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Why is our Practice Korean Method effective?

Let’s say that a school prepares a theatrical show for the occasion of the school festival. Education Theatre method based on discussion will be applied. (The process is the same as ETA.)

Here, the show is a superficial goal and there will be final purposes that the school wants to achieve through the show such as fundraising, school promotion or consolidating membership, etc.

In Educational Theatre, it is an expert in education, a teacher who leads the process. Usually, the teacher doesn’t know what to do to prepare a high-quality show. S/he doesn’t know how to direct a play and students also don’t know what to do exactly. That’s why what they are doing flows quickly into a joke of laughing and chatting without an end. The show they prepare will be a childish skit. Students can’t do their best in this process and the audience can’t be touched the show. There rarely will be educational effects in Educational Theatre.

ETA process is directed a theatre expert, a play director. S/he will induce in-depth discussion and create a high-quality show that even could be sold immediately on the commercial market. Not only participants but the audience will be touched the process and the show.

In other words, ETA can generate educational effects through a high-quality show that can evoke artistic empathy, and both superficial and final goals can be completed.

For this reason, the ETA process must be directed a theatre expert who can prepare a high-quality show that can produce artistic empathy. There is another important element. That is to change the status of the participants.

Participants become students when they are led teachers. Students are usually not autonomous and try to lean on teachers and learn from them rather than do something on their own.

ETA considers students independent artists. Participants become the main agents who create their own artistic work. This change in status makes them more active and voluntary, increasing education effect.

This change of status as an artist is extremely important. This is the main reason why Educational Theatre can’t achieve its goals.

It is not easy to prepare a play for several months. Rehearsing is not a simple reading, memorizing and speaking of a script. It shows the entire life of a human being on stage in an hour or two. Play preparation starts with human analysis. Acting is what appears on stage in such a dissected human form. Acting is not just role-playing but rebirth as one’s role. However, how can a person become another? Acting is a kind of fight to overcome this dilemma. Through acting, an individual battles against oneself and others surrounding him/her to overcome the limit of oneself. Passing through various limitations, the individual can rebuild the reason for his/her existence. Rehearsing a play is the best way of self-discipline and social education.

Educational Theatre lacks this earnest artistic approach. It’s just a play. Even though theatre is the tool to achieve the goal, Education Theatre doesn’t know how to use it. As a result, a show which is not a serious play or an education will be created. This creation hinders the final goal to be completed.

ETA approaches artistically, not educationally, even if education is the purpose. Through the process, participants self-realize, and the audience can also be educated artistic empathy.