(3) Repertoire: Learnable repertoires, shaped by content knowledge and pedagogical content knowledge, are an underlying prerequisite for improvisation in education. Go around the circle. Using improvisation to examine social agendas is a teaching strategy with a very long history in drama, made most famous by among others Augusto Boal, who developed the concept of a “spect-actor”, in the meaning of simultaneously being both an actor performing and a spectator viewing. Expert teachers manage the knowledge base of expertise in their subjects and are able to apply this in an improvisational way. Okebukola (2003) described instructional materials as information multipliers because they are capable of providing learners with opportunities to learn beyond teachers’ capabilities when utilized for instruction. These structures are known as schemas. The need to rely on a relevant repertoire, such as a repertoire of different examples or educational methods (narratives, pictures, figures, activities, gestures, etc. For example, timing is dependent on communication and dialogue, structure and design, repertoire as well as context and domain specificity. Ani, C. I. Instructional material on its own may have little value for learning unless teachers use it in classrooms. Commedia Dell’Arte was popular throughout Europe for almost 200 years, starting in the mid-1500s. According to Sawyer, good creative teaching must be understood as a balance between structure and improvisation. The first pupil draws an equilateral quadrilateral, the second a rectangle, and they are praised for their contributions. Dehlin (2008, pp. Other overlaps could be the dynamic interaction between fixed design structures and negotiable design structures. in the question of the role or importance of an audience, the influence of the media belonging to the tradition (sound, language or gesture) or the focus on process as something in itself. Being in charge of the classroom situation, which always evolves over time, the teacher has to make fast decisions and every decision influences the other and the involved participants. Despite all the emphasis on the acquisition of practical skills and basic knowledge by the students for various activities in Agricultural science it still requires the good manipulation of skill-oriented instructional facilities. Improvisational theatre today has partly evolved from a series of games developed for children’s peer play (Sawyer, 1997, p. xviii). At the first stage, the research activities are connected to research on jazz improvisation, assuming that the understandings and metaphors from this tradition could be transferred to different forms of organizations, without, however, critical discussion of contextual limitations. Learnable repertoires are, as we have seen, an underlying prerequisite for improvisation in all of the traditions we have labelled as root traditions. A repertoire is a prerequisite for the use of the golden moments that may occur in classroom dialogues during a lesson, and also for the teacher’s ability to be able to change a planned structure out of a perceived need in the situation. Improvisation can be seen “as a kind of creative musical conversation” that takes place both on an inner level in dialogue with the music and between musicians (Wigestrand, 2006, p. 119). Then we focus on findings in our own field––education––with a side view to findings in the field of organizational theory, referring to these findings as “applications” of improvisational theory and practice in education. Karl Weick argued that a jazz band could be seen as a prototype organization and claimed that the metaphor of jazz could be generalized to other fields, like human relations and communication in general (Weick, 2002, p. 52). Thirdly, improvisation may increase the students’ understanding of human behaviour, motivation and diversity in educational situations (Toivanen et al., 2011, p. 62). First is in the case of mishaps. Cunha et al. In this part we will summarize and discuss our findings in the five traditions we have examined in order to answer our second review question: In what ways are characteristics of these [improvisation in different traditions] comparable or even generic, and how can different practices and theory on improvisation contribute meaningfully to our understanding and description of professional improvisation in education? Instructional materials according to Ogwo and Oranu (2006), can be defined as any device employed by teachers to transmit facts, facilitate skills/knowledge acquisition, and improve on understanding of learners. Pragmatic aesthetics emphasize artistic exploration playing with possibilities rather than viewing knowledge as something constant and given (Bicât & Baldwin, 2002, p. 32). 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For learning unless teachers use it in the two traditions where improvisation is applied—education and organizations—a traditional audience is present.
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