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Abstract
WHY EVERY CLASS NEEDS A DRAMA TEACHER OR DRAMA AS A POLYVALENT METHOD OF STUDENT EXPRESSIVENESS , CONFLICT RESOLUTION AND CIVIC CULTURE IN THE CLASSROOM
During the 20th century , drama became a regular companion to educational pedagogies because of its vastly documented and analytically affirmed transformative potential , whether in terms of maximizing student academic potential aw well as the subject matter , or in optimization of social interactions in the classroom . As a result , the school ’ s attitude towards the profession of drama pedagogue has changed radically in the last hundred years : it can no longer be a “ divided teacher ” who donates their free time to establish lateral and extracurricular drama activities in the classroom , but an educated person that devotes thier workinh hours to contemplating and setting up drama methods for the classroom . Today we know that the dramatic elements of classroom teaching include a range of interaction protocols and relational aesthetics of the relationship student - teacher , student - student , teacher - teacher , student - material , teacher - material , teacher - students , teacher - guests , student - guests , student - parent , teacher - parent , teachers and students - the wider community in which teaching takes place , etc . The quality of these relations can be “ automatic ”, unconscious , formalized and formal , which usually affects the learning process and the level of social competencies of students in the classroom or we can become conscious of the abundance of dramatic procedures and versed in the dramaturgy of classroom interactions . Therefore , in the reflection and execution of teaching , it is of great importance to understand how we institutionally recognize and evaluate the role of drama pedagogue and the very dramatic dimension of teaching : its transformative , exploratory , dialogical , activistic , artistic , and even therapeutic potential . In the 21st century classroom , the drama pedagogue should be a constant companion and peer of each homeroom teacher and student in each individual class , which we will discuss in more detail using several methodological examples from practice . According to the experience of the legendary Italian educator Loris Malaguzzi , whose method of creating a class culture of love of knowledge , as well as a culture of cooperation , solidarity and intrinsic motivation in students for research and creativity , each class is accompanied by two facilitators : an artist and a pedagogue . An atelierist is a person who envisages and shapes education in the classroom every day by using art , while a pedagogue is a person who envisages and shapes education by presenting subject matter . The dialogic structure of the two teachers is already dramatic , which significantly increases the
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P L E PLENARNA N A R N A I Z L A IZLAGANJA G A N J A