Download Accreditation of Theatre Studies Programme

Accreditation of Theatre Studies Programme
Evaluation of the Art Bachelor and Master Programmes in Theatre Studies
Individual Report from Jon Nygaard,
Head of Section for Theatre Studies, University of Oslo, Norway
Evaluation of the Art Bachelor Programme
 Goals and aims of the study programme
The study programme has two goals and aims
- to train theatre specialists and critics who are able to do creative work
and to organize theatre life
- to establish a theatre research centre
Both are very challenging in a small nation as Lativia.
The first imply a problem of «over production» of theatre specialists.
This problem is, however, reduced because the programme only opens for
new students every 6 years. The first group of graduates have also proven the
need for the study programme and are all active in Latvian cultural life. It is
also
all reasons to believe that the new group of graduates will be in the same
situation.
For the comming groups it will probably be necessary to revise the goals and
aims,
especially for the Art Bachelor Programme.
The second aim of the programme demands, on the other hand, a broad
recruiting of
well educated students to the Master of Art and Doctor of Arts programmes. To
fulfil
this aim, it will be a problem that new candidates are graduating only every 6
years. A
large proportion of the first group of graduates of the Art Bachelor programme
have,
however, continued their education in the Master of Art (14 of 15)
and Doctor of Arts
programmes (6 of 14). It seams therefore not to be
any problem with recruiting the
necessary human resources for a theatre research centre and the study
programme of
Bachelor of Art in Theatre Studies have proven to be a good basis for further
education
and research.
The third aim mentioned in the self-assessment
- to introduce the new specialits to practical work
is not an aim for a university programme, but possibly a means to reach the
other aims.
It should therefore not be included, to prevent confusion with the goals and
aims of
the theatre academy.
 Structure and division af the study programme
The general structure of the study programme would be better, both for the
professors and the students, if the contact hours were reduced and more
attention was put on
students self education.
A large proportion of the programme is described as theatre history and basic
problems and recent theories in theatre studies seams not to be included in the
programme. A small
proportion of the programme is devoted to ballet or dance theatre, opera or
musical
theatre.
It has been of great importance in a post-Soviet period to re-educate the
students in theatre history as well as in general history. It is also essential that
the main fields of study and interest of the responsible professor are reflected
in the study programme.
To develop this part of the study programme and to attract student from other
study
programmes to the subject, it would be better to give a survey
course in theatre history during the first year and then to give more intensive
lectures on certain periods. To underline the actual scope of the education in
theatre history, it should be split in more
specified parts and decribed in a way that explains that theatre in the different
historical periods are studied and analyzed from the focus of basic
problems and
recent theories.
It might be a problem for a programme at the Faculty of Filology to include
opera and ballet on a larger scale, but it is necessary to describe and analyse
the reduce importance
of the text and the spoken dialogue in the
contemporary theatre and to understand the
blurred genres of dance, music
and drama in modern theatre.
Academic writing takes a significant place in the education. This fit very well
to the aims both of training academic theatre critics and theatre researchers.
An important part of the study programme is focued on the theatre of the
former Soviet
area, first of all the other Baltic countries, Russia and
Georgia. This part of the study
programme might be developed further to attract foreign students having here
an unique
oportunity to a comparative and and in depth study of these theatre cultures.
To prevent misunderstanding the part now decribed as practical work, should
be relabeled as «Performance analysis».
 Educational process
Both the graduate students and the present students were enthusiastic
and the group dynamics of the present students are good.
This very positive attitude among the students and the high proportion of
graduates in the first group of students, are indicating that the educational
process is very good.
 Resources, management of education and resources
The study programme has until now been based on and managed by one, or a
few,
enthusiastic and idealistic persons. These human resources have been of
deciding importance for the management and the obvious success of the
study programme.
An important problem is, however, that most part of the teaching load is taken
only by
one staff member. She has obviously both the skill, will and ability
to take this load. But
in the long run this is a serious threat both to her and
to the study programme. She do need more time for research and to develop
study materials.
The general resources as liteature, techical equipment and rooms are
improving. It is
still obstacles, shortage and non-availabilities, as the lack of an own video
recorder for
the study programme and the professors access to computer
services and internet. The
over all impression is that most of these problems will be solved in a few years.
Some students seams to have problems with reading literature in foreign
languages.
This problem might be eased by taking advantage of their ability to read
Russian.
 Research, involvment of students in the research
The research activities of the academic staff, first of all of two of the
professors, are
impressive and the involvment of the students in the research has been high and
they
have been given oportunities already on the Bachelor of Art level.
This is an immediate
result of the training in academic writing and one of the great advantages of
the study programme.
 Quality assurance, feedback
There are good contacts and interaction between the students and administration
of the
study programme. The responsible professors have been open for
suggestions, remarks
and willing to solve problems and improve the programme. The great advantage
of a
small nation is also the close networks, the well established relations and high
level og
mutual knowledge and the short distance from the academic
system to the theatre
system. The study programme have therefore to
prove it existence and improve its
results «face to face» with the academic and theatre system in a much higher
degree than
in a large context. The quality assurance through the
feedback from the systems is in this
way strong.
The weaker side is, however, the feedback from international field of theatre
study.
Here it is important to build up and participate in different international
educational
networks and to invite more visiting professors from abroad
through programmes as ERASMUS, SOCRATES, NorFa and NORPLUS.
 Strong and weak points
The strongest points are the ability of the professors and the good relation
between professors and students, involving the students from the very
beginning in academic
writing and research. The result have so far been a high proportion of graduates
and
doctoral students.
The weakest point is at the same time that most part of the teaching load is
taken by
one staff member.
On the Bachelor of Art level this load can be taken over by graduates giving the
basic
education. A further reduction of the load will be the result of a
better balance in the
structure of the study with less contact hours and
more self education.
 Recommendation
The programme of Bachelor of Art in Theatre Studies has already proven
its
quality through the first group av graduates.
The study programme has then later been improved and adopted to new
fields
of study.
The responsible professor(s) have demonstrated skill, ability, openness and
willingness
to improve.
The study programme of Bachelor of Art in Theatre Studies should
therefore with no
limitation be accredited for 6 years.
Evaluation of the Master Programme
 Goals and aims of the study programme
The most important aim of the Master programme is to establish a theatre
research centre. It is all reasons to believe that the Master programme will
contribute to
fulfil this aim.
 Structure and division af the study programme
The largest proportion of the study programme at the Master level is oriented on
the theatre in the 20th Century. It might be a better balance of the total
programme
if more of the 20th Century theatre was included in the Bachelor programme
and
more of the Master programme was concentrated on basic problems and recent
theories
and problems related to theatre and society, as the course «Man i private Life,
in Public
and in Theatre». This will also give better support to the students work with
their master
theses.
 Educational process
Based on the reports from the graduate students and the master theses, the
educational
process have been very good and it will most probably
continue to be good for the
future Master students.
 Resources, management of education and resorurces
Provided that the teaching load of Silvija Radzobe will be relieved on the
Bachelor level
and she, by opening a new position or any way of co-operation with the
Academy of Art, will have better support on the Master level from Valda
Cakare, the academic resources
and the management of education on the Master level, will be good.
The Master students do also need to take part in international exhange
programmes.
 Research, involvment of students in the research
The research of the academic staff has been on a high leverl and will continue
on a high level and the involvment of students in the research will most
probably be even better for
the future Master students.
 Quality assurance, feedback
The international co-operation and the exchange of students and professors will
be of
great importance to supplement the programme and to assure the
quality of the
programme. The Theatre Studies in Riga should be an
interesting partner in an extended
network. The Master students from
Riga would with no problems be able to go into study programmes in other
countries - and it will be attractive for foreign students to
study Baltic and Russian theatre in Riga.
 Strong and weak points
The strong pronts in the Master programme are as in the Bachelor programme
the
ability of the professors, their involvment of the students in academic writing
and research, and in general the good contacts between students and professors.
The weak points are also the same and it will be important to give Silvija
Radzobe
relief and to expand the role of Valda Cakare in the Master programme. They
are
complimenting each other very well and will make a very interesting team of
importance both in a Latvian context but also as partners in international
networks
and exhange programmes.
 Recommendation
As with the Bachelor programme, the Master programme has already
proven its
quality.
Provided a better support for Silvija Radzobe, as described on the Bachelor
level, and
with the necessary improvments and the involvment of Valda
Cakare on the Master level, the Master of Art programme should be accredited
for 6 years.
Oslo, November 24, 1999
Jon Nygaard
Individual Evaluation Report on
Art Bachelor's and Art Master's programmes in Theatre Studies at the
University of Riga
A. Introduction
In September this year 1 was contacted by Dr Juris Dzelme, director of the Higher Eduaction Quality
Evaluation Centre in Riga, who asked me to become a member of an Evaluation Commission in
order to evaluate the Art Bachelor's and Art Master's programmes in Theatre Studies at the
University of Latvia. The Evaluation Commission, consisting of team leader Ass Prof Elmars
Bekeris (Riga Technical University, Latvia), Prof JonNygaard (University of Oslo, Norway), Prof
Livia Akuratere (Academy of Culture, Riga) and myself, was confirmed by the Accreditation
Commission on November 4 1999.
I received by e-mail the evaluation rules established by the Higher Education Quality Evaluation
Centre, together with some guidelines for Evaluation Team members and the self evaluation report
from the Department of Theatre Studies at the University of Riga, which I was able to study before
going on a two day site visit to Riga on November 15-16 1999. The site visit included meetings
with Prof Juris Zakis, Rector of the University of Latvia, the administration and the academic staff
of the Department of Theatre Studies, former and present students of the Art Bachelor's and the Art
Master's programmes, a visit to the teaching room of the department, the computer room, the film
and video projection room and the library of the Faculty of Philology, as well as a visit to the
National Library of Latvia. On November 16 the final report of the Evaluation Commission was
submitted to representatives of the administration, academic staff and students of the Faculty of
Philology. It is with great interest that I have studied the documents and taken part in the
proceedings of the Evaluation Commission, and here follows my individual report.
B, Art Bachelor's programme of Theatre Studies at the University of Riga 1,
Goals and aims of the study programme
It seems to me that the goals and aims of the programme in their present formulation are
somewhat ambiguous, especially in relation to the Latvian Academy of Culture, which is
responsible for the artistic education programmes. The degree of integration of more practical and
creative processes in the academic education programme of Theatre Studies at the University of
Latvia is a matter for discussion. To my mind, the Art Bachelor's and the Art Master's
programmes would both profit from a clearer distinction between what is traditionally considered
as artistic and academic education respectively. This would mean a higher degree of adaptation to
what is generally done within European university education,
possibly with an exception for certain educational programmes in Great Britain, which sometimes
also include elements of more practical training. It would also make the elaboration of exchange
programmes and networks involving other European countries easier and thus facilitate a higher
degree of both student and staff mobility.
2. Structure and division of the study programme
The Art Bachelor's programme of Theatre Studies is a four year study programme, which gives a
wide general survey of studies within the field of humanities, with outlooks on literature and
painting, but also adjoining arts such as cinema, ballet and opera, and a certain orientation within
current research theories, such as theory of culture, theatre semiotics, herraeneutics and feminism.
Even if one could wonder about the absence of music in this list of adjoing arts, it seems to give a
good introduction and a general background for studies more specifically oriented towards
theatre. I would like to underline the importance of research oriented studies already at this level
of the Art's Bachelor studies, which could only motivate the students for goin on to more
advanced studies on the Master's and Doctoral levels. The first year compulsory language
studies is definitely one of the strong points in the programme and could possibly be extended in
the future with a growing internationalisation.
One can notice among the A or compulsory courses in the programme a heavy overweight of
Seminars in Theatre Criticism, which is an extensive training programme of academic writing
within the field of theatre studies. I would like to underline the importance of such a course in the
programme and find that the number of hours over eight terms (8 x 64 hours), with an overweight
of seminars (usually 42, to 22 lecture hours), is well used time. On the other hand, the second
heaviest compulsory course in the programme, Academic Foundations of Theatre (also called
Stage Direction and Acting), is an example of courses whose justification within an academic
education in Theatre Studies I would like to question. Much to my surprise I have noticed that this
course gives as much as 8 and even 12(!) credits, compared to the 3 credits only for the Seminars
in Theatre Criticism with the same amount of hours (64 hours per term). This, to my mind, is
completely unsatisfactory. If the course in Stage Direction and Acting is kept within the
programme, the situation as for credits should at least be the reversed.
Among the B or compulsory option courses in the programme, the historically oriented courses
dominate (History of Latvian Theatre, History of World Theatre and Drama, History of Russian
Theatre and Drama, etc). I can see the point in studying these subjects on a historical basis and in a
chronological order, but I wonder if this is not a reminiscence of the times when the name of the
academic discipline that we are talking about was Theatre History. Over a period of at least forty
years now, however, the times have changed and the orientation of our discipline as well, which
has opened up to other theories and methods which are no more necessarily historically oriented
(eg. cultural studies, anthropology, gender studies). Thus, what was former Theatre History is
today Theatre Science, Theatrology or, as in Riga, Theatre Studies, which corresponds more to the
contents and the orientation of the discipline as such. Along with this development, the study
programmes have changed in most of the European universities, and the courses in Theatre
History, which used to dominate the programmes, have now mostly been reduced to a minimum
(in Stockholm, for example, from 16 to 5 credits). I would therefore suggest a reconsideration of
the orientation of the contents of the study programme as a whole in a direction which would be
more up to date, based on a problematization of the contents instead of a conventional
chronological s.tructure, This would make away with such awkward situations as, for example, the
fact that the students after two
years of study have only got to the beginning of the 19th century in theatre history. A shorter
introduction to theatre history over one term (or one year), a survey in a chronological order,
would make it possible later to go back to significant periods or genres in theatre history, which
could then be studied from another and more fruitful perspective than the purely historical one.
According to the detailed (and very useful!) table of contents of the lectures and seminars within
the study programme, little space seems to be given to two important parts of the theatre, both
from a historical and a contemporary point of view, namely dance theatre (or ballet) and music
theatre (or opera). These two genres, which are today an integrated part of world theatre, are dealt
with in two separate one term courses at the beginning of the programme (2nd and 3rd term). I
would like to suggest that these two genres should be integrated within the programme of theatre
studies on a more permanent basis and not singled out as two adjoining art forms that are quickly
dealt with at the beginning of the programme. Both dance and music have grown into the theatre
of the 20th century and constitute today an important part of any postmodern theatre event, and
theatre artists, such as stage directors, scenographers and light designers, for example, move freely
between opera, ballet and spoken theatre. It is important that the students to a higher degree are
made aware of this fact and taught to consider opera and ballet as part of the theatre.
3. Educational process and assessment
The teaching methods consist mainly of lectures and seminars, where the seminars dominate,
except for the heaviest course of the programme: History of World Theatre and Drama. I can
understand why the lectures dominate in this course, but this is not satisfactory, A change towards
a higher proportion of seminars even in this course, along with the re-orientation of the subject
described above, would be preferable, The total number of hours, by far the dominating course in
the programme, should also be reconsidered. The same results should to my mind be reached with
a greater proportion of self studies. This would liberate the students, as well as staff members, who
could then get more time for research and individual development.
I am very impressed by the extensive training in academic writing that goes on within different
courses and on different levels of the study programme. The fact that several former students of
the programme are now active as theatre critics in Latvia seems to me a guarantee for the quality
of the programme.
The examination consists of current oral examination during term and written tests mostly at the
end of term. These are often revised by more than one teacher. I would suggest a system with
written tests or home assignments during term, which would dedramatize the final examinations at
the end of term and also create a more even rythm in the studies. It seems to me that examination
hi front of more than one teacher and even boards of teachers is a very heavy system. Teachers
should have the right to more independent work and should also be trusted to a higher extent.
4. Management of education and resources
The Art Bachelor's and Art Master's programmes of Theatre Studies are implemented by the
Department of Latvian Literature at the Faculty of Philology. This means that the common
rooms and technical equipment are shared with the students and staff of the Faculty of Philology.
This is mainly an asset. The tendency in academic management is towards larger units for
economic reasons in the first place. This means, for a small unit as the programme of Theatre
Studies, that facilities and equipment can be made available which would otherwise be impossible
to purchase. Thus, the students of the programme can use the libraries and the computer rooms
that are available to all the students of the Faculty of Philology within the faculty building, and
the staff members can use technical equipment (video recorder and monitor) shared with the rest
of the faculty. I consider, however, that a discipline such as Theatre Studies would need to have
permanent acces to this kind of equipment, if possible in the teaching room used for Theatre
Studies, which would facilitate a more current use. A CD-player would also be of great use in the
teaching of the programme, particularly in courses dealing with music and dance.
In the present situation it seems that the director of the programme of Theatre Studies, Prof
Silvija Radzobe, has an extremely heavy professional load with a huge number of lectures and
contact hours with the students, I am convinced that the programme as a whole, both from an
administrative and a pedagogical point of view, would profit from a considerable reduction of
contact hours for Prof Radzobe. This would give more time for developing the programme,
establishing international networks, and also for producing pedagogical material that is needed.
For the students, this would mean a higher degree of self studies, which would be a good
preparation for more independent work on the Master's and Doctoral levels.
5. Research
All the staff members seem to be highly qualified for their tasks, and both Prof Valda Cakare and
Prof Silvija Radzobe, who are more directly responsible for the Theatre Studies programme, have
proved to be active scholars, even on an international level, with presentation of papers and
publications at international congresses.
Among the graduate students of the Master's programme a large part have taken up doctoral
studies, which proves both quality and encouragement in the current programme. However, most
of the subjects chosen for research are one-sidedly historical subjects with a historical approach
to theatre. This may be explained by the one-sidedly historical orientation of the study
programme in its present form.
The ambition to create a Theatre research centre at the Faculty of Philology of the University of
Riga should be encouraged.
6. Quality assurance and student influence and evaluation ,
The quality work as it is described in the self assessment report consists mainly of a heavy
internal and external control function, I agree that it can be very useful with an external
evaluation, which could only be fruitful for the study programme, but this evaluation should not
have the character of control. The evaluation should point to weak and strong points in the study
programme and also encourage further quality development, including a permanent
reconsideration of the contents and the organisation of the programme. Staff members should be
given time and possibility within working hours to develop new programmes and new courses
within existing programmes.
I would like to stress the importance of an extended international network, maybe within
existing structures such as Erasmus and Socrates. This would encourage student and staff
mobility, but also the development of joint educational programmes together with similar
institutions in other countries.
The student participation in the quality work is extremely important, not only through a current
evaluation of existing programmes, but also through a permanent dialogue with the staff and the
administration. Therefore, it is of fundamental importance that the students are represented in
boards and committees, both on Department and Faculty level. This is all the more important,
since the programme of Theatre Studies is a small programme with few students involved, who
otherwise would have difficulties to make themselves heard in a large assembly.
7. Strong and weak points
The most eminent of the strong points is the solidarity among both former and current students
with the Theatre Studies programme and its teachers, something that can be explained by the fact
that it is a small programme with a small group of students involved, who can more easily
develop a positive group dynamic than what would be the case in a larger group. The close contact
with former students, who are all active in different parts of Latvian theatrical life, confirms the
strength and quality of these bonds. Their enthusiasm about the programme and the opportunities
it has offered them provides a good motivation and encouragement for current students of the
programme.
The central position in the programme of the Russian theatre and drama is an asset which should be
maintained and developed further. It would be of great importance in the development of
international contacts and networks and would make the study programme of heatre Studies at the
University of Riga an attractive programme for foreign students.
The good relations with the Academy of Culture is another strong point in the programme. It
should also facilitate exchange of staff between the University of Riga and the Academy of Culture
in both directions^ which would be of great importance to such a small programme as Theatre
Studies.
On the weak side, an important point is the lack of a permanent international exchange programme
for student and staff mobility. The staff members responsible for the programme of Theatre
Studies should seek contacts with theafe departments in other countries and create both an
exchange programme and an educational development programme.
Another weak point, which has already been pointed out, is the one-sidedly historical orientation of
the study programme with a one-sidedly historical approach in the choice of subjects for research
by students on the doctoral level as a result.
There is an underrepresentation in the programme of more recent theories in the field of Theatre
Studies, such as anthropology, gender, and gay and lesbian studies. These theories should be
integrated in the study programme even on a formal level.
A week point in the programme is the underrepresentation of male students in the programme.
Efforts should be made to make the programme attractive also for male students. This has a
great impact not only on the attitudes towards the study programme as such but also on the
attitudes towards the professions it prepares for.
8. Recommendations
On the basis of the above arguments, my recommendation would be an accreditation for 2 years of
the Art Bachelor's study programme in Theatre Studies. This would permit the current group of
students to finish their studies and at the same time give enough time for the staff to permit a
reconsideration of the weak points in the programme.
C. Art Master's programme of Theatre Studies at the University of Riga
Many conditions that are pointed out in the Art Bachelor's programme are valid also for the
Master's programme, such as goals and aims, for example, the educational process and the
management of education and resources. Below will be pointed out only those conditions that are
particular for the Art Master's programme.
1. Goals and aims of the study programme
It seems to me that on the Master's level it is all the more important that the study programme is
given a clearly theoretical orientation. The Master's programme should prepare for research and
studies on the doctoral level, in fact the second year of the Master's programme should already be a
an introduction to the doctoral studies. Therefore, the idea of creating a Theatre research centre at
the Faculty of Philology should be encouraged.
2. Structure and division of the study programme
First of all the question of having a two year Master's programme should be raised. As I
understand this is part of the general conditions for study programmes at the University of Riga, In
Stockholm, for example, the study programme of the Master's programme is limited to one year
(formally only to one term), whereas the doctoral programme stretches over four years compared
to three years at the University of Riga. This is all the same, provided that the second year of the
Master's programme is adapted to the level of the doctoral studies that follow in such a way that it
can be considered to replace the first year of doctoral studies in a four year structure.
The different subjects listed in the programme seem to be more equally distributed, without any
particular domination of one subject, possibly with the exception of the Seminar of Theatre
Criticism, which still holds a strong position, and rightly so. Even the course in Fundamentals of
Acting in Theory and Practice semms, in spite of the title, to be more clearly oriented towards a
theoretical approach.
It seems that there is an overweight of courses in the theatre aesthetics of the 20th century. This is
all very good, but it would be preferable to integrate, to a higher degree than now, the study of the
theatre of the 20th century also in the Art Bachelor's study programme. This would create more
even proportions between the theatre history and the contemporary theatre
3. Educational process and assessment
In general, there seems to be a domination of the number of seminars over the number of lectures
in the programme, but the 20th Century World Theatre and Drama still has a greater number of
lectures than seminars. It is important on this level to prepare the students for research methods
and such a great number of lectures, therefore, is not satisfactory. The whole course could possibly
be given over to self studies with an appropriate form of assessment, such as essay writing.
4. Management of education and resources
Prof Valda Cakare should be given more hours for introducing recent theories in Theatre Studies
on the Master's level. This could be compensated by a reduction in the number of contact hours
for Prof Radzobe, who would then get more time for planning and development of the study
programme.
5. Research
The research work delivered by the first group of students within the programme is very
impressive. Many of the students have presented papers at international congresses and many
papers or essays have been published. Many of them currently publish articles in important
newspapers and magazines on a regular basis. The fact that several of them have been recruited
directly after the end of studies' different branches of the Latvian theatre proves that the general
level and quality of theii v.urk is satisfactory.
5. Strong and weak points
The strongest point again is the group dynamics and the group solidarity among the students of the
first group of the programme and also between students and staff members. The first group of
students is still working togethei, now in the programme of doctoral studies. The number of
students who have gradually gone on to doctoral studies is impressive and confirms the quality of
the programme.
The drawback would be that the subjects chosen for the dobtoral dissertations are all with a
historical approach to theatre. This would be avoided with a higher degree of integration in the
study programme as a whole, and particularly on the Master's level, of more recent theories
within the field of Theatre Studies.
;
There was no male student in the first group of students within the programme, which is
completely unsatisfactory. Efforts should be made to involve male students in the programme, in
the first place to encourage the two male students in the current Bachelor's programme to go on
to the Master's level.
6. Recommendations
On the basis of the above arguments, my recommendation would be an accreditation for 2 years of
the Art Master's study programme in Theatre Studies as well. This would permit a development
and an adaptation of the programme to the demands expressed above. Such an
adaptation would be desirable already for the current group of students who will find themselves
on this level in two years time. The Art Master's study programme could then be adapted to the
new study programme on the Art Bachelor's level in good time before the next group of students
reaches this level.
Stockholm, November 29 1999
/Sven Heed/
professor
head of department Department
of Theatre Studies Stockholm
University
Novērtēšanas komisijas ziņojums
par
Latvijas universitātes Filoloģijas fakultātes
Mākslas zinātnes bakalaura un maģistra akadēmisko studiju programmām
teātra zinātnē
Aplūkojamās Bakalaura un maģistra studiju programmas ir cieši saistītas, tām ir
kopējs akadēmiskais personāls un resursi, tās netiek realizētas vienlaicīgi, bet gan
secīgi, jo studentus uzņem reizi sešos gados, tāpēc programmu vērtējums
apvienots vienā Novērtēšanas komisijas ziņojumā.
Novērtēšanas komisijas sastāvs
Programmu vērtēšanai tika izveidota Novērtēšanas komisija šādā sastāvā:
1. Jon Nvgaard - Norvēģija, Mākslas zinātņu doktors, Oslo universitātes Teātra studiju
departamenta vadītājs.
2. Sven Ake Heed - Zviedrija, Stokholmas universitātes Teātra studiju profesors.
3. Līvija Akurātere - Latvija, Kultūras akadēmijas profesore.
4. Elmārs Bekeris - Latvija, Rīgas Tehniskās universitātes asoc.prof, Augstākās Izglītības
Kvalitātes Novērtēšanas centra valdes priekšsēdētājs - Novērtēšanas komisijas vadītājs.
Darba metode
Novērtēšanas komisijas eksperti un komisijas vadītājs laikus saņēma programmas
pašnovērtējuma ziņojumu kā arī citus Akreditācijas noteikumos paredzētos dokumentus: studiju
programmas, priekšmetu aprakstus, akadēmiskā personāla dzīves gājumus, nozīmīgāko
publikāciju sarakstus un iepazinās ar tiem. Pirms vizītes augstskolā notika komisijas sanāksme,
kurā vadītājs iepazīstināja ekspertus ar akreditācijas norisi Latvijā, tika apspriesti pirmie iespaidi par
programmu, jautājumi, kas būtu sīkāk analizējami, vizītes plānojums un darba organizācija vizītes
laikā. Divu dienu laikā eksperti tikās ar LU rektoru, ar filoloģijas fakultātes un studiju
programmas vadību, akadēmisko personālu, absolventiem, studentiem; iepazinās ar
programmas realizētāju rīcībā esošiem resursiem. Vizītes noslēgumā notika komisijas apspriede,
kuras laikā tika formulētas programmas stiprās un vājās vietas, rekomendācijas darba
uzlabošanai un, aizklāti balsojot, pieņemti ieteikumi par programmu akreditāciju. Balsošanā
Novērtēšanas komisijas vadītājs nepiedalījās, jo, atbilstoši Akreditācijas noteikumiem, vērtēšanā
drīkst piedalīties tikai viens Latvijas pārstāvis. Par saviem atzinumiem eksperti ziņoja atklātā
Filoloģijas fakultātes Domes sanāksmē.
Programmu raksturojums
Studiju programmām galvenais izvirzītais mērķis ir - "Sagatavot teorētiski izglītotus un
radošus teātra zinātniekus, kritiķus, teātra dzīves organizatorus". Bakalaura programmas
apjoms ir 160 kredītpunkti, tās ilgums - četri gadi. Maģistra programmai attiecīgi - 80
kredītpunkti un divi gadi. ,
Programmās paredzētas paralēlas studijas: teātris kā mākslas veids, režisora un aktiera
darbs, teātra kritika un zinātnieka profesija. To veidošanā lielā mērā ievērota Latvijas kultūras un
izglītības situācija.
Studiju programmās liels īpatsvars atvēlēts teātra vēsturei: bakalaura programmā
priekšmetiem Latviešu teātra vēsture, Ārzemju drāmas un teātra vēsture, Krievu drāmas un
teātra vēsture, Latviešu teātra kritikas vēsture kopā paredzēti 32 kredītpunkti, savukārt
priekšmetu, kuru nosaukumi norādītu uz jaunāko teātra mākslas teorijas atziņu iekļaušanu to
saturā, programmā pietrūkst. Tiesa, sarunās ar studentiem, absolventiem un akadēmisko
personālu atklājās, ka nepieciešamās jaunākās teātra zinātnes atziņas tiek pasniegtas teātra
vēstures kontekstā. Šāda pieeja daļēji izskaidro lielo tādu priekšmetu īpatsvaru, kuru
nosaukumā parādās vārds vēsture. Tomēr, pēc ekspertu domām, būtu lietderīgi dot pirmajā
kursā teātra vēstures pārskatu, bet vēlāk koncentrēties uz detalizētāku konkrētu periodu analīzi.
Pārāk maza vieta programmā atvēlēta operai (muzikālajam teātrim) un baletam (deju teātrim). Šīs
tēmas parādās tikai bakalaura programmas priekšmetos Mākslas vēsture (balets) - 2
kredītpunkti un Mākslas vēsture (opera) - 2 kredītpunkti.
Atzīmējams, ka samērā liela vērība programmā ierādīta semināriem teātra kritikā
(bakalaura programmā - 20 kredītpunkti, maģistra programmā - 4 kredītpunkti), kas atbilst
programmai izvirzītajiem mērķiem.
Lielākā maģistra programmas daļa ir orientēta uz 20.gadsimta teātri. Pēc ekspertu
domām varētu būt lietderīgi lielāko 20.gadsimta teātra kursa daļu iekļaut bakalaura programmā,
bet maģistra programmā vairāk akcentēt jaunākās teorijas un teātra un sabiedrības attiecību
problēmas.
Pozitīvi vērtējams, ka maģistra programmā paredzētas Baltijas valstu, Krievijas,
Gruzijas teātru studijas. Šī programmas daļa varētu būt interesanta citu valstu studentiem un
kalpot par vienu no studentu apmaiņas projektu sastāvdaļām.
Studiju process
Studenti tiek uzņemti reizi sešos gados - tas atbilst pilnas programmas (bakalaura +
maģistra) realizācijas laikam. Daļa maģistra programmas absolventu (1997.gadā absolvēja 12)
turpina studēt doktorantūrā (patlaban 4). Vērtējamā programma tiek realizēta otro reizi, - no
otrā "iesaukuma" trešajā kursā mācās 17 studenti, kas studijas uzsāka!997.gada 1. septembrī.
Programmas tiek realizētas LU Filoloģijas fakultātes Latviešu literatūras katedrā, tās
vada programmas direktore prof. S.Radzobe. Ar studiju saturu un organizāciju saistītie
jautājumi tiek apspriesti katedras sēdēs.
Ar dažiem izņēmumiem priekšmetu pasniegšanā dominē lekcijas, - vidēji lekcijām
atvēlētas 3/4 no nodarbību laika. Galvenokārt to nosaka mācību materiālu trūkums. Studenti
regulāri raksta dažādus radošus darbus: referātus, esejas, kritikas, problēmrakstus; notiek
diskusijas ar teātra mākslas profesiju pārstāvjiem. Tiek skatītas un apspriestas filmas un izrādes.
Darbs ar vienu nemainīgu, vienmēr vecāko studentu grupu 4 - 6 gadu garumā dod gan
zināmas priekšrocības, gan arī rada problēmas. Studentu un programmas vadības starpā
veidojas sirsnīgas un koleģiālas attiecības, tajā pašā laikā uz pamanīto pasniegšanas kļūdu
labošanu jāgaida seši gadi, kad, iespējams, daudz kas jau būs mainījies.
Studentu mācību materiāla apguves pārbaude notiek gan mutvārdos (semināri, diskusijas,
ieskaites eksāmeni), gan rakstveidā (referāti, radoši darbi, kontroldarbi, ieskaites un eksāmeni).
Eksāmenu sesijās dominē rakstveida pārbaudes forma.
Iepriekšējie maģistra programmas absolventi ir labi sagatavoti. Uz to norāda viņu daudzās
publikācijas (vairāk par 300), sasniegumi starptautiskos konkursos un konferencēs, dalība teātra
dzīves notikumu organizēšanā. Tagadējie studenti ir entuziastiski, mērķtiecīgi, viņiem
izveidojušies labi kontakti ar absolventiem, - kopīgi tiek strādāts pie 3 zinātniskiem darbiem.
Programmu rīcībā esošie resursi
Programmu relizācijā iesaistīts augsti kvalificēts akadēmiskais personāls. Bakalaura
programmā 75%, bet maģistra programmā 78% darba veic pasniedzēji ar habilitētā doktora un
doktora grādu. Tomēr, kā tas bieži raksturīgi nelielām studiju programmām, arī vērtējamās
programmas lielā mērā turas tikai uz dažiem entuziastiem. Tas uzskatāms par zināmu draudu
programmas ilgtspējai. Tā, piemēram, bakalaura programmā programmas direktore S.Radzobe
viena pati nodrošina priekšmetu pasniegšanu 44 kredītpunktu apjomā.
Programmu realizētāju patstāvīgā lietošanā ir viena auditorijas telpa, kas iekārtota kā
kabinets, - te glabājās arī studijām nepieciešamā literatūra, videokasetes. Telpas lielums ir
pietiekošs nodarbībām, bet nepieciešams vēl būtu videomagnetofons, dators. Patlaban
pasniedzējiem un studentiem ir iespēja izmantot Komunikāciju katedras videomagnetofonu,
Filoloģijas fakultātes datorklases, Latvijas Kultūras akadēmijas tehniku un ierakstus, Kino
muzeja arhīva filmas. Studenti par maksu var izmantot Filoloģijas fakultātes kopējamo aparātu un
datorus ar Interneta pieslēgumu. Studijām galvenokārt tiek izmantoti Nacionālās bibliotēkas fondi.
Ar 1998.gadu grāmatas par ārzemju teātri pasūta arī LU bibliotēka.
Pasniedzējas S.Radzobe un V.Čakarē ir sagatavojušas vairākus mācību līdzekļus, kuru
izdošanai nepieciešams atbalsts.
Kvalitātes nodrošināšana
Starp studentiem un akadēmisko personālu ir labs kontakts, tāpēc atgriezeniskā saite
ir tieša un tūlītēja, pasniedzējiem ir visas iespējas saņemt studentu vērtējumu, piezīmes un
tūlīt uz tām reaģēt. Samērā nelielā Latvijas teātra sabiedrība dod iespēju akadēmiskajai videi
veidot labus un tiešus kontaktus, kas arī lielā mērā tiek izmantots. Ievērojami vājāki ir
studentu starptautiskie kontakti, netiek izmantotas tās iespējas, ko paver programmas
SOCRATES, ERASMUS, NorFA, NORPLUS.
Programmu vērtējums
Zemāk dots komisijas ekspertu apkopotais to pozitīvo aspektu, trūkumu, iespēju un
apdraudējumu uzskaitījums, kuriem piekrita visi. Individuāli viedokli atrodami ekspertu
individuālajos ziņojumos.
Pozitīvais
• Maģistratūras programmas absolventi ir labi izglītoti, aktīvi Latvijas kultūras dzīves
dalībnieki, orientēti turpināt studijas doktorantūrā.
• Programma iesaistīts augsti kvalificēts akadēmiskais personāls.
• Studenti ir entuziastiski, izveidojušies labi kontakti studentu un absolventu starpā.
• Pietiekoši liela vieta paredzēta Krievijas teātrim, kas padara programmu interesantu ārzemju
augstskolu studentiem,
• Nozīmīga vieta apmācībā ierādīta kritiku, vērtējumu un cita veida darbu rakstīšanai.
• Laba sadarbība ar Latvijas Kultūras akadēmiju.
• Labi kontakti un sadarbība studentu un programmas vadības starpā.
Trūkumi
• Pārāk liela programmas daļa atvēlēta ar vēsturi saistītiem priekšmetiem.
• Pārāk liels lekciju īpatsvars auditoriju nodarbībām atvēlētā laikā.
• Lielāko programmas daļas realizāciju nodrošina viens pasniedzējs.
• Maģistra un doktora darbu tēmās dominē vēstures tematika.
• Studijās nepietiekoši pārstāvētas jaunākā teātra teorijas tematika.
• Nepietiekoša studentu mobilitāte (studijas un stažēšanās ārvalstu augstskolās), studenti ir
mazinformēti par studentu apmaiņas iespējām.
• Mazs apjoms atvēlēts baleta, operas un muzikālā teātra studijām.
Iespējas
• Ir iespējas piedāvāt programmas priekšmetus citu programmu studentiem C daļas ietvaros.
• Labas iespējas attīstīt starptautisko sadarbību ERASMUS programmas ietvaros, - studentu
apmaiņa, vieslektoru uzaicināšana.
• Var samazināt kontaktstundu skaitu un vairāk laika atvēlēt pētniecībai un mācību materiālu
izveidei.
Draudi
• Pārāk liela programmas atkarība no viena pasniedzēja.
• Studenti nav pārstāvēti fakultātes un universitātes pārvaldes un studentu pašpārvaldes
struktūrās.
• Pārāk maz studentu - puišu.
Rekomendācijas
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Pirmajā studiju gadā lietderīgi ievest teātra vēstures pārskata kursu, bet esošo teātra
vēstures bloku būtu lietderīgi vairāk orientēt uz satura, teoriju un metožu studijām nekā
pieturēties pie hronoloģiskās struktūras.
Lietderīgi attīstīt savstarpējo kredītu atzīšanu starp Latvijas augstskolām, tādējādi varētu
pieaugt programmas kursus apgūstošo studentu skaits.
Nepieciešams piedalīties dažādās studentu un pasniedzēju apmaiņas programmās.
Pastiprināms studēšanas īpatsvars salīdzinājumā ar mācīšanu.
Jāmeklē iespējas tikt pašiem pie sava videomagnetofona.
Palielināms Operas un Baleta studijām veltīto kursu apjoms.
Noslēgumā komisijas eksperti ar baisu vairākumu pieņēma šādus ieteikumus:
1. Mākslas zinātnes bakalaura akadēmisko studiju programmu teātra zinātnē ieteikt akreditēt uz
sešiem gadiem.
2. Mākslas zinātnes maģistra akadēmisko studiju programmu teātra zinātnē ieteikt akreditēt uz
sešiem gadiem.
Novērtēšanas komisijas vadītājs
ris
1999.gada 2.decembrī
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