4차 산업혁명시대 예술교육의 필요성과 체험의 구조- ‘2017 서울시교육청 중학교 협력종합예술활동’ 을 중심으로 -

Abstract

Asserting the advent of the fourth industrial revolution era, Klaus Schwab suggests the following four essential virtues at the end of his book 『The Fourth Industrial Revolution』, which are to be cultivated to address challenge the era: Contextual intelligence (Mind): Emotional intelligence (Heart): Inspired intelligence (Soul): Physical intelligence (Body): Ability to understand recognized knowledge well and apply it to different or diverse situations. Ability to build relationships with self or others by rationalizing and combining his/her own or others’ emotions appropriately. Ability to make the effective use of individual or shared goals, reliability and other various virtues to drive change and pursue common interests. Ability to build and maintain health and happiness for self or others for getting the energy which is needed to face up coming personal or structural changes. The desirable human characters in the era of the fourth industrial revolution are for people who can synthetically control themselves in terms of intelligence, emotion and physical body to be fully prepared for all upcoming challenging situations. Therefore, the true drama education that meet all requirements in such era is to be focused on encouraging participants to immerse themselves into the specific, complex and dramatic actions. These analytical view and approach lead us to more in-depth study on ‘When is drama created in life? In this regard, the drama education in the era of the fourth industrial revolution is needed to be separated from acting education. The acting education is no less important than drama education, but a deep exploration of fundamental dramatic actions is to be required prior to the parallel execution of drama and acting education. An essential issue of drama education lies in how to help participants meet their own drama rather than how to technically progress stories through drama. In other words, an effective method to help them experience drama in a more essential way is to be seriously considered. Why are participants’ actions important? The answer is that participants can create their own drama only when they immerse themselves into dramatic situations and face various challenging situations which demand obligatory, inevitable, and watching actions including doing actions surrounded by others. This drama experience brings ‘Social imagination’ to participants. The ‘Sociological imagination’ implies abilities to concentrate other people and their worlds by empathizing with them and create something from the familiar routines of daily life, which individuals can carry on or get through. It requires creative thinking and essential skills for being connected with the world around on their own way. This is not for observers like audience but those who are very active at recovering essential roles as independent participants. Therefore, the desirable direction of drama education in the era of the fourth industrial revolution is to be set with more focus on how to draw process-oriented drama experience from participants to give a shape to a new paradigm in drama education, which enables to recover the genuine roles of participants, not those of audience.