Vuorovaikutuskouluttajana työyhteisöissä

This thesis concerns organizing a workshop about interaction in the various communities represented by Helsinki city's social welfare department. There were seventeen workshops altogether and they were organized in different communities; for example, in a children's daycare centre. The aim was to gain experience in the planning and organizing of these kinds of workshop. The workshops focused on dealing with interactive quetions arising out of the very community which was taking part in the workshop. These questions were discussed and handled using a technique called forum-statues. This means that the problems arising from the community were presented as living pictures to the group. There was also a short theoretical element concerning interactions between people, self-esteem, the different phases in developing a group, and the effects of conflicts in groups. There was a high degree of interest in the research and places were soon filled. The workshops consisted of a warming part with a lot of playing, a deepening part with questions arising out of the group, and a relaxation and feedback part at the end. The basis of the workshop was similar for all seventeen workshops. The athmosphere in workshops was discussive and open. The participants were engouraged to express there opinions and point of views. Feedback from the participantswas very positive. The participants obtained new points of view, according there fellow workers, and the community spirit improved. Shortage of time was, unfortunately, a problem. With more time, it would have been possible to go deeper into the problems of interaction within the community. Ceratinly, the research proved that there would be great demand for this kind of workshop in future.

Kun pelko astuu lavalle : eli kuinka opin elämään esiintymisjännityksen kanssa

This thesis focuses on stage fright; what it is and how to find the ideal solution in connection with stage fright. To find the way toward free expression; to find the way from lack of control to con-trol. It also describes how to learn to live with stage fright. Different experiences of stage fright have been used as source material, along with relevant theoretical information. The thesis highlights the importance of handling stage fright and studies stage fright in-depth, with examples. It presents studies and collected theories according to Päivi Arjas. It discusses presence and contact in the work of an actor with reference to the Gestalt method. It also presents methods of reducing stage fright. Ideal presence on stage is addressed, and how to turn stage fright into a positive thing. Finally, it considers the good aspects of stage fright in more deepth and goes through learning to live with stage fright. The thesis concludes that it is possible to heal stage fright. Gestalt methodology was of assistance with the healing process, with becoming conscious of symptoms, and thus in finding one's own way of turning anxious suspense into a positive way forward.

Luovuus näyttelijäntyössä

This thesis considers creativity in acting and performing. The original question is how to construct roles creatively. The thesis also considers the quality of creativity at a general level. In addition, the question expands to consider directing and, briefly, the ethics of making theatre. The first section discusses acceptation as a tool for opening the blocks that restrain creativity. It also discusses what the use of acceptation causes and what challenges it brings when creativity begins. The second and the third sections deal with two productions that have changed the author's view of creativity and theatre. The first production is "Medeia Goes Karaoke". This section considers the influence of listening and being in contact when making the role of Medeia. The second production is about directing, "My Roots are Water and Blood". This section considers revising performing and directing and especially the influence of the Alexander-technique. The last section concerns the definition of what good acting is. It also discusses the differences between performing and acting and presents the author's opinions concerning the ethics of acting. The aim of this work is to define creativity in acting, performing and theatre-making, through the author' s personal experiences.

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.

ATS3-testausjärjestelmän evaluointi

Työ tehtiin Nokia Technology Platforms S60 Mobile Runtime-yksikölle. Työn tavoitteena oli evaluoida ATS3-testausjärjestelmä. ATS3-järjestelmällä voidaan automatisoida ohjelmistotestausta. Evaluoinnilla pyrittiin selvittämään voidaanko tuotekehitysvaiheessa oleva järjestelmä ottaa jo käyttöön vai vaatiiko se vielä lisäkehitystä. Työssä kerrotaan aluksi yleisesti ohjelmistotestauksesta. Siinä käydään läpi myös testausprosessin vaiheet sekä kerrotaan lyhyesti avuksi kehitetyistä työkaluista. Työssä kerrotaan myös ATS3-järjestelmän edeltäjien ominaisuuksista, sekä miten ne eroavat tarkastelun kohteena olevasta järjestelmästä. Varsinainen evaluointi alkoi tutustumalla ja asentamalla järjestelmä. Tämän jälkeen suoritettiin samat testit sekä ATS2.x-järjestelmässä että ATS3-järjestelmäss. Testauksen jälkeen analysoitiin testitulosten yhdenmukaisuuden perusteella, voidaanko siirtyä käyttömään ATS3-järjestelmää. Testitulokset olivat käytännässä yhdenmukaiset suoritettaessa testejä matkapuhelimessa, mutta emulaattoritestaus täytyi jättää väliin. Lukuisista yrityksistä sekä järjestelmän kehittäjän avusta huolimatta testejä ei onnistuttu suorittamaan ATS3-järjestelmän emulaattoriympäristössä. Näin ollen päädyttiin tulokseen, ettei järjestelmää voida ottaa vielä käytöön emulaattoritestauksessa, vaan se vaatii lisätutkimusta sekä perehtymistä järjestelmään.

Yhteistoiminnallinen hoitotyö

Opinnäytetyön tarkoituksena on selvittää, mitä on yhteistoiminnallinen hoitotyö. Opinnäyteytössä määritellään yhteistoiminnallisen hoitotyön käsite ja sisältö. Työssä on tarkasteltu yhteistoiminnallisuutta selittäviä käsitteitä. Opinnäytetyö on osa laajempaa projektia, jossa on mukana HUS:n Psykiatriakeskus, Helsingin kaupungin terveyskeskuksen psykiatrian osasto sekä Helsingin ammattikorkeakoulu Stadia. Projekin tarkoituksena on kehittää psykiatrisen hoitotyön käytäntöä yhteistoiminnalliseksi. Opinnäytetyö on tehty soveltaen systemaattisen kirjallisuuskatsauksen mallia. Aineisto koostuu yhteensä kolmestatoista lähteestä. Mukana on väitöskirjoja, pro gradu- tutkielmia sekä tutkimusartikkeleita, jotka on julkaistu hoitotieteellisissä julkaisuissa. Kirjallisuuskatsauksen tuloksina nousi esiin, että yhteistoiminnallinen hoitotyö on potilaan ja hoitajan välistä yhteistyötä. Se on potilaslähtöinen tapa tehdä hoitotyötä, jossa otetaan huomioon potilaan voimavarat ja tarpeet. Potilas on vastuullinen osallistuja. Jokainen hoitoon osallistuva määrittelee hoidon tavoitteen ja kukin osallistuu siihen tasavertaisesti. Yhteistoiminnallisuuteen kuuluu molemminpuolinen luottamus. Kaikki osapuolet vaikuttuvat toisistaan ja dialogisuuden avulla voidana löytää uusia näkökulmia hoitoon. Yhteistoiminnallisuus on uusi käsite hoitotyössä. Sen ymmärtäminen ja toteutuminen vaatii hoitotyön tekijöiden perehdyttämistä syvällisemmin aiheeseen. Se vaatii potilaalta mahdollisuutta osallistua voimavarojensa mukaan hoitoon. Yhteistoiminnallisen hoitotyön avulla voidaan motivoida potilasta aktiivisempaan rooliin omassa hoidossaan.

Sanoin kuvaamaton : teatterintekijän pohdintoja intuitiosta

This thesis examines the concept of intuition from different aspects. The basis for this thesis has been the author`s experience about education as a supportive process for intuitive thinking. It studies what taking advantage of intuition means for the author of this thesis and how intuition can be defined as a concept. This thesis shows what intuition means both from the performer`s and the director`s point of view. The author attemps to explain how these two areas of her professional identity either support or prevent intuitive creativity from emerging successfully. The intuition of a performer is examined through playback theatre and the insight associated with playback theatre. Regarding the work of a director, the author describes the making of a walking tour performance called "Sama maa" (2006) that she directed. The author attempted to fully utelize her intuitive creativity while planning the performance. The intuitive choices of the author were the basis for planning and carrying out the performance. This thesis studies a concept that is very challenging to explain in words. There is not a lot of literature about concept of intuition with respect to theater. The author of the thesis has ended up thinging about guestion that is very important to her, a guestion about relationship between controlled and authentic mental processing. The author also engourages others to think about the meaning of intuition and insight to themselves as a part of a daily life and as a part of the artistic creativity.

Intuitiosta esitykseen : Lear-prosessi itsereflektion ja katsojapalautteen valossa

My final project presents the directing process of my experimental production based on King Lear by William Shakespeare. I describe the process from the first visions of the beginning to the completed performance and finally the feedback from the audience. I concentrate on the special qualities of the production, such as interaction, small and moveable audience, cinematic qualities, polyphonic dramaturgy, and use of the video. The Project is divided into six parts. The first part introduces the project as a whole. The second part concentrates on the process before the beginning of the rehearsals. The third part focuses on the rehearsals and co-operation with the actors, whereas the fourth part deals with the performance and its special qualities. Following this, in the fifth part I study the interaction of the performance with the help of the audience feedback. In the final part conclusions are drawn. The focus of this work is the use of intuition even as a starting point of the theatre directing process. My conclusions drawn from the description of the process suggest that the starting point of the theatre production may be an intuitive vision as well as some conscious subject or message.

Naiskomiikka : huumorista stand upiin, naurusta valtaan

The final project deals with the question of female comedy and the comedy made by women. Comedy has traditionally been made by men and the woman has been the one who laughs. A funny woman has been a rare phenomenon. Although times have changed and gender roles have become more flexible, female comedians still remain in a minority compared to their male colleagues. The essay reviews the social and historical structures that influence the position of women in general and on the field of comedy in particular. The teoretical basis to this is feminist theory. Female comedy and humour have features of their own, that are being examined in the essay. It also makes a difference between feminine comedy and feminist comedy. Largely the project handles stand up comedy. The popularity of stand up comedy has changed the field of professional entertainment and brought a number of widely gifted comedians to a common knowledge. Stand up has an opportunity to be a political tool, which is essential for marginal comedians, which also includes female comedians. One of the fundamental subjects of the project is the political character of comedy. The essay also portrays the historical roots of stand up comedy in the Finnish and in the American tradition. It reflects on the fore mothers of the modern female comedian. The reasons that make a woman become a comedian are under consideration, as well as the strategies that help her to get her voice and message delivered. Since a woman is still held in the marginal, it gives female comedy a feature of its own. This way comedy can become a tool for a feminist battle.

Kaksoiselämäni teatteritaiteen palveluksessa : ammatti-identiteettini rakennuselementit

In my thesis I discuss the elements of my professional identity from the perspective of an actor, a director and a team. What are acting and directing to me? What are the problems in the symbiosis of acting and directing? What are the difficulties in acting and directing and how important are the issues related to responsibility, power, trust and confidence in my work? I also discuss the consept of self-confidence. Behind all of this, there is also the thought of my ancestry and its dualism, how my roots from my father's and mother's side are struggling against each other or supporting each other, and how they affect my professional identity. The basic idea in the present thesis is the perspective of the traditional theatre and a professional team. Also the childhood influence on my professional identity is being considered. Education is discussed at the end. Moreover, a discussion on the kind of future theatre maker I want to be considered as, is included. I also try to handle all these topics through Harri Virtanen's Kiinteistövälittäjä vastoin tahtoaan (2005), which I directed, and my latest role in Arto Paasilinna's and Kristian Smeds' Jäniksen vuosi (2006). The conclusion of the present thesis is that it is very important for me to be a member of different communities, in which I can express my professional identity. My professional identity is formed by many elements that support each other. Such elements in their own right form an inticate relationship, which at the end, makes me what I am. In conclusion, I am a theatre maker, who in an alternative field of theater has opportunities to form the professional identity, as different situations and projects require.

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.

Rohkeutta henkilöiden käsittelyyn : katsojatutkimus 45 minuuttia -ajankohtaisohjelman henkilökuvajutuista

The present thesis deals with the reception of the celebrity profiles of the MTV3 news current affairs program "45 minuuttia". The target group of the research consists of young adults between the ages from 25 to 34 living in the Helsinki metropolitan area. The research is qualitative and it studies the target group's opinions of the program profiles by the means of a survey and a group interview. In the group interview, the interviewees were also presented sample clips of the program. The results of the survey were analyzed mainly quantitatively. The purpose of the survey results was to map the viewing habits of the target group. In analyzing the results of the group, the interview methods of feedback research and cultural audience research were used. The current thesis was a commissioned research, the purpose of which was to study how interested the young adults are in the program. In addition, the aim was also to find out possible new trends and approaches for the producer of the program. In contrary to the expectations, the reason for the low interest in the profiles seemed to be due to the approach taken to the topics, e.g. the profiled person. By the approach I mean how the person is visually presented or how the person is verbally described. Many people presented in the profiles were regarded as interesting, but at the same time, the way the stories were told was hoped to be more versatile. In addition, a more contemporary visual approach was hoped for. The results also verified the claim that the young adults in general are not interested in the current affair programmes. In addition, these results suggested that in order to obtain more precise information of the viewing preferences of the audience, a more thorough study should be conducted.

Voiko totuutta tavoittaa? : direct cinema -tyylisuunnan käyttö dokumenttielokuvassa

The subject of this study is the use of direct cinema style in documentary film. The main purpose of this thesis was to the research the ways in which direct cinema style attempts to show and achieve truth in documentary films. The following questions were posed: Is it possible to depict reality in a documentary film; how does the choice of using this style affect the final documentary? The essential purpose of this study was to try to see whether the direct cinema style works when trying to achieve truth in a documentary film. This work consints of two elements, the theoretical part and the short documentary. The theoretical part deals with the history, the truth, and the direct cinema- style in documentaries. The theoretical information of direct cinema has been used when making the short documentary. In the documentary Tuloaula 2 I have studied the way in which using direct cinema -style works in practise. The documentary has followed as strictly as possible the direct cinema style. I was the director, the cameraman and the editor of my documentary film. In the documentary film Tuloaula 2 it appeared that the direct cinema style works best when filming everyday life. By using this style it is easy for the director to observe and leave his own persona in the background. The strength in using the direct cinema style is that it enables the viewer to build his/her own impression on the subject. Even though the direct cinema style aims to achieve objectivity the director has to make numerous subjective choices during both the filming and the editing process. These subjective choices automatically effect the "truth" of the documentary film. The difficulty in a direct cinema style is the large amount of material. This often leads to a long editing phase, which is not often possible in the busy production schedules. The direct cinema style is not at its best when shooting people who are passive because their attention often focuses too much on the camera. In general, the best way to make a documentary film would be to use many documentary styles in one film and not to srictly concentrate on only one style.