TEACHING IBSEN THROUGH PERFORMANCE

This paper is a prologue to my study on Ibsenstafetten, a work in progress. The study aims to be a critical analysis of Ibsenstafetten as a social-cultural and cultural-political phenomenon in society at large, and as an incentive for innovative praxis in Norwegian classrooms within high schools and colleges in particular. The study will attempt to look at the question of aesthetic knowledge and the conditions for aesthetic learning in the subjects Norwegian and Drama and in cross curricular projects such as Ibsenstafetten in High Schools and colleges: What exactly is aesthetic knowledge?- and How can we make it come about? My aim is to develop theories about aesthetic learning, grounded on field work done in relation to Ibsenstafetten1, where Ibsen’s works is in the center, the pivotal source. Hence, Ibsen’s plays are simultaneously the focus of attention for the innovative practice, as well as the object of inquiry and exploration pertaining to different genres of performance. In short, Ibsen’s world is the arena in which the performative actions of teacher and students are played out. I will venture to analyze the learning potential of performance work in the classroom, and see it not only in the light of theatre arts subjects, but in the light of Norwegian, and with special reference to the controversial and challenging field of ‘norsk muntlig’, oral skills. This will be discussed in relation to the National Curriculum plan and the stated objectives there of preparing our youth for democratic citizenship. In my dissertation I shall be discussing these and other questions withi