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Educating Artists

Educating Artists Educating artists Bonnie Marranca T his issue of PAJ 103 highlights our ongoing interest in arts education in a special section entitled “The Education of the Artist.” In recent years considerable attention has focused on rethinking the arts and the university, which have always had an uneasy relationship, while the number of arts training programs has grown decade by decade. In particular, discussion in the visual arts has produced several publications that address art history, the curriculum and studio classes. In the theatre, too, books, articles and blog posts have focused on the status of the playwright, graduate degrees, programs and the curriculum. Over the last thirty or forty years the basic framework of undergraduate theatre programs — that is, the mix of theatre history, dramatic literature, and productions — has changed little, except to have evolved more and more into acting programs and reduced scholarly focus. On the graduate level, the MFA emphasis on practical training and workshops has recycled the same educational models. One sharp distinction between visual arts training and theatre training is that art departments embody a critique of institutions, curation and exhibitions while theatre study offers no grounding in institutional critique that would http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Educating Artists

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Publisher
MIT Press
Copyright
© 2012 Bonnie Marranca
Subject
Editorial
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_e_00119
Publisher site
See Article on Publisher Site

Abstract

Educating artists Bonnie Marranca T his issue of PAJ 103 highlights our ongoing interest in arts education in a special section entitled “The Education of the Artist.” In recent years considerable attention has focused on rethinking the arts and the university, which have always had an uneasy relationship, while the number of arts training programs has grown decade by decade. In particular, discussion in the visual arts has produced several publications that address art history, the curriculum and studio classes. In the theatre, too, books, articles and blog posts have focused on the status of the playwright, graduate degrees, programs and the curriculum. Over the last thirty or forty years the basic framework of undergraduate theatre programs — that is, the mix of theatre history, dramatic literature, and productions — has changed little, except to have evolved more and more into acting programs and reduced scholarly focus. On the graduate level, the MFA emphasis on practical training and workshops has recycled the same educational models. One sharp distinction between visual arts training and theatre training is that art departments embody a critique of institutions, curation and exhibitions while theatre study offers no grounding in institutional critique that would

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: Jan 1, 2013

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