| Abstract | Diplomski rad analizira teorijski pristup primijenjenom kazalištu, prikazuje njegove različite oblike i aktualne prakse u Hrvatskoj. Primijenjeno kazalište može se istovremeno shvaćati kao pedagoški i andragoški alat, odnosno kao sredstvo za stvaranje društvenih promjena, ali i medij koji pridonosi osnaživanju pojedinca i dovodi do emancipacije. U radu je predstavljen povijesni kontekst razvoja terminologije primijenjenog kazališta; te je istražen primjer uspješne hrvatske nezavisne inicijative kazališta Novi život i drugih organizacija koje djeluju u području primijenjenog kazališta u Hrvatskoj. Gradeći na tome, rad razvija terminologiju invaliditeta i dodatno apostrofira važnost Kazališta potlačenih kao jedne od struja primijenjenog kazališta.
Primijenjeno kazalište možemo definirati kao skup kazališnih praksi i procesa koji se bave temama „običnih” ljudi i njihovim pričama, lokalnim uvjetima i potrebama, a u svrhu obrazovanja, emancipacije ili terapije. Oblici primijenjenog kazališta opisanih u radu su kazalište zajednice, kazalište za društvene promjene, kazalište u zatvorima, razvojno kazalište, kazalište u zdravstvu i obrazovanju i drugi. Kazalište Novi život, kao jedan od najuspješnijih primjera hrvatskog primijenjenog kazališta, započelo je sa svojim djelovanjem 1948. godine u Samoboru. Prakse primijenjenog kazališta u Hrvatskoj poput muzejskog kazališta, kazališta za obrazovanje, kazališta u zatvorima i druge ostvaruju nezavisne organizacije u kulturi poput Male scene, Hrvatski centar za dramski odgoj, Dramska grupa Odgojnog zavoda u Turopolju, Udruga Ardura iz Šibenika, zagrebačko savjetovalište Luka Ritz, amaterska zagrebačka dramska družina Sineki, tateki, dedeki i druge.
Kazalište potlačenih forma je popularnog, participativnog i demokratskog kazališta, uspostavljena tijekom 1950-ih i 1960-ih, sa svrhom postizanja participativne društvene promjene i stvaranja „nejednakih jednakima”. Kazalište ima za cilj svim ljudima ponuditi tehnike pomoću kojih će moći diskutirati, analizirati i rješavati situacije opresije. Najčešće primjenjivane tehnike upravo su one koje je Augusto Boal predstavio u „Drvu kazališta potlačenih”, a sastoje se od igara, kazališta slika, forum-teatara, nevidljivog teatra, legislativnog kazališta, duge želja i novinskog kazališta. |
| Abstract (english) | In this thesis, theoretical approach to applied theatre is analysed and its various forms and current practices in Croatia are presented. Applied theatre can be simultaneously understood as a pedagogical and andragogical tool, or as a means of creating social change, but also as a medium that contributes to the empowerment of an individual and leads to emancipation. In addition to that, in this thesis, the historical context of the development of applied theatre terminology is presented and the example of a successful Croatian independent initiative, launched by the New Life theatre (in Croatian: Novi život) and other organisations operating in the field of applied theatre in Croatia, is explored. Bearing in mind the aforementioned, in this thesis the terminology of disability is elaborated, and further emphasis is put on the importance of the Theatre of the Oppressed as one of the theatrical forms of applied theatre.
Applied theatre can be defined as a set of theatrical practices and processes that deal with the topics of “ordinary” people and their stories, local settings and needs, all for the purpose of education, emancipation or therapy. The forms of applied theatre described in this thesis are community theatre, theatre for social change, theatre in prisons, theatre for development, theatre in healthcare and education and various other forms.
The New Life theatre (in Croatian: Novi život), which is one of the most successful examples of applied theatre in Croatia, started operating in 1948 in Samobor. Practices of applied theatre in Croatia such as museum theatre, educational theatre, prison theatre and numerous others are performed by independent cultural organisations such as the Mala Scena Theatre, the Croatian Centre for Drama Education (in Croatian: Hrvatski centar za dramski odgoj, HCDO), the Drama Group of the Turopolje Juvenile Correctional Facility (in Croatian: Dramska grupa Odgojnog zavoda u Turopolju), the Ardura Association from Šibenik, the Luka Ritz Counselling Centre in Zagreb (in Croatian: Savjetovalište Luka Ritz), the amateur Zagreb-based theatrical troupe Sons, fathers, grandfathers (in Croatian: Sineki, tateki, dedeki) and various other organisations.
The Theatre of the Oppressed is a form of a popular, participatory and democratic theatre, established during the 1950s and 1960s, with the aim of achieving participatory social change and creating “unequal equals”. This form of theatre aims to provide all people with techniques which will enable them to discuss, analyse and solve situations in which they feel oppressed. The most commonly used techniques are precisely the ones presented by Augusto Boal in his Tree of the Theatre of the Oppressed, and they include Games, Image Theatre, Forum Theatre, Invisible Theatre, Legislative Theatre, Rainbow of Desire, and Newspaper Theatre. |
