O Teatro Fórum como dispositivo de discussão da violência contra a mulher

This article presents the results of a study that made use of the Theatre of the Oppressed, in its Forum Theatre form, to promote discussions and reflections on violence against women. This was achieved through a sketch about the theme shown to a group of recyclable material collectors from two towns in the interior of the State of São Paulo. In the Forum Theatre the spectators become actors/actresses and, through the activity, help to find a solution for the enacted conflict. The results of the study suggest that the Theatre of the Oppressed can be used as an important methodological procedure for research. In the field of Psychology specifically, this theatrical tool emerges as an alternative device in order to work with participative studies involving diverse themes and issues of a community, producing ruptures in hegemonic practices and discourses.

A coisa e o olho: uma abordagem da direção de atores no teatro de Samuel Beckett

Pós-graduação em Artes - IA

O teatro adulto na cidade de São Paulo na década de 1980

Pós-graduação em Artes - IA

No limiar do desconhecido: reflexões acerca do objeto no teatro de Tadeusz Kantor

Pós-graduação em Artes - IA

A concepção de trabalho na educação básica: caminhos para a formação da juventude no Instituto Federal de Educação, Ciência e Tecnologia do Ceará

In 2008 two laws that changed the didactic- pedagogic and administrative organization of vocational schools were enacted: the Law 11.741/2008, which incorporated the Technical Professional Education for the Middle Level to Basic Education; and Law 11.892/2008,which has transformed Agrotechnical Schools, the CEFET 's and some technical schools linked to universities into Colleges of Education, Science and Technology (IFs). These institutions have been operating at all levels and types of education provided in the Law of Directives and Bases of National Education number 9394/1996, with the exception of Early Childhood Education. Vocational and training schools, which gave origin to the IFs,have historically restricted youth education to teaching professional techniques, but due to the reformist laws, they were led to revise their conceptions of work and education. Thus, the goal of this article is to analyze the concepts of Basic Education and work that permeate these laws and the organization of educational work at IFCE. Have these laws been promoting a rupture with the history of vocational education in the country? Have the IFs been accomplishing a teaching job in addition to technical training? The choice for these questions was motivated by two main reasons: a) Vocational Education in the aforementioned institutions have traditionally been restricted to the qualication of the labor force for learning a technical profession, without relating it to issues that concern basic education; b) The Reform of Basic Education, from 1990 to 2013, was conducted in the context of capital's structural crisis and aimed to adapt the educational system to the demands of productive sectors. Thus, the main objective of this paper is to explain the contradictions that exist in project of formation of the working class, in the context of a conictual society divided into classes, a situation that alienates the youth to live this time forever.

O Jusnaturalismo e a Expressão do Sentimento no Teatro

No momento em que Grócio publica suas teorias sobre o direito natural, o teatro tematizava diversos assuntos abordados no Direito da guerra e da paz. Na Espanha, Lope de Vega defendia o tiranicídio em peças como Fuenteovejuna e Peribãnez ou O comendador de Ocanã, enquanto Grócio limitava o direito de resistência aos casos de ameaça de morte. Cervantes via na iniciativa de Lope de Vega uma perigosa concessão política ao vulgo, implicando a ocultação da técnica empregada por atores e dramaturgos, e a consequente exacerbação do apelo emocional do teatro. Grócio, por sua vez, demanda que o direito se expresse em linguagem racional, na medida em que a lei só se afirma como sanção coletiva – ao passo que o sentimento se encerra na interioridade.

O Espectador como Narciso, o Teatro como Espelho: Considerações sobre as Peças 'Amor no Espelho', de Giovan Battista Andreini, e 'Narciso', de Jean-Jacques Rousseau

Theatre plays as Amor nello specchio, written by Giovan Battista Andreini in 1622, and Jean-Jacques Rousseau’s Narcisse (1752), thematize the condition of a spectator submitted to the established morality or inserted in a determinate political structure. Thus, here the myth of Narcissus and the theme of mirroring do not restrict themselves to the realm of individualized psyche.