Dissertations / Theses: 'Formative theater'

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Belvis, Pons Esther. "Trans-formative Theatre: Living Further Realities." Doctoral thesis, Universitat Autònoma de Barcelona, 2012. http://hdl.handle.net/10803/96526.

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Esta tesis estudia la relación entre los cuerpos humanos y el evento teatral a través de tres producciones Europeas―Pura Coincidencia de Roger Bernat, Tunning Out with Radio Z de Stan’s Café y Outdoors de Rimini Protokoll― que exponen la emergencia de lo trans-formador. Lo trans-formador opera entre y a través de lo teatral en propuestas experimentales que enfatizan su naturaleza estructural, relacional y sistémica mediante distintas formas de participación. En este sentido, esta investigación explora la naturaleza participativa de estas propuestas artísticas y sus atributos, respondiendo a las siguientes cuestiones: ¿cómo el evento teatral interactúa con lo cotidiano y su teatralidad generando experiencias que se ubican principalmente en el cuerpo? ¿Cuáles son los atributos e implicaciones de las interacciones que emergen en el presentarse, en el estar presente, en el presenciar?¿Cuáles son los compromisos que nacen y se establecen entre los cuerpos al compartir la experiencia teatral? La investigación cuestiona los parámetros relacionales del evento teatral a fin de exponer los afectos y efectos en los cuerpos de los participantes, sean estos artistas profesionales, hábiles amateurs, investigadores en artes escénicas, o bien accidentales o intencionales espectadores. Esta tesis desafía las (im)posibilidades del conocimiento a través de un método basado en la práctica como investigación, lo que en el ámbito anglófono se conoce como practice-as-research. La tesis se compone de dos partes diferenciadas. La primera parte consiste en un capítulo introductorio titulado Arquitecturas Invisibles que pretende facilitar la comprensión de las condiciones operativas que desembocan en la construcción de reflexiones a partir de la experiencia práctica de la propia investigadora. Las condiciones denominadas nomadismo, net-gaming y transducción, derivan respectivamente de las teorías y métodos de Gilles Deleuze y Félix Guattari, Bruno Latour y John McKenzie. Al desplegar estas tres condiciones operativas aparecen ciertas cuestiones relevantes relativas a lo ecológico, lo social, lo político, lo geográfico, que son identificadas simultáneamente como aspectos clave para vislumbrar en qué modo la tesis narra ciertos aspectos de las prácticas teatrales analizadas. La segunda parte titulada Esferas de Inmersión examina las prácticas artísticas. Cada capítulo explora diferentes aspectos teatrales― expectativas, tiempo, atmosfera, trabajo y transformación― a través de una escritura que resulta metafórica, analítica y performativa. Las metáforas evocan lo común, dando lugar a una esfera compartida entre los distintos espectáculos y la investigadora, sumergiendo al lector en los distintos eventos teatrales.
This thesis studies the relationship between human bodies and theatrical events through selected European examples of the emergence of transformative ‘in-between’ experimental performance in the early 20th century. It aims to explore the nature of participatory practices and their attributes. How the theatrical event does interact with the everyday and its theatricality creating ‘embodied’ experiences? What are the attributes and the implications of the relationships that emerge through this bodily engagement? The study questions emergent relational parameters of the theatrical experience in order to explicate its affects and effects in the bodies of participants, whether professional artists, skilled amateur practitioners, theatre/performance researchers, and accidental or intentional audiences and spectators. Its investigation challenges the (im)possibilities of performance knowledge through an experimental method based in a practice-as-research approach. The introductory chapter aims to facilitate understandings of the operational conditions through which the ‘embodied’ is materialized in theatrical performance. The conditions, are named as ‘nomadism’, ‘net-gaming’ and ‘transductions’, and respectively are drawn from the theories and method of Gilles Deleuze and Félix Guattari, Bruno Latour and John McKenzie. In unfolding these operational conditions significant ‘ecological’, social, political, geographical concerns are identified as critical to how the thesis accounts for key elements of current experimental theatrical performance. The rest of its chapters examine three productions of the international touring companies Roger Bernat (Barcelona), Stan’s Cafe (Birmingham) and Rimini Protokoll (Berlin). Each chapter examines different specific yet comparable aspects of their participatory theatre/performance methods – namely: expectations, time, atmosphere, labour, and transformation – a through writing that is metaphorical, analytical and performative. Metaphors evoke the ‘common’, they interlace bodily expectations and they trigger the sense of the fleeting experience establishing a shared sphere between the shows, the audiences and the researcher, immersing the reader in the theatrical events. Thus the thesis aims to present the significance of the ungraspable in participatory experimental performance, paradoxically because only in its evanescent in-betweeness might the ‘embodied’ be envisioned.

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Leite, Thiago de Castro. "Teatro como experiência formativa: um diálogo com o pensamento de Hannah Arendt." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-08092016-153359/.

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Este trabalho pode ser caracterizado como um exercício de compreensão. Trata-se de um exame das reverberações provocadas pela obra de Hannah Arendt em nosso modo de conceber as relações entre educação e linguagem teatral e, em especial, em nosso modo de refletir acerca do potencial formativo da experiência teatral dentro do ambiente escolar. Ao conceber a educação como uma tarefa voltada para a inserção das novas gerações num legado de significados compartilhados, Hannah Arendt nos provoca a pensá-la sob a perspectiva do mundo. Assim para além de compreender que educar crianças e jovens consiste em prepará-los para viver, treinando habilidades e competências para que realizem inúmeras tarefas no mundo, Arendt identifica a atividade educativa como uma forma de apresentação do mundo, uma tentativa de familiarização com as experiências e obras que o constituem e que nos foram legadas por nossos antepassados. No que toca à linguagem teatral, os indícios encontrados em sua obra nos levam a sugerir a existência de uma especificidade para o teatro que reside na oportunidade para que aqueles que participam do evento artístico olhem para o mundo que é revelado na cena e possam pensar sobre ele, examiná-lo e atribuir-lhe algum sentido. Nesse encontro entre um alguém que representa ações humanas e um alguém que pode delas fruir como espectador, instaura-se uma oportunidade para a emergência de exercícios de compreensão sobre o próprio mundo. É por essa razão, por tais aspectos serem intrínsecos à linguagem teatral, que nosso percurso se dedica a pensá-la dentro do ambiente escolar, ou seja, como um ponto de vista sobre o mundo, como uma forma de inserir as novas gerações num legado comum. Todavia, essa inserção não consiste apenas em apresentar informações sobre o mundo humano, não diz respeito à somente conhecer o que nele ocorre, mas configura-se como uma chance de pensar sobre o mundo, ressignificando-o e, nesse processo, sendo transformado por ele. Um encontro afetivo entre as novas gerações e o legado de experiências e obras que constituem o mundo, ou seja, uma experiência formativa.
This dissertation can be characterized as an exercise of understanding. It brings an analysis of the reverberations of Hannah Arendts work in our way of conceiving the relationships between education and theater language, especially in our way of thinking about the formative potential of the theatrical experience in school environment. When conceiving education as a task dedicated to the insertion of new generations in a legacy of shared meanings, Hannah Arendt causes us to think education in a world perspective. Hence, more than understanding that teaching children and youngsters consists in preparing them to live, training their skills and competences so that they can do several activities in the world, Arendt identifies education as a form of world presentation, an attempt of familiarizing students with the experiences and works which constitute the world and that our ancestors left us as a legacy. Regarding theatrical language, evidence found in her work allows us to suggest the existence of specificity for theater, which lies in the opportunity, for those who participate in the artistic event, to look to the world that is revealed in scene and think about it, examine it and assign it meaning. In this meeting between someone who represents human actions and someone who enjoys them as a spectator, it is possible to find the opportunity for understanding the world itself. For this reason, for such aspects are intrinsic to the theatrical language, our journey is dedicated to think it in the school environment, as a point of view on the world, as a form to enter new generations in a common legacy. Nevertheless, this insertion not only consists in presenting information about the human world, identifying what happens on it, but also consists in a chance to think about the world, assigning new meanings to it and, in this process, being changed by it. An affective encounter between new generations and the legacy of experiences and works that constitute the world: a formative experience.

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Carvalho, Marcelo Braga de. "Do ser ao ator: uma trajetória pedagógica inspirada em Myrian Muniz." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-24112015-103958/.

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A matéria tratada nesta tese é a trajetória pedagógica desenvolvida pelo autor junto aos alunos atores ingressantes do curso de licenciatura em Artes Cênicas da Faculdade Paulista de Artes. Esta trajetória tem como ponto de partida a prática pedagógica da atriz, diretora e professora Myrian Muniz, detentora de olhar bastante particular sobre o trabalho atoral, e contempla também outros processos formativos vivenciados pelo autor. Esta pesquisa busca identificar uma linha de pensamento pedagógico nas Artes Cênicas, que tem o trabalho do ator sobre si mesmo como conceito fundante, e cujos representantes mais importantes são Constantin Stanislávski, Eugênio Kusnet e Myrian Muniz. Esta pesquisa visa também compartilhar as etapas mais relevantes nos processos pedagógicos envolvendo aprendizes em teatro, desde o compartilhamento dos primeiros fundamentos acerca do trabalho do ator até e elaboração de um espetáculo teatral que foi fruto do referido processo. Por fim, o autor analisa e reflete sobre a trajetória percorrida pelos alunos atores, buscando definir novos possíveis caminhos de formação do artista teatral, e também identificar uma linha própria de atuação como formador, sempre tendo o autoconhecimento como princípio pedagógico.
The subject of this thesis is the pedagogical path developed by the author among Performing Arts newcomer students at Faculdade Paulista de Artes. This path starts with the pedagogical praxis of actress, director and professor Myrian Muniz, bearer of a particular vision on actor\'s work, and contemplates also other formative processes experienced by the author. This research aims to identify a pedagogical thinking stream over Performing Arts, which holds the actor\'s work upon himself as cornerstone concept, having Constantin Stanislavsky, Eugenio Kusnet and Myrian Muniz as its most important representatives. Also objects to share the most relevant steps present in this pedagogical processes developed with the theater apprentices, from presenting the basic elements involving the actor\'s work, to the staging of a play as outcome of the related process. Lastly, the author analyses and looks over this pedagogical process that led to the search for defining possible new ways of educating performing artists, along with identifying a personal proceeding process as a drama teacher, having self-knowledge as a pedagogical principle.

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Santos, Kelly Cristina dos. "Artur Azevedo e o teatro." Universidade Federal de Sergipe, 2016. http://ri.ufs.br:8080/xmlui/handle/123456789/5689.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Artur Azevedo, who is considered by critics as a man of the theater, wrote plays with features of the popular and bourgeois culture, with simple plot and everyday issues, he was strongly criticized for his musical comic production and, according to some critics, it is less valued. This research theme is the study of Azevedo‘s theater, specifically in the plays O Mambembe, O Dote and A Capital Federal. We had as a starting point some conceptions about the theater formulated by Schiller (1964), also a brief explanation for the period in which the author and his work are inserted, identifying the procedures and comic functions in the plays in a third phase. We had as a theoretical support, about comicality, to fundament the research, the study O Riso: Ensaio sobre a significação da comicidade, by the author Henri Bergson (2007). From the conducted study, we observe that the brazilian theater, in the analyzed period, reflected in its structure the necessity to talk about itself and its internal and external tensions. Through the study of the comic plays we could understand that they had a moralizing function, comicality was used to correct manners. We realize, therefore, that the active comic in that period has fulfilled the moralizing function of correcting human behaviors that are diverted from socially established standard, so for these diverted habits the comic bias has acted in order to reintegrate the individual to the social environment.
Artur Azevedo, considerado pela crítica como um homem do teatro, escreveu peças com características da cultura popular e burguesa, com enredo simples e temas do cotidiano, foi criticado fortemente pela sua produção cômica musicada e, segundo a crítica, de valor menor. Esta pesquisa tem como tema o estudo do teatro de Azevedo, especificamente nas peças O Dote e A Capital Federal. Tivemos como ponto de partida algumas concepções sobre o teatro formuladas por Schiller (1964), como também uma breve passagem pelo período em que estão inseridos o autor e obra, identificando os procedimentos e as funções cômicas que nelas há em um terceiro momento. Tivemos como auxílio teórico, sobre a comicidade, para embasar a pesquisa, o estudo O Riso: Ensaio sobre a significação da comicidade, do autor Henri Bergson (2007). A partir do estudo realizado, observamos que o teatro brasileiro, no período analisado, refletia em sua estrutura a necessidade de falar de si mesmo e de suas tensões internas e externas. Através do estudo das peças cômicas pudemos entender que elas tinham uma função moralizadora, a comicidade era utilizada para correção dos costumes. Percebemos, dessa forma, que o cômico atuante nesse período vai cumprir a função moralizadora de corrigir condutas humanas que estão desviadas do padrão estabelecido socialmente, então para esses comportamentos desviados o viés cômico vai atuar com o propósito de reintegrar o indivíduo ao seu meio social.

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Vander, Lugt Wesley. "Available actors, appropriate action : theodramatic formation and performance." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3728.

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Situated within the theatrical turn in Christian theology, this project explores theatre as a model for theological ethics, looking particularly at the dynamic interplay between formation as disponibility (availability) and performance as fittingness (appropriateness). A primary goal is to demonstrate how disponible formation and fitting performance are multi-dimensional realities oriented simultaneously toward the triune God (as playwright-producer-protagonist), Scripture (as transcript and prescript), the church (as characters in company), tradition (as performance paradigms), unbelievers (as audience), and local context (as theatrical environment and place). As a result, this theodramatic approach seeks to integrate theology and ethics, describing and resourcing everyday Christian practice with reflection on the theodrama. In addition, focusing on the dynamic interplay between formation and performance represents an attempt to unify agent-oriented with action-oriented theological ethics within a holistic, theodramatic framework. Finally, through attentive interaction with theatrical theory and practice, this project contributes to a fruitful and growing dialogue between Christian theology and the arts, particularly how theatre provides imaginative, heuristic models for theological ethics pursued within the liberating constraints of confessional Christianity.

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Kang, Yin-Chen. "The formation of Taiwanese classical theatre, 1895-1937." Thesis, SOAS, University of London, 2013. http://eprints.soas.ac.uk/18445/.

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In this dissertation, I argue that Taiwanese classical theatre was formed during 1895 to 1937, the Japanese colonial period before the Second Sino-Japanese War (1937-1945). My argument is that Taiwanese classical theatre was formed through concept construction, the modernization of content, the emergence of new genres and the Taiwanization of language and themes. Japanese colonization launched modernization in Taiwan, which in turn brought about theatrical modernization. Japanese researchers introduced modern approaches to studying classical theatre in Taiwan, and therefore established a modern systemic approach to it. Based on this, the concept of "Taiwanese classical theatre" was constructed. Modernization further formed the contents of Taiwanese classical theatre. The Japanese introduced modern media to Taiwan. Meanwhile, the achievements of theatre reform and the realist aesthetic were introduced from Japan and China. Classical theatre troupes in Taiwan took advantage of modern media and learnt modern theatrical style. This in turn resulted in the emergence of a new genre, Taiwanese reformed theatre/Taiwanese opera. Realist aesthetics performed by Japanese and Chinese troupes further stimulated Taiwanese audiences to call for realism within a Taiwanese context. Classical theatre troupes in Taiwan responded to the demand, beginning a process of Taiwanization in language and themes. Taiwanese reformed theatre/Taiwanese opera was the last stage in the linguistic Taiwanization of classical theatre. It reflected concurrent and realistic language of Taiwanese people in daily life. Thereafter, classical theatre troupes, especially those of Taiwanese reformed theatre/Taiwanese opera, began to compose plays with Taiwanese themes. These plays reflected Taiwanese environment, history, society, customs, and so on, and showed modern characteristics as well. Taiwanization in themes was the final step; through it, the formation of Taiwanese classical theatre was completed. The formation of Taiwanese classical theatre is a mirror of newly-shaped Taiwanese culture in the colonial period and is also a crucial transition between traditional theatre and modern theatre in Taiwan.

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Souza, Cibele Witcel de. "Educação infantil e teatro: um estudo sobre as linguagens cênicas em propostas formativas, educativas e infantis da Rede Municipal de São Paulo/SP." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-30112016-150034/.

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A presente pesquisa buscou investigar as relações entre Educação Infantil e Teatro a partir das Linguagens Cênicas que vêm sendo concebidas e construídas em propostas formativas, educativas e infantis da Rede Municipal de São Paulo/SP. Partindo da análise do Curso Percursos de aprendizagens na Educação Infantil: práticas teatrais, junto ao Programa de Formação Continuada da Educação Infantil promovido pela Secretaria Municipal de Educação de São Paulo/SP (SME/SP), denominado A Rede em rede: formação continuada na Educação Infantil, e de alguns de seus desdobramentos, como o Caderno Percursos de aprendizagens na Educação Infantil: práticas teatrais, foi possível se aproximar de propostas educativas de professoras envolvidas e de propostas infantis de meninas e meninos pequenos. Para tal, foram realizados os seguintes procedimentos: pesquisa de campo em um Centro de Educação Infantil (CEI) da cidade de São Paulo, com observação da jornada educativa; oito entrevistas semiestruturadas com professoras, coordenadora e supervisora da SME/SP, e com formadoras do referido Curso; além da coleta e análise de documentos e de outros materiais produzidos. As análises dos dados coletados foram realizadas de forma articulada, à luz da produção recente tanto brasileira quanto estrangeira no campo das pesquisas em Educação Infantil, na interface com as Ciências Sociais e com as Artes na primeira infância, e com a produção teórica sobre o Teatro propriamente dito especialmente da Performance e do Teatro pós-dramático , concebendo as crianças como plenas, inteiras, completas e as Linguagens Cênicas como formas delas conhecerem, criarem, inventarem, sentirem, viverem e compartilharem conhecimentos, saberes e culturas, assim como, também das profissionais da Educação Infantil. O Curso investigado e seus desdobramentos, apesar de não romperem com propostas formativas que ainda desconsideram o protagonismo e as criações de crianças, professoras, gestoras e formadoras, trouxeram alguns avanços e contribuições que se revelaram emergentes para a construção de uma Pedagogia da Educação Infantil fundamentada nas Artes, mas que só poderá ser construída quando forem consideradas as propostas educativas e infantis que estão sendo inventadas pelas professoras e, especialmente, pelas meninas e meninos pequenos, a partir das Linguagens Cênicas.
This research sought to investigate the relationship between Child Education and Theater in the perspective of the Scenic Languages that have been conceived and constructed in formative, educative and infantile proposals in the education system of the city of São Paulo/SP. Starting with the analysis of the Course on Itineraries of learning in Child Education: theatrical practices, by Continued Training Program on Child Education conducted by the Education Department of the City of São Paulo/SP (SME/SP), called The networking in education system: continued training on Child Education, and some of its outcomes, as the Booklet Itineraries of learning in Child Education: theatrical practices, it was possible to take a close look at educative proposals of female teachers involved and at infantile proposals for young girls and boys. For such, the following procedures were carried out: field research in a Child Education Center (CEI) in the city of São Paulo, with observation of the educative working hours; eight semi-structures interviews of female teachers, educational coordinator and the supervisor from SME/SP, and with lecturers in the training course mentioned above; in addition to the collection and analysis of documents and other materials produced. The analysis of the data collected was conducted in an articulated fashion, in the light of the recent literature both in Brazil and abroad in the field of studies on Child Education, in interface with Social Science and Art in early childhood, and with theoretical production about Theater specially Performance and post-dramatic Theater , conceiving children as full, integral, complete subjects and the Scenic Languages as ways of knowing, creating, inventing, feeling, living and sharing different types of knowledge and cultures, as well as the professionals working in Child Education. The Training Course being investigated and its deployments, although they do not break away with the formative proposals that still disregard the prominence and the creativity of children, teachers, managers and trainers, brought forth some improvements and contributions that turned out to be emergent in the construction of a Pedagogy for Child Education based on Art, but it will only be able to be devised when and educative and infantile proposals are taken into consideration as they have been invented by teachers and, especially, by the young girls and boys, aided by the Scenic Languages.

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Witter, Carlos Eduardo de Souza Brocanella. "O ator musical: a musicalidade na composição cênica." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-06032014-151151/.

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Esta pesquisa teórico-prática realiza um estudo do pensamento e dos princípios de trabalho de Vsévolod Meyerhold a partir da musicalidade no trabalho do ator, utilizando princípios de Murray Schafer e Dalcroze, para a compreensão da musicalidade no corpo do ator e no espaço cênico, com vistas à uma formação mais global do ator. Neste sentido buscamos traçar princípios pedagógicos e fundamentos artísticos sobre os quais investigamos teórica e praticamente. Sua contribuição pode ser útil para que o ator vislumbre possibilidades de trabalho exploratório sobre si mesmo, passando por um processo de incorporação da musicalidade enquanto elemento constitutivo de sua prática e organizador do tempo no espaço. Traça ainda breves comentários sobre um teatro múltiplo, no qual dialoguem todas as linguagens artísticas de maneira não disjuntiva. Busca, finalmente, uma formação integral do ator enquanto humano e enquanto artista.
This research makes a theoretical and practical study of thinking and working principles of Vsévolod Meyerhold from the musicality at the actor\'s work using Murray Schafer\'s and Dalcroze\'s principles for the understanding of the musicality in actor\'s body and at the scenic space, looking for a global training of the actor. In this sense, we try to describe pedagogical principles and artistic elements on wich we study theoretical and practically. Its contribution can be useful for the envision possibilities of the actors on their exploratory work, through himself, passing through a process of incorporation of the musicality while constitutive element of their practice and a time organizer at the space. It also makes short comments about a plural theater in wich all the artistic languages can dialogue in a non-disjunctive way. Finally, it tries to find an integrate training of the actor as human and as an artist.

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Bastani, Nava Corinne. "A project proposal for the formation of People's Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay /." Link to the online version, 2007. http://hdl.handle.net/10019/1670.

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Hensley, Katharine Elizabeth. ""Terrorism Is Theater": How Antagonist Portrayals in Action Films Affect Stereotyping and Impression Formation." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/32667.

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This study examined portrayals of terrorists in several action films and their effects on participantsâ thoughts concerning the films and their characters. A 2 x 2 x 2 factorial experiment was used to test the effects of antagonist ethnicity (white or non-white), antagonist portrayal type (sympathetic or non-sympathetic), and mortality salience (treatment or control) on narrative transportation, attitude toward the antagonist, attitude toward the video, stereotype endorsement, and response time for attitude toward the antagonist. Gender differences were also investigated.Participants viewed one 15-minute clip from an action film that manipulated antagonist ethnicity and antagonist portrayal. Then, participants answered several questionnaires surrounding the previously mentioned dependent variables. White terrorists and sympathetic portrayals were preferred over non-white terrorists and non-sympathetic portrayals. Participants in the mortality salience control condition evaluated Arabs more favorably than those exposed to the mortality salience treatment. In addition, males rated antagonists more favorably than females, and males were also less likely to engage in stereotyping of Arabs and African Americans. Implications for theory and suggestions for future research were discussed.
Master of Arts

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Fabiano, Claudia Alves. "Uso do território, descentralização e criação de redes no teatro vocacional: aspectos da práxis teatral do artista-orientador." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-09092011-115235/.

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Esta pesquisa parte da sistematização de um processo de trabalho no âmbito do Teatro Vocacional na experiência de duas funções por mim exercidas: artista-orientadora (2004-2006) e coordenadora de equipe (2007-2008), a partir de três dimensões: o uso do território, a descentralização cultural e a criação de redes, como aspectos da formação contínua dos artistas-orientadores envolvidos no Projeto. São estabelecidas relações especialmente com conceitos discutidos na Geografia Humana e presentes na obra do geógrafo Milton Santos, visando a provar que a formação continuada dos artistas envolvidos no Projeto a partir das três dimensões citadas delineia diretrizes básicas para a constituição de políticas públicas culturais sólidas na área de teatro na cidade de São Paulo.
This research starts from the systematization of a work process within the Vocational Theatre based on two tasks performed by the author: orienting artist ( 2004-2006) and team coordinator ( 2007-2008), from three dimensions: use of territory, cultural descentralization and creation of networks, as aspects of the continuous formation of the orienting artists involved in the project. Relations mainly with concepts discussed in Human Geography and present in geographer Milton Santos\' work are established aiming to prove the continuous formation of the artists involved in the project from the three dimensions mentioned outlines basic guidelines to the constitution of solid public cultural policies in the theater area in the city of São Paulo.

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Camargo, Rosangela Andrade Aukar de. "A saúde em cena: o teatro na formação do enfermeiro." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/22/22131/tde-17012007-151100/.

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Poucos estudos focalizam o teatro no ensino universitário, porém a literatura sobre o tema permitiu a sustentação teórica desta pesquisa. Neste estudo, optamos por uma pesquisa qualitativa, mediatizada pela Pesquisa-Ação, cujo objetivo foi descrever, analisar e interpretar os aspectos educativos presentes no processo de construção do espetáculo teatral (A Revolta da Vacina e Louca Enfermaria) e avaliar sua importância para a formação do enfermeiro. Os 12 sujeitos integrantes do estudo são alunos regularmente matriculados no Curso de Graduação em Enfermagem e foram orientados por um professor de artes cênicas na composição das encenações, a partir de um projeto pedagógico dialógico e crítico, implementado na disciplina de Enfermagem em Saúde Coletiva. Realizou-se numa faculdade privada de enfermagem. Os sujeitos, motivados pelo desejo de viver o teatro, visualizam, nessa atividade, acréscimo ao conhecimento, qualificação profissional, socialização, promoção humana e resgate da sensibilidade, fundamentos que se atrelam aos princípios das ações humanizadas de saúde. Os conteúdos curriculares materializam-se na arte teatral com a criação da estória e de personagens. Os ensaios, a seleção do cenário e das músicas, os bastidores e a aproximação com o público retratam a complexidade e a riqueza de vivências que a estratégia proporciona ao grupo. No palco, as encenações exigem concentração, memorização do texto, emoção, expressão corporal, linguagem clara e sincronia dos participantes. Tais técnicas lançam as bases da humanização ao contemplar os sentimentos, as sensações, tanto quanto a razão. Levam-se também em conta o imaginário, os desejos e os sonhos dos educandos, ao superar as fronteiras entre disciplinas. Ao protagonizar o processo de ensino-aprendizagem, a arte teatral incentiva a criatividade, a comunicação e, por fim, a busca do conhecimento com o outro e para o outro, na construção de relações justas, que respeitam o homem na sua integralidade e totalidade. Logo, o teatro é um meio alternativo para ensinar a importância dos processos de autotransformação pessoal e transformação coletiva, porque permite o desenvolvimento da sensibilidade, da reflexão, da crítica na compreensão da realidade. Sugere-se que deva ser integralizada à estrutura curricular, considerando-se a importância da formação cidadã do homem.
Very fill studies focus the theater on college teaching, although the literature about this issue (theater) built the bases for this study. We made an option on this study for a qualitative research; the way used to do it was a Research Action which the objective was to analyze and understand the method used to produce an educative play (The Revolt of Vaccine and Crazy Emergency Room) and evaluate its importance for the formation of nursing students. All the twelve students invited to integrate this study are regularly coursing nursing classes and were oriented by a scenic professor to create the composition of the plays, based on a Pedagogical Process dialogic and critic, improving the course Nursing and Collective Health. It was fulfilled in a private institution of education, located in Sao Paulo state. The students, pushed by the desire to live a play, saw on this activity an addition to their knowledge, professional qualification, socialization, humanization and a rescue of sensibility, fundaments that are deep linked to the principles of humanization actions on health. Curricular contents were materialized through the creation of stories and characters. This exercise demands concentration, memorization, emotion, corporal expression, well speech and hear, techniques that build the bases for an education structured on humanization and citizenship. Though, been part of the education and learning process, theatrical art stimulate creativity, communication and at last a searching for knowledge with someone and for someone, which creates more fair relationships that respect all mankind principles. This is an alternative way to teach how the self transformation and collective transformation processes are important, because it permits the development of sensibility, reflection and comprehension of reality. So, we suggest that theatrical art must be part of all curricular process on every step of human formation.

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Abegg, Fabiano Hanauer. "Movimentos formativos na escola : entre experiências de docência e ensaios de teatro." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/72126.

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A dissertação apresenta os movimentos de formação continuada para professores que vem sendo implementados a partir de 2011 nas escolas estaduais, destacando as aprendizagens desencadeadas por este processo na Escola Estadual de Ensino Médio Emília Viega da Rocha, do distrito de Morungava, no município de Gravataí no Rio Grande do Sul. Dentre os diferentes movimentos de formação docente que são propostos nessa escola, considerando o ambiente escolar como um espaço de confronto e de luta entre forças de conservação (vontade de verdade) e forças de criação (vontade de potência), a pesquisa tem por objetivo narrar as experiências que se apresentaram como um exercício de modificação da prática docente, especialmente aquelas inspiradas nos momentos de ensaio de teatro, tanto do grupo Garras de Anjo quanto do grupo Cooperativa de Teatro e propor oficinas de formação que permitam ensaiar outros modos de ser e fazer a docência, especialmente a partir das técnicas de trabalho do ator utilizadas nos ensaios destes grupos teatrais. As discussões teóricas que servem de base para essa pesquisa (o dandismo pedagógico, a estética da existência, o ensaio e a experiência) apoiam-se, especialmente nas ideias de Montaigne, Nietzsche, Foucault, Agamben e Schechner. Além de apresentar os movimentos formativos que se processam na escola, ocorreu um esforço de intervenção nesse processo através da realização de três oficinas de formação com proposição de exercícios que coloquem em movimento a prática dos professores, avaliando as possibilidades dos ensaios de experiências de formação docente, através dos jogos teatrais. Com essa inspiração, o acesso ao ambiente empírico escolar foi se constituindo a partir de fontes múltiplas, devido à sua instabilidade e ao desejo de ampliar a quantidade e a qualidade dos registros. Por isso, a análise dos movimentos de formação e das oficinas foi feito a partir das observações de pesquisa e relatos variados, entrevista audiogravadas, videogravações, cujas transcrições foram sintetizadas no Memorial de Formação Docente da Escola Emília 2011-2012, que reúne um farto material analisado sob o recorte de três eixos temáticos principais, todos eles intimamente ligados às técnicas de ensaio dos atores de teatro: o corpo, o ensaio e o movimento.
The dissertation presents the movements of continuing education for teachers which has been implemented from 2011 in high schools, highlighting the learning triggered by this process in the State School of Emilia Viega da Rocha, Morungava district in the city of Gravataí in Rio Grande do Sul Among the different movements of teacher training that are offered at this school, considering the school environment as a space of confrontation and struggle between forces of conservation (will to truth) and forces of creation (Will to Power), research aims to narrate the experiences presented as an exercise modification of teaching practice, especially those inspired moments in rehearsal theater, both group Garras de Anjo as group Cooperativa de Teatro and propose training workshops that enable testing other modes to be and do the teaching, especially from the technical work of the actor used in the trials of these theater groups. Theoretical discussions that are the basis for this research (pedagogical dandyism, the aesthetics of existence, testing and experience) rely, especially in ideas of Montaigne, Nietzsche, Foucault, Agamben and Schechner. Besides presenting the formative movements that take place in school, there was an effort to intervene in this process by conducting three training workshops in schools and proposing exercises that put in motion the practice of teachers, assessing the possibilities of testing experiences teacher education through theater games. With this inspiration, access to the empirical school environment was being constituted from multiple sources, due to their instability and the desire to expand the quantity and quality of records, hence the movement analysis and training workshops was made from observations and research reports varied, audio recorded interviews, video recordings, whose transcripts were synthesized in Memorial Teacher Training School Emilia 2011-2012, which brings together a wealth of material analyzed under the cut three main themes, all of them closely related techniques Test of theater actors: the body, the test and movement.

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Akkari, Fathi. "Etude comparative entre la formation d'ecole et la formation sur le tas." Paris 3, 1987. http://www.theses.fr/1987PA030150.

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Cette recherche demontre que la formation theatrale etait historiquement extraite de son foyer naturel: la production. La definition des parametres differenciateurs (apparents) de la formation institutionnelle et celle exercee par les "professionnels" du theatre tunisien (1956-1986), nous sert d'a priori pour notre etude comparative des pedagogies appliquees dans chaque espace de formation. Les pedagogies du transfert et de l'accumulation (centre d'art dramatique) et celles de la maitrise et de la negation (troupes), confrontees aux productions-demonstrations publiques, nous facilitent la fixation du profil des corps resultants. Chacun des corps produits, qu'il soit "corps litteraire", "corps fragmente", ou "non-corps" est qualifie de "corps theatral" et se trouve mis en relation comparative avec le "corps social" du tunisien de la periode post-coloniale. Cette analyse nous autorise a tenter l'elaboration d'une image de l'acteur a former, en adequation avec les horizons de l'imaginaire social tunisien dont l'expression reste a liberer. La rhetorique de la contrainte, la quete du code et le plaisir constituent les points cardinaux d'un itineraire formateur, amorce par le "non-jeu", relaye par le "re-jeu" et le "jeu" et boucle par le "sur-jeu" (ou jeu pur). Ce processus pedagogique nous semble le plus efficace pour atteindre notre premiere cible: un comedien a former en produisant un theatre et non du theatre. Une seconde cible concomitante, les formateurs, vient s'y adjoindre. Notre recherche est, en ce sens, preventive, sensibilisatrice et se veut outil pedagogique pour une didactique de la formation d'ecole sur le tas, structure ideale pour un comedien "kamikaze", dont l'enjeu est la vie et non la carriere, c'est-a-dire un acteur de la radicalisation de la conversion reversible du binome: vie theatre
This research examines the artificial cleavage of a dramatic play and the extraction of training from its original setting i. E production. By defining the parameters that (apparently) differenciate institutional training from that practised by professionals in tunisian theater , we will be able to compare the various pedagogical method used in all areas of training. The methodology (pedagogy) of transfer accumulation (in dramatic art centers) mastering and negation companies that perform to the public, make it easy for us to visualize the profile of the resulting bodies (forces). Everyone of these outcomes, be it litterary, split up body, or non-body, is coined as a dramatic body, and finds itself in a comparative relation ship with the social fabric of post colonial tunisia. This analysis allows us to undertake the elaboration of an image of the player to create in conformity with the tunisian social fancy, the expression of wich is to be released. The rhetoric of compulsion, the search for a code, the search for delight are the main conditions in a formative itinerary initiated with no-play, relieved by re-play and play and ending with over-play (or pure-play). This methodology seems to us the most efficient way to reach our first target: the making of a player for a specific kind of drama and not for any drama. We must add to this target, another concomitant one : the instructors. Thuss our search is preventive , sensitive, and aims to be a pedagogical tool for didacties of training on stage: an ideal structure for a "kamikase" player whose stake is life and not career, that is to say a player of radicalisation, of revertible conversion of the pair: life theater

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Soares, Mei Hua. "Práticas de leitura no teatro de grupo: aproximações com a escola." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-01102014-140021/.

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Visando estabelecer pontos de contato entre leitura, teatro e educação, a presente pesquisa tem por objetivo investigar práticas de leitura envolvidas nos processos criativos de grupos de teatro, especificamente a Cia. Paidéia de Teatro (Cia. Jovem Paidéia) e a Cia. Antropofágica (PY). Essas duas companhias integram o atual teatro de grupo paulistano e foram contempladas pelo Programa Municipal de Fomento ao Teatro para a cidade de São Paulo ao longo de algumas edições. Na primeira etapa da pesquisa, foram realizadas observações e entrevistas junto aos grupos teatrais em questão (pesquisa de campo). Ainda nessa etapa foi feito um levantamento no Acervo do Fomento ao Teatro da Secretaria Municipal de Cultura de São Paulo. A leitura dos projetos dos demais grupos de teatro contemplados pela lei forneceu maior compreensão das ações culturais decorrentes do programa, bem como do panorama teatral delineado por essa política pública. A busca pelo entendimento do funcionamento do programa e dos grupos fomentados, aliada aos estudos sobre leitura nos grupos de teatro (in locu), forneceu subsídios que sustentam uma de nossas hipóteses de pesquisa: a configuração de práticas culturais dentre elas, a relacionada à leitura advinda do Programa de Fomento ao Teatro. A partir da coleta de dados e do referencial teórico adotado, a figura do líder surge como fundamental na condução das práticas coletivas de leitura, cuja mediação, segundo a análise, fundamenta-se em formação literária, cultural e política ampla por parte dos diretores teatrais. Elementos como o improviso, o trabalho com o corpo, com a escuta, e a formação pela ação e pela experiência, entre outros aspectos, também trazem implicações às práticas de leitura. Por fim, nosso estudo está centrado na ideia de que as práticas teatrais de leitura desenvolvidas por grupo que mantêm, como integrantes em seus núcleos de formação, jovens em faixa etária escolar possam iluminar as práticas escolares de leitura.
To establish points of contact between reading, theater and education, this research aims to investigate practices of reading involved in the creative processes of theater groups, specifically Cia Paidéia Theatre (Young Co. Paideia ) and Cia Antropofágica (PY) . These two companies are part of the current São Paulo group stage and were contemplated by the Municipal Development Program of the Theater to the City of São Paulo over some issues . In the first stage of the research, observations and interviews with the theater groups in question (field research) were performed. Although this step was a survey in the Collection of Fomento Municipal Theatre of São Paulo Culture. Reading the projects of other theater groups contemplated by law provided greater understanding of cultural actions arising from the program as well as the theatrical panorama outlined by this policy . The search for understanding of the functioning of the program and encouraged groups , combined with studies on reading in theater groups ( in locus ) , provided subsidies underpinning of our research hypotheses : the configuration of cultural practices - among them, related to reading - arising out of the Support Program to the theater . From the collection of data and the theoretical approach, the figure of the leader emerges as key in driving the collective reading practices, whose mediation , according to the analysis , is based on extensive literary , cultural and political training by theater directors . Elements such as improvisation , working with the body, with listening , and training by action and experience , among others , also have implications to the practice of reading.Finally , our study is focused on the idea that the theatrical reading practices - developed by the group holding , as members in their training centers , young people of school age - can illuminate school reading practices.

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Yeung, Jessica Wai-yee. "Xiqu and modernisation : the transformations of the Chinese traditional theatre in the process of social formation of modern China." Thesis, Middlesex University, 2002. http://eprints.mdx.ac.uk/6352/.

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There is an inherent sociality and collectivity in the theatre. Theatrical activities, like other cultural productions, involve a great many elements seeping through, in and out and between the theatrical institutions and other vectors of the social space. Theatre is both a result of and simultaneously one of the many constitutive factors in the process of social formation. This thesis examines the conventions of xiqu and its transformations in relation to the modernisation in China since the second half of the 19th Century. The introduction of Western theatre architecture in the last decade of the 19th Century in Chinese cities was probably the most important catalyst for the metamorphosis of xiqu into its present form. The changed parameters of the newly constructed theatres injected new possibilities into productions and changed the theatrical consciousness of the audience. The jingju form provides a particular case in point. It was initially developed into a distinctive regional xiqu as a consequence of the merging of a number of existing regional forms, the performances of which in the capital were only made possible by modern communications and transportation. Its subsequent popularity in the principal cities was inseparable from its development in the modern theatres. The cinema was introduced to China at about the same time as Western theatre architecture. Xiqu films were first produced as records of performances to extend the commercial possibilities of the xiqu market. As film language improved in its refinement and aesthetic grammar, cinematic aesthetics took over and xiqu films started to take another direction. As more features of its stage aesthetics were replaced by camera treatment, xiqu films ceased to be a genre of xiqu and became instead a genre of cinema. This clear-cut distinction was especially obvious in the xiqu films produced in Hong Kong, where market forces were relentlessly fierce. Nowadays xiqu is facing the same challenges as all other theatre forms in the globalised market-place. To survive it must find a way to remain competitive and commercially viable. At the same time, it must rediscover its artistic edge by offering experimental and innovative productions in order to make itself artistically relevant and attractive to its contemporary audience.

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Santos, Juliana Reis Monteiro dos. "Quando técnica transborda em poesia: Tadashi Suzuki e suas disciplinas de atuação." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-02092009-192013/.

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Em que medida é possível pensar a elaboração de um discurso cênico desvinculada dos procedimentos e meios técnicos aplicados a ela? Ou, por outro lado, até que ponto a escolha de procedimentos e técnicas específicas determinam um fazer poético? No teatro ocidental, o tema do entrecruzamento de procedimentos com a construção do discurso poético passa a ser problematizado a partir do final do século XIX com o advento da encenação, possibilitando a construção de um novo diálogo entre encenação e pedagogia e o desenvolvimento de várias reflexões sobre o trabalho do ator. Tadashi Suzuki, encenador japonês contemporâneo, se insere nesse contexto ao sistematizar um treinamento para atores que lhes permita viabilizar seus objetivos estéticos e a criação de seus espetáculos. Além de proporcionar a aproximação com o trabalho deste encenador que, embora mundialmente conhecido, ainda é pouco divulgado no Brasil, o projeto se insere nas reflexões teórico-práticas surgidas a partir do trabalho de Suzuki e que são pertinentes ao teatro contemporâneo. Reflexões que dizem respeito às articulações entre material técnico e material poético na escritura cênica, à pedagogia teatral e, especialmente, às pesquisas da linguagem da encenação que tomam o ator como fonte geradora de códigos performáticos.
To what extent is it possible to think of the elaboration of a scenic speech separately from the procedures and technical means applied to it? Or, on the other hand, to what point does the choice of procedures and specific techniques determine a poetic work? In the Western theater, the theme of crossing technical procedures with the construction of a poetic speech has become a problem in the theaters as from the 19th century with the arrival of staging, what made the construction of a new dialogue between staging and pedagogy and the development of various reflections about the actors work possible. Tadashi Suzuki, a contemporary Japanese director, becomes relevant in this context when he systematizes a training for actors, one that permits the practicability of their esthetic objectives and a creation of their spectacles. Apart from allowing an approche to this directors work, which despite being known worldwide is still not so publicized in Brazil, the project collaborates with theoreticalpractical reflections that arose from Suzukis work and that are pertinent to contemporary theater. Reflections that refer to the articulations between technical material and poetic material in the dramaturgy of the scene, to theatrical pedagogy and to the researches of the staging language that take the actor as a source of performance codes.

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Besbes, Fehmi. "Improvisation et dramaturgie, l’« Improturgie » en Tunisie : poïétique de l’œuvre en devenir à l’exemple d’Otages par le Théâtre organique." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100132.

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L’objet de cette étude est d’interroger la place de l’improvisation dans la création théâtrale tunisienne, depuis ses origines – où elle apparaît dans des formes parathéâtrales, (el-Fdawi le conteur solo, Jha le blaguer sage, le théâtre d’ombre, etc.), jusqu’à nos jours. L’accent est mis sur les rapports organiques entre improvisation et dramaturgie, dans la formation et la création théâtrales en Tunisie, durant les dernières décennies. La notion d’"improturgie", qui traverse toute la thèse, rend compte d’une poïétique propre à de nombreux créateurs – tels Ezzeddine GANNOUN et Fadhel JAÏBI – qui consiste à construire une œuvre à partir du travail de plateau, à la recherche d’une écriture dramatique qui témoigne du contexte historique, culturel, social, idéologique et politique dans lequel elle s’inscrit. En l’absence d’un répertoire dramatique, l’"improturgie" apparaît ainsi non seulement comme un moteur d’activation dramaturgique sur la voie d’un théâtre militant – luttant contre l’impérialisme d’État et contre toute forme d’intégrisme – mais aussi comme un laboratoire de recherche pour des formes théâtrales encore inédites dans le monde arabo-musulman
The subject of this study is to investigate the place of improvisation in the Tunisian theatrical creation since its inception, as it appears in many paratheatrical forms (such as el-fedawi, the solo storyteller, Jha, the wise joker, underground theatre, etc.), until nowadays. The focus is laid on the organic relationship between improvisation and dramatic art in Tunisian theatrical formation and creation throughout the last decades. The concept of "improturgie", which spans the whole dissertation, accounts for a poietic which is specific to particular playwrights such as Ezzeddine GANNOUN and Fadhel JAÏBI, and consists of making a play by drawing on the work on stage in the search for a playwrighting which reflects the historical, cultural, social, ideological and political context of the play. In the absence of a dramatic directory, "improturgie" appears not only as a catalyst towards a militant drama – fighting against state imperialism and all forms of fundamentalism – but also as a research laboratory for more novel theatrical forms in the Arab and Muslim worlds

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Perdomini, Della Costa Vellozo Rossana. "Théâtre de formes animées et formation d'enseignants : une proposition pédagogique de la Surmarionnette." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100053.

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Cette thèse, réalisée dans le cadre d’une cotutelle entre l’Université Fédérale de Rio Grande do Sul, Brésil, et l’Université Paris Nanterre, France, examine les relations entre corps et objet à partir de l’exercice du théâtre de formes animées dans le contexte brésilien de formation des enseignants en Licence de Pédagogie. A cet égard, elle utilise la notion métaphorique de surmarionnette d’Edward Gordon Craig et ses expérimentations sur le mouvement du corps et sur l’espace scénique. L’étude part du constat d’une double absence concernant les futur.e.s pédagogues: celle de références artistiques et celle de l’indivisibilité du théâtre de formes animées. A cela s’ajoute (pour ces étudiant.e.s) une perception superficielle et caricaturale de ce langage théâtral, au détriment de sa puissance comme objet d’art, de philosophie et d’histoire.Le questionnement de cette thèse peut être ainsi défini: comment penser les possibilités pour le corps dans la formation des enseignants en Pédagogie à partir de la proposition de la Surmarionnette d’Edward Gordon Craig? A cet effet, ont été réalisés des ateliers de théâtre de formes animées avec onze groupes d’étudiant.e.s du cursus de Licence en Pédagogie de huit universités de Rio Grande do Sul, Brésil. Ces ateliers ont été annotés et enregistrés sur des vidéos, constituant des dossiers qui, postérieurement, ont été analysés. Le fondement théorique s’inspire de l’œuvre foucaldienne, tout particulièrement, des notions de corps docile, fonction-auteur, hétérotopie, corps utopique et dans l’exercice de penser d’autres manières à partir de son archéogénéalogie. Cet exercice est nourri de la notion d’expérience de Larrosa (2015), de celle de formation-expérience de Dias (2012) et de la culture de la présence de Gumbrecht (2010). On envisage le théâtre de formes animées selon ses potentialités de formation dans les déplacements : de la conception d’un processus de formation calquée sur la modélisation, surla transmission et la répétition de contenus vers une formation-expérience; de la formation textocentrique vers l’indéfinition de la situation créative; des vérités pédagogisantes vers l’incertitude. Nous concluons sur une proposition pédagogique qui s’oppose à des formules prédertimées et qui considère que le processus de construction de la connaissance est plus complexe et se révèle par le biais de l’action, et, donc, par celui du corps
This dissertation, developed in a joint degree agreement between Universidade Federal do Rio Grande do Sul, Brazil and Université Paris Nanterre, France, investigates the relations between body and object from a theater of animated forms exercise in the Brazilian context of teacher training in Pedagogy. For this purpose, Edward Gordon Craig’s metaphoric notion of Übermarionnette and the experiments with movement and forms of the scenic space are used. The study departs from the verification of the deficit of artistic references on part of the future pedagogues, as well as the invisibility of theater of animated forms in this context, often seen in a superficial and grotesque way in detriment of its potency as object of art, philosophy and history. The theoretical basis is inspired by the Foucauldian work, especially the notions of docile body, author function, heterotopia, utopian body and the exercise of thinking in distinct ways from his archeogenealogy. Such exercise is interwoven with Larrosa’s notion of experience (2015), Dias’ training-experience (2012) and Gumbrecht’s presence experience (2010). It is understood that what the theater of animated forms has as formative is its possibility of fostering shifts: from the conception of training based on content modeling, transmission and repetition to training-experience; from text-centered training to the lack of definition of the creative situation; and from pedagogizing truths to uncertainty. It is concluded that it is a pedagogic proposal that opposes to formulas and considers that the process of knowledge construction is more complex and happens through action, therefore through the body
Esta tese, realizada em convênio de cotutela entre a Universidade Federal do Rio Grande do Sul, Brasil, e a Université Paris Nanterre, na França, investiga as relações entre corpo e objeto a partir do exercício de teatro de formas animadas no contexto brasileiro da formação docente em cursos de gradução em Pedagogia. Para tanto, toma a noção metafórica da Übermarionnette de Edward Gordon Craig e as experimentações com o movimento e as formas do espaço cênico. O estudo parte da constatação do déficit de referências artísticas das futuras pedagogas e, também, da invisibilidade do teatro de formas animadas nesse contexto, frequentemente visto de forma superficial e caricata em detrimento de sua potência como objeto de arte, de filosofia e de história. A questão desta tese pode ser assim definida: como pensar as possibilidades para o corpo na formação docente em Pedagogia a partir da proposta da Übermarionette de Edward Gordon Craig? Para tanto, foram realizadas oficinas de teatro de formas animadas com onze grupos de alunas de cursos de graduação em Pedagogia de oito universidades do Rio Grande do Sul, Brasil. Essas oficinas foram anotadas e registradas em vídeos, produzindo-se dossiês que, posteriormente, foram analisados. A base teórica é constituída a partir da inspiração na obra foucaultiana, em especial, as noções de corpo dócil, função autor, heterotopia, corpo utópico e no exercício de pensar de outros modos a partir da sua arqueogenealogia. Tal exercício é entretecido com a noção de experiência de Larrosa (2015), de formação-experiência de Dias (2012) e de cultura da presença de Gumbrecht (2010). Entende-se que o que o teatro de formas animadas possui de formativo é a sua possibilidade de promover deslocamentos: da concepção de um processo de formação calcada na modelização, transmissão e repetição de conteúdos para uma formação-experiência; da formação textocêntrica para a indefinição da situação criativa; e das verdades pedagogizantes para a incerteza. Conclui-se que é uma proposta pedagógica que se opõe à formulas e considera que o processo de construção do conhecimento é mais complexo e se dá por intermédio da ação e, portanto, do corpo

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Stout, Rebecca Lynn. ""In dreams begins responsibility:" the role of Irish drama and the Abbey Theatre in the formation of post-colonial Irish identity." Texas A&M University, 2006. http://hdl.handle.net/1969.1/3843.

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This research does not hope to give a finalized portrait of Ireland and its vast and diverse people. Instead, it hopes to add one more piece to the complicated mosaic that is an honest depiction of Irish personal and national identity. Several plays by authors considered to be quintessential Irish nationalists have been read in conjunction with those authorsÂ biographies and the historical moments in which those plays were created, to offer a multi-faceted perspective to the intersection between art, politics and individual senses of personhood and nation. The final conclusion is that the growth and development of a nation requires that the definition of national identity be in a constant state of performance and revision. Several key conclusions can be drawn from the findings here. First, Irish identity is slippery and elusive. To try to finalize a definition is to stunt the growth of a constantly evolving nation. Secondly, personal and national identity formation cannot be separated into two distinct processes. Due to the unique political situation leading up to Irish independence and the subjugated state of all Irish people, regardless of their class or economic distinction, an individual always exists in relationship to those other members of his or her class, as well as those who define him or her by their differences. Finally, because of this constantly evolving state and this complicated interrelationship between the personal and the public, Irish stage drama bears a unique relationship to Ireland, and to critics seeking to analyze that literature. The multiplicity of the Irish experience demonstrates itself most clearly in the consistent newness of repeated performances of its classic texts. By examining the historical ruptures that resulted from the initial performances of those texts and comparing them to the texts themselves, documents that live outside of history until they are drawn back in by those who seek to reinterpret and re-perform them, researchers can witness the evolution of key ideas of Irish nationalism from their roots in personal experience, through the interpretive machine of the early Abbey audiences, and as they continue to transform in modern presentations.

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Molina, William Fernandes. ""Jovens formadores para novos espectadores" : uma experiência expandida em teatro, mediação e educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/147623.

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Este trabalho tem como objeto de estudo o Projeto “Jovens Formadores para Novos Espectadores” realizado junto a um grupo de estudantes da Escola Municipal de Ensino Fundamental José Plácido de Castro, na cidade de Sapucaia do Sul/RS. O Projeto desenvolvido durante os meses de junho a dezembro do ano de 2014 foi estruturado em duas etapas. A primeira delas ofereceu oficinas aos alunos participantes que proporcionaram maior aproximação dos sujeitos às questões teatrais – como linguagem, teoria e conceitos – além de promover o seu acesso a espetáculos, ou seja, a ida deles ao Teatro. Num segundo momento, esses estudantes assumiram o papel de orientadores em oficinas dirigidas a moradores do bairro, expandindo, desse modo, o conhecimento em relação ao Teatro e, por sua vez, ocupando o lugar de mediadores teatrais. Intencionou-se averiguar quais são as peculiaridades de um processo de formação de espectadores mediado por jovens estudantes e de que modo ocupar o papel de mediadores pode contribuir para as suas formações enquanto observadores da cena e sujeitos autônomos. A partir de práticas desenvolvidas pelos próprios estudantes e dirigidas para pessoas com pouco conhecimento em Teatro – em um aprendizado compartilhado que levou em conta o fazer e a apreciação teatral – pretendeu-se instrumentalizar e sensibilizar os jovens a fim de estimular a sua participação ativa no acontecimento teatral. Neste texto, as ações realizadas ao longo das etapas do Projeto são apresentadas, descritas e analisadas. A trajetória docente do pesquisador também faz parte da escrita, evidenciando referenciais e metodologias que se fizeram presentes ao longo da pesquisa. Tendo como principais referências os estudos de Flávio Desgranges a respeito das práticas necessárias a uma pedagogia do espectador, a noção de espectador emancipado de Jacques Rancière e sua visão sobre os processos educativos possíveis no intercâmbio de saberes entre sujeitos do conhecimento, e as notas de Jorge Larrosa sobre o saber que advém da experiência, este trabalho descreve a experiência expandida vivida no Projeto “Jovens Formadores para Novos Espectadores” como forma de contribuir para propostas desse tipo e, sobretudo, para a reflexão teórica e prática a respeito da mediação teatral e da formação de espectadores em âmbito escolar e comunitário.
This work sets out to study the Project “Young Mediators for New Spectators”, developed along with a group of students from Escola Municipal de Ensino Fundamental José Plácido de Castro, a primary school located in the municipality of Sapucaia do Sul, Rio Grande do Sul. The Project, which was carried out between the months of June and December of 2014, featured two stages. The first consisted of workshops geared towards students, which brought them closer to Theater language, theory and concepts. It also promoted their access to spectacles, through the attendance of several plays. Later, the students took over the role of advisors in workshops offered to the community, hence expanding their knowledge of Theater and becoming mediators themselves. The present study seeks to examine the peculiarities of the process of forming spectators mediated by young students, and also how occupying the role of mediators can contribute to their formation as scene observers and autonomous subjects. Through practices devised by the students, geared towards people with little or no knowledge of Theater, the project aimed to equip and sensitize the youngsters in order to stimulate their active participation in the theatrical event. In this text, the actions developed along the stages of the Project are presented, described and then analyzed. The teaching trajectory of the researcher also permeates the writing, which gives evidence of the references and methodologies presented throughout this research. It draws upon the studies of Flávio Desgranges regarding the necessary practices for a pedagogy of the spectator, the notion of the emancipated spectator of Jacques Rancière and his viewpoint about the possible education processes in the exchange of knowledge between subjects, and Jorge Larrosa's notes about the knowledge that stems from experience. This work describes the expanded experience shared in the Project “Young Mediators for New Spectators” as a way of contributing to proposals of this kind, and above all, to the theoretical reflexion and practice regarding theatrical mediation and the formation of spectators at the school and community level.

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Siqueira, Giuliano Tierno de. "A palavra fora da cena : aspectos da formação da escuta em processo colaborativo teatral /." São Paulo : [s.n.], 2010. http://hdl.handle.net/11449/99042.

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Orientador: Luiza Helena da Silva Christov
Banca: Luiz Carlos de Menezes
Banca: Eleni Bambini Gorgueira
Banca: Bruno de Menezes
Resumo: Neste trabalho são analisados alguns aspectos que constituem a formação da escuta num coletivo de teatro que pretende construir espetáculos em processos colaborativos, cuja organização horizontal das funções envolvidas na criação é pressuposto desse modo de produção. O trabalho deu-se a partir do estudo de caso da coletividade MiniCia Teatro, grupo vinculado à Cooperativa Paulista de Teatro desde 2004 e que tem em seu histórico três espetáculos até o ano de 2009 (data essa que o pesquisador afastou-se do referido coletivo). O título dessa dissertação A Palavra Fora Cena, refere-se à potência formativa dos espaços para além da cena que suscitam diálogos profícuos entre os integrantes de um coletivo teatral. Para pensar alguns aspectos que formam a escuta de um grupo de teatro fez-se necessário discutir as relações de poder intrínsecas às palavras em jogo nos diálogos que perpassavam todas as negociações nesse coletivo. Daí a escolha por pensar as palavras língua, linguagem, experiência e processo colaborativo com vagar desde o capítulo 1, na tentativa de explicitar as acepções apresentadas no contexto dessa dissertação. A perspectiva de dispositivos de interdição da fala, para manter a ordem do discurso, foi posta para que pudéssemos entender em contrapartida quais dispositivos operam como ameaças aos discursos condicionados - cuja função é controlar ouvintes e falantes, mantendo-os numa ordem aceitável de sentidos das palavras ditas - para o favorecimento da formação de uma escuta colaborativa. Propusemo-nos a pensar o que efetivamente aproxima os sujeitos em processo colaborativo teatral e a horizontalidade como modo de produção igualitária entre as potências criativas do trabalho. O foco investigativo é a escuta e a sua formação contínua como condição precípua para todos aqueles... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This work analyses some aspects that constitute the formation of listening in a theater collective that intends to make plays in collaborative processes, whose horizontal organization of functions involved on the creation is the assumption of this means of production. The work began in a case study of the MiniCia Teatro collective, a group associated to the Paulista Theatre Cooperative since 2004 and that has three plays in its background up to the year 2009 (date in which the researcher left the collective). The title of the dissertation The Word Outside The Scene, refers to the formative potency of spaces beyond the scene that make room for fruitful dialogues to arouse among the participants of a theatrical collective. To think of some aspects that form the listening of a theater group it was necessary to discuss the relations of power intrinsic to the words forming the dialogues that ran through all the negotiations in this collective. Hence the choice to reflect on the words language, experience and collaborative process more slowly since chapter 1, in an attempt to make explicit the meanings presented in the context of this dissertation. The perspective of speech interdiction dispositives, so to keep the order of the speech, was set so that we could understand which dispositives work as threats to conditioned speeches - whose role is to control listeners and speakers, keeping them in an acceptable order of meanings of the spoken words - to the benefit of the constitution of a collaborative listening. We suggested the reflection upon what effectively approximates the subjects in theatrical collaborative process and the horizontality as an egalitarian means of production among the work's creative potencies. The investigative aim is the listening and its continuous formation as a basic condition for all of those... (Complete abstract click electronic access below)
Mestre

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Letailleur, Erica. "La voie poétique de l'acteur et les mirages du théâtre professionnel : Étude de la formation des artistes du spectacle vivant du centre franco-turc Ayn Seyir (2006-2013)." Thesis, Nice, 2016. http://www.theses.fr/2016NICE2016/document.

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En prenant appui sur une enquête que nous avons menée entre 2006 et 2013 auprès de groupes d’acteurs ayant participé à une formation professionnelle intitulée « Autonomie de l’Acteur » et conduite par le centre Ayn Seyir, nous avons tâché de décrire la discipline théâtrale européenne contemporaine dans sa complexité, à travers un filtre analytique métadisciplinaire. Par le regard de ces artistes déplacés entre France et Turquie, nous voyons se dessiner l’esprit d’une culture des acteurs professionnels de théâtre, à deux niveaux : interne et externe. L’on remarque ainsi, au niveau interne, une faille entre pensée et pratique, qui semblerait vouée, d’une certaine manière, à sa propre insolvabilité. Lorsqu’on envisage la discipline en ses aspects externes, l’on note que celle-ci semble prise dans un vertige entre phénomènes de singularisation et de globalisation. Et si tout cela n’était que la marque d’un fait culturel en train de se réinventer par ses hiatus, pour ne (re)devenir que la paraphrase de ce qu’il était déjà ? Le théâtre ne semblerait plus être alors pour ces acteurs qu’un art au fonctionnement aporétique, conduisant à l’anomie. Mais ce métier ainsi éprouvé, s’oppose à la somme des idéaux que ces artistes évoquent et qui semblerait faire sens vers un désir de réalisation quasi-anagogique : une voie poétique. Entrer dans cette voie supposerait, en premier lieu, un abandon des illusions présidant à leur approche factuelle de la discipline : la démarche raisonnée d’un tamisage, pour peut-être tenter de résoudre certains des aspects du défi posé par la complexité du théâtre en tant que fait culturel en permanente mutation
By leading a field investigation between 2006 and 2013 with groups of actors who participated to an unique professional training called « Autonomy of the Actor » with Ayn Seyir Center, we tried to describe the theatrical fact in its complexity, as these actors are practicing and perceiving it, through the analytical filter of metadisciplinarity. By the look of these artists moved from their cultural area, between France and Turkey, we see a theater culture taking shape at two levels for these actors: internal and external. Thus, we notice at an internal level, a flaw between thought and practics, which seems to be consigned, in a certain way, to insolvency. And when we considerate the discipline in its external aspects, we notice that it is taken in a vertigo between super-individualization and globalization phenomenons. What if all of this was the mark of a cultural fact being reinvented by its hiatus, to only become again the paraphrase of what it was before? Then, theater would seem only be for these actors the illusion of an illusion : an art with an aporetic functionning, leading to lawlessness. But this art in this perception, is opposed to the sum of consensual ideals endlessly evoqued by these artists, who are all heading for a quasi-anagogic realization: a poetics path. To enter in this path presupposes at first abandoning their factual approach of theatre: a reasoned approach of a sifting, which may allow us to resolve certain aspects of the challenge of theatre’s complexity, considered as a cultural fact in crisis

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Silvén, Hagström Anneli. "To mourn and resist stigma : Narration, meaning-making and self-formation after a parent’s suicide." Doctoral thesis, Linköpings universitet, Socialt arbete, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130794.

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Grief following a parent’s suicide has been called ‘the silent grief’: due to a prevailing stigma connected to suicide as a mode of death, the parent cannot be talked about. This silenced or distorted communication complicates grieving youths’ meaning reconstruction centred on the question of why the parent committed suicide – a question inevitably linked to queries of who the deceased parent was, and that ultimately triggers thoughts about who oneself has become in the light of this experience. Previous research has emphasized how vulnerable parentally suicidebereaved youths are by categorizing them as ‘at risk group’ of social and psychological problems and even suicide. However, there is scant knowledge about how these young mourners perceive and manage their own grief and need for social support – knowledge that is essential from a professional perspective. The aim of this thesis is to use a narrative research approach to investigate what and how young mourners tell of their experiences in a variety of social contexts: research interviews, a theatre play and two chat contexts on the Internet. Since they actively seek to achieve something through their communication with others, mourning youths are seen as storytellers and social actors, rather than passive victims of circumstance. This thesis shows how these young mourners search for a context outside of their immediate daily networks where they can normalize and liberate themselves and their deceased parent from stigmatizing discourses. The possibility of narrating experiences in a destigmatizing context supports a renegotiation of how to make sense of the suicide – from a voluntary and selfish act, to an involuntary and desperate act caused by adverse life situations or ‘unbearable pain’ and depression. This knowledge is applicable to encounters with parentally suicide-bereaved youths in a professional context, such as social work practice.
Sorgen efter en förälders självmord har kallats ”den tysta sorgen”: eftersom självmord alltjämt är en stigmatiserande dödsorsak är det svårt att prata om den döde föräldern. Sådan tystad eller förvrängd kommunikation försvårar unga sörjandes meningsskapande utifrån frågan varför föräldern tog sitt liv – en fråga ofrånkomligen sammankopplad med funderingar om vem den döde föräldern var, vilket ytterst också väcker tankar om vem man själv har blivit i ljuset av denna erfarenhet. Tidigare forskning har betonat självmordsdrabbade barns sårbarhet genom att kategorisera dem som en ”riskgrupp” för sociala och psykologiska problem och till och med självmord. Emellertid är kunskapen knapp om hur dessa sörjande unga själva uppfattar och hanterar sin sorg och sina stödbehov – en angelägen kunskap ur ett professionellt perspektiv. Syftet med denna avhandling är att genom en narrativ forskningsansats undersöka vad och hur unga sörjande berättar om sina erfarenheter i några olika sociala kontexter: i forskningsintervjuer, en teaterföreställning och två olika chattsammanhang på Internet. Eftersom dessa sörjande unga aktivt försöker åstadkomma något genom sin kommunikation med andra förstås de som berättare och sociala aktörer, snarare än passiva offer för omständigheter. Avhandlingen visar hur unga självmordssörjande söker en plats utanför sina vardagliga relationer, där de kan normalisera och frigöra sig själva och den döde föräldern i relation till stigmatiserande diskurser. Möjligheten att berätta om sina erfarenheter i en icke stigmatiserande kontext kan stödja en omförhandling av självmordet – från en frivillig och självisk handling till en ofrivillig och desperat handling orsakad av en svår livssituation och ”outhärdlig smärta” eller depression. Denna kunskap är tillämpbar i mötet med unga självmordssörjande i en professionell kontext, så som det sociala arbetets praktik.

In the printed version note 1 on page 15 was incomplete with most of the text missing. In the electronic version note 1 is complete.

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Carrara, Paula Antonia da Silva. "Corpo Voz Escuta - Rastros de uma prática, reflexões em processo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-12012016-102719/.

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Essa dissertação se dedica a olhar para a relação entre Corpo, Voz e Escuta no trabalho do ator. O estudo se apoia em orientações teóricas que entendem o corpo como agente de aprendizagem do mundo e que apontam seu aspecto intrinsecamente relacional, tendo como principais referências a fenomenologia de Merleau-Ponty, a ideia de voz singular de Adriana Cavarero e as reflexões acerca da Escuta desenvolvidas por Jean-Luc Nancy. Além disso, na tentativa de desvelar as características dos processos de exploração vocal, o trabalho faz referência a importantes artistas do âmbito teatral, além da experiência prática desenvolvida, principalmente pelo \"Via Rosse Teatro\" (Itália). Esse trabalho se insere no campo das atuais linhas de pensamento acerca da formação do ator que têm como interesse a busca pela transposição da dicotomia entre Corpo e Voz.
The present dissertation is dedicated to looking at the relationship between Body, Voice and Listening on the actor\'s work. The study is based on theoretical guidelines that understand the body as an agent of the process of learning the world and point its intrinsically relational aspect, as its main references there is the phenomenology of Merleau-Ponty, the idea of singular voice of Adriana Cavarero and reflections about the listening process developed by Jean-Luc Nancy. In addition, in an attempt to uncover the characteristics of vocal exploration processes, this work makes reference to important artists of the theatrical context beyond the practical experience carried out mainly by the \"Via Rosse Teatro \"(Italy). This work belongs to the field of current lines of thought about the formation of the actor whose interest the search for transposition of the dichotomy between body and voice.

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Carponi, Cecilia. "Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA135.

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Au cours d’une longue carrière, Michel Saint-Denis a développé un système de pratiques pédagogiques pour le training de l’acteur qui contribue à la formation des nouvelles générations d’acteurs anglophones et francophones. La recherche menée pour cette thèse a donc coïncidé avec une enquête sur la genèse et les transformations de cette pédagogie de l’acteur, organisée en un ensemble d’enseignements, au sein des écoles d’art dramatique fondées par Saint-Denis, à partir du London Theatre Studio. Sa formation auprès de Jacques Copeau méritait sans doute un examen approfondi et détaillé, car les techniques pour acteurs assimilées à l’École du Vieux-Colombier et avec les Copiaus en Bourgogne ont contribué à la composition des principes pédagogiques et conceptuels au sein desquels son training a été construit. L’œuvre de Saint-Denis apparaît exemplaire, justement parce qu’à son arrivée en Angleterre dans les années 1930, tout d’abord en tant que directeur de la Compagnie des Quinze puis en tant que pédagogue d’acteurs, il se propose comme porteur de nouvelles pratiques au sein d’une culture théâtrale dans laquelle la formation de l’acteur - telle que considérée par Copeau et ses héritiers élèves - n’était pas envisagée. Cette thèse vise donc à retracer le training de l’acteur par Saint-Denis en tant que méthode pédagogique, et donc la normalisation des pratiques développées par Copeau au sein de l’École du Vieux-Colombier et avec les Copiaus, et leur inclusion dans le contexte théâtral anglophone. Saint- Denis a été le premier à traduire les chemins de recherche pédagogique de Copeau en une méthode figée et définie
The transmission of acting training is a complex and often controversial topic within theatre studies. Within this scholarly discourse, Michel Saint-Denis’s actor pedagogy, often neglected by theatre historians, is an exemplary case study for two main reasons: Saint-Denis (Jacques Copeau’s nephew, student and one of his major heirs) was the first who translated the acting practices rediscovered in the École du Vieux-Colombier and by the Copiaus group into a fixed and defined method; he led and adapted Copeau’s teachings in the anglophone theatrical world. This dissertation explores the first institutional context created by Saint-Denis, that also constitutes the prototype of his pedagogy: the London Theatre Studio, founded in 1935 and active until the outbreak of World War II. What I wish to investigate is the transition from an entirely experimental practice – that is, the research undertaken by Copeau with his pupils at the École du Vieux Colombier and in Burgundy – to a proper method. This system was conceived for being transmitted, and therefore systematized, in a fixed and strictly normative structure – In other words, standardised. Saint-Denis appears to be the custodian of Copeau’s legacy, responsible for translating a combination of experimental workshops into a structured method and for their further development in acting schools programs. Furthermore, upon his relocation from France to England, Saint-Denis becomes the link between two different theatre cultures
La principale finalità di questo lavoro di ricerca è quella di apportare un contributo allo studio dell’allenamento attoriale, secondo una prospettiva storica. La pedagogia dell’attore di Michel Saint-Denis, che ha dedicato gran parte della sua vita all’acting training, è spesso ignorata dagli storici del teatro, nonostante rappresenti, invece, un caso di studio esemplare. Nipote, allievo e tra i principali eredi di Jacques Copeau, è stato il primo a tradurre le pratiche riscoperte e sviluppate all’École du Vieux-Colombier e dai Copiaus, di cui aveva fatto esperienza diretta, in un metodo fisso e definito, e ha traghettato e adattato gli insegnamenti di Copeau nel mondo teatrale anglofono. Ripercorrendo e approfondendo il suo percorso di apprendistato, lo studio effettua un lavoro di ricostruzione e analisi del primo contesto istituzionale creato da Saint-Denis, che costituisce il prototipo della sua pedagogia: il London Theatre Studio, fondato nel 1935 e attivo fino all’inizio della Seconda guerra mondiale. Ciò che ci interessa indagare è il passaggio da un insieme di pratiche sperimentali – ovvero le ricerche effettuate dal Patron con gli allievi dell’École du Vieux Colombier e con i Copiaus in Borgogna – a un metodo pensato per essere trasmesso e dunque sistematizzato in una struttura normativa fissa, rigida. Della cultura attoriale che discende da Copeau, Saint-Denis sembra essere il custode: il primo a tradurre un insieme di pratiche sperimentali in un metodo fisso, inserito in un’istituzione formativa convenzionale. Ma non solo: con il trasferimento in Inghilterra, Saint-Denis diviene anello di congiunzione tra due culture teatrali tra loro diversissime

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Bastani, Nava Corinne. "A project proposal for the formation of People’s Theatre : a community drama project for the moral development and empowerment of the youth in Hout Bay." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2149.

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Thesis (MPhil (School of Public Management and Planning))--University of Stellenbosch, 2007.
In the present chaos surrounding society, youth are in dire need of tools that will enable them to navigate life’s tests and help them understand their role in building a new world civilisation. It is not enough though merely to hear and profess grand ideals, action needs to accompany words. Action happens when ethics and spiritual principles are integrated at a deep level and become part of an individual’s character. The following mini thesis is a project proposal for the formation of a Drama Workshop called People’s Theatre. People’s Theatre aims to help youth become of service to humanity through the internalization of morals and through the realization of their spiritual identity and their oneness with the entire human race. The project proposal begins with an explanation of why the project is being implemented on a local level and where it fits in on a global level. The project utilises three component parts that are seen as necessary if the project is to be sustainable. There are dramatic, moral education and service component parts to the project. The dramatic component will focus particularly on the ZIPoPo method which has been chosen due to it being a powerful medium of expression as well as its focus on positive decision making and moral development. Following this, the project proposal goes into detail concerning the necessary steps needed to be taken in order to practically implement the project and make it a success. The format follows a typical project proposal format. Another factor that was decided upon in order to help make the project more sustainable was that the project would be divided into three main phases. These phases are talked about throughout the proposal. There is also an analysis about why certain activities were chosen and how to take advantage of any opportunities that may arise and lead to the further success of the project. Particular attention was paid to how to make the project truly sustainable and participatory and in this way enable it to succeed. Empowerment begins by teaching people how to walk their own path to development. The following project proposal provides a detailed plan on how to help youth to do just that.

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Aguilar, Gina Maria Monge. "Trans-formação do ator no teatro de grupo em latino-américa: Abya Yala, Yuyachkani e Ói Nóis Aqui Traveiz." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-06022014-161152/.

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Esta tese tem como objetivos identificar e analisar princípios pedagógicos dos processos de trans-formação do ator que os grupos Abya Yala (Costa Rica), Yuyachkani (Peru) e Ói Nóis Aqui Traveiz (Brasil) desenvolveram ao longo de sua história e problematizar como eles poderiam ser de grande valia na formação atoral em diversas instâncias. Partiu-se principalmente de entrevistas e visitas realizadas aos grupos, assim como do estudo de material escrito e audiovisual referente ao tema. O teatro é uma construção cultural que muda de acordo com a época, o local e contexto em que se desenvolve. Do mesmo modo a formação atoral responde a essas variáveis. Atrelada às práticas cênicas dos grupos se constrói uma pedagogia para a trans-formação. Foram identificados alguns pontos em comum entre eles como o engajamento tanto no que diz respeito à vida política do país como o que se refere ao treinamento do ator. Há também nos três a busca pela autonomia do ator como criador, responsável por suas escolhas e pelo seu papel dentro do grupo. Existe neles ainda a ênfase em compartilhar sua experiência, incentiva-se os atores a serem facilitadores de processos fora ou dentro do coletivo. Esta pesquisa trouxe à tona a importância de manter contato com o fazer teatral latino-americano, revelando uma riqueza na diversidade de propostas trans-formativas e de como elas extrapolam o ambiente do grupo, podendo ser tomadas como exemplo para outros processos de formação atoral.
This thesis aims to identify and analyze the pedagogical principles of the processes of trans-formation of the actor that Abya Yala (Costa Rica), Yuyachkani (Peru) and Ói Nóis Aqui Traveiz (Brazil) developed throughout its history and discuss how they could be of great value in the formation of actors in several instances. This thesis is based mainly on interviews and visits to the groups, as well as the study of written and audio-visual material on the topic. Drama is a cultural construction that changes according to time, place and context in which it develops. Similarly the formation of actors answers to those same variables. Coupled to the group´s practices on scene it is build a pedagogy for trans-formation. We identified some common ground between them as they engage both politically, with the country´s situation, and regarding the training of the actors. All three groups demonstrate a quest for the actors independence as creators, responsible for their choices and their role within the group. They also reveal their emphasis on sharing their experience, as they encourage the actors to be facilitators of processes both inside and outside of the collective. This research has brought to light the importance of maintaining contact with the Latin American way of doing theatre, revealing a wealth of diversity of the proposed trans-formative processes that go beyond the group environment, and how they can be taken as an example to other actor-forming processes.

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Zanella, Andrisa Kemel. "CORPOS QUE ROMPERAM O SILÊNCIO E (RES) SIGNIFICARAM UMA EXPERIÊNCIA: O TEATRO NA FORMAÇÃO INICIAL DE PROFESSORAS." Universidade Federal de Santa Maria, 2008. http://repositorio.ufsm.br/handle/1/6806.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This work fits on the research line Professional Formation, Knowledge and Development and has as an objective to investigate some representations that college students of daytime Pedagogy Course had in relation to theater both before and after they experience the theatrical language in the subjects Theatrical Game I and Theatrical Game II. The choice for this thematic emerged from experiences lived throughout my formation of Bachelor of Drama Acting Course besides my interest in working with theater inserted in educational contexts. Such an interest get me to know and also teach a lesson in the subject Theatrical Game in Pedagogy Course, asking me to search how the living with theatrical language happens in a course that forms pedagogy professionals. Not only curiosity, but also the significations this experience proportioned to the teachers formation and also to the college students viewpoint in relation to theater were essential factors on the idealization and concretization of this study, which was created specifically to be developed in the subject Theatrical Game. To research about representations college students had in relation to theater was an opportunity to know which imaginary was instituted throughout their formation and which instituted possibilities have emerged from their experience in the subjects mentioned above. To do that, it was developed a methodological way that contemplates this problematic. Thus, the research, of qualitative features, was divided into six moments: group to be observed selection; participative observation; intervention in the subject Theatrical Game I and selection of four people to participate in the research; semi-structured interview; observation in the subject Theatrical Game II; structured written interview and finally data analysis. This diversity of instruments proportioned a reconstitution of the participants life history in relation to theater throughout their school period, besides accompanying the subjects Theatrical Game I and II, analyzing reflections and significations that college students attributed to theater during the living practice in the subject, knowing some significations about what, in their point of view, signify Theater for Education, as well as raising some possibilities of transformation occurred about the representations people had in relation to theater before and after the living practice. In involving myself into an investigation that tried to value the signification universe that permeates human relations, it was not my intention to establish truths or even do generalizations from an only context, but to have in mind that the reached results came from a lived process in a determined space limited by two important elements: time and space. Throughout this research, it was possible to perceive that the experience in the subject Theatrical Game I and Theatrical Game II operated in the previous representation that the future teachers had brought in relation to theater. This transformation was due to the meeting of what was known with the new perspectives, making possible, in this way, to interrupt the imaginary that was instituted to emerge an instituted imaginary that revealed another possibility to personal and professional developments as well as teachers formation.
Esse trabalho se inscreve na linha Formação, Saberes e Desenvolvimento Profissional e teve por objetivo investigar as representações que as acadêmicas do Curso de Pedagogia Diurno possuíam em relação ao teatro tanto antes como depois de vivenciarem a linguagem teatral nas disciplinas de Jogo Teatral I e Jogo Teatral II. A escolha por esta temática originou-se das experiências que vivenciei ao longo de minha formação no Curso de Artes Cênicas Bacharelado e do meu interesse em trabalhar com o teatro inserido no contexto educacional. Tal interesse me levou a conhecer e também ministrar uma aula na disciplina de Jogo Teatral no Curso de Pedagogia, instigando-me a pesquisar como se dava a vivência com a linguagem teatral num curso que forma pedagogos (as). Não só a curiosidade, mas também os significados que essa experimentação proporcionava à formação de professores (as) e a visão do (a) acadêmico (a) em relação ao teatro foram fatores fundamentais na idealização e concretização desse estudo, o qual foi criado especificamente para ser desenvolvido na disciplina de Jogo Teatral. Pesquisar as representações que as acadêmicas possuíam em relação ao teatro foi uma oportunidade de conhecer que imaginário foi instituído no decorrer de sua formação e quais as possibilidades instituintes que surgiram a partir da experiência na disciplina. Para isto, delineou-se um caminho metodológico que contemplasse essa problemática. Assim, a pesquisa, que possui cunho qualitativo, foi dividida em seis momentos: seleção da turma que iria ser observada; observação participante; intervenção na disciplina de Jogo Teatral I e seleção de quatro sujeitos para participar da pesquisa; entrevista semi-estruturada; observação na disciplina de Jogo Teatral II; entrevista escrita estruturada e análise dos dados. Essa diversidade de instrumentos proporcionou reconstruir a história de vida dos sujeitos em relação ao teatro durante o período escolar, acompanhar a disciplina de Jogo Teatral I e II, analisar as reflexões e significações que as acadêmicas atribuíram ao teatro durante a vivência prática na disciplina, conhecer algumas significações sobre o que para elas significa Teatro para a Educação, bem como realizar um levantamento sobre as possibilidades de transformação ocorrida em torno das representações que os sujeitos apresentavam sobre o teatro antes e depois da vivência prática. Ao lançar-me numa investigação em que se buscou valorizar o universo de significados que permeiam as relações humanas, não se teve a pretensão de estabelecer verdades ou mesmo fazer generalizações a partir de um único contexto, mas ter ciência que o resultado encontrado é fruto de um processo experienciado num determinado espaço delimitado por dois elementos importantes: o tempo e o espaço. Ao longo de toda a pesquisa, foi possível perceber que a experimentação na disciplina de Jogo Teatral I e Jogo Teatral II operou na representação prévia que as futuras professoras traziam em relação ao teatro. Essa transformação foi decorrente do encontro do que era conhecido com o novo, possibilitando, assim, romper o imaginário que estava instituído para emergir o imaginário instituinte, que revelou outra possibilidade aos sujeitos de trabalhar o teatro na escola, contribuindo não apenas para seu desenvolvimento pessoal e profissional como também para a formação de professores.

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Cohen, Miriam Aby. "Cenografia brasileira século XXI: diálogos possíveis entre a prática e o ensino." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27139/tde-17102007-090756/.

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Os diálogos possíveis entre a prática e o ensino da Cenografia no Brasil aqui identificados são resultantes da investigação e da reflexão sobre a formação do cenógrafo contemporâneo a partir da perspectiva de experiências na prática teatral. O cenógrafo é aqui tratado como artista, responsável pela identidade visual do acontecimento teatral e colaborador no processo de sua criação. A Cenografia é encarada como linguagem situada no contexto teatral sem, no entanto, excluir os seus desdobramentos na prática atual, entendendo que, a partir da sua origem, que é o Teatro, podemos transpor boa parte desta experiência para as demais áreas. O desenvolvimento desta pesquisa baseia-se no acompanhamento in loco de processos vivenciados e metodologias aplicadas nas principais instituições brasileiras de ensino da Cenografia. Os procedimentos são analisados diante do objetivo de reconhecer e apontar caminhos produtivos para a formação do futuro artista cenógrafo. Esta investigação busca indicar rumos que de fato contribuam para o desenvolvimento da qualidade artística e técnica do cenógrafo, de forma que não o restrinja apenas a responder com segurança às suas atribuições, mas que o prepare para atuar e colaborar, efetivamente, como artista criador, nos processos e realizações contemporâneas, participando do desenvolvimento das Artes Cênicas.
The possible dialogues between the practice and teaching of scenography in Brazil, identified herein, are the result of the investigation and reflection about the development of the contemporary scenographer originating from the perception from my experience in theatre practice. Here the scenographer is treated as an artist, responsible for the visual identity of the theatrical event and collaborator in the process of its creation. Scenography is taken as a language within the theatrical context, taking care to not ignore scenography?s expansion into other areas, understanding that starting from its theatre origins we can carry a good part of this experience to these other related areas. The development of this research is based on the processes experienced and methodologies applied in major Brazilian academic institutions that offer bachelor degree level scenography courses. These proceedings are analysed with the objective of recognizing and appointing productive directions for the training of future scenographic artists. This investigation aims to indicate guidelines that contribute to the development of the artistic and technical qualities of the scenographer, not just the capacity to execute their acquired attributes, but to prepare an active collaborator, a creative artist in the process of contemporary productions, participating in the development of the Scenic Arts.

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Chiochetta, Letícia. "A criação da cena teatral à luz de Alfred Wolfsohn e Roy Hart." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-28012014-115432/.

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Esta pesquisa teórico-prática realiza um estudo do pensamento e dos princípios de trabalho de dois importantes artistas e pesquisadores da voz ainda pouco conhecidos no universo das Artes Cênicas no Brasil: o alemão Alfred Wolfsohn e, seu discípulo, o ator Roy Hart. Wolfsohn desenvolveu, após uma experiência traumática de guerra, uma pesquisa aprofundada sobre a expressão humana através da voz. Já Hart aplicou, à sua maneira, os ensinamentos de Wolfsohn no campo teatral. Esta dissertação de mestrado efetiva ainda uma investigação prática à luz dos fundamentos propostos por esses artistas. Sua contribuição pode ser útil para que o ator vislumbre possibilidades de trabalho exploratório sobre si mesmo, partindo do alicerce corpo/voz enquanto unidade expressiva, além de colaborar com a formação integral do ator.
This research makes a theoretical and practical study of thinking and working principles of two important artists and researchers of the voice still little known in the world of Performing Arts in Brazil: the German Alfred Wolfsohn and his disciple, actor Roy Hart. Wolfsohn developed, after a traumatic experience in the war, a thorough research on the human expression through the voice. Hart applied, in its own way, the teachings of Wolfsohn in the theatrical field. This dissertation also realizes a practical research in the light of the grounds proposed by these artists. His contribution can be useful for the actor to have a glimpse of the possibilities of exploratory work on him/herself departing of the body/voice foundation as an expressive unity, as well as collaborating with the actor\'s whole formation.

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Siqueira, Giuliano Tierno de [UNESP]. "A palavra fora da cena: aspectos da formação da escuta em processo colaborativo teatral." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/99042.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Neste trabalho são analisados alguns aspectos que constituem a formação da escuta num coletivo de teatro que pretende construir espetáculos em processos colaborativos, cuja organização horizontal das funções envolvidas na criação é pressuposto desse modo de produção. O trabalho deu-se a partir do estudo de caso da coletividade MiniCia Teatro, grupo vinculado à Cooperativa Paulista de Teatro desde 2004 e que tem em seu histórico três espetáculos até o ano de 2009 (data essa que o pesquisador afastou-se do referido coletivo). O título dessa dissertação A Palavra Fora Cena, refere-se à potência formativa dos espaços para além da cena que suscitam diálogos profícuos entre os integrantes de um coletivo teatral. Para pensar alguns aspectos que formam a escuta de um grupo de teatro fez-se necessário discutir as relações de poder intrínsecas às palavras em jogo nos diálogos que perpassavam todas as negociações nesse coletivo. Daí a escolha por pensar as palavras língua, linguagem, experiência e processo colaborativo com vagar desde o capítulo 1, na tentativa de explicitar as acepções apresentadas no contexto dessa dissertação. A perspectiva de dispositivos de interdição da fala, para manter a ordem do discurso, foi posta para que pudéssemos entender em contrapartida quais dispositivos operam como ameaças aos discursos condicionados - cuja função é controlar ouvintes e falantes, mantendo-os numa ordem aceitável de sentidos das palavras ditas – para o favorecimento da formação de uma escuta colaborativa. Propusemo-nos a pensar o que efetivamente aproxima os sujeitos em processo colaborativo teatral e a horizontalidade como modo de produção igualitária entre as potências criativas do trabalho. O foco investigativo é a escuta e a sua formação contínua como condição precípua para todos aqueles...
This work analyses some aspects that constitute the formation of listening in a theater collective that intends to make plays in collaborative processes, whose horizontal organization of functions involved on the creation is the assumption of this means of production. The work began in a case study of the MiniCia Teatro collective, a group associated to the Paulista Theatre Cooperative since 2004 and that has three plays in its background up to the year 2009 (date in which the researcher left the collective). The title of the dissertation The Word Outside The Scene, refers to the formative potency of spaces beyond the scene that make room for fruitful dialogues to arouse among the participants of a theatrical collective. To think of some aspects that form the listening of a theater group it was necessary to discuss the relations of power intrinsic to the words forming the dialogues that ran through all the negotiations in this collective. Hence the choice to reflect on the words language, experience and collaborative process more slowly since chapter 1, in an attempt to make explicit the meanings presented in the context of this dissertation. The perspective of speech interdiction dispositives, so to keep the order of the speech, was set so that we could understand which dispositives work as threats to conditioned speeches – whose role is to control listeners and speakers, keeping them in an acceptable order of meanings of the spoken words – to the benefit of the constitution of a collaborative listening. We suggested the reflection upon what effectively approximates the subjects in theatrical collaborative process and the horizontality as an egalitarian means of production among the work’s creative potencies. The investigative aim is the listening and its continuous formation as a basic condition for all of those... (Complete abstract click electronic access below)

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Vasconcellos, Elaine L?via Molla de. "O teatro do oprimido e sua contribui??o na forma??o da crian?a com transtorno do d?ficit de aten??o com hiperatividade." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12453.

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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
Esta pesquisa investiga e relata as contribui??es do Teatro do Oprimido e de suas t?cnicas, como recurso terap?utico na forma??o da crian?a com Transtorno do D?ficit de Aten??o com Hiperatividade. No primeiro capitulo organizo um estudando te?rico buscando conceituar e entender a Aprendizagem, Aten??o e Hiperatividade, buscando entender melhor o comportamento e a conduta de crian?as com TDAH. Pesquiso sobre os sintomas, as causas e os efeitos dessa s?ndrome. Tra?o uma rela??o entre Fam?lia-escola-Especialistas, na tentativa de provar a import?ncia do acompanhamento familiar no processo de ensino-aprendizagem e no tratamento dessas crian?as. No segundo capitulo come?o conceituando teatro, trabalho a rela??o existente entre Teatro-Terapia-Educa??o, explico a diferen?a entre palco teatral e palco terap?utico. Relato a import?ncia dos jogos teatrais na sala de aula e sua contribui??o na forma??o social e educacional da crian?a. Justifico a escolha do Teatro do Oprimido reconhecendo-o como m?todo fundamental para essa pesquisa, por se tratar de um conjunto de exerc?cios, jogos e t?cnicas especiais que ajudam a crian?a recuperar o equil?brio das rela??es, desenvolve a autonomia, estimula a criatividade e a espontaneidade, libertando-a de suas opress?es. Al?m de ser um meio eficiente na transforma??o do comportamento, melhorando a conduta, permitindo a inser??o da crian?a na sociedade. Constata-se a efici?ncia do m?todo e de suas t?cnicas no trabalho desenvolvido com as crian?as da Escola Municipal Prof. Ant?nio Severiano em Natal/RN, permitindo a essas crian?as desenvolver uma consci?ncia corporal, trabalhar os sentidos, o pensamento, a mem?ria, a inibi??o, ensinando a expor seu ponto de vista, compreender e lidar com suas emo??es, respeitando seus limites e desenvolvendo suas habilidades motora e cognitiva

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Arriada, Adriane Bender. "Relação dialógica no processo de formação e autoformação na educação a distância: um estudo de caso a partir de pressupostos freirianos." Universidade Federal de Pelotas, 2012. http://repositorio.ufpel.edu.br/handle/ri/1661.

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This investigation analized my pedagogical practice in the teaching process as a distance learning tutor in the Federal University of Pelotas Herval Pole Distance Learning Pedagogy Course, throughout auto-formation and formation processes supported by digital technology. It had as a goal to identify, in the exercized pedagogical practice, the stablishment of dialogue, using, as analisys categories, the afectivity, the compromise and the rigorisity patterns, guided by the Freirian outlines, considering that the interaction with the studants ocurried virtualy. The data collection had as an instrument the use of narratives, oraly in the first moment, followed by the written narratives, elaborated by four studants of the CLPD course. After that, the explanation of how would be made the narratives and keep clear that the studants would explain their trajetory in the CLPD course, through the period in that I was the tutor, and explicite if our interaction provided the establishment of affective bounds, wich were fundamental for the dialogical pedagogical practice to take place in our virtual interaction and in our on-line relation. Through the data analysis I identified the viability and the stablishment of affective bounds, and the existence of a dialogue pauted pedagogical practice in the relation, not been absent the compromise in terms of rigorisity in my action with the studants, wich showed have been achieved the proposed goals.
Esta investigação analisou minha prática pedagógica no trabalho docente como tutora a distância do curso de Licenciatura em Pedagogia a Distância da Universidade Federal de Pelotas no Pólo de Herval, em processos de formação e autoformação mediados por tecnologias digitais. Tendo como objetivo identificar na prática pedagógica exercida o estabelecimento do diálogo, utilizando como categorias de análise a afetividade, o compromisso e a rigorosidade, pautados em pressupostos freirianos, visto que, a interação com os educados se dava prioritariamente virtualmente. A coleta de dados teve por instrumento a utilização de narrativas, primeiramente oral, seguida pelas narrativas escritas, elaboradas por quatro educanda, do curso CLPD. Após a explanação de como seriam realizadas as narrativas e deixar claro que as educanda deveriam narrar sua trajetória no curso durante o tempo em que eu fui tutora e explicitar se nossa interação propiciou o estabelecimento de vínculos afetivos, fundamental para que a prática pedagógica dialógica estivesse presente em nossa interação virtual e como elas visualizavam nossa relação online. Nesse sentido, identifiquei a viabilidade e o estabelecimento do vínculo afetivo, da prática pedagógica pautada pelo diálogo, sem por isso estar ausente o compromisso e a rigorosidade na minha atuação com as educanda.

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Oliveira, Natássia Duarte Garcia Leite de. "Teatro dialético em terras estranhas: a (in)diferenciação entre sujeito e objeto na formação cultural." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3649.

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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This work is a result of a research developed from 2009 to 2013, compounding the set of productions at the study line Culture and Educational Processes of the Post-Graduation Program in Education at Faculty of Education/UFG, being bound to the Nucleus of Research and Studies: Society, Subjectivity and Education (NUPESE). The title of the thesis, Dialectical Theater in strange lands: the (in)differentiation between subject and object in cultural formation, searched theoretically the relationship between the Bertolt Brecht’s dialectical theatre and the critical theory of School Frankfurt, represented in the Theodor Adorno and Walter Benjamin’s works. The central problem of the research is: why and how brechtiano epic theatre is relevant for the conception of epic form overwhelmed by cultural industry? As a main objective, it sought critical theory contributions about (in)differentiation between subject and object for a reflection about epic theatre constitution. For this, concepts of strangeness and detachments were analyzed, dialoguing with: meaning of identification in freudiana theory; categories of strangeness, strangeness in himself and strange work in the marxist conception; and the bejaminiano concept of experience. In this sense, the work is a reflection of the dialogue of many voices, and its theoretical referential is Constantin Stanislavski, Berlot Brecht, Karl Marx, Sigmund Freud, Walter Benjamin, Theodor Adorno. We still based on readings of Viktor Choklovski, Eric Hobsbawn and Iná Costa’s works, like other ones, and the negative dialectical body and conceptual analysis of Adorno. At the end of the research, it was concluded that it is primordial the differentiation in the relationship between subject and object for the cultural formation of the subjects, in the actor, director, dramaturge or spectator positions. This question pervades through the mediation process, in which the subject constitutes himself, as well as the form and content of the object. Thus, it is necessary to intend the affective approach of the subject to what it is aesthetically produced, and the critical distance of the artistic experience, in ambivalent and contradictory relationship between particular and universal, subjectivity and objectivity, individual and society. Such dialectical movement may enable the subject to recognize himself in the critical creation with/of the object. So there is this experience for and by the formation, it is fundamental the affective link with the art work and subjects involved on the artistic work; and, still, the necessary strangeness and distance to the critical reflection in the possibility of overcoming barbarism in the sense of the subject autonomy.
O presente trabalho resulta de uma pesquisa desenvolvida no período de 2009 a 2013, compondo o conjunto de produções da linha Cultura e Processos Educacionais do Programa de Pós Graduação em Educação da Faculdade de Educação/UFG, estando vinculado ao Núcleo de Pesquisa e Estudos Sociedade, Subjetividade e Educação (NUPESE). A tese intitulada Teatro dialético em terras estranhas: a (in)diferenciação entre sujeito e objeto na formação cultural investigou teoricamente a relação entre o teatro dialético de Bertolt Brecht e a teoria crítica da Escola de Frankfurt, representada nas obras de Theodor Adorno e Walter Benjamin. Definiu-se como problema central da pesquisa: por que e como o teatro épico brechtiano é relevante para a concepção da forma épica, subjugada pela indústria cultural? Como principal objetivo, buscou-se as contribuições da teoria crítica acerca da (in)diferenciação entre sujeito e objeto, para uma reflexão sobre a constituição do teatro épico. Para tanto, analisou-se os conceitos de estranhamento e de distanciamento em Brecht, dialogando com: a acepção de identificação na teoria freudiana; as categorias de estranhamento, estranhamento-em-si e trabalho estranhado na concepção marxista; e o conceito bejaminiano de experiência. Nesse sentido, o trabalho é reflexo de diálogo de muitas vozes, tendo como referencial teórico Constantin Stanislavski, Bertolt Brecht, Karl Marx, Sigmund Freud, Walter Benjamin, Theodor Adorno; apoiando-nos, ainda, em leituras como Viktor Choklovski, Eric Hobsbawm, Iná Costa, entre outros. A análise conceitual e do corpo teórico cotejado na pesquisa foi realizada com base no materialismo histórico e na dialética negativa, de Adorno. Ao final da pesquisa, concluiu-se que é fundamental a diferenciação na relação entre sujeito e objeto para a formação cultural dos sujeitos, quer estejam na posição de ator, diretor, dramaturgo ou espectador. Essa questão perpassa pelo processo de mediação, pela qual o sujeito se constitui, assim como constitui a forma e o conteúdo do objeto. Destarte, faz-se necessário tencionar a aproximação afetiva do sujeito ao que é produzido esteticamente, e o distanciamento crítico da experiência artística; numa relação ambivalente e contraditória entre particular e universal, subjetividade e objetividade, indivíduo e sociedade. Tal movimento dialético pode possibilitar ao sujeito que ele se reconheça na criação crítica com/do objeto. Para que haja essa experiência para e pela formação, é fundamental o vínculo afetivo com a obra de arte e com os sujeitos envolvidos no trabalho artístico; e ainda, o estranhamento e o distanciamento necessários à reflexão crítica na possiblidade de superação da barbárie no sentido da autonomia do sujeito.

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González, Parera Montserrat. "Estudi de les dimensions formatives i creatives del teatre. Mirades des de la complexitat i oportunitats didàctiques." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/126521.

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L'estudi té el seu origen en la situació problemàtica de l'ensenyament actual a partir de l'entrada a l'escola: la fragmentació del coneixement, la desmotivació de l'alumnat, els valors materials per sobre dels humans i socials, l'acumulació d'informació, la falta de col•laboració i les actituds poc cooperatives. L'adscripció al Paradigma de la complexitat determina un enfocament de la investigació qualitatiu i fenomenològic. D'aquesta naturalesa és la mirada investigadora i després de comprendre les oportunitats del teatre i fer-les dialogar amb l'àmbit educatiu, s'arriba al compromís amb la perspectiva ontològica, és a dir, amb la manera de veure el món, la realitat, l’educació, l'ensenyament i la institució educativa. Per això, aquesta tesi és una investigació educativa en i sobre educació. D'una banda, és una investigació en educació ja que l'anàlisi es fa a partir de les experiències portades a terme amb participants dintre de diferents àmbits educatius reals; i, per una altra, sobre educació ja que té com objecte d'estudi el teatre, explorant-lo i estudiant-lo en diferents contextos tenint com propòsit contribuir en la millora i transformació de la tasca educativa, institucional i docent. Aquesta recerca es va proposar estudiar pràctiques pedagògiques relacionades amb el teatre i les seves variants, portades a terme per agents diversos i en contextos diferents. Mitjançant preguntes, seguint el model de Maxwell hem anat (re)coneixent les diferents dimensions formatives i creatives del teatre, tant des d'una perspectiva pedagògica teòrica com pràctica. El procés d'anàlisi d'informació es porta a terme seguint: a) anàlisi de documents, b) entrevistes, c) observació participant i no participant. Hem entès i conceptualitzat el teatre en termes de complexitat, concebut com un escenari facilitador d'ambients d'aprenentatge amb un component formatiu valuós tant en un sentit social com personal. Una experiència a través del teatre pot voler dir moltes coses: fer d’actor, dramaturg, espectador, lector, dinamitzador, entre d’altres en un moment determinat. En aquest treball parlem d’experimentar a través del teatre en l’àmbit escolar. Ens referim al teatre com a eina pedagògica i com a escenari formatiu que facilita situacions per percebre, comprendre, comunicar i enriquir-se amb els processos, les produccions artístiques i les diverses realitats que es propicien. Com a tal ens ofereix la possibilitat de desenvolupar les competències dintre de la comunitat escolar. A través del teatre podem fomentar un aprenentatge integrat i transdisciplinar desenvolupant molts aspectes de les diferents competències. En funció de quin sigui l’objectiu el teatre és una activitat que ens pot ser útil per treballar-ne uns o uns altres. Concloem l'estudi fent propostes explícites per a fomentar la presència del teatre en el contingut curricular de la formació inicial del professional de l'educació.
The study has its origin in the current problematic situation in education related to the beginning of schooling: the fragmentation of knowledge, the motivation of the students, the material values over the human and social ones, the accumulation of information, the lack of collaboration and the uncooperative attitudes. The ascription to the Paradigm of complexity determines a qualitative and phenomenological research approach. This is the basis of this research, in which we analyze diverse theater aspects and we make them dialogue with education. Through questions, following the model of Maxwell, we have been (re)knowing the various aspects of theater and creative learning, both from a theoretical and practical teaching. Experiencing theatre may offer various perspectives at a certain point: being an actor, writer, spectator, reader, team leader, etc. Theatre is a pedagogical tool and a learning scene that fosters perception, understanding, communication and enrichment through the artistic implementation, the production itself, as well as the resulting realities. As such, theatre is a way of developing skills in the educational environment. Theatre can lead to an integrated and transdisciplinary learning, developing several aspects of different skills. Depending on the goal, theater can be useful to develop one or another of such skills. We conclude the study by presenting explicit proposals to boost presence of the theater in the curriculum for initial training of the professionals of education.

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Dalalio, Maira Fanton. "Da violência ao diálogo - teoria e práxis de uma oficina teatral baseada em Grande Sertão: Veredas." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-17092012-123429/.

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Trata-se aqui de uma pesquisa intercultural e interdisciplinar envolvendo teatro e literatura em que foram aproximados os romances Os anos de aprendizagem de Wilhelm Meister (1795-6), de Johann Wolfgang von Goethe (1749-1832), e Grande Sertão: Veredas (1956), de João Guimarães Rosa (1908-1967), por meio de uma ideia de formação desenvolvida a partir da relação entre Bildung e uma tradição intelectual brasileira de ensaios de formação. Aliaram-se a esse estudo as teorias sobre o Teatro de Aprendizagem de Bertolt Brecht (1898-1956). Esse aparato teórico é utilizado para analisar uma oficina teatral baseada em uma adaptação de Grande Sertão: Veredas, oficina realizada em diversos locais do Brasil e da Europa entre 2004 e 2006. Através do desenvolvimento e aprofundamento de elementos estéticos e teóricos presentes nessa oficina, intitulada atores da violência atores do diálogo, juntamente com a análise de sua recepção, buscou-se entender e organizar essa experiência cênica com vistas à proposição de um método pedagógico.
This text is the result of an intercultural and interdisciplinary research involving theater and literature in which an approach has been made between the novels Wilhelm Meister Apprenticeship (1795-6), by Johann Wolfgang von Goethe (1749-1832), and Grande Sertão: Veredas (1956), by João Guimarães Rosa (1908-1967), using the formation concept developed from the relationship between Bildung and the Brazilian intellectual tradition of formation essays. Bertolt Brecht (1898-1956) theories about his Learning Theater have been allied to this study. This theoretical apparatus is used to analyze a theatrical workshop based on a Grande Sertão: Veredas adaptation. This workshop was performed in several places in Brazil and Europe between 2004 and 2006. Through the development and deepening of theoretical and aesthetic elements presented in this workshop, with the title actors of violence actors of dialogue, along with the analysis of its reception, we sought to understand and organize this theatrical experience targeting the proposition of a pedagogical method.

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Chahdi, Mahmoud. "Le théâtre au Maroc : pour une institutionnalisation de la politique culturelle." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC032/document.

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La nécessité d'une politique culturelle, aujourd'hui au Maroc, s'impose tant au niveau politique que social. Il est urgent que s'élabore une vision d'ensemble cohérente, respectant les engagements pris par le Maroc au lendemain du printemps arabe, à travers la nouvelle constitution de 2011, en raison d'une pratique artistique qui tire ses origines de la période située avant l'indépendance. Le parcours qu'ont connu les différents arts, parmi lesquels le théâtre a joué un rôle important, a dessiné un paysage culturel diversifié, et actuellement conscient de la nécessité de conduire un projet politique que pourraient adopter les différents acteurs institutionnels. L'État a en effet la responsabilité de définir, de soutenir, mais surtout de protéger le secteur culturel. Le choix de la pratique théâtrale, comme principal outil d'analyse du secteur culturel, vient de sa nature éminemment sociale, qui lui a permis d'être proche d'un public marocain, à la fois populaire et savant, mais notre approche prend plus largement en compte ce qui relève de l'art et de la culture au Maroc
The urgent requisite for a cultural policy in Morocco imposes itselt today with unrivalled expectancy on both political and social planes. Owing to an artistic practice whose origins hark back to the period prior to lndependence, it is indeed urgent to develop an overall coherent vision that highly esteems the commitments pledged by Morocco shortly after the Arab Spring through the new constitution of 2011. The course that the various arts have known, including the theater that has played an important role, has drawn various and sundry cultural landscapes, and is now mindful of the need to lead a political project which yet various institutional actors could adopt. Actually, the state has the responsibility to define, support, and, more importantly, protect the cultural sector. The choice of the histrionic praxis, which elbows itself as the most significant toolkit of overhauling the cultural sector, tends to corne from its eminent social nature, which grants it the privilege of getting closer to popular and scholarly pulses of the Moroccan public. Our approach here takes much more into account than what is an art and culture in Morocco

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Costa, José Márcio da Silva. "As contribuições da formação em teatro para a construção da identidade de professores: um estudo de caso na rede municipal de educação de Guarulhos." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/16366.

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The objective of this research is to understand the contributions of a formation in theater, as an element wich is part of a general program of permanent teacher s formation, to the constitution of the identity of the teacher. Identity is considered as it is proposed on Ciampa s theory, in wich identity is constitued through social relations, and definied as metamorphosis. It was opted to a qualitative theoric-methodologic aproach. The way it was done was a no-directive interview with two teachers, based on their life histories, one of them analysed in this research. It was done an analysis of the life story of a teacher that participates of a formation in theater in Guarulho s Municipal Education. It was concluded that this formation helps the teacher to improve himself in a total way, conecting his body, his way of acting and thinking, and to change his way to be as a teacher/educator and as a human being in his life
O objetivo desta pesquisa é compreender as contribuições da formação em teatro, como elemento que faz parte de um programa geral de formação permanente de professores, para a construção da identidade do professor. A identidade é tratada a partir da teoria proposta por Ciampa, na qual a identidade é construída nas relações sociais e definida como metamorfose. Para tal, optou-se por uma abordagem teórico-metodológica qualitativa. O procedimento adotado foi a entrevista não-diretiva com duas professoras, uma delas aqui analisada, com base na narrativa da história de vida. Foi feita a análise da história de vida de uma professora que participa da formação em teatro na Rede Municipal de Educação de Guarulhos. Percebeu-se que essa formação possibilita ao professor desenvolver-se de forma integral, entrando em contato com aspectos ligados a seu corpo, sua forma de agir e de pensar. Ao ter a oportunidade de atuar em teatro, o professor produz transformações em seu modo de ser professor/educador e em sua vida como um todo

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Costa, Rossana Perdomini Della. "O teatro de formas animadas na formação de professores : uma proposta pedagógica a partir da Übermarionnette." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/183189.

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Cette thèse, réalisée dans le cadre d’une cotutelle entre l’Université Fédérale de Rio Grande do Sul, Brésil, et l’Université Paris Nanterre, France,examineles relations entre corps et objet à partir de l’exercice du théâtre de formes animées dans le contexte brésilien de formation des enseignants en Licence de Pédagogie. A cet égard, elle utilise la notion métaphorique de surmarionnette d’Edward Gordon Craig etses expérimentations sur le mouvement du corps et sur l’espace scénique. L’étude part du constat d’une double absence concernant les futur.e.s pédagogues : celle de références artistiques et celle de l’indivisibilité du théâtre de formes animées. A cela s’ajoute (pour ces étudiant.e.s) une perception superficielle et caricaturale de ce langage théâtral, au détriment de sa puissance comme objet d’art, de philosophie et d’histoire. Le questionnement de cette thèse peut être ainsi défini: comment penser les possibilités pour le corps dans la formation des enseignants en Pédagogie à partir de la proposition de la Surmarionnette d’Edward Gordon Craig? A cet effet, ont été réalisés des ateliers de théâtre de formes animées avec onze groupes d’étudiant.e.s du cursus de Licence en Pédagogie de huit universités de Rio Grande do Sul, Brésil Ces ateliers ont été annotés et enregistrés sur des vidéos, constituant des dossiers qui, postérieurement, ont été analysés. Le fondement théorique s’inspire de l’oeuvre foucaldienne, tout particulièrement, des notions de corps docile, fonction-auteur, hétérotopie, corps utopique et dans l’exercice de penser d’autres manières à partir de son archéogénéalogie. Cet exercice est nourri de la notion d’expérience de Larrosa (2015), de celle de formation-expérience de Dias (2012) et de la culture de la présence de Gumbrecht (2010). On envisage le théâtre de formes animées selon ses potentialités de formation dans les déplacements : de la conception d’un processus de formation calquée sur la modélisation, sur la transmission et la répétition de contenus vers une formation-expérience; de la formation textocentrique vers l’indéfinition de la situation créative; des vérités pédagogisantes vers l’incertitude. Nous concluons sur une proposition pédagogique qui s’oppose à des formules prédertimées et qui considère que le processus de construction dela connaissance est plus complexe et se révèlepar le biais de l’action, et, donc, par celui du corps.
Esta tese, realizada em convênio de cotutela entre a Universidade Federal do Rio Grande do Sul, Brasil, e a Université Paris Nanterre, na França, investiga as relações entre corpo e objeto a partir do exercício de teatro de formas animadas no contexto brasileiro da formação docente em Pedagogia. Para tanto, toma a noção metafórica da Übermarionnette de Edward Gordon Craig e as experimentações com o movimento e as formas do espaço cênico. O estudo parte da constatação do déficit de referências artísticas das futuras pedagogas e, também, da invisibilidade do teatro de formas animadas nesse contexto, frequentemente visto de forma superficial e caricata em detrimento de sua potência como objeto de arte, de filosofia e de história. A questão desta tese pode ser assim definida: como pensar as possibilidades para o corpo na formação docente em Pedagogia a partir da proposta da Übermarionnette de Edward Gordon Craig? Para tanto, foram realizadas oficinas de teatro de formas animadas com onze grupos de alunas de cursos de gradução em Pedagogia do Rio Grande do Sul, Brasil. Essas oficinas foram anotadas e registradas em vídeos, produzindo-se dossiês que, posteriormente, foram analisados A base teórica é constituída a partir da inspiração na obra foucaultiana, em especial, as noções de corpo dócil, função autor, heterotopia, corpo utópico e no exercício de pensar de outros modos a partir da sua arqueogenealogia. Tal exercício é entretecido com a noção de experiência de Larrosa (2015), de formação-experiência de Dias (2012) e de cultura da presença de Gumbrecht (2010). Entende-se que o que o teatro de formas animadas possui de formativo é a sua possibilidade de promover deslocamentos: da concepção de um processo de formação calcada na modelização, transmissão e repetição de conteúdos para uma formação-experiência; da formação textocêntrica para a indefinição da situação criativa; e das verdades pedagogizantes para a incerteza. Conclui-se que é uma proposta pedagógica que se opõe à formulas e considera que o processo de construção do conhecimento é mais complexo e se dá por intermédio da ação e, portanto, do corpo.
This dissertation, developed in a joint degree agreement between Universidade Federal do Rio Grande do Sul, Brazil, and Université Paris Nanterre, France, investigates the relations between body and object grounded on a theater of animated forms exercise in the Brazilian context of teacher training in Pedagogy. For such, Edward Gordon Craig’s metaphoric notion of Übermarionnette and the experiments with movement and forms of the performing space are used. The study starts from the verification of the deficit of artistic references on part of future pedagogues, as well as the invisibility of theater of animated within this context, which is often considered in a superficial and grotesque way in detriment of its potency as object of art, philosophy and history. The question of this dissertation is: how to think the possibilities for the body in teacher training in Pedagogy, based on Edward Gordon Craig’s Übermarionnette proposal? For this purpose, eleven groups of students from undergraduate Pedagogy courses from Rio Grande do Sul state, Brazil took part in theater of animated forms workshops. These workshops were registered in writing and recorded in video, having been produced dossiers which were later examined The theoretical basis is inspired by Foucault’s work, especially the notions of docile body, author function, heterotopia, utopian body and the exercise of thinking in distinct ways from his archeogenealogy. Such exercise is interwoven with Larrosa’s notion of experience (2015), Dias’ training-experience (2012) and Gumbrecht’s culture of presence (2010). It is understood that what the theater of animated forms has as formativeis its possibility to foster shifts: from the conception of a training process based on content modeling, transmission and repetition of contents to training-experience; from text-centered training to the imprecisionof the creative situation; and from pedagogizing truths to uncertainty. It is concluded that it is a pedagogical proposal that opposes to the formulas and considers that the process of knowledge construction is more complex and happens by means of action, therefore by means of the body.

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Pereira, Diego de Medeiros. "Commedia dell Arte e educação infantil: um processo de formação de professores." Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/1345.

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This study draws on the possible contribution of Commedia dell Art for teachers' education. It was based on the investigation of its character's types in order to explore and expand 14 teachers' physical expression as a way to enable them to better introduce small children to theatre work. To carry out this investigation I have engaged these teachers in a workshop based on a process of appropriating and re-signifying the character's types by looking at their body language. The aim was to enlarge and extend the teachers' expressive physical repertory, in order open up alternatives for day-to-day classroom theatre work. The outcome of this workshop was a performance presented at 08 primary schools. A theoretical investigation of the role of the teacher for enlarging children's cultural capital backed this practice
Este estudo baseia-se na possível contribuição da Commedia dell‟arte para a formação de professores. A partir da investigação dos personagens tipos da Commedia, busquei explorar e expandir o repertório corporal e expressivo de 14 professoras da rede de Educação Infantil do município de Florianópolis, capacitando-as a introdução do trabalho teatral com crianças. Para realizar essa investigação, desenvolvi com essas professoras uma oficina que consistia em um processo de apropriação e ressignificação de elementos da Commedia dell‟arte. O resultado dessa oficina foi a criação de um espetáculo apresentado em 08 unidades da Educação Infantil desse município. Uma investigação teórica sobre o papel do professor como ampliador do capital cultural da criança serviu como base para essa prática

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Chuzeville, Sylvain. "Vie, œuvre et carrière de Jean-Antoine Morand, peintre et architecte à Lyon au XVIIIe." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20076/document.

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Né en 1727 à Briançon, Jean-Antoine Morand a 14 ans lorsqu’il se lance, suite à la mort de son père, dans une carrière artistique. C’est à Lyon qu’il s’installe et fonde, en 1748, un atelier de peinture. Il reçoit des commandes officielles et privées, travaille régulièrement pour la Comédie, se spécialise dans la peinture en trompe-l’œil et la scénographie, y compris les machines de théâtre. À la fin des années 1750, encouragé par Soufflot, il se tourne vers l’architecture et l’embellissement, ainsi que l’y disposent différents aspects de sa première carrière.Architecte autodidacte, Morand souffre d’un déficit de légitimité et tente d’y remédier en recherchant la reconnaissance publique. Mais ses succès, en particulier la construction à titre privé d’un pont sur le Rhône, n’y suffisent pas. La carrière de Morand est tiraillée entre fierté entrepreneuriale et appétence institutionnelle. Son image pâtit de l’opposition entre spéculation foncière et promotion du bien public. Cela concerne en particulier son grand œuvre, un projet d’agrandissement de Lyon sur la rive gauche du Rhône, compris dans un plan général donnant à la ville la forme circulaire.Morand a peu construit et il ne subsiste presque rien de son œuvre pictural. On dispose en revanche d’un fonds d’archives privé d’une grande richesse, sur lequel s’appuie cette thèse, afin de mettre au jour les intentions, les relations et la psychologie d’un architecte autrement méconnu
Born in 1727, Jean-Antoine Morand is 14 years old when he embraces an artistic career, following his father’s death. Having settled down in Lyon, he establishes his own painter’s workshop in 1748. Receiving public and private commissions and working for the theatre on a regular basis, he specializes in trompe l’œil painting and stage-setting, including machinery. In the late 1750s, spurred on by Soufflot, he turns to architecture and city-planning, as various aspects of his previous career could have prompted him to.As an autodidactic architect, Morand suffers from a lack of legitimacy against which he pursues public recognition. But his successes, which include the building of a privately-owned bridge across the Rhône, aren’t enough. Morand’s career is torn between entrepreneurial pride and his longing for tenure. His public image is marred by the alleged opposition between land speculation and the defense of public good. This concerns mostly his great work, a project for the extension of Lyon on the left bank of the Rhône, included in a circular general city plan.Morand hasn’t built much and very little remains of his pictorial work. This thesis is based on an extensive private archive that allows us to explore this otherwise unsung architect’s intentions, relations and psychology

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Jhih-HueiWu and 吳志輝. "Spectacle-Formation of a Civil Theater." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/wrh3p4.

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碩士
國立成功大學
建築學系碩博士班
101
A theater, not only a place for dramas, is also a microcosm of a city which owns stories, spaces, and people of this city. By dramas, a theater transmits people's messages and records an era and its culture. The theme of this paper is focused on the Civil Theater. It aims to promote theater culture. Through this theater project, I wish, theater culture on this island will be promoted a little, an information platform thus, is built for public education and communication. First three chapters discuss the nature of theater – the essence and phenomenon of Gathering/Watching. By means of case studies: from architectural to urban, historical to present, this author might obtain design concept and language. Chapter IV discusses the history of theater in Taiwan and its current operations, by means of interviews with local groups to collect pragmatic and valuable design information. Chapters V and VI explore the site contexts and design rendering. As a kind of seed, this thesis, I hope, can push further progress for our theater culture.

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Swoboda, Jaroslava. "Formativní přínos divadelně-muzikálních projektů pro aktéry i diváky." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-306074.

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This thesis is a theoretical-empirical study divided into nine chapters. After the introduction, the second chapter focuses on the theoretical basis, defines the terms applied theatre (drama) and social theatre, which relates to the empirical part, and presents them in a broader context. The third chapter then provides an overview of projects implemented in the Czech Republic. The fourth chapter defines the immigrant experience and the psychosocial events connected with immigration. The fifth chapter provides a brief overview of the practical use of applied drama in the Czech conditions, in the Archa Theatre. The sixth chapter contains qualitative research on the theme of formative influences of theatre-music projects at the Archa Theatre and on several immigrants who participate in them. The seventh chapter is an empirical survey that profiles the audiences of these performances and describes their motivation for attending theatre projects with social outreach. The final, eighth chapter, provides a concluding overview of the whole work. The ninth chapter contains a bibliography and list of sources. KEY WORDS Applied drama, applied theatre, formative influences, immigration, immigrant, social theatre.

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Tonooka, Naomi. "Four contemporary Japanese women's theatre groups : subjectivity-formation in performance and creative process." Thesis, 1990. http://hdl.handle.net/10125/9577.

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Pettersen, Victoria. "The African (re)formation of Christ the construction of Jesus in postcolonial African theatre /." 2005. http://catalog.hathitrust.org/api/volumes/oclc/61134540.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 2005.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 71-74)

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Li-Ling, Chang, and 張儷齡. "The Formation of the Public Order in Taiwan's Modern Theater: A Multiple-Modernity Project of Civilizing the Human Body." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/94218419619947012533.

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Shih, Wan-shun, and 石婉舜. "Staging ‘Taiwan’: Theatre, Modernization, and Subjectivity Formation of Taiwan during the Japanese Colonial period (1895-1945)." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/c8u6m9.

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博士
國立臺北藝術大學
戲劇學系博士班
98
This dissertation employs popular theatre as the research site to investigate the Taiwanese’s experience of modernization in the sphere of theatre during the fifty-one year period of Japanese colonial ruling over Taiwan. In the beginning of the Twentieth Century, along with the widespread establishments of colonial town-based theatre, the history of Taiwan theatre stepped into the modern. Thereafter and till the end of colonial period, colonist, theatre manager, and colonized intellectual respectively entertained different purposes, struggling for dominating the development of the Taiwan theatrical activities. In the first place, theatre was built for the need of the Japanese populace and soldiers for entertainment. Up to the late 1900s, Takamatsu Toyojiro（高松豐次郎）, who was identified as the representative of colonist, regarded theatre as an institutional mechanism of colonial indoctrination and thus popularized it, with not only the import and projection of films, but also the innovation of the theatre of Taiwan Seigeki (臺灣正劇) which targeted Taiwanese as the audience in order to domesticate Taiwanese into the subjects of the Imperial Japan, and to help consolidate the ruling authority. When other institutions of social indoctrination were well prepared by the colonist, and when the competition among theatres returned to market mechanism, the rising of Chinese opera alternated with the ebbing of Seigeki. In the circumstances of theatre of 1920s, Old Koa-a-hi,（老歌仔戲）intermingled with other genres of popular theatre, including Taiwan Seigeki, Wenmingxi（文明戲）, Beijing Opera（京劇）, Fuzhouxi（福州戲）etc., and evolved into Koa-a-hi（歌仔戲）, or Taiwanese Opera. When theatre, coupled with the popularity of Koa-a-hi that swept over the entire island, catalyzed the flowering of epicureanism, the colonized intellectuals came to realize that the social reality of colony was thus buried, and even the oppression of nation/ class was reinforced through the reproduction of ideology proposed by the popular dramas. Therefore, they took ‘New Drama’（新劇）as the important means of enlightenment; meanwhile, they also consciously began their pursuit of the modernization of drama. In the mid-1930s, the Office of the Governor-General（台灣總督府）practiced the radical assimilation policy, and consequently the principles of ‘rewarding new drama’ and ‘gradual prohibition of old drama’ took shape. Encouraged by the trend of ‘Kōminka (formation of imperial subjects) movement’（皇民化運動）, the local police, who then were in charge of the drama affairs, actively intervened in the development of drama. Despite the agile responses of theatre groups to this intervention, however, the audience of colony demonstrated their initiatives which turned out to be the setbacks to the official policies and forced them to be made some adjustments. It follows that the colonized intellectuals took this historical opportunity of the surging discourses on the revitalization of local culture（地方文化振興論）shortly before and after the outbreak of the Pacific War, continued the ‘New Drama’ movement and redefined the concept of ‘native land’（鄉土）in order to call forth the Taiwanese national spirit. The chaos in the sphere of theatre lasted for seven or eight years and the violence of the official unification imposed upon drama brought down curtain on it. To sum up, the colonial rule left Taiwan society a theatre of interpretative community which, linguistically speaking, was clearly bordered by the mixture of Taiwanese and Japanese; and, aesthetically speaking, was characterized by a kind of high hybrid. It is the ‘Colonial New Drama’. Throughout the Japanese colonial period, the Taiwanese’s experience of the modernization of drama differed from that of other normal countries. The colonist produced the ruler’s interest–oriented ‘modern drama’ more than once with view to not only taming and subjecting Taiwanese but also reshaping their national identity. For the temporal anxiety-loaded intellectuals, the limited sources and experiences made their road towards the popularization of dramatic creations tortuous. Thus, the ‘Colonial New Drama’ can be regarded as the final result of the long lasting confrontation between the Taiwanese populace and the Japanese colonial violence.

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Thomson, Marion Arthur. "Researching Class Consciousness: The Transgression of a Radical Educator Across Three Continents." Thesis, 2011. http://hdl.handle.net/1807/29889.

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Abstract:

This study addresses the topic of class consciousness and the radical educator. Using the theory of revolutionary critical pedagogy and Marxist humanism I examine the impact of formative experience and class consciousness on my own radical praxis across three continents. The methodology of auto/biography is used to interrogate my own life history. I excavate my own formative experience in Scotland, Canada and my radical praxis as a human rights educator in Ghana West Africa. The study is particularly interested in the possibility of a radical educator transgressing across race, whiteness and gender while working in Ghana, West Africa. Chapter One begins by discussing the theory of revolutionary critical pedagogy, Marxist humanism and theories of the self. Chapter Two assesses the methodology of auto/biography,research methods and an introduction to formative experience. Chapter Three, Four and Five contain excavation sites from Scotland, Canada and Ghana with accompanying analysis. Chapter Six concludes with a summary of research findings.

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Dissertations / Theses on the topic 'Formative theater'

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