Education and Research
Interdisciplinary approach and the development of spectatorial structure enables the rediscovery of theatre as an open institution (see Comenius’ Labyrinth project). A functioning model of an art institute should contain an organic mobile element enabling experimental artistic research. The formulated concept of the renewed institute is defined in the Registry of Artistic Performance (Registr uměleckých výstupů) as follows:
• Research through the arts as the reflected cognition that is expressed through creation of (artistic) objects. Such research amplifies sensuously organized general knowledge and the world itself. It is an exploration of the world through its creation guided by certain specific procedures. Research in this sense can be seen not only as a tool, but also as an aim.
• Research in the arts is a means to explore the world, its rules, methods, procedures and principles. Research through the arts as well as research in the arts could be identified as a crucial thought and the vision of the International Institute of Figurative Theatre. In its activities the subject of its research becomes both its methodological tool as well as its aim.
The Institute endeavours to become an important platform for research, education and experimentation. As the experience from previous pilot programmes (educational events, The Labyrinth project, exhibition of Joseph Beuys’ principles) has shown, these three elements proved themselves to be significant mutually self-influencing factors, whose synergy enables the complex growth of a theatre institution. We wish to consistently differentiate artistic practice as research from artistic practice as art production.
This newly emerging and defined platform strives for the fusion of education, which functions both inwards and outwards. We mean the education of its staff (as in the case of Epke project or light-design workshop), educational programmes for children and students, as well as qualification growth via the post of theatre pedagogue or educational programmes for teachers. Its task is also to broaden the awareness of alternative theatre and its impact, puppet theatre principles (building on the notion of the object as a stage metaphor), one-off projects and art interventions.
The joy of discovery, the ability to recognize new landscape and art beyond the seen objects and this realization act as mediators for others so that they can experience the process of discovery and the joy from the realization – it is, in essence, the connection of conceptual theatre and pedagogy. The pedagogical aspect does not lie in the mere passing of accumulated information, but its distillation and structuring brings order, sense and inner logic to the heaped chaos. The venue’s name itself, Labyrint, refers to the heritage of Jan Amos Comenius; similarly to Comenius our venue strives for theatre as a play – school as a play – education as a play. Our endeavour could be well defined by the metaphorical appeal: Find your own educational path, find your own story of art!