A sala de aula em cena: uma pesquisa em ensino do teatro a partir da experiência docente

At first moment we present a reflection about the history of theater and later a contextualization of didactic movements oriented to scenic arts. Through at the constant dialogue with authors of areas involving education, theatre, corporeality and music was possible analyzing, develop and criticize a education work under my responsibility involving fourteen classes. At the second moment will occur a critical self about the quality of theater classes his contents and methodologies. The technique will be at side of the emotion and together develop skills aimed at tracing paths for theater developed at a classroom of a especific private school in Natal-RN. At the third moment one class is chosen for analyze of the academic research and many experiments happen after this decision, initiated and sensitized through of the music with a significant look at the corporeality and prioritizing the theater as content in ninth grade - elementary school two. At the conclusion is possible see that learning is mutual and the theater can become life routine as well as the arts in general and when all arts will be regularized into the national educational system for public and private schools we will have more susceptible humans and more intellectual capacity

A sala de aula em cena: uma pesquisa em ensino do teatro a partir da experiência docente

At first moment we present a reflection about the history of theater and later a contextualization of didactic movements oriented to scenic arts. Through at the constant dialogue with authors of areas involving education, theatre, corporeality and music was possible analyzing, develop and criticize a education work under my responsibility involving fourteen classes. At the second moment will occur a critical self about the quality of theater classes his contents and methodologies. The technique will be at side of the emotion and together develop skills aimed at tracing paths for theater developed at a classroom of a especific private school in Natal-RN. At the third moment one class is chosen for analyze of the academic research and many experiments happen after this decision, initiated and sensitized through of the music with a significant look at the corporeality and prioritizing the theater as content in ninth grade - elementary school two. At the conclusion is possible see that learning is mutual and the theater can become life routine as well as the arts in general and when all arts will be regularized into the national educational system for public and private schools we will have more susceptible humans and more intellectual capacity

O Corpo na experiência do ator: diálogos entre teatro e Educação

En esta investigación se refleja en la experiencia como actor / profesor / narrador en el escenario y en el aula, tener en cuenta tanto la experiencia del cuerpo en el evento teatral. Mi interés es cómo podemos hablar de la experiencia como actor / profesor / narrador de la actitud fenomenológica a la que apunta el filósofo francés Maurice Merleau-Ponty, observando cómo el cuerpo propensas a estos la comunicación sensible y ofrece una forma diferente de pensar en el cuerpo teatro y la educación. Con este fin, la experiencia de la creación del personaje en el show Gurdulu "Matrióchka: una historia dentro de la historia", Ensign Grupo de Teatro y el trabajo como profesor de teatro IFRN - Campus Central de Navidad permitió la comprensión de estos del cuerpo. En el recuento de mi viaje como una actriz / maestro / narrador cuenta que el cuerpo es profundo y es atemporal suficiente. Pero no sólo el cuerpo individual del cuerpo que está unido a un cierto mundo, donde la experiencia es algo que se puede decir, es historia. La historia está en la institución a su vez, un fenómeno de expresión que una fructífera tradición y abre el horizonte de la vida, el deseo, el encanto, el arte, la poesía y el conocimiento

A motivação no teatro musical sob a perspectiva da teoria da autodeterminação

Este estudo teve por objetivo geral investigar os processos motivacionais dos participantes de um grupo de Teatro Musical sob a perspectiva da Teoria da Autodeterminação - TAD (RYAN; DECI, 2004; REEVE, 2006). Os pesquisadores Edward Deci e Richard Ryan (1985, 2000, 2008a, 2008b) afirmam que todos os indivíduos possuem uma propensão inclinada à autorregulação. Por esse motivo, a TAD analisa as razões pelas quais os indivíduos podem se envolver ou evitar participar de determinadas atividades, e adota um conceito de internalização que é representada por um continuum de autodeterminação, evidenciando os diferentes tipos de motivação previstos na miniteoria da integração organísmica. Os tipos de motivação podem ser identificados de acordo com o nível de autodeterminação dos indivíduos, através da satisfação de três necessidades psicológicas básicas: a necessidade de autonomia, a necessidade de competência e a necessidade de pertencimento. Esta pesquisa tem uma abordagem qualitativa e escolheu-se o estudo de entrevistas como estratégia de investigação, utilizando a entrevista semiestruturada como principal técnica de coleta de dados. A pesquisa foi realizada com 12 participantes de um grupo de Teatro Musical de uma universidade do Estado Rio Grande do Norte, referida na pesquisa com o pseudônimo de Companhia Musicale. Os resultados apontam que a principal motivação dos alunos não era a intrínseca. Portanto, a motivação foi considerada complexa e multifacetada, pois os participantes passaram por internalização do comportamento dependendo das condições situacionais. As complexidades nas interações puderam promover a satisfação das necessidades psicológicas básicas dos integrantes que apresentaram maior internalização dos comportamentos autodeterminados. Assim, os integrantes com maior desempenho nas tarefas foram os que internalizaram a importância e o valor das atividades. O estudo busca contribuir para futuras pesquisas e colaborar no sentido de perceber a importância de investigar e promover a motivação de alunos, professores, diretores, regentes, coordenadores e participantes de grupos artísticos em geral, trazendo esclarecimentos que ressaltam as contribuições e a importância que a motivação tem sobre o ensino, a aprendizagem musical e o envolvimento de participantes de grupos artísticos em diferentes atividades.

A motivação no teatro musical sob a perspectiva da teoria da autodeterminação

Este estudo teve por objetivo geral investigar os processos motivacionais dos participantes de um grupo de Teatro Musical sob a perspectiva da Teoria da Autodeterminação - TAD (RYAN; DECI, 2004; REEVE, 2006). Os pesquisadores Edward Deci e Richard Ryan (1985, 2000, 2008a, 2008b) afirmam que todos os indivíduos possuem uma propensão inclinada à autorregulação. Por esse motivo, a TAD analisa as razões pelas quais os indivíduos podem se envolver ou evitar participar de determinadas atividades, e adota um conceito de internalização que é representada por um continuum de autodeterminação, evidenciando os diferentes tipos de motivação previstos na miniteoria da integração organísmica. Os tipos de motivação podem ser identificados de acordo com o nível de autodeterminação dos indivíduos, através da satisfação de três necessidades psicológicas básicas: a necessidade de autonomia, a necessidade de competência e a necessidade de pertencimento. Esta pesquisa tem uma abordagem qualitativa e escolheu-se o estudo de entrevistas como estratégia de investigação, utilizando a entrevista semiestruturada como principal técnica de coleta de dados. A pesquisa foi realizada com 12 participantes de um grupo de Teatro Musical de uma universidade do Estado Rio Grande do Norte, referida na pesquisa com o pseudônimo de Companhia Musicale. Os resultados apontam que a principal motivação dos alunos não era a intrínseca. Portanto, a motivação foi considerada complexa e multifacetada, pois os participantes passaram por internalização do comportamento dependendo das condições situacionais. As complexidades nas interações puderam promover a satisfação das necessidades psicológicas básicas dos integrantes que apresentaram maior internalização dos comportamentos autodeterminados. Assim, os integrantes com maior desempenho nas tarefas foram os que internalizaram a importância e o valor das atividades. O estudo busca contribuir para futuras pesquisas e colaborar no sentido de perceber a importância de investigar e promover a motivação de alunos, professores, diretores, regentes, coordenadores e participantes de grupos artísticos em geral, trazendo esclarecimentos que ressaltam as contribuições e a importância que a motivação tem sobre o ensino, a aprendizagem musical e o envolvimento de participantes de grupos artísticos em diferentes atividades.

A educação como instrumento na construção do imaginário republicano: Grupo Escolar Barão de Mipibu (1909-1920)

The purpose of this study is to search the school group Barão de Mipibú/RN, which is located in a city called São José de Mipibú. The aim of this work is to discuss about the use of education as a tool for the formation of the republican imaginary society norte-riograndense. We defined a period from 1909 through 1920. The choice of this work is about how this could be important to the Brazilian History of Education and local, as well as for Cultural History and extends to studies of everyday school life and history of school disciplines. Their achievement was through bibliography search and document analysis. The first was through a review of bibliography on the national and local historiography about the School Groups and productions of the Brazilian Republic. The last one, through the following sources, namely, just the same building of the school group Barão de Mipibú, furniture inventories, class daily, terms of visits of Education Directors and reports of the Directors, book Our History by Rocha Pombo, Educational Legislation, Legislative Congress posts, the decree of creation of School Groups, in particular Barão de Mipibú and the Group Model Augusto Severo, as well as the internal statute and finally, interviews with Alumni of the 50s. The study is inserted in the history of education and as the theoretical to assist in the analysis of sources on the imagination of the study, we looked for support in Jacques Le Goff (1994), Bronislaw Bazcko (1985), Cornelius Castoriadis (1982). At the end of this work it was possible to get the understanding that the Republican government found in the educational Field, one way to spread their ideals and collaboration in building the social Imaginary of the republic, which was constituted in the early twentieth century.

Uma análise da formação de professores de física do IFRN a partir da epistemologia de Ludwik Fleck

This study arises in the context of physics teacher training and aims, from the speech of the teacher trainer, identify possible pedagogical models and characterize thinking styles present in the course of licentiate in physics of IFRN using the epistemology of Ludwik Fleck. We classify our research as qualitative with an empirical nature, and for the analysis we chose the discursive textual analysis - DTA (MORAES, 2003). The locus of our research will be the licentiate in physics at the Federal Institute of Education, Science and Technology of Rio Grande do Norte - IFRN, Natal-Central Campus and the research subjects, a group of teacher trainers of this course. We interviewed ten teachers, being six from the group dedicated to physics and four from the group dedicated to didactics and pedagogy. From this design, we performed data acquisition consisted of: 1) semi-structured interview, 2) document analysis. On the data analysis, with the support of pedagogical trends that were observed in our study based on the perception of the similarities and differences between the ideas presented by teachers about: education and teaching; ideal teaching practice, teacher's role, learning conceptions, and according to the student and on the ideological thinking of these former teachers on the professional profile of graduates, we noted subsidies to identify evidences of the presence of three distinct thinking styles that interrelate with each other in a considerably intense way. The relevance of the study is presented in the understanding of thinking styles that participate in the dynamics of the course of teacher training in physics, and by consequence, elucidation of a problem pointed out a priori as motivating the research: the difficulty of communicative interaction on educational practices among teacher trainers. We bring Fleck's epistemology as a motivating possibility of dialogue and negotiation, setting thus an instrument of real change, towards the significance of teacher training in physics.

O ator na rua: uma expressividade caótica

Ce travail a recherché sur le processus de préparation corporel\vocal\énergique de l’acteur pour la rue. Notre quête principale c’est comprendre les processus qui l'acteur se déplace afin de développer une énergie à la scène dans la rue. C'est cette énergie qui est mis en place et se rapporte à le passant\spectateur? Qui attire l'attention de passant\spectateur? Serai l'histoire? Le code vestimentaire ou être une expressivité dynamisée? Serai une énergie présente dans le corps de l'acteur qui se relacione avec les passants? Comme l'acteur se rapporte à l'espace urbain? Pour tenter de répondre à ces questions, nous allons utilisé certains principes de la physique moderne, tels comme: la Théorie Quantique et le Principe d'Incertitude, autan la Théorie du Chaos. Le théâtre jouée dans les rues, surtout par le biais de longs prolongements de construction scénique, cependant, lorsque présentée au public, est prise par les autres causalités, car étant situé sur la rue, l'acteur devient assujettie à cet espace et ne peut pas nier la possibilité des faits qui peuvent se produire. Selon la physique quantique l'énergie se propage dans un espace vide, la quantité d'énergie physique étant échangé dans la rue, ce qui entraîne le moment magique où les corps des acteurs, des échanges constants avec les spectateurs, en permettant le saut quantique: le spectacle théâtral de la rue.

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

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

A arte de conduzir-se pelo ensino de teatro: realidades e ficções de alunos-diretores em Camarão

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.

Ensino de teatro e diálogo freireano: uma experiência junto ao PIBID-Teatro/UFRN

This work aims, from the exchange and dialogue with the agents involved in the research process, discuss the ways for planning a Dialogic Teaching Theatre proposed by the Institutional Scholarship Program Introduction to Teaching subproject Theatre UFRN, considering Freire's thought in relation to the dialogue, and the teaching moments (Study of Reality, Knowledge Organization and Application of Knowledge) proposed by the Group of Studies and educational Practices in Movement UFRN. The research develops a joint effort with stakeholders relying on the "dialogical" and "problem-based approach" as mobilizing methodological foundations for the construction of knowledge in both the group PIBID Theatre / UFRN, as the group attended by fellows of this program in Municipal school Professor Laércio Fernandes Monteiro, on Natal-RN. Through a participatory research, a constant movement of action-reflection-action, and making use of some instruments of school ethnography, as participant observation, unstructured interviews, and graphics and textual records, is that it has trodden and built the search this way, experiencing and questioning the experience. Thus, the theoretical framework of this thesis are located on Paulo Freire's work as it relates primarily to the dialogical education, in pedagogical systematization of the Study Group and Educational Practices in Movement (GEPEM / UFRN), and the Research Laboratory of production scenography and scene Technologies (CENOTEC / UFRN), with regard to the construction of an educational process that considers the realities of the subjects in connecting these realities and specific knowledge of the taught area, relationships between specific area and other areas of knowledge, and recognizing the school as a space for dialogue.

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

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle