In the realm of theatre education, the concepts of playfulness and theatre playground serve as vibrant frameworks for engaging students and fostering creativity. For this fourth blog post I will be contrasting Hans-Georg Gadamer’s playful concept, rooted in his hermeneutic philosophy, which invites us to approach learning with a sense of openness, curiosity, and exploration; and Ramiro Silveira’s concept of Theatre Playground, which offers a structured yet dynamic environment where students can freely experiment and collaborate in the theatrical process. While both approaches prioritise student-centred learning and experiential engagement, they diverge in their perspectives on assessment and feedback.
Gadamer’s playful concept encourages educators to embrace spontaneity and fluidity in the learning process, viewing assessment and feedback as organic components of dialogue and discovery. In his paradigm, assessment is less about quantifying outcomes and more about fostering dialogue and reflection. Feedback is offered as a catalyst for further exploration, inviting students to critically engage with their own learning journey and the perspectives of other participants. By prioritising process over product, Gadamer’s approach emphasises the importance of cultivating a supportive and nurturing learning environment where students feel empowered to take risks and learn from their experiences.
On the other hand, Silveira’s Theatre Playground offers a more structured framework for assessment and feedback within the context of collaborative performance-making. Here, assessment is integrated into the creative process, with students receiving ongoing feedback from peers and tutors as they navigate the challenges of devising and staging theatrical works. Feedback is framed within the context of the ensemble, with an emphasis on constructive critique and collective problem-solving. While Silveira’s approach allows for greater accountability and direction in the creative process, it can also run the risk of imposing hierarchical structures that may stifle individual expression and experimentation.
In comparing these two approaches, it becomes clear that while both prioritise student agency and creativity, they offer distinct perspectives on the role of assessment and feedback in the learning process. Gadamer’s playful concept celebrates the joy of discovery and the value of process-oriented learning, while Silveira’s Theatre Playground provides a structured yet dynamic environment for collaborative exploration and performance-making. Ultimately, the choice between these approaches depends on your educational goals, context of the group of learners, and learning needs of your students. However, by embracing the principles of playfulness and creativity, educators can create transformative learning experiences that inspire growth, innovation, and self-expression in the theatre classroom.