Abstract
Prosthetic pedagogy, as developed by Charles Garoian, provides a framework for using artificial-real worlds created by the arts to influence and impact teaching practice. The prosthetic space is artificial, separate, from the artist and audience, yet it is felt authentically, as if it were part of their being. Garoian explored prosthetic pedagogy through visual arts and museum experiences. This research further examines prosthetic pedagogy by applying it the Theatre. The art of theatre builds worlds onstage and through performance that allow performers to be and exist apart from their physical selves in the realm of prosthetic reality. The artist and audience are able to transcend the natural and real world to enter a place of internal reality. Through a blend of auto ethnographic reflection and contemporary research, this paper considers theatrical artistic experiences as an application of prosthetic ontology and then explores how that ontology influences pedagogy.
DOI
https://doi.org/10.25889/7fw2-w019
Rights
© The Author(s). This work is licensed under a Creative Commons Attribution 4.0 International License (https://creativecommons.org/licenses/by/4.0/).
Recommended Citation
Kieffer, Elise Lael
(2020)
"Prosthetic Ontology Into Pedagogy: Applying Garoian’s Theory to the Performing Arts,"
International Journal of Lifelong Learning in Art Education: Vol. 3, Article 5.
Available at:
https://scholarscompass.vcu.edu/ijllae/vol3/iss1/5
Included in
Art Education Commons, Fine Arts Commons, Other Arts and Humanities Commons, Performance Studies Commons