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The era in which we live in is marked by unexpectedness and abrupt technological progress. Due to this acceleration, we are confronted with a strikingly diff erent reality. Generational differences are also deepening. On top of this, we have, to put it mildly, an ineffi cient school system. We, theater history teachers, consequently face great hurdles.
Teaching theater history according to fi xed periodization in is dated. A revision of teaching methods is crucial. I have
regularly encountered resistance from first-year students when they fail to grasp and examine the theater of antiquity and instead appeal I speak to them about modern theater.
Theater itself constantly updates its forms of expression, but manages to do so based on accumulated experience and knowledge. Hence, I had the idea to take into account the
class majority’s readiness to comprehend this or that issue and
to construct the course lectures and seminars based on their collective knowledge. It is not necessary to begin our studies from the historical period of antiquity.
During the first year, we could cover Shakespeare, or even Molière, whose works are more intelligible to the modern generation and more familiar to the mindset of contemporary youth. They laugh when we speak about the necessary intervention of destiny and how could they fully understand
Antigone’s decision when they do not know what choice is, how it aff ects events and individuals!
The purpose of my address, which concerns the revision of the course and its adaption to a given audience, is as follows:
• Enrich the students’ aesthetic worldview and life experience with the complex power of diff erent fields of art;
• Teach them to develop their own views and assessments;
• Give direction for understanding aesthetic categories.