{"id":591,"date":"2015-11-05T09:55:30","date_gmt":"2015-11-05T09:55:30","guid":{"rendered":"http:\/\/theodoregrammatas.com\/?p=591"},"modified":"2018-03-08T11:57:21","modified_gmt":"2018-03-08T11:57:21","slug":"the-folk-tale-of-the-pied-piper-of-hamelin-for-an-animating-theatre-pedagogy","status":"publish","type":"post","link":"https:\/\/theodoregrammatas.com\/?p=591&lang=en","title":{"rendered":"The folk tale of the pied piper of Hamelin for an animating theatre pedagogy"},"content":{"rendered":"

D<\/span>RAMA ANIMATION
\nSome people might ask why theatre is so important during school: the answer is, in order to lighten up the children’s souls, to help them achieve self-knowledge through the significant, everyday issues of life presented to them, as well as to make them discover the many prospects of knowledge and understand the functions of being. By offering them an overall perception of themselves and the world, theatre becomes a vehicle for holistic learning.
\nThus, the purpose of theatre in school is to educate in real life terms. This can really happen when the process of education carries strong encouraging qualities which will allow the art of theatre to reborn and remain always modern, under the light of both the scientific as well as the artistic regard and practice (Grammatas, 2003). In other words, the communicative function of the theatre is the minimal sufficient condition to shape minds though negotiation and reflection (Courtney, 1981, Bachtin, 1981, Cummins, 1999), in a true, natural and aesthetically valid manner, without didacticism, without pretentious effects and easy solutions.
\nFrom the above emerges that the theatre\u2019s pedagogic strength can inspire original theatrical creation. In that sense, inspiration constitutes a process of mobilisation of the psychomental and body energy of children (Winnicott, 1966, Piaget, 1962, Vygotsky, 1993) which, as necessity, interest and experience, seeks creative satisfaction and reformation.
\nThe pedagogy of theatre gives the animator the opportunity to create and inspire the theatrical phenomenon from the psychological and social angle (psychoanalytic, cognitive, social-cognitive and humanistic), by employing drama – representative conventions and drama – textual techniques, which involve and at the same time aim at the interpersonal, linguistic, bodily-kinaesthetic and, mainly, dramatic intelligence of children (Gardner, 1985).
\nIn order to urge theatrical inspiration, the animator should stimulate children\u2019s enthusiasm in a genuine way and with sincere emotion, through his psycho-pedagogic and artistic adequacy, so to make them enter, spontaneously, role playing. His bodily attitude and movement, as well as his words, should give vent to sentiments and thoughts in a balanced, rational and yet passionate way.
\nProjecting all the moral and mental intensity of a poet \u2013 even with minimal technical skills \u2013 he can reflect with enthusiasm upon new ideas and bring forth the children\u2019s emotions during the magic, and yet so real, world of their game. Besides, drama animation requires mainly from the animator a quality of sense and emotion and solidarity (Freire, 1998: 54), which generates an atmosphere of real life game, deeply psycho-mental. Therefore, encouragement is not confined to a number of commands to be executed; it is a process that illuminates the soul. The animator\u2019s presence is necessary in order to mobilise, through drama-educational freedom, the children\u2019s interest as well as the particular personality of each one so to involve them in theatrical convention without limiting their creative imagination. Most importantly, the animator\u2019s presence is necessary in order to observe whether his encouragement efforts penetrate the group\u2019s feeling, as well as to receive the \u201csignifieds\u201d in the body expressions and wordings of its members, using both his senses and his sensitivity.
\nTo this direction, the animator with artistic inventiveness and psycho-pedagogic knowledge is called to import new ideas, conventions and techniques, for the encouragement of the children\u2019s participation.
\nUsing stimuli, both visual and acoustic that he will adjust to the group\u2019s dynamic, he will control the intensity – of the reality as well as of the drama, and he will challenge the new and the spontaneous, the improvised and the different, ready to face on the spot each \u2018\u2019now\u2019\u2019 of the children\u2019s interests and, if necessary, through the prism of an open goal oriented model (Elliot, 1991: 54), he will add to or change the planning and reorganize the action as it happens (Papadopoulos, 2007: 94).
\nCertainly, the essence of drama encouragement passes through the exploration of a story, where the animator\u2019s sensitized presence is fundamental.
\nThus, the way that he will guide the role playing reflects his personal theory and view of life as well as his drama-educational methods, conventions and techniques.
\nIn the present work we develop the story of The Pied Piper of Hamelin, in order to show how in the inquiry drama (see table 1) the initial elements of the story are reformed and explored in a particularly meditative way, thanks to drama animation and not simply because of the experiential approach of the following: a) the structural elements of the theatrical form, b) the drama conventions, c) the drama – textual techniques, d) the questions and e) the scenic practices (Papadopoulos, 2007). At the same time, the decisive role of the animator is emphasised.<\/p>\n

THE STORY
\nIn a small city called Hamelin all inhabitants were getting desperate because of the plague of mice. The mayor of the city said, indignant, that something had to be done urgently. At that moment a young man appeared in front of him and declared that for a thousand florins he would rid of the mice. Overwhelmed with joy, the mayor promised to give him a hundred thousand florins if he succeeded. The young man went right away in the fountain of the central square and begun to play a melody in his pipe, and all mice started coming out from their burrows and gather in the square. Enchanted by his melody, they followed the young piper outside the city, in the fields, and when he entered the river, they followed him into the water as well and they were all drowned. The inhabitants of Hamelin welcomed the young man as a hero. When, however, the piper went to the mayor to ask for the fee he was promised, the mayor replied that his work did not worth more than ten florins and that he would give him only that much. The young man, angry with the mayor\u2019s dishonesty, refused to take it and left, warning the mayor that he will regret it. Playing again his pipe, he enchanted this time the city\u2019s children, who gathered like hypnotised in the square and disappeared after him into the mountains. The mayor\u2019s own son was among them, so he had to admit to the rest of the parents the trick he played on the piper. Everyone in Hamelin was inconsolable, crying day and night. Months have passed and the mayor as well would not stop crying. When the hundredth thousandth teardrop flowed from his eyes, a far-away melody was heard. It was the piper, coming back with the children. The parents hurried full of joy to embrace their sons and daughters. Then, the young piper approached the mayor and told him that what he had refused to pay in money, he paid in tears. After that he disappeared into the mountains, playing his pipe. As for the mayor, he was elected again in next elections as the people preferred having him to someone else whose vices they wouldn\u2019t know .<\/p>\n

THE AIMS
\nThe drama animation of the story gives children the chance to explore it through their subjective point of view (Barton & Booth, 1990), while the psychodynamic function of the group allows them to understand themselves through the feelings and meanings they share with each other (O\u2019 Neill & Lambert, 1982: 13). From this point of view, The Pied Piper of Hamelin constitutes the field in which the animator should seek the children\u2019s energetic involvement in joining the group\u2019s solidarity and understanding their own lives through the lives of the characters. To this direction he facilitates them:
\n\u25cf To overcome their natural reticence and use their bodies to express themselves, through bodily-kinaesthetic activities.
\n\u25cf To develop an awareness of responsibility and become familiar with the skill of putting themselves in somebody else\u2019s shoes.
\n\u25cf To critically reflect the characters\u2019 ethics, to interpret and assess the motives of their attitude and behaviour – one that is often radically different from their own.
\n\u25cf To develop their communicative skills in different circumstances of communication, through reasoning and meditative expression, both oral and written.
\n\u25cf To develop environmental and political conscience through the confrontation of everyday routine in the natural and social-cultural environment.
\n\u25cf To reconsider their initial attitude, perception and practice in theatrical role and out of it.<\/p>\n

THE QUESTIONS
\nThe animator\u2019s questions, which are formed through suitable drama conventions (Neelands, 1990), as shown right below, give children the possibility to explore the depths of the story, illuminating the focal point and the different each time point of view. The animator asks in order to arouse their interest to learn more about life and the problems the characters are facing; at the same time, it is important that he as well does not know the development of things or the solutions that the group will seek (Morgan and Saxton, 1995: 67-70, Wagner, 1990: 60).
\nSome indicative questions could be:
\n\u25cf How do Hamelin\u2019s inhabitants face the situation with an army of mice swarming the city and how the chief cheese-maker and his family?
\n\u25cf How does the mayor react to the disappearance of the city\u2019s children, but also to that of his own child?
\n\u25cf How does the chief cheese-maker feel about the disappearance of the mice?
\n\u25cf How can the mayor and the city council convince the piper to bring the children back?
\n\u25cf Where are the children and what are they doing all that time they are with the piper?
\n\u25cf Are the children happy staying with him? If not, are they willing to escape and how?<\/p>\n

THE METHODOLOGY – PROCEDURE AND TECHNIQUES
\nThe inquiry drama lays emphasis on the exploration as a process and from this point of view is underlying the principles of processes models. In these, personal and social experience constitutes the basis for theatrical investigation of the initial source-text through a theatrical form, aiming to create a new understanding (Neelands, 1990: 64).
\nThe method in question is developed in four stages that concern: a) creating a suitable atmosphere among the group, b) introducing the children to the initial environment of the story, c) exploring and creating the new dramatic environment, d) assessing the new experience and understanding; there is also a fifth, optional stage, concerning the presentation of the total theatrical investigation, as illustrated in table 1 (Papadopoulos, 2004).<\/p>\n

(TABLE 1)
\nINQUIRY DRAMA
\n\u0391. CREATING ATMOSPHERE FOR THE GROUP
\nvariety of games (bodily expression, introduction, observation, etc.)
\n\u0392. INTRODUCING THE INITIAL ENVIRONMENT
\nTeacher in role or out of role \u2013 children out of role
\n\u25cf GETTING TO KNOW THE WORK
\nlistening\/reading of the story
\nC. CREATING THE DRAMATIC – NEW ENVIRONMENT
\n\u25cf FIRST REMARKS CONCERNING THE DEVELOPMENT OF THE STORY
\ndiscussion out of role for the dramatic environment
\n\u25cf URGING ACTION AND REFLECTION
\nimprovised actions \u2013 use of conventions and techniques\/reflection in role
\n\u25cf CONFIGURATING THE STORY
\nconfiguration of episodes out of role with intermediate improvised actions, writing workshop – writing of narrative\/theatrical work
\nD. ASSESSMENT
\nAssessment of the action that leads to understanding and creates new action
\n\u0395. PRESENTATION<\/p>\n

\u0391. CREATING ATMOSPHERE FOR THE GROUP<\/p>\n

The animator, with genuine enthusiasm aims at creating a playful, amusing atmosphere, with introductory games and activities of observation, expression and communication, all of which strengthen the sense of \u2018\u2019belonging\u2019\u2019 to the group. The participants sense a deep liberating process, expressed with intense bodily movement and imaginative action, while the animator motivates them to enjoy spontaneously its carelessness. In this ambiance they appreciate the simplicity of the game, without the stress of having to study anything particular (Kouretzis, 1991: 31).<\/p>\n

\u0392. INTRODUCING THE INITIAL ENVIRONMENT<\/p>\n

Getting to know the work – Listening and reading of the story<\/p>\n

The animator reads to the participants the story of The Pied Piper of Hamelin, in an intense theatrical tone, aiming to create a feeling of sentimental and intellectual involvement and interaction.
\nHe chooses to stop the narration at a point where intensity escalates, in an effort to boost their interest as to what happens next, while, at the same time, asks their point of view as to what might follow (Booth, 1994: 62). Thus, the point of interrupting the narration is when all the children of Hamelin are disappeared. The piper, who rid the city of the mice, took with him the children as the city mayor violated their agreement when he denied paying him the amount he had promised him. The prevailing question is critical and constitutes a turning point for the story\u2019s development, as well as for inventing alternative points of view. Are the children alive and if yes where are they?<\/p>\n

C. CREATING THE DRAMATIC – NEW ENVIRONMENT<\/p>\n

1. First remarks concerning the development of the story<\/p>\n

The animator\u2019s concern is to facilitate the children determine and comprehend the structural elements of theatrical form and, particularly, of the dramatic environment and the \u2018\u2019focus\u2019\u2019 – that is, the best angle through which the problem will be investigated; moreover, he has to determine the dramatic time and space as well as to explain the symbols (O\u2019 Toole and Haseman, 1984).
\nIn order for the story to be properly explored, it is essential to choose a specific point of view. This, alternatively or consecutively, can be the mayor\u2019s point of view, the piper\u2019s, the parents\u2019, the children\u2019s, the chief cheese-maker\u2019s etc. Each one of those views corresponds the particular way with which each character perceives or reacts to the various problems that arise. In this light, the same fact is very often interpreted and handled differently by each character, depending on their personal beliefs as well as the benefits or courses of action that the process entails .
\nA brief discussion, out of theatrical role, illuminates the characters\u2019 lives – their problems, their relationships to one another, their attitudes, their dead ends and their prospects (Neelands, 1990: 70).<\/p>\n

2. Urging action and reflection – Introducing the roles<\/p>\n

Introducing the roles constitutes the basis for decoding the story. It is of great importance that the participants undertake certain roles; they must put themselves in the place of the children, the mayor, the mice, the piper etc.
\nIn order to familiarize with the roles, a \u201cmetamorphosis\u201d should happen. And it can only happen if the participants believe in themselves (Wagner, 1990: 67), but most importantly if the animator achieves through his determinative role to build each character\u2019s psychology. Indeed, by which definite actions will he make them believe that they really have in them what it takes – what they claim to have?
\nIt is imperative \u2013 in all the activities that will follow \u2013 that the animator \u201censoul\u201d the planning of the story\u2019s exploration, the conventions\/techniques, the content and style of his words, his observations, his comments and rhetorical questions, the colours of his voice and his silences, his face expressions, his bodily movement as well as his immobility, in order to encourage the children\u2019s imagination and reflective emotions. He should devise on the spot his own tale, in a way to create a unique atmosphere, arousing thus the children\u2019s interest.<\/p>\n

a) Bodily – kinaesthetic action – guided fantasy<\/p>\n

The animator, using gestures and other expressive forms, suggests children to assume consecutively various roles and act through short frames which, though not directly related with the story he previously read to them, reflect however in general its environment. Alternately, then, whenever he finds it appropriate, he moves with them in the room assuming the same role as them, either moving or standing still in the greater area from where he animates each frame, careful not to make the narration of pictures too detailed, as this would limit their creative imagination. His aim is to increase the children\u2019s enthusiasm for the role, bringing them to the heart of the kinaesthetic and improvised scenic action. Consecutively they assume the roles of the city\u2019s children, the mayor, the mice, the piper etc.
\nWith his words, describing an action, wondering for something or even leaving continuity gaps in an ambiguous way, the animator calls the children to play their own selves, to be pure and genuine. At the same time, he chooses suitable music to support the carelessness of their game. His words provide information about the place where the children are \u2013 their roles, feelings, movement, thinking etc., which give feedback to their imagination, bodily movement and expression.
\nFurthermore, he asks them to move as mice, while at the same time describes or asks them about their life, giving emphasis on the unexpected joy of rich food and good life, as well as on a feeling of dominance – a feeling he encourages them to express in an intense way through their bodies and faces. Where are they and how do they feel with so much food, how are they doing in the chief cheese-maker\u2019s shop with their family, in the city\u2019s streets etc. In the same way he can motivate their imagination and guide the action of the roles and, therefore, the mayor\u2019s point of view, the piper\u2019s, the chief cheese-maker\u2019s and so forth.
\nThey improvise various frames of the story. They are moving in the room and when they see someone they express their sentimental state for whatever situation the animator suggests them to perform that moment. Indicatively, when grouped in pairs of two, one can be the mayor and the other one the piper (during the making of the agreement, after its violation from the mayor, etc.) or one the mayor and the other one a parent (after the children\u2019s disappearance) etc. \u2013 or vice-versa.
\nThrough bodily movement and expression, they enact, among others:
\n\u25cf the plague of mice in the city
\n\u25cf the mayor\u2019s desperation for the mice problem
\n\u25cf the way both children and mice are enchanted by the piper\u2019s melody and gather by the hundreds in the city\u2019s square (immediately afterwards action freezes for thought and social situation tracking or simply for freezing of expression).
\n\u25cf the reaction (desperation and exasperation) of the parents\/ the town council for the situation and the mayor\u2019s attitude (scowling, frowning, being thoughtful etc)
\n\u25cf the children\u2019s meeting with their parents after they have returned.
\nOf particular importance is the appropriateness of the various stimuli, in terms of their qualitative characteristics and, especially, of the animator\u2019s verbal stimuli (context, style, pauses, etc), of his bodily expression (face expression, movements of his body parts, rhythm of movement, immobility, etc), of the music and sounds (style, volume, etc). And all this because the way the above stimuli are given, motivates accordingly the participants\u2019 mood to enter dynamically the action and believe in their role.<\/p>\n

b) Thought and social situation tracking<\/p>\n

After spontaneous kinaesthetic action follows thinking, as the animator asks children in role to think during the answering of his questions, which regard existing or even previous situations. In this way he urges them to explore their deep personal feelings.
\nHe explores their thoughts (talking freeze or thought tracking) and social situation and he poses questions about their identity (who\/what are you? What\u2019s your name?), their emotional situation (how are you feeling?), the place where they are (where are you?) and whatever else he reckons he should know.
\nMoreover, he asks about the work they are doing ([action] what are you doing?), the motives (why are you doing it?), the investments (what do you expect?), the models (who are you models?) and their values (what does this mean for your life?) (Heathcote and Bolton, 1995: 19- 20).
\nHe interrupts therefore the group\u2019s action in the role of the city\u2019s children, and by touching each one or some of them on the shoulder, asks them questions pertaining to their life as the city\u2019s children (what are you? what are you doing? how do you feel? have you got any friends? what games are you playing together? what makes you happy? etc). If the animator thinks is necessary, he can respond to their answer with a new question: that requires readiness and the skill to pose suitable questions with regard to the psycho-emotional and social situation of every participant, in two levels: a) as an individual and b) as the city\u2019s child, since there is strong interaction between the two roles, social and theatrical.
\nSimilarly, he can ask the participants after their action in the mice\u2019s role (\u2026, how are you feeling now that you eat the chief cheese-maker\u2019s cheese? How do you think the chief cheese-maker\u2019s children feel now that their dad has no cheese to sell?…), in the mayor\u2019s role (how are you feeling now that the city is plagued by mice? What are you planning to do?…), in the piper\u2019s (what can you do with your pipe? where are you from?…), in the chief cheese-maker\u2019s (what are you planning to do now that your work is ruined? how are your children dealing with the difficult situation you are getting through?) and so forth.
\nThe animator can pose questions to the children that are in the freeze frame:
\n\u2018\u2019Who are you, where are you, what are your feelings for what is happening, what do you think that should happen?
\nHow do you feel being mayor? Why did you claim the mayor\u2019s place? What is more important for you? Where do you think the children are? Are you a parent too? Have you spoken with any of the parents?
\nHow are you feeling now? What is your opinion about the mayor? If you where him, how would you react?\u2019\u2019<\/p>\n

c) Forum Theatre<\/p>\n

The mayor and the piper, under the shadow of the mice problem, are discussing alone in the mayor\u2019s office. It\u2019s the convention of improvisation, which gives the chance to more than two participants to express their opinions (Boal, 2001), as every spectator who wants can \u2013 by raising their hands – replace someone from the previous ones and show their own opinion about the mayor\u2019s and the piper\u2019s attitude towards the negotiation of the agreement.
\nBefore the discussion, the animator gives some information about the precise place and time of the meeting and, maybe, about the psychological and social situation of the characters.
\nDuring the improvisation – which could be taking place in an environment with appropriate music and lighting – there is a flow of information which illuminates particular aspects of the characters, deriving from what the children involved in the discussion say.
\nThe animator can contribute to the dialogue\u2019s quality, for instance by stopping it at certain critical points, if he thinks it would help, and posing appropriate questions to the mayor and the piper, (see \u201cthought and social situation tracking\u201d convention), facilitating thus the listeners to comprehend every concept as well as the discussion to flow smoothly.<\/p>\n

d) Role-playing<\/p>\n

Instead of the convention presented in theatre forum, another one can be chosen: the role game, where in order to deal with the mice problem and after an invitation from the mayor, the piper joins the city council meeting and give its members sufficient explanations as to his ability to tackle the situation effectively.
\nIn the meeting the animator can play the mayor or the piper and through their views guide the exploration of the story. Of particular importance are the questions made by the animator who, depending on the situation, can argue or raise questions about the social, political, economical and moral aspect of the problem. Consequently, through conversation he can broaden the participants\u2019 minds (O\u2019 Neill, 1989: 147- 159).
\nAnother way to boost faith in the theatrical role is through a development of the ritual convention; preparing and reading out issues of the agenda during the city council meeting, as well as introducing the piper. Additionally, participants could use cards with their names written on them, and the arrangement of the desks could be made in a realistic or minimalist-symbolic way.
\nAlternately or selectively, in role\u2013playing the following subjects can be developed:
\n\u25cf The parents of the school\u2019s parents association discuss about the children being kidnapped and ways to deal with the situation (the animator in the role of the parents association president).
\n\u25cf The parents of the school\u2019s parents association welcome the piper and try to persuade him to set the children free (the animator in the role of the piper).
\n\u25cf After the children\u2019s disappearance the city council meets, along with the mayor; many councillors agree with his actions while many others keep a critical eye towards him. They discuss various ways to solve the problem (the animator can undertake the role of the mayor and at one point the role of a postman who brings news that will change the situation unexpectedly and will give the action the necessary dramatic tension).
\nIn this meeting the piper (the animator in role) can suddenly come along and lay down his conditions \u2013 not necessarily involving personal gain – for the children\u2019s return. For instance, he can say he heard rumours that many parents force their children to do labour jobs and so to ask the city council to ensure the children\u2019s healthy living in Hamelin.<\/p>\n

e) Improvisation<\/p>\n

Alternatively, a monologue can be presented by the mayor or the piper, whose characteristics will be congruent with the dominant emotion of the situation. The three phases below are indicative:
\nIn the present phase the monologue can be confessional, something that could reveal the real intentions of each character.
\nIn the next phase during the children\u2019s disappearance the monologue can be apologetic, either because of the mayor\u2019s guilt about not giving the agreed amount of money to the piper or because of the piper\u2019s guilt to take the children with him. But also in the end of the story, once the children have returned and their adventure ended successfully, the monologue can illuminate the emotions and the personality of the characters (the mayor, the piper, the councillors, the parents).
\nThus, facing the audience or standing, pacing up and down around the mayor, the piper or a parent who sits on a chair:
\n\u25cf The mayor talks to himself about the situation, the reason that caused the kidnapping and his share of responsibility (I couldn\u2019t resist the idea that Hamelin would save money. It was my belief that we could build an orphanage with it, which was always our dream. It was my fault, I know it, but I wanted to help the city. I couldn\u2019t believe that the piper would be so revengeful). (Consecutively can follow as many participants wish to).
\n\u25cf A parent talks to himself about the situation, he expresses his feelings and he suggests a way to react (Consecutively can follow as many participants wish to).<\/p>\n

f) Hot seating<\/p>\n

The animator \u2013 or one of the participants , according to the psycho-pedagogical – didactical and dramatical aims, can choose the mayor\u2019s role, the piper\u2019s, a parent\u2019s or someone else\u2019s and sincerely answer the questions of participants who are out of role or in role \u2013 that of a journalist for instance, while the situation in terms of time can be either before or after the children\u2019s disappearance, or even after their return.
\nIn this emotional environment, the animator \u2013 or a child – in theatrical role sits at the centre of the stage and talks about anything he is asked in relation to the problem, about his attitude and his behaviour, but also generally about his life. Often, questions focused on the personal life of the characters that sit on the hot seating (family, childhood, a fact that at the beginning wasn\u2019t revealed, etc), give an unexpected dimension and development in the story and cause a new interpretation and understanding of their personality.
\nThe group is sitting around the central character. Everyone poses a question to the character and waits for the answer, without however a conversation developing between them. In this way the optical angle of the role is illuminated, as the aim is not to hear what the participants think, but what the character actually believes.
\nOf course, the questions, depending on the aim of each activity (for example language exercise) can have been already prepared from the group in a previous activity. This, nevertheless, reduces the power of questions, as every following question should take into consideration the previous questions and answers, something that would not happen if the questions were not prepared.
\nInstead of sitting around the central character who is sitting or standing, the participants can ask questions while standing around him, either facing him or with their backs turned or in another way, which every time determines the psychodynamic of the activity.<\/p>\n

a) children in theatrical role (journalists, parents, etc)
\nb) children out of role during the problem with the mice after the children\u2019s disappearance after the children\u2019s return
\nmayor
\npiper
\nparent<\/p>\n

ii. Afterwards, the children in the role of the parents, while moving in the space, express with bodily and verbal expressions their feelings (for example sympathy) towards the mayor or the piper, who is sitting on the seat.<\/p>\n

g) Freeze frame (in the past, the present, the future)<\/p>\n

In still image the children prepare and enact themes that reflect their interest, like:
\n\u25cf The mayor discussing with the piper.
\n\u25cf The parents discovering that their children are missing.
\n\u25cf The mayor – perhaps psycho-emotionally influenced – many years after the children\u2019s disappearance.
\n\u25cf The city councillors, depending on the decision they will take, showing their emotional state.
\nIn the activity the emphasis is given to the facial and bodily expression of the characters, but also to the bodily pose and the way they place themselves in relation to each other. Thus, the freeze frame as a sociogram maps out their personal and social relationships.<\/p>\n

h) Thought and social situation tracking<\/p>\n

The animator can repeat the convention of thought and social situation tracking and ask the children that are in the still image:
\n\u25cf (question to any character) Who are you, how do you feel about what is happening, what do you think that should happen?
\n\u25cf (question to the mayor) How do you feel as a mayor? Why did you claim the mayor\u2019s place? What is the most important thing for you? Where do you think the children are? Are you a parent too? Have you spoken with any parents?
\n\u25cf (question to any character) How do you feel now? What is your opinion for the mayor? How would you react, if you were him?<\/p>\n

i) Role on the wall<\/p>\n

A child lies down on a big sheet of paper and the rest draw his outline, which can be:
\n\u25cf the mayor\u2019s outline.
\nAfterwards, out of theatrical role, they write out of the mayor\u2019s outline (with markers) their thoughts and points of view on the situation and his behaviour .
\nYou don\u2019t understand that what you did was wrong?…You made a mistake! Say you are sorry!…mayor, it\u2019 s your fault! Now the whole village will suffer because you didn\u2019t keep your word. You have done it again. All the children disappeared!…Your own child is gone!…You are a greedy scum! You got the children into trouble!…Happiness is not in quantity but in quality\u2026 is money all you care about?\u2026Why didn\u2019t you keep your promise? Aren\u2019t you afraid with the mess you have caused?…You did it well!…Why did you break your promise? Everybody is punished now because of you\u2026Are you happy with this? What do you have to say now? You should know that there is no such thing as a coincidence. You deserve your sufferings!…
\nThe children, from the mayor\u2019s point of view, write inside the outline their thoughts and self-criticism.
\nHe seems good but I have the authority!…I wanted everything and now I lost everything. What can I do? Where can I find him and tell him that I am sorry?…The piper played a dirty trick on us though he didn\u2019t seem capable of doing so. I made a mess of it. You may lose what you have by grasping for more \u2026I want my child back. I don\u2019t care even if he takes all my fortune\u2026If I could turn time back, I would change everything \u2026I couldn\u2019t imagine such a disaster. It was my fault! Now I should correct my mistake. But how?…Dear God, what have I done!! I regret the way I behaved\u2026I should have kept my word! My child, what I have done, what I have done! Oh death, redeem me!…I made a mistake. I apologise to all of you. I will beg the piper to bring our children back!…Everyone pays for their mistakes. I should make things right!…I couldn\u2019t imagine that the situation would come to this\u2026I behaved badly and now I\u2019m paying for this. What am I going to do? How can I make things right?…<\/p>\n

\u25cf the piper\u2019s outline
\nAfterwards, out of theatrical role, they write out of the piper\u2019s outline their thoughts and points of view on the situation and his behaviour.
\nI know that you feel bitter. Take care of the children\u2026You should teach the mayor a lesson for the way he treated you\u2026Don\u2019t be sad for this injustice. The only responsible is the mayor\u2026Don\u2019t wrong the others! Where are the children-citizens? How will they come back?…You could revenge only the mayor. The children are innocent! No good deed goes unpunished\u2026Please bring the children back to the city\u2026Find another way to revenge\u2026You are right. But it\u2019s not the children\u2019s fault. You are a musician. You enchant and you are being enchanted. You can\u2019t hurt anyone!…You did the right thing punishing him. But don\u2019t hurt the children\u2026You did what you knew best. You rid of the mice. But think again what you did with the children! It\u2019s not right!…You taught the mayor a valuable lesson. But the children should return back to their families!…
\nThe children, from the piper\u2019s point of view, write inside the outline and justify his attitude towards the mayor\u2019s dirty tricks.
\nI cannot understand how this man was elected mayor\u2026We are going away just for a while. Just to scare the mayor\u2026Of course there are also the others. Let them wait in distress, since they elected such a mayor\u2026I will not hurt the children. I only want the mayor to understand his mistake\u2026I taught the mayor the lesson he deserved. It\u2019s not the children\u2019s fault. I will\u2026This greedy soul should be taught his lesson, he and the whole village that elected him. Whatever happened to values?…I didn\u2019t care for the money. But the mayor should be taught a lesson! He deserved to suffer!…I think that he has learned his lesson. I will return the children back to their families!…Greed and dishonesty shall be punished!…He should finally understand that he cannot use his power to cheat and take advantage of others\u2026You will regret this bitterly. I promise you!…I will not be humiliated\u2026How I ended up like this. I became the same as he. This cannot continue. I should return the children back to the city\u2026 All of them believe that they are so strong and invulnerable! They need to be taught a lesson\u2026This is how you treat me? I will show you then. You did me wrong and you will be punished. I asked for so little and instead you revealed your real self to me: a liar, a conceited person \u2026<\/p>\n

The children can also:
\n\u25cf choose and mark a symbol on a part of the mayor\u2019s or the piper\u2019s body. The selection of the part or of the symbol reflects the opinion of each one for the character\u2019s personality .
\n\u25cf create the outline of a pipe, the music instrument. At first as mayors, before the news about the children\u2019s disappearance, they make suggestions and write on a piece of paper about the pipe\u2019s potential help. After the story\u2019s development, in the role of the mayor, they evaluate the impact of the pipe on their city, using the previous piece of paper or in a new outline.
\n\u25cf place on the mayor\u2019s outline \u2013 body – gifts to him.
\n\u25cf consider what they have written by reading it aloud or silently, each one his own or someone else\u2019s.<\/p>\n

j) Conscience alley – Conflicting advice<\/p>\n

The participants are standing in two groups, one opposite to the other, forming with their arms a tunnel (conscience alley). The mayor walks through it, looking at each participant, now to his left, then to his right, listening all that time what they say to him. (Apologise to the parents and find the strength to fight for the children\u2026What is done cannot be undone, now the only thing that matters is the children\u2026Stop crying and find solutions in the city council\u2026). The piper can walk through the tunnel too, as well as any other character that might be asked by the participants or that the animator suggests. Thus, as a character walks through, he can listen to the participants in role or out of role, like for example:
\n\u25cf the mayor hears:
\nthe participants\u2019 opinion out of theatrical role,
\nvoices in his head,
\nthe city councillors\u2019 points of view before he decides what is to be done now that the children are lost, etc.
\n\u25cf the piper hears
\nthe participants\u2019 opinion out of theatrical role,
\nvoices in his head,
\nthe parents\u2019 opinion etc.
\nThe convention can be developed in a different way, where all the participants, in theatrical role, do not create a tunnel, but another equivalent creative form with their bodies.
\nThe main characteristics of the convention are on one hand the gravity of the situation which the character faces, and on the other hand the tension which is usually caused by conflicting advice. The animator can intensify these elements with a poetic, enigmatic style in his introductive clarifications and comments.
\nIn order to create a powerful experience, it is important the feeling that the animator produces while reciting instructions. Thus, he explains the convention in a few words, without any specific analysis and further explanations, as this would destroy the atmosphere. He emphasizes the poetic function of each word and phrase, which reflects his beliefs in the state of the conscience\u2019s voices.<\/p>\n

k) Collective Role<\/p>\n

The participants represent the mayor\u2019s thoughts; he is seated in front of them and reacts only through his bodily expression to what the players say \u2013 the thoughts, that stand right behind him. (What I did wasn\u2019t right\u2026It wasn\u2019t the children\u2019s fault. It wasn\u2019t my son\u2019s fault\u2026)
\nThe convention of collective role is important, as it gives the opportunity for co-ordination of speech and movement. Each thought that is spoken out spontaneously by the mayor or the piper becomes an emotional reaction and bodily expression and this constitutes an excellent exercise of observation, attention and listening, as the convention often requires transition from one emotional state to an opposite one.<\/p>\n

l) A Day in the Life<\/p>\n

At the beginning the children create still frames from the mayor\u2019s life; from his childhood (past), his adult life (present) and his senior years (future). Through these freeze frames \u2013 at a second layer – can occur thought and social situation tracking or their depictions can be brought to life through short improvised action.
\nThis convention encourages time tracking through observation and retrospection of the situations, while the pictures created facilitate transition from present time to the past and again to the future as well as understanding of attitudes and behaviours. Indeed, giving emphasis to the transforming dynamic of this convention, the animator can ask from the participants who observe the picture to change the bodily pose and expression of the players who enact the situations, which allows analysis of their psycho- social aspects.<\/p>\n

m) Writing in role<\/p>\n

The children, individually or collectively, in various phases of the exploration, can create their written texts (writing in role), like letters, messages, diaries or any other, with all kind of subjects (for example the absence of a beloved person, etc):<\/p>\n

Letters
\n\u25cf A letter from the city\u2019s children to the mayor
\n\u25cf A letter from the mayor to a colleague to say about his successful agreement
\n\u25cf A letter from the mayor to the piper
\n\u25cf A letter from the parents to the mayor or the piper
\n\u25cf A letter from the parents to the city council
\nThe letter is written with the animator playing the president of the parents\u2019 association. (Before the composition of the letter the parents can express their opinions in the forum theatre).<\/p>\n

Messages
\n\u25cf Messages from the children to the mayor
\n\u25cf Messages from the children to the piper<\/p>\n

Diaries
\n\u25cf The mayor\u2019s diary about the forthcoming meeting with the piper and what they expect from this (impressions, reservations, predictions, motives, visions)
\n\u25cf The mayor\u2019s diary about the children\u2019s kidnapping
\n\u25cf The mayor\u2019s diary after the happy ending
\n\u25cf A parent\u2019s diary
\n\u25cf The children\u2019s teacher diary
\n\u25cf A mouse\u2019s diary
\n\u25cf The chief cheese-maker\u2019s diary
\n\u25cf A child\u2019s diary
\n\u25cf The mayor\u2019s child diary
\n\u25cf The participants\u2019 diary (out of role)<\/p>\n

n) Teacher in role<\/p>\n

The animator performs various roles (teacher in role), like the mayor\u2019s, the piper\u2019s, etc. Thus, playing a messenger, he can bring a cassette or a letter with the children\u2019s answer, from which we learn that they ask to stay with the piper for a while longer or that they ask the mayor to go on trial etc.<\/p>\n

o) Document<\/p>\n

In the above convention of \u201cteacher in role\u201d can also be added the convention of the Document, where the animator can undertake the role of a messenger or a resident and bring to the city council a document, like a child\u2019s hat that he supposedly found in a street out of the city.
\nThe document\u2019s presence creates a realistic situation, which is reinforced by the animator\u2019s words, which in turn create a great sensation. In this psycho-intellectual and social environment the flow of the city council\u2019s conference can change and that can have a catalytic influence on any decision they take for further actions.<\/p>\n

p) Improvisation<\/p>\n

Two children or the whole group, in individual or collective role, are lying down on the floor without looking at each other, with appropriate music, and enact the mayor\u2019s meeting with his son who has now returned \u2013 though that this can also be happening in a dream.
\nAn improvised dialogue is developing, that often looks like interactive monologues which illuminate the relationship between father and son. A remarkable meeting takes place – could be many years after – something like a life\u2019s account before an important moment (for example the mayor\u2019s child getting married, the last hours before the mayor\u2019s death).
\nThe animator, with interstitial poetic monologues, animates and often directs the imagination of the participants, who respond in the role of the mayor or his son with their improvised and spontaneous scenic action and speech. A poetic atmosphere is created, deeply sensitive, with solid language and profound meditation. Figures are moving or standing still, walking, running or crawling, soliloquize or converse and envision their previous, as well as their future lives. In a dreamlike fantasy, in the course of a lifetime.
\nThe animator could say:
\nThat night in Hamelin the son met his father\u2026
\nThan night in Hamelin the mayor found himself\u2026
\nThat night in Hamelin father and son left forever and went to find the piper in another world, without unhappiness, in a paradise world.
\nIf the road brings you in Hamelin, seek for the children and look into their eyes\u2026
\nIf the road brings you in Hamelin, listen to the children\u2019s song\u2026
\nIf the road brings you in Hamelin, don\u2019t forget to ask for that mayor\u2026
\nIf the road brings you in Hamelin, you will find that Hamelin is your soul\u2026<\/p>\n

3) The configuration of the story<\/p>\n

In the writing workshop the children can form and compose a narrative or a theatrical text (Grammatas, 2003: 458). Thus, in The Pied Piper of Hamelin, the previous stage activities (creation of action and reflection) can give feedback to the children\u2019s new text, which could be presented in a presentation (see table 1).<\/p>\n

D. ASSESSMENT<\/p>\n

The children, out of role, assess their work. It is a process of formative assessment (Morgan and Saxton, 1995: 194- 195). Within the group they write or express orally their opinions and feelings. Also, they discuss about different versions of the story (Booth 1994: 95).
\nThe particular atmosphere of the story\u2019s exploration, which on previous stages is based on the playful and poetic sense of the words as well as the animator\u2019s bodily expression, is also present during the assessment; an idiomorphic form of a reflective activity that gives emphasis to the artistic-cogitative emotion and understanding through the experience (Papadopoulos, 2004).
\nIn that sense, children are sitting in the group\u2019s circle and inside it put the mayor\u2019s outline. What do they want to tell him? What do they want to say to each other about how they felt and what they thought? What was it that they wanted to say but never did? And so forth.
\nMoreover, the animator can give them a lump of earth which passes from hand to hand. Each one feels it, smells it and puts it back on the outline. They observe the picture. They close their eyes and keep the feeling. They bring back to their minds the outline-body of the mayor, the words that were written before and the lump of the earth now. They keep silent. What does this bit of earth symbolize? How does it relate to the mayor? What do they want to say? With their eyes open or closed they express either with words or with bodily expression what they feel. But also a piece of fabric or lace, a sample from the children who returned to the city, or a bottle with the mayor\u2019s tears can constitute documents and symbols for the understanding not only of the story, but also of their own lives.
\nThe trip to Hamelin can be a soul-inspiring ride where the world is viewed through collective action and reflection.<\/p>\n

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SOURCES<\/p>\n

The Pied Piper of Hamelin (Folk tale) 1991, (In Greek), Editions Kedros, Athens<\/p>\n

Dr. SIMOS PAPADOPOULOS
\nLecturer in Theatre Studies – Drama Animator
\nDemocritus University of Thrace, Department of Primary Education<\/p>\n","protected":false},"excerpt":{"rendered":"

RAMA ANIMATION Some people might ask why theatre is so important during school: the answer is, in order to lighten up the children’s souls, to help them achieve self-knowledge through the significant, everyday issues of life presented to them, as well as to make them discover the many prospects of knowledge and understand the functions of being. By offering them an overall perception of themselves and the world, theatre becomes a vehicle for holistic learning.<\/p>\n","protected":false},"author":2,"featured_media":597,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[118,1],"tags":[271,267,269],"class_list":["post-591","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theatre-and-education","category-theatre-for-young-audiences","tag-drama-education","tag-dramatisation","tag-young-public-theater"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2015\/11\/Hamelin.jpg?fit=607%2C480&ssl=1","jetpack-related-posts":[{"id":2494,"url":"https:\/\/theodoregrammatas.com\/?p=2494&lang=en","url_meta":{"origin":591,"position":0},"title":"Heinz-Uwe Haus and Theatre Making in Cyprus and Greece","author":"Theodore Grammatas","date":"September 13, 2021","format":false,"excerpt":"Heinz-Uwe Haus\u00a0has published a new book, titled\u00a0Heinz-Uwe Haus and Theatre Making in Cyprus and Greece\u00a0(Cambridge Scholars Publishing,\u00a0Newcastle upon Tyne, UK; 405 pages;\u00a0release date: Sept. 8, 2021). Co-edited by Daniel Meyer-Dinkgr\u00e4fe and supported by Costas Hadjigeorghiou, the book presents a selection of the considerable amount of material written and published in\u2026","rel":"","context":"In "Book Review"","block_context":{"text":"Book Review","link":"https:\/\/theodoregrammatas.com\/?cat=132&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/09\/9781527572744.jpg?fit=1200%2C1065&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/09\/9781527572744.jpg?fit=1200%2C1065&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/09\/9781527572744.jpg?fit=1200%2C1065&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/09\/9781527572744.jpg?fit=1200%2C1065&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/09\/9781527572744.jpg?fit=1200%2C1065&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2506,"url":"https:\/\/theodoregrammatas.com\/?p=2506&lang=en","url_meta":{"origin":591,"position":1},"title":"International Theatre Conference “Values of Ancient Greek Theatre Across Space & Time: Cultural Heritage and Memory”","author":"Theodore Grammatas","date":"October 11, 2021","format":false,"excerpt":"The National and Kapodistrian University of Athens (NKUA) will be hosting the International Conference named\u00a0Values of Ancient Greek Theatre Across Space & Time: Cultural Heritage and Memory. The conference will take place on 6 & 7 November 2021 and will focus on the lasting and, at the same time, ever\u2026","rel":"","context":"In "News"","block_context":{"text":"News","link":"https:\/\/theodoregrammatas.com\/?cat=116&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/10\/921f920b3e6dabfa229e7f83311770a8-1.png?fit=703%2C410&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/10\/921f920b3e6dabfa229e7f83311770a8-1.png?fit=703%2C410&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/10\/921f920b3e6dabfa229e7f83311770a8-1.png?fit=703%2C410&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/10\/921f920b3e6dabfa229e7f83311770a8-1.png?fit=703%2C410&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2390,"url":"https:\/\/theodoregrammatas.com\/?p=2390&lang=en","url_meta":{"origin":591,"position":2},"title":"Museum Experience through Inquiry Drama","author":"Theodore Grammatas","date":"February 9, 2021","format":false,"excerpt":"1.\u00a0\u00a0 Theoretical framework: Drama in the Museum Drama as a creative pedagogic process and the museum as a meaningful informal learning environment refer \u2013 in their own ways - to humanity and culture, aiming at spiritual, emotional, embodied experiences and experiential learning. Drama in formal education as a holistic approach\u2026","rel":"","context":"In "Theatre and Education"","block_context":{"text":"Theatre and Education","link":"https:\/\/theodoregrammatas.com\/?cat=118&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/02\/11ff609b56c83af6a56407e408ac89dd.jpg?fit=900%2C530&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/02\/11ff609b56c83af6a56407e408ac89dd.jpg?fit=900%2C530&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/02\/11ff609b56c83af6a56407e408ac89dd.jpg?fit=900%2C530&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/02\/11ff609b56c83af6a56407e408ac89dd.jpg?fit=900%2C530&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2471,"url":"https:\/\/theodoregrammatas.com\/?p=2471&lang=en","url_meta":{"origin":591,"position":3},"title":"“Popular” and “Highbrow” in the theatre. Cultural interaction and osmosis between the genres*","author":"Theodore Grammatas","date":"August 5, 2021","format":false,"excerpt":"Popular \/ Folk theatre The term \u201cpopular theatre\u201d denotes a cultural creation the specific features of which remain constant and characteristic of this theatrical category (Grammatas 2006 : 239-241) despite any changes that might have taken place over the times. Its basic source of origin is the \u201critual\u201d, which, though\u2026","rel":"","context":"In "Global Theatre"","block_context":{"text":"Global Theatre","link":"https:\/\/theodoregrammatas.com\/?cat=128&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2459,"url":"https:\/\/theodoregrammatas.com\/?p=2459&lang=en","url_meta":{"origin":591,"position":4},"title":"Cultural Consciousness and Theatrical Creation in Postwar Modern Greek Theatre: The “Hellenism Syndrom” phase","author":"Theodore Grammatas","date":"May 19, 2021","format":false,"excerpt":"The search for cultural identity is an ever-lasting demand for the Greek dramatology. During the post-war years the presence of this search is intensive, and the variety of its forms and versions depends each time on the specific historical and social conditions. On the basis of this quest for theatrical\u2026","rel":"","context":"In "Modern Greek Theatre"","block_context":{"text":"Modern Greek Theatre","link":"https:\/\/theodoregrammatas.com\/?cat=126&lang=en"},"img":{"alt_text":"Sevastikoglou","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2291,"url":"https:\/\/theodoregrammatas.com\/?p=2291&lang=en","url_meta":{"origin":591,"position":5},"title":"Codes Communicatifs de la Commedia dell Arte et leur Application au Theatre Jeunes Spectateurs","author":"Theodore Grammatas","date":"July 12, 2020","format":false,"excerpt":"La Commedia dell\u2019Arte, forme th\u00e9\u00e2trale de provenance populaire, dispose des traits distinctifs propres \u00e0 lui, de sorte qu\u2019 elle peut \u00eatre approch\u00e9e et per\u00e7ue par lui. Le but de notre communication porte \u00e0 pr\u00e9ciser les codes communicatifs dont elle se sert, et par la suite \u00e0 circonscrire leur fonctionnalit\u00e9 chez\u2026","rel":"","context":"In "Global Theatre"","block_context":{"text":"Global Theatre","link":"https:\/\/theodoregrammatas.com\/?cat=128&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/07\/7917979_orig.jpg?fit=1100%2C484&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/07\/7917979_orig.jpg?fit=1100%2C484&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/07\/7917979_orig.jpg?fit=1100%2C484&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/07\/7917979_orig.jpg?fit=1100%2C484&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/07\/7917979_orig.jpg?fit=1100%2C484&ssl=1&resize=1050%2C600 3x"},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts\/591","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=591"}],"version-history":[{"count":4,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts\/591\/revisions"}],"predecessor-version":[{"id":1794,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts\/591\/revisions\/1794"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/media\/597"}],"wp:attachment":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=591"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=591"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=591"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}