Oficina educomunicativa de produção de vídeos: construção de significados sobre problemas socioambientais

This research aims to analyze the meaning making by Elementary Education students from public schools of Uberlândia (Minas Gerais, Brazil) about the social and environmental problems of their surroundings as of audiovisual reading and expression skills. The theoretical framework is based on constructivism, through the study of contributions about: cognitive development; meaningful learning; cognitive processes and types of knowledge; principles of learning with technology; educommunication focused on critical media literacy; and critical environmental education. The study object is a video production workshop organized in nine meetings, from September to November 2015, attended by 15 students. The following data collection instruments were used: the materials produced by the participants, specifically guided critical media literacy, agenda, script and final video; researcher observations from his role as a mediator; and focal interviews. The analysis was divided into two axes: procedural knowledge – technical skills of critical media literacy and production; and conceptual and metacognitive knowledge – representation of social and environmental problems and metacognitive skills of critical media literacy. Data were coded in the form of a skill evaluation rubric and also in the form of graphs. Thus, despite the time constraints, it is inferred that the workshop helped students to deepen their understanding about the discussed content, which is reinforced by observing in the graphs how the constant progressive differentiation of more inclusive concepts occurred along the meetings. It is further considered that the workshop contributed to the students reflect on their way of learning through critical use of techniques of media literacy and production, which can be seen from the satisfactory learners performance in most elements evaluated by the rubrics, as well as from the success in identifying interlocutors, values and actions in the read and built texts, something revealed by the graphs.

Conduções cênicas: A “Açon” e o movimento através dos princípios e procedimentos metodológicos de Gilles Gwizdek

The research identifies and describes the principles and methodological procedures of the director Gilles Gaetan Gwizdek on the transposition of the dramatic text to the space of representation through action and movement. Besides that, it presents the results of the experiment in two different labor camps and conducting modes: the no-actor student, inserted into the basic education, and the actor-student, inserted in higher education. Through the scenic paths encountered by the director, the individuals were could find their own ways and verify, through the scenic conductions, how such methodological procedures can achieve a pedagogical thinking about the actor's work. As theoretical referential, were studied the artists-educators: Jacques Copeau, in what sensitizes to the use of dramatic text, and Jacques Lecoq, it approaches of the physical use of the actor's body to the theater. The concepts about theater of the scholars in theater: Constantin Stanislavski, Eugênio Barba, Meyerhold, Eugênio Kusnet, Bertold Brecht go through the theoretical revisions of the thinkers: Odete Aslan, Patrice Pavis, Ney Piacentini, Lúcia Romano, Flávio Desgranges e Anne Bogart, in what affects their practical experiences and conceptual about the text, the action and the movement. It was analyzed also the practical experience based on the principles and methodological procedures of Gilles director, in rehearsals and performances of students in the ninth grade of the primary school the Basic School of the Federal University of Uberlândia - ESEBA, as also, of the students of the sixth, seventh and eighth period, of the Theater Graduation in the same university. From this analysis, it was proposed an interrelation between the theoretical and practical works, done by reading of the artists-educators about movement and Gilles Gwizdek in his work process. The research suggests that, from the movement, the student can build autonomously a character through the experience of small movements of the body. Thus, this student would increase his relationship between stage and audience, and consequently, he would cause a possible state of "seduction" of the spectator to the spectacle.