Elements of dramaturgy
Dramaturgy interconnects targets and particular tools of training. It’s a method how to choose and sequence various programmes during training, so that the targets are fulfilled with highest possible effect. Because most of company trainings work with targets in very short time, we recommend to enframe the training with legend or motive, which also creates external dramaturgical line and helps to motivate participants.
Result of dramaturgy is scenario, in which you can see these elements:
(More about dramaturgical rules)
Holec at al. (1994), Másilka (2006).)
- Intensity – level of time utilization at the training, determines regime at the training
- Pace – course of all events
- Diversity – variety of programme topics offered (multiple intelligence – addressing widest possible range of eventual talents), motivations, role divisions – toss
- Balance and adequacy – accurate ratio of programmes from particular spheres (physical / mental)
- Physical load – wise dramaturgy doesn’t allow participants to be overloaded and puts instruments of relaxation
- Mental load (Emotional balance) – delicate engagement of strong emotional programmes (positive/negative). Overall balance has to be positive.
- Stop-time – breaks, space for relaxation, self reflection, assortment and cleanup of thoughts, experiences and adventures (self analysis)
- Consecution – linkage between programmes (dramaturgical arches) according to pedagogical principle “from simple towards difficult”
- Beginning – getting acquaint with each other, programme introduction, inducing pace
- End – art of final
- Peaks – programme dominants
- Gradation – finale, enframing
Dramaturgy of training is interlaced with inner and outer programme line. Inner dramaturgical line is not at a first glance apparent to participants, that’s why...