Evelyn Uisk

“TANTSUÕPETAJA TÖÖ NÄITLEJAGA” (juhendaja Raido Mägi).

LÜHIÜLEVAADE: Tantsuõpetaja lõputöö praktilise osa viisin läbi Tartu Ülikooli Viljandi Kultuuriakadeemia teatrikunsti 9. lennu tudengitega. Tööperiood algas 2012. aasta novembri keskel ning lõppes „UNISTA!TUD“ esietendusega Ugala teatris 4. veebruaril 2013.

Lõputöö kirjalikus osas keskendun tantsuõpetaja tööprotsessi analüüsile ja püüan välja tuua prooviperioodil püstitatud ning lavastuses rakendunud eesmärgid.

Koostöö näitlejatega pani mind otsima erinevaid meetodeid ja võimalusi, mis ühendaks teatri- ja tantsuvaldkonda ning annaks näitlejatele kindlustunde võõras süsteemis. Kolm põhilist meetodit, mis antud töö raames kasutust leidsid olid: Action-teater, kaasaegne tants ja Pilates.

Antud praktika pani proovile minu teadmised ja oskused, kuidas õpetada ning kuidas olla õpetaja. Võrdleksin seda kogemust mõne praktika eksamiga, millega testitakse eksamisooritaja kõik varasemad kogemused ning koolist õpitud tarkused. Testijateks olid minu õpilased, teatrikunsti tudengid, kes ei kartnud esitada ühtegi küsimust ega rahuldunud poolikute vastustega.

Ehk on käesolevas töös kasutatud meetoditest ja tähelepanekutest abi ka tulevastele tantsuõpetajatele, kes sooviksid töötada koos näitlejatega. Kindlasti on see uurimisvaldkond, kus on palju avastada.

Evelyn Uisk
lõputöö autor
TÜ Viljandi Kultuuriakadeemia

LÄBITUD ÕPPEKAVA: tantsukunsti õppekava.

ESTER DSpace

 

SUMMARY: I have a good and somehow a brave feeling while thinking back to my whole dance instructor practice period. I think that I have surpassed my skills or underestimated them previously. I am not entirely certain if I even realized at first what kind of experience awaits me. I had been previously introduced to drama students in my dancing, but the scope of this project was much greater and more comprehensive.

The current practice put my knowledge and skills to the test – how to teach and how to be a teacher. I would like to compare this experience to some kind of a practice examination, where all previously learned experience and wisdom from school is being tested through test subjects. I was tested by my students – drama students, who did not hesitate to ask various questions and who did not satisfy with incomplete response.

I hope my students learned from me as much as I learned from them. Even if they will never again engage with dancing (which hopefully is impossible), then at least they have the experience and understanding of it. My aim was also to develop their physical posture and coordination, which is certainly beneficial in their acting career. Since they are people who are acting on a stage, the skill to control one’s body is almost as important as to control one’s voice in their work. I believe that these two cannot be separated and together they give professionalism to an actor.

The methods and observations used in the present thesis may be beneficial to future dance instructor or a tutor, who would like to work with actors. This is certainly a research area where is much to discover.

I am grateful to my students who made this period at the same time tense but also a wonderful experience, which has immense value. I would like to combine dancing and acting field again in the future.