O teatro do oprimido e sua contribuição na formação da criança com transtorno do déficit de atenção com hiperatividade

This research investigates and reports the contributions of the Theatre of the Oppressed and its techniques as a therapeutic resource in the education of children with Attention Deficit Disorder with Hyperactivity. In the first chapter organize one studying theoretical seeking to conceptualize and understand the Learning, Attention Deficit Hyperactivity Disorder, seeking to better understand the behavior and the behavior of children with ADHD. Researching on the symptoms, causes and effects of this syndrome. Trace a relationship between familyschool- specialists in an attempt to prove the importance of family support in the teachinglearning process and treatment of these children. In the second chapter start conceptualizing theater, the relationship between work-Theatre-Education Therapy, explain the difference between the theatrical stage and the therapeutic stage. Account the importance of theater games in the classroom and its contribution to social and educational training of the child. Justify the choice of the Theatre of the Oppressed recognizing him as the primary method for this research, because it is a set of exercises, games and techniques that help the child regain equilibrium relations, developing autonomy, encourages creativity and spontaneity, freeing them from their oppression. Besides being an efficient transformation behavior, improving behavior, allowing the inclusion of children in society. It is verified the effectiveness of the method and techniques in their work with children Municipal School Professor. Antonio Severiano in Natal / RN, allowing these children develop body awareness, working senses, thought, memory, inhibition, teaching to expose your point of view, understand and deal with their emotions, respecting its limits and develop their motor and cognitive skills

O teatro do oprimido e sua contribuição na formação da criança com transtorno do déficit de atenção com hiperatividade

This research investigates and reports the contributions of the Theatre of the Oppressed and its techniques as a therapeutic resource in the education of children with Attention Deficit Disorder with Hyperactivity. In the first chapter organize one studying theoretical seeking to conceptualize and understand the Learning, Attention Deficit Hyperactivity Disorder, seeking to better understand the behavior and the behavior of children with ADHD. Researching on the symptoms, causes and effects of this syndrome. Trace a relationship between familyschool- specialists in an attempt to prove the importance of family support in the teachinglearning process and treatment of these children. In the second chapter start conceptualizing theater, the relationship between work-Theatre-Education Therapy, explain the difference between the theatrical stage and the therapeutic stage. Account the importance of theater games in the classroom and its contribution to social and educational training of the child. Justify the choice of the Theatre of the Oppressed recognizing him as the primary method for this research, because it is a set of exercises, games and techniques that help the child regain equilibrium relations, developing autonomy, encourages creativity and spontaneity, freeing them from their oppression. Besides being an efficient transformation behavior, improving behavior, allowing the inclusion of children in society. It is verified the effectiveness of the method and techniques in their work with children Municipal School Professor. Antonio Severiano in Natal / RN, allowing these children develop body awareness, working senses, thought, memory, inhibition, teaching to expose your point of view, understand and deal with their emotions, respecting its limits and develop their motor and cognitive skills

O tema no processo criativo da asmarias companhia de teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

A iluminação cênica no trabalho do ator de teatro

This research aims to investigate how the stage lighting can be articulated in the creation of theater actor process. To we reach this reflection, it is necessary to understand the space of the rehearsal room, where the actor works as a place where their function receives influences of other artists who are creating the spectacle.Collaborative processes are analyzed three Cia de Teatro Engenharia Cênica: Irremediável, 2007; Doralinas e Marias , 2009; O Menino Fotógrafo, 2011, aiming to understand the collaborative theater potentializes, the intersection and the exchange of experiences in the rehearsal room, collaborating actively for the training of persons involved in creating the show. The research proposes an investigation of how the creative process of stage lighting is gaining ground in the rehearsal room in the language of theater directing, showing mainly how is your "co-evolutionary" creation with the creative process of the actor

O teatro musical enquanto prática pedagógica no meio eclesiástico: ressignificando o fazer artístico na Igreja Batista da Esperança, Natal-RN

The churches in Brazil have shown themselves as a very important space in the musical training of many individuals. However, we perceive in many of them an excluding and merely performatic musical posture. Their argument is the fact that they want to give worship to the Divine Being and, for that, they must always offer their best. Besides that, the culture of the talent and the gift has provoked the selection of people in the ecclesiastical musical practices. The musical theatre, also practiced in this context, has been following the same principles. Understanding that musical practices must be accessible to all people, we have seen, through the studies of Amelia Santa Rosa, 2006 and 2012, the musical theatre, for its various possibilities, as an important tool for the music teaching in this context in an integrating, motivating, interdisciplinary and liberating way. For this reason, through an action research, this work has aimed to investigate the applicability of the musical theatre as a pedagogical practice in the context of the Igreja Batista da Esperanca (Hope Baptist Church), in Natal-RN, verifying the impact of this experience to the ones involved. In order to accomplish this, we carried out the construction of a musical with all of the ones who wanted to be a part of this research, having or not having previous musical experiences. The data collection was made through the field diary, semi-structured interviews with the cast of the musical and pictures and videos of rehearsals and presentations. The main issues highlighted were categorized and properly analyzed, which showed us how much the musical theatre can be used as a musical pedagogical tool also effective in the ecclesiastical context. Thus, another conception of artistic endeavor could be brought to churches, contributing to the inclusion of new participants in their musical practices, expanding the studies on the musical theatre and the presence of music in these spaces a bit more, causing other future studies.

Química em cena: uma proposta para formação inicial de professores de química

In educational observed difficulty in train teachers to meet the medium and higher education needs, and one reason for this is the different experiences in the training of educators in relation to those found in the classroom. So often arise criticisms related to relevance and efficiency of degree courses, as regards the performance of its natural mission, which weakens the teacher training. Thus, improving the quality of education is very dependent on the initiatives of teachers, creating teaching alternatives to strengthen their performance in school. From this reflection, it is concluded that teacher training needs new educational proposals that qualify, and so can promote the formation of his students more adequately. Among the educational proposals as alternatives to initial teacher training may use the scientific theater (TC). Considering this possibility, this work has been proposed as investigate and discuss the influence of TC combined with experimentation in the initial training of future teachers in Chemistry who participate in the Groups Fanatics chemistry Theatre (UERN) and Chemistry on Stage (UFRN). Therefore, there was, in a first stage, theatrical essays based on the theater of the oppressed, and written dramaturgical scripts, a collaborative proposal. To incorporate experimentation in chemistry to theater rehearsals, there was a systematic literature search and after content analysis, were selected categories, materials and reagents easily accessible, easy procedures and implementation with low risk of accidents and easy care chemical waste. In the second part we identified: a) the beliefs of student teachers in the use of TC ally trial for initial training of chemistry teachers; b) the influence of TC ally to trial on learning of chemical concepts of high school students who attended the shows; c) the reasons for using or not TC ally to trial by chemistry teachers who participated in the TC group and currently work in the classroom. In this study, questionnaires and interviews were used, compounds, respectively, by a Likert scale and open questions. Quantitative data were analyzed by classical statistics the media, using as centrality measures the average, the concordance argument and the average deviation. Qualitative data were discussed according to content analysis, with categories that emerged from reading the answers. These analyzes concluded that the licensees have a positive view on the use of scientific theater for disclosure of the chemical for use in the learning of chemical concepts, pedagogical and disciplinary knowledge, and to form promotion strategy for research and extension at the University. They credit improvements in their initial training on the use of scientific theater combined with experimentation. The TC provides motivation for the construction of conceptual thinking in an informal way of chemical communication, allowing the student to expand their knowledge, not only favoring the phenomenological approach, but also the construction of chemical knowledge and the internalization of scientific concepts.

O tema no processo criativo da Asmarias Companhia de Teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

A iluminação cênica no trabalho do ator de teatro

This research aims to investigate how the stage lighting can be articulated in the creation of theater actor process. To we reach this reflection, it is necessary to understand the space of the rehearsal room, where the actor works as a place where their function receives influences of other artists who are creating the spectacle.Collaborative processes are analyzed three Cia de Teatro Engenharia Cênica: Irremediável, 2007; Doralinas e Marias , 2009; O Menino Fotógrafo, 2011, aiming to understand the collaborative theater potentializes, the intersection and the exchange of experiences in the rehearsal room, collaborating actively for the training of persons involved in creating the show. The research proposes an investigation of how the creative process of stage lighting is gaining ground in the rehearsal room in the language of theater directing, showing mainly how is your "co-evolutionary" creation with the creative process of the actor