Scenic interpretation

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Scenic interpretation of music, theater and stories in general is a didactic concept in theater education. It is used both in school teaching of musical and artistic subjects, the humanities subjects such as German, religion, literature, etc. as well as in opera houses, in social pedagogy and psychotherapy . The following is about the scenic interpretation of music. The concept in the field of music was developed from 1982 to 1990 at the University of Oldenburg by Ingo Scheller , Rainer O. Brinkmann , Ralf Nebhuth, Markus Kosuch and Wolfgang Martin Stroh .

Contents, areas of application and methods

All types of music can be interpreted scenic. The most common application of the concept relates to operas , musicals and other music-dramatic forms - in music theater education and in everyday music lessons. In addition, songs, program music and other types of absolute music can be interpreted scenic. Further areas of application are intercultural music education , production didactics and socio-educational fields of activity. Scenic interpretation makes use of the methods of scenic play that were developed by Ingo Scheller in the 1980s (Scheller 1998). In 2010 the Institute for Scenic Interpretation of Music and Theater published the second edition of a method catalog (Brinkmann et al. 2010) in which 83 methods are described. The methods are divided according to the typical sequence of a scenic interpretation into preparation - empathy (taking on roles etc.) - scenic-musical work (work on postures - work with images - scenic play) - empathy - reflection.

Rationale and history

Reference theories, precursors

The concept of scenic interpretation has the following theoretical foundation:

  • the theory of experiential learning formulated by Ingo Scheller on the basis of Hartmut von Hentig's ideas ("School as Experience Space", Hentig 1973) (Scheller 1981),
  • Wolfgang Martin Stroh's psychologically founded theory of aesthetic appropriation and musical activity (Stroh 1984),
  • the theater theories of Stanislawski, Brecht and Boal (see Brecht 1970, Stanislawski 1986, Boal 1989),
  • Markus Kosuch's theory of constructivist pedagogy based on Kersten Reich (Reich 1997).

Basic principles

A scenic interpretation does not automatically result from the sequencing of methods of scenic play. Scenic interpretation is more about learning through experience, the appropriation of reality and a specific kind of everyday character:

  • Learning through experience: Pupils gain experience when they process and communicate experiences under pedagogical guidance. In scenic interpretation, game experiences are turned into learning experiences in a scenic and reflective way.
  • Appropriation of reality through music: in scenic interpretation, pupils acquire the reality reflected through music by assigning meanings to the music independently (“moderate constructivism”, cf. Reich 1997). The aim of a scenic interpretation is not the “opening up” of a foreign culture, but the reflective examination of one's own culture.
  • Everyday character, basic work: Sustainable learning does not take place in spectacular individual actions, but through continuous "basic work" in everyday school life. The scenic interpretation is a concept for "music lessons for everyone" and not a tutorial to achieve high-profile events (such as " Rhythm is it ").

About history

In 1981 Ingo Scheller developed the concept of “learning through experience” and with it the theoretical basis of his specific methods of “scenic play” (Scheller 1981), Wolfgang Martin Stroh published 1982 on “scenic play (after Scheller) in music lessons” (reissued in Stroh 2012). In 1986 Christiane Gräber evaluated the first project of a scenic interpretation of operas ( “Threepenny Opera” ). The first scenic interpretation of an opera ( "Carmen" ) by Ralf Nebhuth and Rainer O. Brinkmann appeared in 1988, and in 1990 the series of scriptures for scenic interpretation of operas began by Lugert-Verlag with "Carmen". In music theater education, scenic interpretation was implemented in 1995 by “Erlebnisraum Oper” and in 1997 by the “Junge Oper” in Stuttgart (Markus Kosuch), in 1997 “reseo” was co-founded in Stuttgart by Markus Kosuch, and since 2001 Rainer O. Brinkmann has been performing “op | experience ”at the Berlin State Opera Unter den Linden, followed in 2004 by“ Komische Oper 'Jung ”Berlin by Anne-Kathrin Ostrop and in 2010 by the“ Junge Staatsoper ”Berlin by Rainer O. Brinkmann.

Further information

In 2001, Rainer O. Brinkmann ( Berlin State Opera ), Markus Kosuch ( Stuttgart State Opera ), Anne-Kathrin Ostrop ( Komische Oper Berlin ) and Wolfgang Martin Stroh ( University of Oldenburg ) founded the Institute for Scenic Interpretation of Music and Theater to avoid the concept to be anchored only in music lessons at general schools, but also in music theater education. The institute makes materials available online free of charge on its internet platform, carries out teacher training, organizes a three-stage course leader training at the Berlin State Opera and at the Frankfurt / Main Opera, holds conferences, institutionalizes the job description of "music theater mediation" and networks diverse institutions and individuals who work with scenic interpretation or whose goals coincide with those of the institute. The help of the internet platform has been used by over 100 people every day from the very beginning.

A concept of music theater pedagogy has developed from a concept for music lessons in general schools, which is also used in social work. The methods of scenic interpretation have also found their way into “production didactics” and have led to a number of specific concepts for children's and youth music theater productions (summarized by Kosuch 2013 and Stroh 2006).

research

The effectiveness and applicability of scenic interpretation through evaluation , videography , surveys and other methods of empirical music education has been researched like hardly any other comparable music education concept . The central research questions were: (1) the relationship between text and music in the constructivist understanding of art, (2) the peculiarities of “learning with the body”, (3) the “role protection thesis”, according to which children and young people are protected by a stranger Role of producing oneself, (4) the “gender sensitivity” ( gender research ) of the concept, (5) the sustainability of scenic learning compared to other forms of music-pedagogical learning. In 2016, an expert conference on research issues took place at the University of Oldenburg, at which 42 publications with research results on scenic interpretation (compiled in Stroh 2017) were discussed and further research was initiated.

literature

  • Lars Oberhaus and Wolfgang Martin Stroh (eds.) (2017): Postures, gestures and music. To professionalize the practice of scenic interpretation of music and theater. Hldegard-Junker-Verlag, Hamburg (= special issue 8 of the journal Discussion Music Education ).
  • Wolfgang Martin Stroh (2017): Materials for the Evaluation of Scenic Interpretation of Music and Theater . (= Scenic interpretation of music and theater, volume 8). BIS-Verlag Oldenburg. (online at: oops.uni-oldenburg.de )
  • Wolfgang Martin Stroh u. a. (2016): Scenic interpretation of absolute music . (= Scenic interpretation of music and theater, volume 5). BIS-Verlag: Oldenburg. (online at: oops.uni-oldenburg.de )
  • Rainer O. Brinkmann u. a. (2015): Lesson concepts for the scenic interpretation of music theater . (= Scenic interpretation of music and theater, volume 4). BIS-Verlag: Oldenburg. (online at: oops.uni-oldenburg.de )
  • Lars Oberhaus and Stroh, Wolfgang Martin, eds. (2013): Scenic interpretation of music in elementary school . (= Scenic interpretation of music and theater, volume 3). BIS-Verlag: Oldenburg. (online at: oops.uni-oldenburg.de )
  • Markus Kosuch u. a. (2013): Scenic interpretation and music theater education. (= Scenic interpretation of music and theater, volume 2). BIS-Verlag: Oldenburg. (online at: oops.uni-oldenburg.de )
  • Wolfgang Martin Stroh u. a. (2012): Conceptual Essays 1982–2006. (= Scenic interpretation of music and theater, volume 1). BIS-Verlag: Oldenburg. (online at: oops.uni-oldenburg.de )
  • Rainer O. Brinkmann u. a .: Catalog of methods for the scenic interpretation of music and theater. Lugert-Verlag, Handorf 2010, ISBN 978-3-89760-156-7 .
  • Wolfgang Martin Stroh: Scenic interpretation of music. A guide to developing game concepts using selected examples. (EinFach Musik, Volume 3). Schönigh, Paderborn 2007, ISBN 978-3-14-018077-1 .
  • Ingo Scheller: Scenic game. Handbook for educational practice. Cornelsen-Scriptor, Berlin 1998, ISBN 3-589-21088-5 .
  • Kersten Reich: Systemic Constructivist Pedagogy. Luchterhand, Neuwied 1997, ISBN 3-472-03183-2 .
  • Augusto Boal: Theater of the Oppressed. Exercises and games for actors and non-actors. Suhrkamp, ​​Frankfurt am Main 1989.
  • Konstantin S. Stanislawski: The work of the actor on the role. Publisher of the European Book, Berlin 1986.
  • Wolfgang Martin Stroh: Life Yes. On the psychology of musical activity. Marohl / Argument, Stuttgart / Hamburg 1984.
  • Ingo Scheller: Experience-based teaching. Scriptor-Verlag, Königstein / Taunus 1981.
  • Hartmut von Hentig: School as a space of experience. Klett, Stuttgart 1973.
  • Werner Hecht (ed.): Bertolt Brecht: About the profession of the actor. Suhrkamp, ​​Frankfurt / Main 1970.

Web links

Individual evidence

  1. ↑ http://www.lugert-verlag.de
  2. ↑ http://www.oper-stuttgart.de/jungeoper/
  3. ↑ http://www.reseo.org/
  4. ↑ http://www.staatsoper-berlin.de/de_DE/operleben
  5. ↑ http://www.komische-oper-berlin.de/oper-entdecke/kinderundjugend/
  6. ↑ http://www.staatsoper-berlin.de/de_DE/kalender-junge-staatsoper-2013-2014
  7. ↑ http://www.isim-online.de/
  8. ^ Conference report Oberhaus u. a. 2017