The context of this project is related to observable changes and circumstances in the professional and social context of theatre acting and theatre related professions that necessarily imply to rethink the way theatre higher education schools judge their respective educational missions, design and implement their curricula and disseminate knowledge.
Hence the primary goals of the project are, as stressed in Erasmus + Guide, in what respects strategic partnerships supporting exchange of good practices “to develop and reinforce networks, increase their capacity to operate at transnational level, share and confront ideas, practices and methods” (p. 120) in order to promote changes in curricula, pedagogical methodologies and principles in theatre higher education schools and enhance national and transnational employability.
The aforementioned changes and circumstances precede current and necessary endeavours related to mobility and entrepreneurship, aspects that in the context of theatre professions are one possible answer to a significant decrease of national theatre companies as reliable places for the exercise of the profession and to a necessary opening in theatre higher education.
Individual cross-border professional activity of teachers and students, corporative artistic creation, entrepreneurial strategies in arts education imply changes in pedagogical methodologies that, though being felt as needed, are not common in the context of a conventional and often technical teaching, framed in the spirit of old European Theatre Conservatoires.
Hence the primary goals of the project are, as stressed in Erasmus + Guide, in what respects strategic partnerships supporting exchange of good practices “to develop and reinforce networks, increase their capacity to operate at transnational level, share and confront ideas, practices and methods” (p. 120) in order to promote changes in curricula, pedagogical methodologies and principles in theatre higher education schools and enhance national and transnational employability.
The aforementioned changes and circumstances precede current and necessary endeavours related to mobility and entrepreneurship, aspects that in the context of theatre professions are one possible answer to a significant decrease of national theatre companies as reliable places for the exercise of the profession and to a necessary opening in theatre higher education.
Individual cross-border professional activity of teachers and students, corporative artistic creation, entrepreneurial strategies in arts education imply changes in pedagogical methodologies that, though being felt as needed, are not common in the context of a conventional and often technical teaching, framed in the spirit of old European Theatre Conservatoires.
Arts Entrepreneurship, thus, forms the conceptual framework of the project and its objectives, not only as the capacity to explore and develop an innovative idea and transform it in a value creating reality or object, something that seems very akin with arts creation, but also as a source for different pedagogical methodologies centred in building a position of discovery of possibilities and mainly a position of creating possibilities.
Possibilities are created and generated through interdependent acts of social participation and collaborative creating learning that should be incorporated as essential to the pedagogical and educational process.
This calls for new learning spaces where both students and teachers, the two direct target groups addressed by the project, dare to create and curate new unstable and uncertain processes and dare to investigate new circumstances for performance creativity through the developing of artistic and social competences.The project aims to function as a practice based research forum to cooperation, innovation ad exchange of good practices mainly between the participant organizations, but, since it also wants to produce knowledge and disseminate it, it is expected to have relevant impact in theatre and performing arts higher education.
Possibilities are created and generated through interdependent acts of social participation and collaborative creating learning that should be incorporated as essential to the pedagogical and educational process.
This calls for new learning spaces where both students and teachers, the two direct target groups addressed by the project, dare to create and curate new unstable and uncertain processes and dare to investigate new circumstances for performance creativity through the developing of artistic and social competences.The project aims to function as a practice based research forum to cooperation, innovation ad exchange of good practices mainly between the participant organizations, but, since it also wants to produce knowledge and disseminate it, it is expected to have relevant impact in theatre and performing arts higher education.
The context of this project is related to observable changes and circumstances in the professional and social context of theatre acting and theatre related professions that necessarily imply to rethink the way theatre higher education schools judge their respective educational missions, design and implement their curricula and disseminate knowledge.
Hence the primary goals of the project are, as stressed in Erasmus + Guide, in what respects strategic partnerships supporting exchange of good practices “to develop and reinforce networks, increase their capacity to operate at transnational level, share and confront ideas, practices and methods” (p. 120) in order to promote changes in curricula, pedagogical methodologies and principles in theatre higher education schools and enhance national and transnational employability.
The aforementioned changes and circumstances precede current and necessary endeavours related to mobility and entrepreneurship, aspects that in the context of theatre professions are one possible answer to a significant decrease of national theatre companies as reliable places for the exercise of the profession and to a necessary opening in theatre higher education.
Individual cross-border professional activity of teachers and students, corporative artistic creation, entrepreneurial strategies in arts education imply changes in pedagogical methodologies that, though being felt as needed, are not common in the context of a conventional and often technical teaching, framed in the spirit of old European Theatre Conservatoires.
Hence the primary goals of the project are, as stressed in Erasmus + Guide, in what respects strategic partnerships supporting exchange of good practices “to develop and reinforce networks, increase their capacity to operate at transnational level, share and confront ideas, practices and methods” (p. 120) in order to promote changes in curricula, pedagogical methodologies and principles in theatre higher education schools and enhance national and transnational employability.
The aforementioned changes and circumstances precede current and necessary endeavours related to mobility and entrepreneurship, aspects that in the context of theatre professions are one possible answer to a significant decrease of national theatre companies as reliable places for the exercise of the profession and to a necessary opening in theatre higher education.
Individual cross-border professional activity of teachers and students, corporative artistic creation, entrepreneurial strategies in arts education imply changes in pedagogical methodologies that, though being felt as needed, are not common in the context of a conventional and often technical teaching, framed in the spirit of old European Theatre Conservatoires.
Arts Entrepreneurship, thus, forms the conceptual framework of the project and its objectives, not only as the capacity to explore and develop an innovative idea and transform it in a value creating reality or object, something that seems very akin with arts creation, but also as a source for different pedagogical methodologies centred in building a position of discovery of possibilities and mainly a position of creating possibilities.
Possibilities are created and generated through interdependent acts of social participation and collaborative creating learning that should be incorporated as essential to the pedagogical and educational process.
This calls for new learning spaces where both students and teachers, the two direct target groups addressed by the project, dare to create and curate new unstable and uncertain processes and dare to investigate new circumstances for performance creativity through the developing of artistic and social competences.The project aims to function as a practice based research forum to cooperation, innovation ad exchange of good practices mainly between the participant organizations, but, since it also wants to produce knowledge and disseminate it, it is expected to have relevant impact in theatre and performing arts higher education.
Possibilities are created and generated through interdependent acts of social participation and collaborative creating learning that should be incorporated as essential to the pedagogical and educational process.
This calls for new learning spaces where both students and teachers, the two direct target groups addressed by the project, dare to create and curate new unstable and uncertain processes and dare to investigate new circumstances for performance creativity through the developing of artistic and social competences.The project aims to function as a practice based research forum to cooperation, innovation ad exchange of good practices mainly between the participant organizations, but, since it also wants to produce knowledge and disseminate it, it is expected to have relevant impact in theatre and performing arts higher education.
The context of this project is related to observable changes and circumstances in the professional and social context of theatre acting and theatre related professions that necessarily imply to rethink the way theatre higher education schools judge their respective educational missions, design and implement their curricula and disseminate knowledge.
Hence the primary goals of the project are, as stressed in Erasmus + Guide, in what respects strategic partnerships supporting exchange of good practices “to develop and reinforce networks, increase their capacity to operate at transnational level, share and confront ideas, practices and methods” (p. 120) in order to promote changes in curricula, pedagogical methodologies and principles in theatre higher education schools and enhance national and transnational employability.
The aforementioned changes and circumstances precede current and necessary endeavours related to mobility and entrepreneurship, aspects that in the context of theatre professions are one possible answer to a significant decrease of national theatre companies as reliable places for the exercise of the profession and to a necessary opening in theatre higher education.
Individual cross-border professional activity of teachers and students, corporative artistic creation, entrepreneurial strategies in arts education imply changes in pedagogical methodologies that, though being felt as needed, are not common in the context of a conventional and often technical teaching, framed in the spirit of old European Theatre Conservatoires.
Arts Entrepreneurship, thus, forms the conceptual framework of the project and its objectives, not only as the capacity to explore and develop an innovative idea and transform it in a value creating reality or object, something that seems very akin with arts creation, but also as a source for different pedagogical methodologies centred in building a position of discovery of possibilities and mainly a position of creating possibilities.
Possibilities are created and generated through interdependent acts of social participation and collaborative creating learning that should be incorporated as essential to the pedagogical and educational process.
This calls for new learning spaces where both students and teachers, the two direct target groups addressed by the project, dare to create and curate new unstable and uncertain processes and dare to investigate new circumstances for performance creativity through the developing of artistic and social competences.The project aims to function as a practice based research forum to cooperation, innovation ad exchange of good practices mainly between the participant organizations, but, since it also wants to produce knowledge and disseminate it, it is expected to have relevant impact in theatre and performing arts higher education.
Hence the primary goals of the project are, as stressed in Erasmus + Guide, in what respects strategic partnerships supporting exchange of good practices “to develop and reinforce networks, increase their capacity to operate at transnational level, share and confront ideas, practices and methods” (p. 120) in order to promote changes in curricula, pedagogical methodologies and principles in theatre higher education schools and enhance national and transnational employability.
The aforementioned changes and circumstances precede current and necessary endeavours related to mobility and entrepreneurship, aspects that in the context of theatre professions are one possible answer to a significant decrease of national theatre companies as reliable places for the exercise of the profession and to a necessary opening in theatre higher education.
Individual cross-border professional activity of teachers and students, corporative artistic creation, entrepreneurial strategies in arts education imply changes in pedagogical methodologies that, though being felt as needed, are not common in the context of a conventional and often technical teaching, framed in the spirit of old European Theatre Conservatoires.
Arts Entrepreneurship, thus, forms the conceptual framework of the project and its objectives, not only as the capacity to explore and develop an innovative idea and transform it in a value creating reality or object, something that seems very akin with arts creation, but also as a source for different pedagogical methodologies centred in building a position of discovery of possibilities and mainly a position of creating possibilities.
Possibilities are created and generated through interdependent acts of social participation and collaborative creating learning that should be incorporated as essential to the pedagogical and educational process.
This calls for new learning spaces where both students and teachers, the two direct target groups addressed by the project, dare to create and curate new unstable and uncertain processes and dare to investigate new circumstances for performance creativity through the developing of artistic and social competences.The project aims to function as a practice based research forum to cooperation, innovation ad exchange of good practices mainly between the participant organizations, but, since it also wants to produce knowledge and disseminate it, it is expected to have relevant impact in theatre and performing arts higher education.
Arts Entrepreneurship, thus, forms the conceptual framework of the project and its objectives, not only as the capacity to explore and develop an innovative idea and transform it in a value creating reality or object, something that seems very akin with arts creation, but also as a source for different pedagogical methodologies centred in building a position of discovery of possibilities and mainly a position of creating possibilities.
Possibilities are created and generated through interdependent acts of social participation and collaborative creating learning that should be incorporated as essential to the pedagogical and educational process.
This calls for new learning spaces where both students and teachers, the two direct target groups addressed by the project, dare to create and curate new unstable and uncertain processes and dare to investigate new circumstances for performance creativity through the developing of artistic and social competences.The project aims to function as a practice based research forum to cooperation, innovation ad exchange of good practices mainly between the participant organizations, but, since it also wants to produce knowledge and disseminate it, it is expected to have relevant impact in theatre and performing arts higher education.
Possibilities are created and generated through interdependent acts of social participation and collaborative creating learning that should be incorporated as essential to the pedagogical and educational process.
This calls for new learning spaces where both students and teachers, the two direct target groups addressed by the project, dare to create and curate new unstable and uncertain processes and dare to investigate new circumstances for performance creativity through the developing of artistic and social competences.The project aims to function as a practice based research forum to cooperation, innovation ad exchange of good practices mainly between the participant organizations, but, since it also wants to produce knowledge and disseminate it, it is expected to have relevant impact in theatre and performing arts higher education.