Elements of applied theater and technique by Ivana Chubbuk 12 Tools in drama pedagogy on examples of scenes from plays by A.P. Chekhov

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Elements of applied theater and technique by Ivana Chubbuk 12 Tools in drama pedagogy

on examples of scenes from plays by A.P. Chekhov.

 

Arma Tanovic Brankovic
Professor on Academy of Performing Arts, Bosnia and Herzegovina

 

WORKSHOP

Athens International Conference "Theatre/Drama & Inclusive Education"

21-23 of March 2025

Hellenic Theatre/Drama & Education Network (TENet-Gr)

 

Language: English
Limited number of participants

 

 

Workshop short description

 

Professor Tanovic Brankovic would use the tools and elements of Boal's applied theater and the techniques of Ivana Chubbok, currently the greatest drama pedagogue in the USA (according to which method the professor worked) on scenes from Chekhov's plays with the aim of personalizing the action and personal reading of the characters.

 

The concept
My teaching aims to investigate the connection between Augusto Boal’s Forum Theatre methodology and the Stanislavsky Method used as a base of the pedagogy of Ivana Chubbuk method. Profoundly interdisciplinary, it will integrate two basic areas of studying: theatre, pedagogy and applied theatre (Based on Theater of Oppressed). For the past ten years I have engaged main practical work located between these two areas of theater. As a Professor at the National Academy of Performing Arts I started to use exercises and programs established by Boal. At the same time, as an art therapist working in a post-conflict society and with different target groups, I supplemented his methodology with classical elements of acting training programs. The foundations for my theory are found in basic Stanislavski method which he called “Work on one’s self” which includes mind, will and feeling in process of creating second nature. On the other side, Augusto Boal uses theatre as a means of knowledge and transformation of the interior reality and of the social and relational field trough the individual self-awareness. The connection between these two is the individual work actor or spectator with emotional memory and personal history.

Potential contribution to new knowledge from project would be a new methodology in acting education that aims for more personal awareness in the process of making the “second nature of human beings “ called role or character. Also this way of thinking and working on the notion of role would seek to understand the as a part of present in social and historical way.

The project is based on Chekhov female characters from five drama plays (Ivanov, Seagull, Three sisters, Uncle Vanya and Cherry Orchard). Chekhov writes about constant heartbreak of daily life : “He understands something about daily life – the constant disappointment of wasted talent and stifled ambition or not achieving what you want to do” (Adler: 2000: 191).

My primary objects of research (theoretical and practice works) are how young female students would deal with questions of identity (gender identity, mentality, personal emotional history) in the process of developing their own characters. I will ask how social and discursive struggles influence the formation and assertion of the presented gender identities in theatre (i.e. whether and how these identities are challenged, dis “Chekhov himself rejected any blind swallowing of prevailing opinion and advocated that each person make their own judgments. For women in particular, Chekhov did not think that he understood them. This is not uncommon among men. Most think that women are mysterious. However, Chekhov thought that the world had failed to understand women and that that failing (Zviniatskovsky)”.

 

The workshop

The target group for this workshop is primary and secondary school teachers, and the main hypothesis is that human rights can be taught through Boal's Techniques as well as Ivana Chubbuck's Techniques. Chekhov's plays are just didactic material. This innovative approach to human rights education through theatrical methodology offers a dynamic and engaging way to teach crucial concepts while developing emotional intelligence and critical thinking skills. By combining Boal's social transformation techniques with Chubbuck's personal connection methods, educators can create meaningful learning experiences that resonate with students on both intellectual and emotional levels.

By the end of the workshop teachers will have an insight of the method and hopefully will be able to apply in educational context as: cross-curricula projects, identity exploration through character development, human rights education, et.

 

Participation requirements:

The participants will receive monologues that the mentor will send to the secretary and she will send them to the participants from Chekhov's plays which they will briefly review before arriving at the workshop.

The workshop includes exercises with possible physical contact.

 

Arma Tanović Branković, born on November 6, 1978, in Sarajevo, stands as a prominent figure in Bosnia and Herzegovina's academic and artistic community. Her extensive educational background reflects her commitment to interdisciplinary studies and continuous learning. She holds degrees from two prestigious institutions: the Academy of Performing Arts, where she studied Acting, and the Academy of Fine Arts. She further expanded her academic horizons by obtaining a master's degree in Comparative Literature and Art History from the Faculty of Philosophy at the University of Sarajevo. Currently, she is pursuing her doctorate in Creative Pedagogy at the same institution. Her professional journey has been enriched by training at several renowned international institutions. She has studied at the Lee Strasberg Institute, HB Studio, and Ivana Chubbuk studio. Her theatrical expertise was further developed through work with the Odin Theatre under Eugenio Barba, and she had the privilege of learning from Adrian Jackson and Augusto Boal, the latter being famous for developing the Theatre of the Oppressed methodology. Currently, Tanović Branković holds several significant positions that showcase her leadership in both academic and artistic spheres. She serves as a Professor of Acting at the Academy of Performing Arts, University of Sarajevo, teaching both graduate and postgraduate students. Her administrative capabilities are demonstrated in her role as Vice-Rector for Arts, Artistic Research, Culture and Sports at the University of Sarajevo. Additionally, she directs the Drama Kids Academy in Sarajevo, an international developmental drama program for children and youth. Her commitment to social engagement through art is evident in her various professional collaborations. She has worked as an artistic consultant for the Foundation of Common Values Society and Robert F. Kennedy Human Rights. Her experience as an acting pedagogue and art therapist at SOS Kinderdorf Hermann Gmeiner has allowed her to work directly with vulnerable populations. Furthermore, her collaborations with UNICEF BiH mission and the UN Population Fund in the field of applied theatre have resulted in numerous texts and adaptations for children and youth. As a visual artist, Tanović Branković has maintained an active exhibition schedule, having presented her work in three solo exhibitions and participated in numerous group shows. Her research interests focus on the intersection of art, drama, and social contexts, particularly in applied theatre. This combination of practical experience and theoretical knowledge makes her a valuable contributor to both the artistic and academic communities in Bosnia and Herzegovina. Through her diverse roles as an educator, artist, researcher, and administrator, Arma Tanović Branković continues to make significant contributions to the development of performing arts education and applied theatre in her region, while maintaining an active engagement with international artistic and educational communities.