The Dramaturgy of Education and Welfare : On the Subject of a New Possibility Connecting Theory and Practice, Education and Welfare(<Special Issue> The Construction of New Research Methodologies in Educational Studies)

Nowadays, it is probably difficult finding someone like Plato, who takes precautions against theatrical performance on stage. On the other hand, when we discover dramatical characteristics in interactions that unfold in various settings in real life, we tend to negatively assess that interaction as fiction as well as the agents as imposters who disguise their true selves. But if we take a look at ourselves, are we not - intentional or unintentional differences put aside - personally as well as on an everyday basis - like an actor in front of an audience - (ending up) manipulating the impression we give the other person in an interaction? If that is the case, what if we liken all our interactions to theatrical performances? At the Graduate School of Human Sciences of Osaka University in the research field of Anthropology of Education, having formed a joint research team centered around teachers and graduate students affiliated with this field of research, including extramural theorists and practitioners engaging in education or welfare, an attempt is being made to observe and analyze the various interactions that unfold in the respective areas of activity from such a point of view. In what follows, it is my purpose to define our joint research as well as present several propositions that constitute a provisional framework for our future research based on literature study and information gained in preliminary field research that has been conducted over the past one year. These propositions are as follows: (1) The human world is completely a stage. (2) A theatrical performance is being carried out on a physical or semantic stage or creates such stages. (3) A person seeks a "true self" and an "appropriate place" and constantly directs him or herself towards other stages and other roles. (4) As well as the performer can establish and keep up reciprocally differing theatrical performances on several stages defensive measures can be set up by the performer or by other persons. (5) The meaning and function of each component that makes up the stage is, in principle, being defined by arrangement of each component of the stage, but it is sometimes possible for them to be transported into another stage, undergoing selection or transformation. (6) An imaginary or real stage in which the performer feels that the role he voluntarily performs is in accordance with the role that is supposed to be performed as a duty and due to that is also able to feel "comfortable" is called an "appropriate place". (7) In the case of reciprocally differing theatrical performances being performed by several performance teams at the same time and in the same space, a struggle over the right of priority will occur between these performance teams and each performance team will compete over the arrangement of stage components. (8) Practical training that nurtures individuals towards becoming full-fledged performers and, moreover, full-fledged stage directors is education and activity that enables the individual maintenance of confidence and pride as performer and stage director is called welfare.