Nuorten mielikuvat Suomen Kansallisteatterista

This thesis is about young people's views and mental images of the Finnish National Theatre (FNT). Research was needed into the views of young people about the FNT. The results would also be useful for FNT's marketing operations. The research was executed as a qualitative interview (based on a structured questionnaire) among 16 young people in January and February 2006. Four different high schools were involved: Ressun Lukio, Mäkelänrinteen Lukio, Kallion Lukio and Helsingin Kaupungin Kuvataidelukio (which together represented art-oriented high schools) and Vuosaaren Lukio. From each high school two boys and two girls were selected for interview. FNT's marketing director was also interviewed. The questions for the interview were formulated in co-operation with the FNT. The structural questionnaire was basically broken down into three different sections. The first section concentrated on the interviewee's hobbies and his/her past and present relationship to theatre. The second section consisted of questions about his/her views on the FNT. There were different sets of questions regarding whether or not the interviewee had visited the FNT. The last section was about the interviewee's use of media. This thesis focuses on the second section of questions. The answers revealed that, out of the group of sixteen, all but one had visited the FNT. Most of them saw the FNT as a traditional and valuable institution which is easier to approach than Finnish National Opera. Eleven of the interviewees reported that the main reason for their visit was a school project, and that without it they probably wouldn't have gone to the FNT at all. The thesis contemplates co-operation between the FNT and schools, and the meaning of art education for children's and young people's positive cultural development.

Selvitys Eduskunnan lisärakennuksen taidekilpailusta

The purpose of this thesis was to investigate how and why an art competition was arranged to select pieces for the parliamentary annexe building in Helsinki. There is an emphasis on the cultural production aspects of the research. For the purpose of comparison, the thesis also examines how art acquisition takes place in the cities of Helsinki, Salo and Vantaa, and how the so-called percentage principle has been used in these cities The research method involved thematic interviewing of four persons with central positions on the competition jury. Questions were also sent by e-mail to experts and other people with knowledge of the subject area. Although art competitions have been arranged in Finland for decades, very little relevant literature exists. In addition to the interviews, other relevant literature was also referred to, including parliamentary records. The crucial questions concerned why the art competition for the parliamentary annexe was arranged and whether, indeed, it is possible to compete artistically in this manner. The thesis also examined the relationship between art and architecture and how the best works were selected from the vast range of submissions. The answers were both honest and interesting. The thesis presents a step-by-step analysis of the competition's progress over two stages, and according to the specific rules for such competitions as laid out in Suomen Taiteilijaseura. Strict adherence to the rules of the competition created a number of problems, some of which are also studied. The primary reason for staging a competition was to be as democratic as possible, and eliminating any possibility of nominating a particular artist or artists to realise their own work within the annexe. The competition opened up the possibility to consider various artistic proposals, and no genres were ruled out in advance. This format ensured a good response and a total of 1719 proposals were received, of which six were eventually selected. One conclusion was that open competition may not be the best way to gather artistic proposals in such circumstances, but it is very democratic.

Hakunilan Kultsa/Urban II hanke : pohdintaa yhteisöteatterin merkityksestä alueelle

This thesis analyses what local community theatre activity means to an area and its residents, and whether this kind of activity is meaningful. The objective was to explore whether and how community art can help urban areas to move in the direction of sustainable development: whether art can be part of regional policy development work. Hakunilan Kultsa was founded in 2003. It is an Urban II, European Union project and part of the Community Iniative Programme 2001-2006, financed by the EU. Hakunilan Kultsa is also a co-operation between Vantaa city council's culture and youth services. The project encourages Hakunila residents of different ages to take part in versatile art and cultural intrests in the Hakunila youth centre. People have the opportunity to participate in theatre, expression, arts, dance, performing arts and writing groups. One of the main aims is to found a sustainable community theatre in the area. The thesis examines what effects Hakunilan Kultsa has had so far. Inquiry form and thematical interviews have been used as research methods. Interviews and questionnaires were gathered between Autumn 2004 and Spring 2005. The whole process lasted from Spring 2004 until Spring 2006. The author also made participatory observations during the research process which in turn affected the conclusions. The thesis also deals with associated topics such as urban programmes, sustainable development, Hakunila as a suburban area, resident stimulation, and community thetare work. Hakunilan Kultsa has proved its importance. Based on the enquiries and interviews, the project has effectively presented the possibility for art forms to become hobbies. There is no cultural, age or economical discrimination. The easily accessible site and the low threshold principle make it easy for people to participate. The community theatre has improved the area's public image, increased participation and initiative, and given a voice to the community.

Naamion takaa : näyttelijäntyön palapelini

The subject of this bachelor's thesis has its origins in the frequently asked question of an author; whether any of their own theatrical techniques correlate with those of any well-known theatrical personality. The aim of this bachelor's thesis, consequently, was to find out the true nature of the author as an actor and theatrical professional. The author started to put together a puzzle, from different fields of acting techniques, and came up with a solid picture. Different acting techniques and the basics of them were clarified and tested in practice. Techniques were reflected on, through great personalities in the field of theatre, via discussion. The selected personalities were Jouko Turkka, Antonin Artaud, Konstantin Stanislavski, Kaisa Korhonen and Bertolt Brecht. The toughness and physicality of acting played a strong role in this thesis. "Black pedagogy" was strongly criticized. The methods of Jouko Turkka were thoroughly investigated and, surprisingly to the author, turned out usable, although the author questioned the brutal ways that Turkka used them. The author carried out some of the physical exercises that corresponded to the different acting methods, and did "human tests" to understand the true meaning of the methods. Antonin Artaud abandoned all of his past life and sacrificed himself to art, which the author refuses to even consider it. The author found a soul-mate in Kaisa Korhonen and agreed with most of her methods. Many people who had worked with Kaisa Korhonen were interviewed to find out if she actually used the techniques. The author debated objectivity with Bertolt Brecht but, whereas Brecht saw it as the basis of everything, the author couldn't even consider it a usable technique. The author also had a discussion with Konstantin Stanislavski concerning the basics of acting, the study of singing, dancing and oral expression, and other beneficial skills. In the end, the author put herself on a plate, chopped herself into tiny pieces, started to study the pieces, and found out how she became as she is.

Luovuus ja itsetuntemus ohjaajantyössä

This research deals with obstacles and opportunities with respect to creativity. It mainly focuses on the author's most meaningful discoveries as an individual and a professional in the field of theatre during the past two years of her education. The research is a description of that transitional phase in her life. Firstly, the research discusses creativity and presence. Secondly, it describes the author personally and professionally and compares her earlier and current ways of working. It contemplates the obstacles and opportunities considering her self-knowledge and creativity, and disucsses the problems she has faced on the way to freedom and well-being. Following this, the author presents the tools for increasing her creativity, self-knowledge and body awareness in theatre work: the Gestalt Method, Acting with the Inner Partner and the Authentic Movement. She discusses the relativity between overall well-being in life and the quality of theatre work. The final section of the present research discusses the process of directing the play Suurin on rakkaus in 2006. It deals with issues such as self-knowledge in directing, group management, the importance of terror and excitement in directing and ways of enduring both. The conclusion explanes the reasons behind the author's capability of working with small groups, with creative and passionate theatre workers. It also lists the benefits of exploring one's passions, cooperating with enthusiastic and creative artists and the pursuit for balance in art and in everyday life.

Lastenkulttuuripoliittisesta ohjelmasta tilanvuokraustoimintaan : lastenkulttuuritarjonnan muodostuminen Helsingin alueellisissa kulttuurikeskuksissa

Then aim of this thesis is to investigate children's culture in the regional cultural centres of Helsinki, namely Stoa, Malmitalo and Kanneltalo. The main objective was to identify how the center's repertoire for children forms. Moreover, a further research question was how different fields of art as well as proposals for action defined by the Children's Culture Programme, are portrayed in the repertoire of the regional cultural centres. The Ministry of Education's missions are to plan cultural and artistic policies, to support the industry financially, and to prepare cultural legislation. The Ministry promotes children's culture with a variety of programs and projects. The basis of the thesis is formed by the Finnish Ministry of Education's Children's Culture Programme, published in 2003. The goal of the programme is to give direction to the promotion of children's culture from 2003 to 2007. The programme presented proposals for action in different fields of art that are directed towards a broad range of implementors. In addition, in the theoretical section the focus is on the research of the Ministry of Education, the Art Council of Finland and the Municipalities. The research investigates the roles in children's culture as well as the activities of regional cultural centers. The qualitative analysis has been conducted by interviewing the employees of these regional cultural centers. The factors that affect and hinder the composition of the children's programme's repertoire are analysed based on the results of the interviews. The factors that affect the composition are the supply, the facilities and the possibilities provided by cooperation. The results section examines how the Children's Cultural Programme presents different fields of art. What is also taken into account is focal points connected to them, the proposals for action when building the repertoire. The results of the interviews indicate that the repertoire of the regional cultural centres is very diverse and it often meets the propositions of the children's cultural programme. However, the contents of the program were unknown for many. Various fields of art have been catered for in the children's repertoire and the supply is of good quality. The City of Helsinki Cultural Office's upcoming change in the administration was also mentioned, as the interviewees contemplated its future effects.

Dokumenttielokuva - journalismia vai taidetta? : tutkimuskohteena Lapinlahden Arvo

Opinnäytetyöni on monimuototyö, joka koostuu Lapinlahden sairaalasta kertovasta dokumenttielokuvasta ja kirjallisesta tutkielmasta, jossa perehdyn taiteen ja journalismin väliseen maastoon selvittääkseni, mikä audiovisuaalisesta tuotteesta tekee journalismia, mikä taas rakentaa siitä teoksen eli taidetta. Koko dokumentin ja dokumenttielokuvan käsite on monimerkityksellinen ja sitä käytetään monessa yhteydessä. Ainoastaan televisiolevitykseen tuotetut dokumentit rinnastetaan usein journalismiin, kun taas elokuvateattereissa esitettävät teokset luokitellaan usein taiteeksi. Opinnäytetyössäni yritän selvittää tämän rajanvedon syitä ja valottaa dokumentin suhdetta sekä taiteeseen että journalismiin. Tutkimuksessani paneudun lähinnä dokumenttielokuvan sisällöllisiin ominaisuuksiin, en vertaile niinkään tuotantoprosessin teknillisiä eroja, enkä elokuvaopin lainalaisuuksien toteutumista tai toteutumatta jäämistä. Pohdin dokumenttielokuvan dokumentaarista ulottuvuutta ja ristiriitaa journalistisen todellisuuspyrkimyksen ja taiteelle tyypillisen tulkinnan vapauden välillä. Lähestyn kysymystä ensin teoreettisesta näkökulmasta. Tutkin sen jälkeen omaa työtäni ohjaajana ja oman työni tulosta, Lapinlahden Arvo -dokumenttielokuvaa, peilaten selvittämiäni lainalaisuuksia. Onko Lapinlahden Arvo - dokumenttielokuva journalismia vai taidetta? Muuttuuko teos taiteeksi, jos sitä voi katsella valkokankaalta? Mikä teoksesta tekee taidetta, ja kuka voi määrittää muut tai itsenä taiteilijaksi?

Nouveau manuel complet du ferblantier et du lampiste, ou L'art de confectionner en fer-blanc tous les ustensiles possibles... (Nouvelle édition) / par MM. Lebrun et F. Malepeyre

Collection : Manuels Roret