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1. IntroductionDrama teaching includes the complex relationships between the teacher's understanding of content (subject knowledge), the pedagogical actions (relation to students, group management) and the actual teaching actions (interaction, instructions, directions, teaching methods and lesson structure). The challenges of pedagogical interaction in drama are related to the teacher's nonverbal communication, presence and use of the body and space in an educational situation (Toivanen & Pyykko 2012b). With use of these tools, the teacher attempts to strengthen his or her educational and interactive purposes with the group in drama education. The paradox of body awareness is that one's own body is rarely the thematic object of experience. When the teacher concentrates in teaching drama, his or her own bodily state may be the farthest thing from his or her awareness (cf. Zarilli 2004). The lack of teaching experience makes it even more difficult. A novice teacher plans the drama lessons very strictly. Strict adherence to the lesson plan can lead to lack of presence and spontaneity in creating pedagogical interaction with pupils and the teacher does not interact responsively to the pupil's proposals but ignores, interpr ets, or dominates the activity (Sawyer 2004, 2006, 2012, Toivanen, Mikkola & Ruismaki 2012, Lobman 2005).2. Problem Statement and Research QuestionsThis article seeks to contextualize body consciousness theory in theatre to the context of drama teacher education.What are the connections in the work of actors and drama teachers in the field of body awareness?This theoretical review is part of the research project undertaken at Helsinki University Department of Teacher Education. The research project is focused on classroom drama teaching practices (e.g. Toivanen, Pyykko & Ruismaki 2011, Toivanen, Antikainen & Ruismaki 2012, Toivanen, Mikkola & Ruismaki 2012, Toivanen & Pyykko 2012a, 2012b). The aim is to develop the theoretical background to the teacher's body awareness so that teacher would be aware of the interactional part of the drama teaching. The holistic presence in an educational situation means skills for quick pedagogical decision-making, intuition and spontaneous response to pupils' actions and proposals in order to create pedagogical interaction.3. Body awareness and psycho-physicalityKonstantin Stanislavski (1863-1938) who is considered to be a creator of the realistic theatre, introduced the term "psycho-physical". In acting this means that the actor should have an idea why he or she is acting in a certain way on the stage. The aim of psycho-physical exercises is to establish a connection between the actor's inner intentions and his or her physical actions. (E.g. Evans 2009; Zarrilli 2009; Stanislavski 2008). Stanislavski wanted to find a solution to the problem that arose from the conflict between the internal and external elements of acting. By analysing these elements, he found ways and tools for acting and for teaching it. He tested his ideasopen-minded and developed little by little his theory which we know as the "system" (Benedetti 2008; Patsi 2010; Stanislavski 2008). Through the psycho-physical training the actor student learns to understand and master the process of his or her bodily experience. The actor will be able to transform the fictional experiences to a new form and then express them on his or her own body. (Evans 2009, 3.) An aesthetic "inner" body mind is discovered and shaped through the long-term practice, and an aesthetic "outer" body is constituted by the actions of a performance score that body offered for the spectator. (Zarrilli 2004.)4. Findings - similarities in the work of an actor and a drama teacherAccording to Cohen (2002, 19) an actor's approach to acting is a series of steps including exploring, feeling, trying, and doing. Together these steps form a set of experiences. Every actor re-creates the process of acting in every performance. …

Comparing Body Awareness Between Actors And Drama Teachers