were attractive, I think about that part positively. It's because there are more competitions that can't even receive this kind of message depending on the case. However, the email I received below indicated an additional fee for a solo exhibition. I had to pay a sum of about $350 for my solo exhibition. But I couldn't tell the difference between displaying my work in this gallery and displaying my work on my site myself. This is because even if I upload my work on an official and famous site, the inflow through that place is lower than expected. Rather, the frequency of viewing my work through my site was higher. I sent an e-mail with a question about that part. But I am still not getting an answer. Also, some time later, another employee of the gallery sent me an e-mail encouraging me to participate in a solo. I had to let her know I was already chosen for the solo show. In my opinion, it seems that there is probably not good communication even inside. Anyway, after that, I received a message from her apologizing. Through this, I felt relieved that it was not a scam. And I lost interest in this competition and gave up my expectations for a solo exhibition. If this solo exhibition is a purely solo exhibition based on the quality of the work, I think there should be no additional cost. Does offering an extra fee mean that I have to compete to pay this fee? This is the part I still don't understand. It might be better to pay the amount and play solo before the competition. It goes without saying that over time and as you build up your work and your domain, a clear philosophy emerges for this kind of competition. Therefore, I think it is more profitable to build and strengthen my site more diligently and immerse myself in the work more. Of course, to conclude, I'm not saying the above gallery is wrong. As suggested above, I was relieved that this gallery was not a scam. And if I have a wish, I hope that there will be more platforms that support artists' creative activities with minimal payment. And for this, I think there is a need for artists to actively utilize and promote their blogs or sites. Design elements in Alphonse Mucha's work He is a representative painter of the Art Nouveau era, presenting numerous works and designs from the beginning of Art Nouveau to its decline.
I selected one of Alphonse Mucha's works and prepared an assignment for one of my master's courses. And below, I have selected 10 of the elements of the design and organized them in an easy-to-teach form to children. Student's artwork by Elbert and Sophia These are pencil drawings of 10-year-old Albert and Sophia. These are all drawings they made themselves after drawing cubes and learning how to create cubes. Now children are starting to understand the concept of space. They have to overcome the difficulty of thinking about building one more axis in a 2-dimensional space with only two axes, and also considering the direction of light. But the children soon understood the light and another axis of one. It was the first three-dimensional model they drew, but it shows traces of their efforts to properly draw the principles they understood. Students without a basic drawing experience find it very difficult to draw lines. Because they only know how to draw by moving their wrists, not their arms.
They need to learn to use their arm, not the wrist, to draw straight lines. Drawing means using different muscles in our body. This makes them use all the muscles in their arms as well as their fine motors. This is also very beneficial for children's brain development. And when they know how to handle lines, children can draw with more confidence. Teacher have to teach them well from the basics step by step until that stage. |
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