Enhancing Learning Through Amateur Theatre

Christina Chaib, PhD

School of Education & Communication

University of Jšnkšping, Sweden

Box 1026, S-551 11 Jšnkšping, Sweden

Tel: +46 36 156487, Fax: +46 36 162585

E-mail: Christina.Chaib@hlk.hj.se

Paper presented at the Australian Association for Research in Education

Annual Conference (AARE): Researching Education in New Times. Brisbane,

November 30 - December 4, 1997.

ÓTeaching is not like inducing a chemical reaction: it is much more

like painting a picture or making a piece of music, or on a lower level

like planting a garden or writing a friendly letter. You must throw

your heart into it, you must realize that it cannot all be done by

formulas, or you will spoil your work, and your pupils, and yourselfÓ.

Gilbert Highet

The Art of Teaching, 1989

Introduction

Young peoples interest and participation in amateur theatre

productions, and the educational issues pertinent to such activities is

the focus of this contribution. The educational process is not limited

to formal education and training but also includes leisure and pastime

activity.

This paper deals with amateur theatre as a method to increase and

develop the learning setting for young people. Means and activities in

the theatre process, which seems to be important to young people, are

focused. As shown in this research, by taking on a part and a

character, and by maintaining enthusiasm in the dramatical narration,

young actors develop competences in a variety of areas of major

importance for the pedagogical issues of education.

The focus of my paper will be oriented towards the experiences gained

by young Swedish students playing amateur theatre. According to their

reports, playing theatre constitutes a collectively shared educational

experience. The paper will also address the role of aesthetics

activities in future education. A core question in the summarizing

discussion part is whether an aesthetical creation does, or does not,

affect an actorsÕ experiences of the world surrounding them. Another

discussion point will be if and how such a perspective develops an

enhanced understanding of society among the pupils.

Young people and creative processes

In a society where information and computer communication have dominant

positions rational knowledge, i.e. scientific knowledge, will have a

particular importance. Science and natural science has developed on

behalf of social science, the humanities and the art subjects (Nobel,

1991, 1993, 1995; Tengstršm,1986). Aesthical and practical work are

continously a decreasing part of the curriculum in Swedish schools.

Young people have always understood the meaning of aesthetical and

artistical expressions. In consequence of the presently dominating

understanding of knowledge - emphasizing scientificity and written

knowledge - the artistic pursuit has been separated from formal and

institutional establishments and has been turned over to who ever has

the time and the inclination and whom can afford to pay for it.

Many young people use their spare time to satisfy their artistic need

which they canÕt do in school. They use their spare time to develop

their creativity by writing poetry, paint, sing, play in music groups,

dance and make theatre. As many young people today spend a lot of time

with these leisure time activities, it is evident that they are

intrested in it, that they like it and that they are influenced in a

positive way. They grow as human beings. Typical for most of these

activities are that the youngsters practise them together with others,

most often with those in their own ages.

In the so-called post-modern society, traditional and well established

societal structures originating in the Era of Enlightenment, have been

challenged. The same is also true with the Classical notion of the

educated individual (Nordin, 1995). Several researchers argue that such

challenge is leading to a reevaluation of the present understanding of

society (cf. Drotner, 1991; FornŠs, 1991; Lyotard, 1991; Ziehe, 1986).

In this ÓconfusionÓ, which is typical of the so-called post-modern

society, according to a number of theorists (e.g. Giddens, 1994; Ziehe,

1986, 1992), people are endeavouring in various ways and by various

means to actualise themselves by creating an understanding of their own

thoughts and actions. Young people seek a more solid foundation to

develop their sense of identity. This search for a stronger sense of

identity, according to Giddens (1994), is a modern and Western

phenomenon. Earlier, this type of statements, oriented towards the

individual, was not expressed, Giddens writes and refers to Durkheim to

whom the individual did not exist, only the collective. The ego and the

self are not looked upon as a passive unit, but are understood as

developing together with the social context. Individuals are encouraged

to self-actualise by reflecting on their situation and to seek new

possibilities to develop (Giddens, 1994).

Life itself offers a lot of alternatives and it is important to do wise

choices. Self-confidence is something that always develops from a

personÕs inside. Many young people today are encouraged to express

their attitudes, to dare to try new things, to come up with new ideas,

meet new people, and to try new ways of doing things. The atmosphere

today stimulates all these possibilities. Giddens says: ÓIf we reject

deliberate risktaking for self growth, we will inevitably remain

trapped in our situation or we end up taking a risk unprepared. Either

way, we have placed limits in our personal growth, have cut ourselves

off from action in the service of high self-worthÓ, (Giddens, 1994, s

78).

Giddens (1996) distinguishes three dominant sources of the dynamism of

modernity, each connected with the other. These sources are the

separation of time and space, the development of disembedding

mechanisms and the reflexive appropriation of knowledge. The level of

well-fare of the society which of course influence the inhabitants,

especially the youngsters, can be interpreted in many ways. The

position explained above in post

modern vocabular in which I think that the youngsters are more

sensitive than others, will be strengthened by these three sources

expressed by Giddens. Giddens explain this by: ÓTaken together, these

three features of modern institutions help to explain why living in the

modern world is more like being aboard a careering juggernut (an image

I shall develop in more detail later) rather than being in a carefully

controlled and well-driven motor car. The reflexive appropriation of

knowledge, which is intrinsically energizing but also necessarily

unstable, extends to incorporate massive spans of time-space. The

disembedding mechanisms provide the means of this extension by lifting

social relations out of their ÔsituatednessÕ in specific localesÓ

(Giddens, 1996, s 53)

A presentation of the research project

This paper presents some issues and findings from a research project

named ÓPersonal Development through Theatre for Young People. A

Pedagocical Analysis of Their Making TheatreÓ. Last november the

research project ended and was resulted in a PhD thesis. In this

chapter I present the organisation and the objectives of the project

and a short summary of the most important findings.

In this discussion some statements have to be made about drama and

theatre. The aims of the two ways of working have always been discussed

as two different activities. Some researchers say that theatre leads to

a production and drama is a mean to reach that. It means that drama is

seen as a method. Not everyone agrees with that standpoint. Drama is a

Greek word and stands for action, and the core in drama as a method is

Óthe active, creative action, the concrete decision about things, which

is an expression for the whole personality in a dramatical formÓ,

(Erberth & Rasmusson, 1991, s 8). Drama is more and more popular as a

working method in different educational processes. The opposition

between drama and theatre is not as strong as it used to be. Those,

working with drama today, are highly influenced by the methods used in

theatre. In spite of this there is still a resistance to let young

children act in front of an audience.

In spite of numerous discussions about theatre and drama, I notice that

the activities are not completly separated today, even if this

discussion is ongoing. My way of looking at this, is drama as a method

to develop the actors, while the applied methods to develop the whole

performances, in an artistic way, comes from the theatre methods.

Bolton discusses the properties of both drama and theatre and says: ÓI

hope I have now made it clear that in terms of learning potential,

dramatic playing has the greatest educational value. Its strength, it

seems to me, lie in the unique relationship it offers in

combining theatrical structure (not outer shape, of course) and a

quality of spontaneous living that belong to both symbolic play and to

gamesÓ, (Bolton, 1986, s 68).

The Objectives of the Study

The objective of the study was to investgate in what way young people

playing theatre, constituted a collective educational process,

according to their own experiences. Also, the project aimed at

understanding the interaction between the different actors, and

particularly between the young amateurs and their leaders. How

motivated were the young actors and what made them keep up the interest

year after year? The actors described how they were influenced by

taking an active part in the work and how they experienced being

subject to its influence. The research project also addressed the role

of aesthetics in these activities. The research more specifically

addressed the following research questions:

- What does amateur theatre work mean if regarded as a context for

learning and what is the significance of such an environment for young

actorsÕ learning experiences?

- Does amateur theatre contribute to develop personal character and

sense of freedom and liberation? If so, how is this change expressed in

terms of their own accounts of their partcipation?

- In what way does theatre, as a form of aesthetical communication,

contribute to young actors training of social skills in everyday-life?

The Investigated Groups and Leaders

The investigation included three theatre groups. These groups consisted

of youngsters and their leaders. I also met with a lot of other people

who, in one way or another, were involved in the theatre work. These

persons working with administration, planification and economy. We

mainly talked about frames for theatre work. To better understand the

different conditions under which theatre will be created I tried to

choose groups who were working under different circumstances. Three

different criteria steered the choice of groups:

1) Differences in organisations; this criteria deals with the content

of the work, the type of organisational structure and also the way of

doing the work, e.g. the responsibility, the participation in the work

and the access to professional aid.

2) The tradition (habits) of making theatre; this criteria is about the

cultural and social climate in the organisation and aslo in the

neighborhood. Does the organisation has wellknown rutins for creating

theatre? Is making theatre a wellknown and appreciated

activity by the people around. Do people enjoy going to the theatre and

does the municipality support the job done by all these engaged people?

3) The caracter/property of the groups; the final, and third criteria,

deals with the group and their leaders. Every group shape their own

identity and life style. The way of approaching their engagement

depends upon how the groups are constituted and which social bonds they

develop. The leaders have different experiences and educational

background and they also have different ideas about how theatre ought

to be created. The leadersÕ expectations on the youngsters, influence

the creative theatre process.

The amateur actors, in all 29 actors, were at the time of this project

active in Studioteatern at Malmš (8 actors), …rebro

Amatšrteaterfšrening (8 actors) and Vi Unga (13 actors) at Sundbyberg.

In Malmš the ages among the actors were 13 to 17; five of them girls

and three boys. In …rebro there were seven girls and one boy and all of

them were in grammar school. They were 16 to18 years old. In

Sundbyberg there were 13 actors, 3 boys and 10 girls. The agespan was

larger in this group, since they were 13 to 22 years old.

Most of the actors used to play theatre, some of them had played for

several years, while others hadnÕt played at all before or perhaps in a

child group for a short time many years ago.

There were many adults around the youngsters but in each group there

was one leader who was responsible for the aritstic and pedagogical

work.The leaders played different roles and because of this I chose to

call the leader in Malmš The Instructor, in …rebro The Director and in

Sundbyberg The Dramatist. These epitets cover rather well the leaders

way of working with the actors. In Malmš and …rebro the leaders were

females.

Methods and Analysis

I followed the theatre work of the three groups for a period of one

year. Data was gathered primarily by participant observation and

semi-structured interviews. At first, for several months, I observed

the theatre work in the groups. I participated in rehearsals and had

some informal talks about their work with both youngsters and leaders.

When I felt familiar with the actors as individuals and their working

methods, I first interviewed the actors and then the leaders. The

interviews were about the creative theatre process and the especially

about young people making theatre together. The youngsters told me

about themselves, their thoughts about life and, in particular, about

their enthusiasm for making theatre. With the leader I talked about

that which I had experienced in the rehearsal with the group. As I

combined observation as a datacollection-method with all formal and

informal talks I had the possibility to get a lot of information, both

deep thoughts and also a lot of details about practical subjects.

Young peopleÕs acting in amateur theatre was in this research project

understood from a phenomenological perspective. I looked for the

participantsÕ shared experiences in the Lebenswelt, within which they

act and create drama. In order to focus the different objectives of my

study, several research methods, from different scientific fields such

as ethnography, contextual analysis and phenomenology, have been used

and combined according to certain principles.

Ethnography is used to capture the unique features of each

participating group in regards to the learning environment, since the

different groups worked under varying conditions. Contextual analysis

is 1) a perspective applied in order to understand a phenomenon and 2)

a method to analyse the educational process. By separating and dividing

data in relation to parts of the phenomenon studied, the data

concerning the results of the activities, as reported by the

youngsters, were differentiated and a number of categories of content

were developed. Within these categories the common denominator - the

essence - is sought by phenomenological reduction (cf. Haglund, 1989;

Bengtsson, 1988,1989). The objective is to capture the unity in the

young actorsÕ experiences; that is, their shared experiences, that

which occurs often. Phenomenological reduction is done pertaining both

to content of the categories and to how the results relate to the

content of the theatre-making.

The actors experiences of making theatre

The first step in the analysis of the interviews was to transcript them

and to identify different key concepts. Then I grouped these concepts

into preliminary categories/subcategories by the principal of Óinternal

homogenityÓ and Óexternal heterogenityÓ (Patton, 1990). I analysed all

the data and found finally five content categories concerning the

actors experiences. I continued by carrying out a new kind of analysis

where the purpose was to discover which activities or working methods

in the theatre process that the youngsters focused as particularly

worthwhile for their experiences. Before I describe these activities

pointed out by the actors, I will present the effects of the theatre

process as I have understood and interpreted the actors expressions in

regards to this process. The effects are described in five main

categories.

Effects described in five main categories

The actors told me about their engagement in theatre, how they work and

what they think about it. Most of them were very enthusiastic. All

their utterances were then analysed, in a way which is briefly

presented above. My aim in this analysis was to find a substantial

content in the opinions expressed by the youngsters. These are opinions

that unite most of

them. The five categories below also include two or three

subcategories, but those are not presented in this shortened version.

Some phenomenological studies have been critisized for reducing data

too harshly. To avoid this, I combine the phenomenological reduction

with contextual analysis.

The self-confidence grows stronger

By acting, the youngsters learn how to recognise their own feelings and

also how to express them. This in turn affects the relationships they

develop. They get to know themselves better as well as the others in

the group. They learn to see possibilities as well as limitations,

which creates a sense of security. On stage it is necessary to trust

each other. The sense of trust developed in the group encourages them

to stretch their abilities even further. Based on their own knowledge

of themselves they also develop feasible expectations with regard to

other group members. Their self-reliance is strengthened.

The sense of freedom increases

When playing a part, the young actors encounter environments,

situations and events which they previously have only dreamed of. With

the help of imagination and fantasy they travel into an adventure, far

away from the demands and pressures of everyday-life. This sense of

freedom and satisfaction also provides an impetus for new tasks. The

dramatical narration is created and formed in an accepting environment,

where creativity and spontaneity are encouraged and rewarded. No

mistake or initiative can ever be ÓwrongÓ, but is simply understood as

an opportunity for narration to be developed and enriched in different

ways. On the first night performance, and the production is given

publicly for the first time, the young actors receive response to their

labour, and their sense of freedom is enhanced.

The identity is strengthened

The sense of friendship and belonging, in an environment with few

worries, makes meeting to play amateur theatre fun and rewarding, and

is in itself an incentive to take the work with productions seriously.

The key to success is co-operation, but at the same time

independence is encouraged. The individual members are fused together

into a team, where their sense of identity is strengthened. The ways in

which they understand and relate to others in the group, are developed.

Amateur theatre is an opportunity to play, to use the imagnation but

also an opportunity to take on responsibility and to accept demanding

work. Young people, like every one else, wish to be taken seriously and

be given a chance to be able to show what they are capable of. In this

work every member is important. A performance is always the sum of each

members«s individual contribution.

The communicative competence increases

Communication skills are trained by using language, signs and symbols.

Communication is a matter of making oneself understood and to

understand others. Communication means having knowledge and ideas about

different phenomena. The ability to communicate verbally, to be able to

present oneself publicly - also in other contexts outside the theatre -

and to articulately defend and provide an argument, is always

advantageous. Some members of the group even device communicative

strategies for how to handle awkward situations. Their language skills,

both written and spoken, increase and become tools to be used for the

rest of their lives. Communication, both through language and through

social behaviour, is a dominating factor in young actors theatre

making.

The empathy develops

Theatre means to relate to others. The young actors with varying

personalities encounter parts and characters in situations that are

more or less unknown to them. Social comprehension is extended. The

actors learn their parts and assimilate characters be they either

prostitutes, refugees, oppressed labour force, orphaned teenage girls

or managing directors. In this world of make-believe and strange and

wonderous situations, the young amateurs are affected by their new

insight. Intense social interaction within the group as well as what

the role characters represent contribute to an increased knowledge of

self as well as to developing a democratic understanding. They

incessantly probe their understanding of characters and their

situation, which unavoidably widens their understanding in a broader

perspective also.

Activities in the theatre process

To clarify the relationship between the working process and the effects

of it, one can start from the findings, in terms of categories, to look

for those activities in the creative process that leads to the changes,

stated by the actors. In this text, I dont keep the activities apart

form the five categories since they often appear together. Instead, I

outline the most central elements or excitements in common to the

actors, which are pointed out by them.

The most fundamental elements that makes the self-confidence grow

stronger in the working process are the improvisations and drama

exercises. These exercises practise one ability at the time, so the

concentration on this particular ability will be quite good. In the

exercises where the feelings of confidence is practised, the actors

learn to trust each other. They take turns in either being guided by

their fellows, or, guiding others themselves.

Doing this, they develop a realistic feeling of how it is to be

dependent of another person. Through the improvisation, the actors

learn to accept others as human beings, and above all, to accept ideas

that others have. In this type of exercise, if a person denies the

ideas of the other person, the creativity disappears and the dramatical

event ceases.

Other exercises are about recognizing and expressing different types of

emotions. For example, youngsters have to express sorrow, pleasure,

anger and excitement. When they play a role, they have to express

certain emotions written in the manuscript, and it is important that

they manage to convey the message to the audience.

In the role, the actor encounter a new world, the fictive one. In this

world, the actor experiences new situations and people that are new to

them. They have to learn about new conditions for peopleÕs living and

in a rather deep level understand what happens and why things happen.

Through the role, the social room grows to an immense sphere, and there

are no limits. The imagination takes you away. For the young girls and

boys, the fictive world becomes almost real and they act and think as

prostitutes, refugees, oppressed labour force and so on. Their

understanding, of the world around them, is very much influenced

through fiction.

When actors know each other well, their social interactions will be

more intensive. The rehearsals demand for discipline, carefulness and

respect for one another and the success of the work is dependent on the

collective work. When considering all of these things, the social bonds

among the actors grow stronger. Beside the role creation, the actors

talk a lot to each other about many different things. They do not

always agree, which sometimes lead to quite harsh discussions about how

to interprete both the manuscript and the role. They listen and try to

compromise, because they are forced to find a solution. Most often they

succeed very well, because of the responsibility for the production.

Conclusion

The elements described above can be put into two different types of

activities. Those which are a natural part of the theatre process (A),

and those which are mostly dependent on the special conditions in the

group (B).

(A) The first type af activites are wellknown to everyone working with

drama and theatre. Those activities are for instance improvisation,

exercises which leads to relaxation, concentration, to feel confident

and to recognize and show emotions, and, above all, to develop the

imagination ability. The most central activity is the role creation. To

create a role figure the actors have to utilize all of their

imagination to combine the real world and the fictive one. In the

rehearsals they discuss the rolesÕ way of thinking, types of clothes

she/he wears, music she/he listens to, and so on. The actors have to

understand the whole life-style to play the role in an acceptable way

and to act and feel as she/he does. The ability to feel empathy

develops. If the actors succeed with all this, the audience give them

feed-back.

(B) The second type of activities deals with, among other things, such

elements as the leaders pedagogical methods, the social interactions

among the actors, the leadersÕs idea about how to create theatre and

also his/her way of fostering the youngsters. All these elements

requires a warm acceptable atmosphere in the learning setting.

Producing a theatre play is dependent on team work. It is only through

cooperation and with support from the leader that this type of great

work can be done. This cooperation entails a lot of talking about the

play, both in regards to the content but also, and mainly, a lot of

talk between them about their own working methods. Their communicative

competence increases as they spend a lot of time argumenting,

reflecting about the work. All of them want the play to be well done

and, therefore, they help each other in the working process. They are

all participants in a collective where they have different tasks, and

they allow each other different specialities. In spite of this they

give and take criticism. They show respect for one another and take

responsibility for the whole work, on and beside the stage. The actors

put questions to the leaders, but no one has the correct answer.

Therefore, the actors are obliged to seek for answers on their own and

then present a proposal to the leader. This meta-cognitive process is

valuable in the developing of a constructional way of thinking.

We need new learning methods - some reflections

Courtney (1986) among others, criticize the traditional methods in the

school (cf. Stukat, 1995; Townsend, 1987). Courtney is a Canadian

researcher who is regarded as an authority in the field of drama

research. He considers that drama and theatre exercises lead to skills

which are fundamental to grown-up life and to working life. Courtney is

critical to school, where he feels pupils are made passive since a lot

of time is spent repeating what the teacher says. Courtney says

sarcastical about the school: ÓEducation did not keep pace with what

happened ... In truth, it is preparing students for a world that is

pastÓ, (Courtney, 1986, s 6). There are fast changes in society and

school must be in tune with this rapid development educating the young

generation for both adaption and flexibility. Courtney talks about

Ógeneric skillsÓ and means that pupils have to learn to see from

different points of view, see different alternatives and make different

choices, to value and form opinions of things, to use their imagination

and also to predict effects from different events (Courtney, 1986).

Within the research about learning, an accepted apprehension exists

that the individual is active in relation to an object, and not passive

receptive as in the former behaviourial way. Today, we seldom talk

about memorizing, instead we talk about understanding activities. In

qualitative research regarding learning, priority has been given to

some essential aspects of learning such as creativity, former

experiences and a holistic approach (Anderberg, 1997).

The most important role given to the subject is based in the

epistemological suppositions, that we can not reach information about

the object, but only via the subject. The information we have about the

world around us is mainly based upon our way to experience and, not a

passive way to recept it. To accept the role of the subject becomes

important in regards to how we gain knowledge about the world around

us. It is from these suppositions that the constructivistic

perspectives on learning, which is quite dominant today, has grown as a

creative activity (op.cit.).

As a conclusion, the constructive perspective deals with a focus on the

relational aspects in activity. The development of knowledge demands

for ÓThe whole perspectiveÓ on the relational, sole logical character

relations do not lead to complete knowledge. Even that which is

implicit, personal or irrational needs to be implemented in learning.

To obtain this we must have an activity who has intuitive elements,

like in theatre work (op.cit.).

The participantsÕ experiences of amateur theatre is depending on the

fact that they are pursuing an artistic activity. Most statements given

by the actor, refer to a common denominator, namely, the aesthetical

dimension of their pursuit. Such an aesthetical dimension entails to

find ways of communicating the meanings and symbols available in a

cultural activity. As shown in this research, by taking on a part and a

character, and by maintaining enthusiasm in the dramatical narration,

young actors develop competence in a variety of areas.

Aesthetical and artistic development is dependent on stimulating

potentials which educational efforts, other than those of the theatre,

focus only in a limited way. These potentials - or qualities - are

connected to the dramatical activity as such. The complete mind of the

individual is subject to training and not only the cognitive ability of

logical thinking and reasoning. Amateur theatre-making is education in

practice, where education itself is beneficial to the actual activity.

Historically the arts have always been an important part of education

(cf. Plato, Rousseau, Pestalozzi, Herder, Homboldt, Key, Dewey, Read

and so on).

New and traditional methods in school is a very debated question today,

among teachers engaged in education. Some talk about new and

traditional learning methods, others talk about passivating and

activating methods. There are also discussions about intermediary

pedagogic and problembased learning. Freire, for instance, makes a

clear difference between ÓbankeducationÓ and problemoriented education

(Freire, 1975, 1977). For Freire the most important thing is his way of

looking upon pedagogic as a democratic tool to develop the mind. In

this perspective you have to engage and mobilise people to participate

in their own educative process. This means that you can not force them

to learn anything, against their own will. It also means that they need

the actual information, which they transform to knowledge of their own.

This way of working and looking upon it demands for active

pupils/participants and it also demands for a meaningful content

related to well-known and important contexts for the participants.

Freire was aware of this dimension of learning and therefore he

succeeded in his ALFIN-project in Latinamerica.

I think that there are a lot of common working methods between Freires

pedagogy and that of amateur theatre, both in the way of how to look

upon a human being as an active learner and also in the theoretical

fundament. For both of them it is important to aquire a tool, with

which they can handle the life as grown-ups and in all encounters they

are going to face. As in the Freirarian pedagogy the theatre process

leads to development of

consciousness about their own social position and their possibilities

to influence their own way of living in the future. Analogical to this,

Freire says, that the most important knowledge to achieve, is the

knowledge which makes it easier to live.

Theatre work is done collectively where the common effort eventually

leads to the performance of a production. Apart from the benefit of

increasing individual knowledge and awareness in such a context,

benefits also include collective knowledge through social interaction.

The collective work constructs an understanding of reality (Bjšrkqvist,

1993).

The significance of constructing such an understanding of reality is,

that it becomes a tool by which the individual learns to handle

everyday-life, it also serves as the basis upon which to construct

further and even more solid collective knowledge. Collective knowledge

is the foundation of all cultures and all human efforts within these

cultures. If the culture survives, so will the collective knowledge of

that culture (Bjšrkqvist, 1993).

Young people who often have a fragile understanding of the world are

confronted with leaders, who carry a much more stabile and varied

understanding of reality. The understandings of the world construed by

theatre-making young people, are therefore relying on the conditions

posed by educational practice. Such conditions consist in turn, in this

investigation, of the young amateur actorsÕ making of theatre.

Several educators are now arguing for the need of active educational

processes; a learning process that is ÓaliveÓ. Broady (1993), for

example, emphasizing the importance of once again returning to the

significance of expressions such as Óto generally educate, to feel and

experience, to know how to do, to familiarise oneself withÓ to the

process of learning.

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