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Hauman, Amanda. "Rebonding Anomic Communities with Theatre of the Oppressed." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2379.
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This thesis explores whether Augusto Boal’s Theatre of the Oppressed (TO) can help anomic communities, affected by deindustrialization and globalization, in the U.S. Midwest, specifically looking at Saginaw, MI. After presenting a paper at the American Symposium for Theatre Research (ASTR) conference in 2009, the author attended a Theatre of the Oppressed facilitator training in Port Townsend, WA under the direction of Marc Weinblatt. She then conducted her own Theatre of the Oppressed workshop in Saginaw, MI to analyze the abilities of Theatre of the Oppressed in an anomic community. Each experience is detailed and followed by the author’s conclusions and hopes for Theatre of the Oppressed in the Midwest.
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Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed." Thesis, Queensland University of Technology, 1999.
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Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and
social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relations - in the context of the receptor's ability to make decisions and to engage in actions, and the communicator's ability to influence the receptor's opinions and behaviour. This thesis will examine two different
practices in which symbolic realities have been utilised in the context of human relations of power. Primarily, this thesis examines the theory and practice of Theatre of the Oppressed as it has developed. Additional(v, Theatre of the Oppressed will be examined in comparison with another body of theory and practice - one grounded in the martial and political fields. The similarities and differences between the two practices will be used as a way of elaborating
upon the objectives and methods of Theatre of the Oppressed, and as a way of examining the overall practice of 'cultural activism'. This thesis will look at the work of Augusto Boal from 1965 to 1998, and the body of his work known as Theatre of the Oppressed. Also examined will be the work of Edward Geary Lansdale from 1950 to 1983, chiefly his work in the Philippines and Vietnam. One is a theatre worker, a writer, director, theorist and politician.
The other retired as a major general in the US Air Force, a renowned intelligence operative and expert. This thesis will argue that they are working in the same field, albeit at different points in spectrums of material resources and ideology. They are both cultural activists. This
thesis will examine the way these two practitioners have used the narrative and the event, the myth and the ritual, to colour the canvas of cultures. Cultural activism is the orchestration of narratives and events. Cultural activists work with the symbolic in order to influence the actual.
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Medina, Carmen Liliana. "Theatre of the oppressed and theatre in education : a reflection on Paulo Freire's theories." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1240234778.
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CRUZ, PAMELA PEREGRINO DA. "DIALOG’S CENTRALITY IN THE PEDAGOGIC DIMENSION OF THEATRE OF THE OPPRESSED: BETWEEN SOCRATIC METHOD AND PEDAGOGY OF THE OPPRESSED." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17546@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOO Teatro do Oprimido (TO) é um método de alfabetização estética, sistematizado por Augusto Boal, que visa à transformação da realidade e à humanização através de meios estéticos e a partir do diálogo. Este trabalho analisa o papel do diálogo no TO. A primeira parte apresenta uma análise de algumas pesquisas sobre o TO, buscando revelar as interpretações dadas ao papel do diálogo. A segunda parte analisa a obra de Augusto Boal apresentando o desenvolvimento histórico da dimensão pedagógica do TO e revela as influências dos processos históricos nos quais se inseriu. Os textos de Boal foram analisados como fontes historiográficas a partir do referencial materialista cultural. A partir dessa análise, a perspectiva de diálogo do TO, diferente do que apontavam os trabalhos analisados, revelou-se baseada em dois pilares: a Pedagogia do Oprimido e a maiêutica socrática. Essas duas referências são, então, investigadas para definir os limites entre as concepções originais e a interpretação de Boal. A última parte, a partir da análise de entrevistas, apresenta o pensamento sobre o diálogo dos curingas do Centro de Teatro do Oprimido (CTO). Conclui-se, então, que a perspectiva maiêutica, tal como utilizada por Boal e o CTO, impôs alguns limites para alcançarem-se os objetivos do TO, produzindo uma nova perspectiva dialógica. No entanto, percebe-se o interesse e o esforço do CTO na investigação e na construção de um TO cada vez mais dialógico, comprometido com suas origens, fiel ao pensamento de Boal, mas coerente às demandas atuais.
Theatre of the Oppressed (TO) is an aesthetic alphabetisation method, organized by Augusto Boal, which aims at promoting social change and humanization through dialog and aesthetic means. This work analyses dialogs place inside TO. The first part presents an analysis of some researches about TO, seeking to reveal how they place dialog inside TO. The second part analyse the work of Augusto Boal presenting the historical development of TO pedagogic dimension and reveals the influences of the historical process. Boal texts were analysed as historical documents in the perspective of Cultural Materialism. This analysis reveals that TO dialog perspective, on the opposite way of the analysed works, is based in two pillars: Pedagogy of the Oppressed and Socratic Method. These two perspectives are investigated in order to define the limits between theirs original conceptions and Boal own interpretation. The last part presents the Cento de Teatro do Oprimido (CTO) jokers thought about dialog inside TO, through the analyses of interviews. It then concludes that the Socratic perspective, as used by Boal and CTO, set some limits in order to reach their objectives, producing a new dialogical perspective. Nevertheless, CTO effort to investigate and build a ever more dialogical and faithful to its origins and Boal thoughts, as well as able to deal with the new demands of nowadays.
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Jacobson, Erika. "Theatre of the oppressed and the transformative practitioner: An aesthetic of presence, motivation and reflection." Thesis, Jacobson, Erika (2014) Theatre of the oppressed and the transformative practitioner: An aesthetic of presence, motivation and reflection. PhD thesis, Murdoch University, 2014. https://researchrepository.murdoch.edu.au/id/eprint/26380/.
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Theatre of the Oppressed (TO) is a social theatre methodology that offers creative tools and generative processes through which participants can aesthetically explore their individual and collective struggles and oppressions. In these processes the practitioner strives to create moments in which participants can examine the power dynamics present in these struggles and rehearse possibilities for transforming them in positive ways. However, while the practice is well established, research into this potentially transformative and generative work is in its infancy.
This autoethnographic thesis explores my TO practice in order to better understand the work, add knowledge to the field, and improve the practices themselves. Through phenomenological reflection and action learning, I explore what I bring to the work in order to facilitate the possibility for change in others, and what enhances or hinders that process.
This research is located within three case studies: a project dealing with sexual abuse and violence with 13 Aboriginal young women; men in a domestic violence ‘perpetrator’ program; and a community youth Forum Theatre project focusing on respectful relationships.
Three key elements emerged as essential for the practitioner in order to animate the dynamics of theatre as tool for engagement and dialogue: motivation, presence and reflection. Motivation is the foundation for perseverance, 4 commitment, patience and connection. Second, being present, or ‘presencing’, the generative act of allowing the story, the action, to emerge, supports the possibility for dialogue. Third, reflexivity is the key to learning; extracting what the learning is, applying it, and preparing for it by holding in tension the ‘unknown’ and moving towards ‘resolution/s’.
Furthermore transformation is not something that can be prescribed for someone else, but rather is a trajectory where participant and practitioner can travel together; a journey in which ultimately both are affected.
Finally, questions of engagement and of top-down driven, issue-based work arise that call for further investigation.
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Silva, Pedro. "Exploring Theatre of the Oppressed and Media Synchronicity to Supplement Virtual Learning Environments: Experiences with Mados." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5867.
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This thesis explored the application of Media Synchronicity Theory and its potential for translating Critical Pedagogy (specifically Boal's Theatre of the Oppressed) into a computer- supported collaborative work (CSCW) environment. It introduces the Maquina dos Oprimidos (Mados) prototype, a CSCW supplement to traditional asynchronous learning networks. Mados operates as a role-playing debate game, in which students debate a pre-selected prompt while performing assigned character roles. The study explores the prototype's potential to affect student's identification with their assigned character and personal attitude toward the prompt, as well as examining the effect of presence on students' performances. The study was performed with 38 8th grade students. Subjects debated a prompt which proposed a banning cell phones from classrooms. Results show that subjects collaboratively constructed solutions that compromised between both positions, while slightly favoring the anti- ban position. Results also show that subjects experienced gains in character identification after participating in the task regardless of assigned character, hinting at a separation between perceived similarity to characters and affinity for characters' position. The ability of subjects to defend their assigned character's position while inhabiting their own perspective, that of an 8th grade student, also hints at this separation. Additionally, results indicated correlations between subjects' control factors, a subset measure for presence, and total change in prompt agreement. Other positive correlation exist between subject's reprocessing attempts and task performance, as well as total presence and task performance.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Digital Media
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Santos, Márcio Silveira dos. "Tragédia na sala de aula : um estudo de práticas de teatro na Educação de Jovens e Adultos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/25909.
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A presente dissertação tem por base estabelecer reflexões acerca do trabalho desenvolvido nas práticas de teatro na sala de aula com alunos do Programa EJA - Educação de Jovens e Adultos da Escola Municipal Arthur Ostermann, no Município de São Leopoldo, na região do Vale dos Sinos, Estado do Rio Grande do Sul. Procuro estabelecer conexões dessas práticas com a Pedagogia do Oprimido de Paulo Freire e o conceito de Tempos Líquidos, de Zygmunt Bauman. As atividades foram realizadas através de jogos espontâneos e protagonizados, visando o desenvolvimento dos potenciais criativos dos alunos, e a reflexão sobre os potenciais destrutivos da sociedade. As práticas são divididas em duas ramificações: o Teatro Jornal, de Augusto Boal e o exercício de escrita dramática a partir da contextualização das tragédias gregas. Uma tem ligação com a outra, tendo em vista que a partir das improvisações teatrais surgiram necessidades de discutir os fatos vigentes. Estes fatos, a maioria publicados em jornais, foram considerados pelos alunos como tragédias, o que despertou em alguns a pesquisa a partir dos textos trágicos do teatro grego, que consistiu na leitura em específico das peças Édipo Rei e Antígona, de Sófocles, desencadeando assim uma contextualização de determinadas obras.This thesis is based on established ideas about the work practices of theater in the classroom with students of adult education program - Youth and Adult Education of the School of Arthur Ostermann, in São Leopoldo, in the Vale of Sinos, Rio Grande do Sul. Looking for connections of these practices with the Pedagogy of the Oppressed by Paulo Freire and the concept of Liquid Times of Zygmunt Bauman. The activities were conducted through games and spontaneous protagonists, to develop the creative potential of students, and reflection on the destructive potential of society. The practices are divided into two branches: the Newspaper theater of Augusto Boal and the pursuit of dramatic writing from the background of Greek tragedies. One is linked to another in order that emerged from the improvisational theater needs to discuss current events. These facts, most published in newspapers, were considered by students as tragedy, which sparked some research from the texts tragic of Greek drama, which consisted of reading in specific parts of Édipo Rei and Antigona by Sófocles. Thus triggering a contextualization of certain works.
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Jester, JuliaGrace J. "A Feminist Social Psychological Study Utilizing Theatre of the Oppressed Methods to Explore Issues of Women’s Voices." Miami University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=miami1059074145.
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Jester, JuliaGrace J. "A feminist social psychological study utilizing theatre of the oppressed methods to explore issues of women's voices." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1059074145.
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Maritz, Gerrit Ulrich. "An appreciative inquiry approach to community theatre on HIV and AIDS education for young people." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/26490.
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This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The dissertation argues that Appreciative Inquiry can enrich the practice of Community Theatre by approaching HIV and AIDS education through an asset-based, participatory, inclusive, learner-centred approach. The dissertation further hypothesises that the infusion of the 4-D process of Appreciative Inquiry into Community Theatre processes aimed at HIV and AIDS education will enhance young people’s agency as active participants and agents of change in their communities beyond the didactic notions inherent in ABC education approaches to HIV prevention. This approach can encourage meaningful participation and critical consciousness amongst young people in the HIV prevention response.Dissertation (MA (Drama))--University of Pretoria, 2011.
Drama
unrestricted
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de, Miguel Capell Jordi. "Looking for Amina: An experience on Forum Theatre. Entertainment-Education and participatory approaches." Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21229.
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This Master in Communication for Development thesis is based on the experience of "Amina's looking for a job", a Forum Theatre play created in 2007 - whith the help of her sons and an NGO- by a Moroccan woman who is discriminated by different institutions in her will to find a decent job in Catalonia, Spain. Through this case study, the essay explores the contributions of participatory approaches to Education-Entertainment field from a communication for social change perspective.
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Gilliam-Smith, Rhonda. "FREEDOM ACTS: A HISTORICAL ANALYSIS OF THE STUDENT NON-VIOLENT COORDINATION COMMITTEE AND ITS RELATIONSHIP TO THEATRE OF THE OPPRESSED." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1218820340.
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Gaunce, Rachel. "Seeking Alternative Research and Development Methods Through Theatre: A Case Study on Sanitation Issues Affecting Women in the Mathare Slum." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524844274577085.
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Jester, JuliaGrace J. "Effects of Fat Stigmatization on the Behavioral and Emotional Lives of Women of Size: Voicing Silence through Theatre of the Oppressed." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1176845828.
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Jester, Juliagrace J. "Effects of fat stigmatization on the behavioral and emotional lives of women of size voicing silence through theatre of the oppressed /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1176845828.
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Falcone, John Paul. "Creative, Critical, and True: Training Students to Improvise Responsibly with Biblical Text: A Pragmatist, Spirit-led Model." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104536.
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Thesis advisor: Theresa A. O'KeefeIn this dissertation, I argue that Bible education is best understood as training students to improvise responsibly with Scripture. I explore this pedagogical model by reflecting on my experience as a Bible instructor at Cristo Rey New York High School, an inner city Catholic school. The goal of a Cristo Rey education is the integral liberation of students. In the language of liberation theology, to be "integrally liberated" is to survive and to thrive on all levels - material, cultural, psychosocial, and spiritual. Learning to improvise responsibly with Scripture helps students to grow in integral liberation. It helps them develop the capacity to perceive and to act with greater freedom, discernment, and commitment. It helps them to handle and interpret the Bible in ways that are creative, critical, and true. Here being true means more than being factually accurate; it means being true to the text, being true to the needs of one's interpreting community, and being true to the inner promptings of God's Holy Spirit. Responsible improvisation connects Biblical interpretation with artistry, with problem-solving, and with the construction of counter-cultural spaces. The dissertation supports a pedagogy for improvising responsibly with Scripture in several different ways. In the first chapter, I explain my proposal and the teaching experiences on which it is based. The first half of the chapter introduces the Cristo Rey setting within which I developed the Biblical pedagogy theorized and refined in this project. The second half begins to locate and unpack that pedagogy in terms of academic disciplines and relevant terms. I explain more concretely what I mean by "training students to improvise responsibly with Scripture." I also describe what I mean by "integral liberation," and by "interpretations that are creative, critical, and true." Chapter Two answers the question: "Why consider teaching a program of training?" I use the theory of Situated Learning to outline the religion classroom as a place of training, where students learn to master different interpretive practices in the midst of intersecting communities. I show how my model accurately reflects the teaching and learning dynamics of high school classrooms. A situated learning perspective helps educators identify specific areas where their interventions can help students become better, more responsible Scriptural improvisers. Chapter Three answers the question, "How can you train students for improvisation?" In this chapter, I correlate my educational model with the popular educational technique known as Theatre of the Oppressed (TO). TO brings together critical pedagogy and creative expression to help participants improvise artful and liberating social actions; it has proven both powerful and enduring in a broad range of class and cultural settings. I use TO as a generative metaphor to help teachers imagine more deeply and richly what training students for responsible improvisation might look like. Chapter Four steps back to take in a broader perspective. It answers the question, "Is this pedagogical model coherent? How does it all hang together?" In this chapter, I use the Pragmatist theology of Donald Gelpi, SJ as an overarching framework. I relate the concepts of "interpretation," "creativity," "responsibility," and "norms" with each other, and with a theology of God's Holy Spirit. Using Gelpi's semiotic realism as a conceptual framework shows how my pedagogy is not only conceptually coherent, but also convincingly rooted in the Christian intellectual tradition. Chapter Five presents a detailed example of teaching the Bible for responsible improvisation. It outlines the process of preparing and teaching a chapter from the Gospel of Matthew - specifically, Mt 13, the "Parables Discourse." This chapter argues that a warrant for improvising responsibly with Scripture can be derived from the Gospel itself. In short, I argue that "training students to improvise responsibly with Scripture" is a justice-grounded, empirically accurate, pedagogically compelling, intellectually coherent, and eminently Christian approach to teaching the Bible in Catholic schools. I conclude by discussing the implications of such a model in the context of Catholic educational ministry and ministerial training
Thesis (PhD) — Boston College, 2015
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Religious Education and Pastoral Ministry
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Pandolfi, de Rinaldis Gianna. "Fighting for Health: Theatre of the Oppressed as a Therapeutic Technique that Explores Changes in the Emotional State of Cancer Patients and Survivors." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1312437259.
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Wolfman-Robichaud, Sarah Leah. "The evocation of meaning : a study of Image Theatre in three elementary classrooms." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2531.
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Over the course of the 2007/2008 school year, I visited three classrooms to investigate the effectiveness of Augusto Boal’s drama method, Image Theatre, with elementary-aged students. In Image Theatre, the practitioners and students use their bodies to create frozen images, which in turn become the focus of collaborative meaning- making. I applied the reflective practitioner methodology in my work as it allowed me to adapt to the rapidly altering situations that arise in elementary classrooms. Through reflecting on my interactions with students, I refined a set of teaching techniques that worked best to integrate Image Theatre into the classroom and ultimately into the curriculum.
My research provides a qualitative analysis of the power of Image Theatre to foster student dialogue, develop empathic learning, and introduce conflict awareness techniques. My thesis highlights some specific exercises and theoretical frameworks that guided my work and produced the most effective results.
The effects of applying Image Theatre to elementary-aged classrooms has not been extensively studied in the past and my research attempts to address this academic gap. It is my hope that future researchers will adapt my activities and further demonstrate the capacities of this theatre technique. Ultimately, I hope that Image Theatre methods can find a place in standard curricula.
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Ferguson, Janet Cynthia. "Experiential learning and the educational significance of the aesthetic dimension : an interpretative account of Augusto Boal's Theatre of the oppressed system of practices." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/3060/.
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This study will explore the nature and the scope of the Theatre of the Oppressed practices within the broader educational terrain of experimental learning. The aim of the study is to extend and elaborate on current established understandings of experimental learning by acknowledging and recognizing the facilitative and educational significance of the aesthetic domain. Although there has been a substantial level of theorizing about experiential learning very little attention has been given in defining the educational uses of the aesthetic domain of experience. Some experimental learning theorists have acknowledged the multi-dimensional nature of experience and their work supports the use of drama in the context of experiential learning. Yet there is very little distinctive educational role of the aesthetic domain of experience. It is against this background that this study asks how do we learn from the "experience of drama" and how is this learning different and or similar to our current understandings of experiential learning? In addition to mapping experiential learning as a distinctive terrain the study signposts the conceptual dimensions of the area by delineating the generic features that set experiential learning apart from other models and theories of learning and instructional practice. Against this background, a review of the Theatre of the Oppressed practices will be undertaken and attention will be given to "image theatre" as a mode of communication that works outside the boundaries of everyday language. The specific properties of the "aesthetic space" are explored and related to the educational implications of the carnivalesque motif that defines the distinctive critical sensibilities of Theatre of the Oppressed. Following this the study moves to a conceptual elaboration of experiential learning and the delineation of the educational and facilitative role of "the aesthetic domain". While the study's methodology is grounded to Schon's (1987) understanding of the reflective practitioner, there has been a concerted effort to establish an interpretative framework that corresponds with the refractive qualities of Theatre of the Oppressed. The main purpose is the achievement of an illuminative synthesis of perspectives. Short descriptive accounts of practice provide practical "real life" examples, while the philosophical and theoretical contributions of Dewey and Freire are used to establish the discursive parameters of the study. The overall goal of this largely integrative focus is to contribute to the area of adult and continuing education by illuminating an important but so far largely unrecognized area of practice.
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BERGER, WILLIAM. "THE THEATER OF POWER AND THE THEATER OF THE OPPRESSED: SOCIAL RESISTANCE AND INTERVENTION IN CAIEIRAS VELHAS: ARACRUZ, ES (2006-2011)." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=20477@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Esta pesquisa tem por objeto de estudo a intervenção teatral como forma de intervenção social que busque reconhecer formas de resistência social de grupos sociais em situação de subalternidade para valorizá-las, recuperando uma discussão já iniciada no Serviço Social. O objeto empírico tratado é um conjunto de intervenções teatrais realizadas na localidade de Caieiras Velhas, município de Aracruz, ES, entre 2006 e 2011 pelo Teatro do Oprimido, com a participação do autor deste estudo. Na introdução se justifica a utilização da imagem mitológica da Fênix para caracterizar a resistência social do povo indígena Tupiniquim, moradores tradicionais daquele território. Inicialmente se apresenta uma breve reflexão teórica sobre subalternidade a partir dos trabalhos de James Scott, Gayatry C. Spivak e Antônio Gramsci. Para subsidiar a discussão da metodologia da pesquisa se apresenta um panorama da metodologia do Teatro do Oprimido, entrecruzando as cinco categorias dos jogos e exercícios deste método com as categorias teóricas adotadas para definir os sujeitos, o lugar e as pertenças dos subalternos em Caieiras Velhas. A primeira categoria teórica é a de identidade, construída a partir das discussões de Manuela Carneiro da Cunha, Manuel Castells, Stuart Hall e Zygmunt Bauman. A segunda é lugar/territorialidade, e seu pressuposto —território—, compreendida a partir de Yi Fu Tuan, Milton Santos, Rogério Haesbaert e Claude Raffestin. A terceira categoria teórica é resistência social, baseada na concepção de James Scott. A quarta categoria é memória/experiência a partir de Ecléa Bosi, Carlos Rodrigues Brandão e Walter Benjamin. A estruturação do texto parte de uma breve descrição dos moradores da aldeia Tupiniquim Caieiras Velhas. A tematização do estudo foi extraída das intervenções realizadas pelo Teatro do Oprimido naquele território. Com a contribuição da Antropologia se caracteriza o teatro do poder que se deseja conhecer e discutir, situando a metodologia do Teatro do Oprimido neste contexto. Este trabalho tem ênfase nas mulheres do território, com o objetivo de aprofundar o conhecimento das suas atuais formas de resistência à dominação.
This dissertation s focus is the theater interventions as a mean to recognize the forms, contents and importance of social resistance of subaltern groups, a perspective already tried by the Social Work area in the past. The experience under discussion is a set of workshops undertook by the Theater of the Oppressed at the village of Caieiras Velhas, Aracruz County, Espírito Santo Estate, Brazil, between 2006 and 2011, with the participation of the author. This work begins with the suggestion of the Phoenix Myth as a symbolic representation of the social resistance of the Tupiniquim People, natives of that territory. The theoretical appropriations start with considerations about subalternity based on the works of James Scott, Gayatry C. Spivak and Antônio Gramsci. The methodological aspects of the research are described and discussed in the lights of the Theater of the Oppressed methodology, cross relating its five stages of exercises and games with the adopted theoretical concepts, to describe the subjects, their place and their cultural sense of belonging at Caieiras Velhas. The first theoretical category adopted is identity, approached through the works of Manuela Carneiro da Cunha, Manuel Castells, Stuart Hall and Zygmunt Bauman. The second one is place/territoriality, and therefore – territory – based on the discussions of Yi Fu Tuan, Milton Santos, Rogério Haesbaert and Claude Raffestin. The third and last theoretical category is social resistance, with focus on James Scott s conceptions. The fourth category is memory/experience from Ecléa Bosi, Carlos Rodrigues Brandão and Walter Benjamin. The structure of the text begins with a description of the Tupiniquins within their own territory. The themes that organize the next chapters were extracted from the workshops of the Theater of the Oppressed occurred in Caieiras Velhas. From an anthropological point of view, this work discusses the theater of power in the village by using the methodology of the Theatre of the Oppressed. This work has emphasis on women s territory, in order to deepen their knowledge of current forms of resistance to domination.
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Moraes, Michele Adriana de. "Entre a metaxis e a filosofia da práxis : teatro do oprimido-perspectivas para o teatro na educação." Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/7648.
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The present study is linked to the Postgraduate Program in Education of UFSCar, under the research line Theories and Practice in School Education. The central theme of this study is the Theatre and Education. The object of the study has as references Theatre of the Oppressed’s working techniques, a theatrical teaching methodology created by Augusto Boal, who seeks to identify the injustices established in oppressed-oppressor’s relations and overcome them through Concrete and Continued Social Actions. Since it is a Library imprint of research, we look for material at dissertation’s bank and Capes’s Theses, who fieldworks were conducted in formal and non-formal learning environments who practices the Theater of the Oppressed methodology. We investigated these theses and dissertations understand the interpretation and the use they make of the Oppressed Theatre. We grouped the works in two (02) themes; School Education (representing formal learning environments) and Social Education Processes (representing informal learning environments). For the development of this research we used the content analysis technique, beyond the presentation of quantitative and qualitative data of theses and dissertations.
A presente pesquisa é vinculada ao Programa de Pós-Graduação em Educação da UFSCar, na linha Educação Escolar Teorias e Práticas. O tema central deste estudo é o Teatro e a Educação. O objeto de estudo se refere às técnicas de trabalho com o Teatro do Oprimido, metodologia pedagógica teatral, criada por Augusto Boal, que busca identificar as injustiças estabelecidas nas relações opressores-oprimidos e superá-las através de Ações Sociais Concretas e Continuadas. Por se tratar de uma pesquisa de cunho bibliográfico, buscamos no banco de dissertações e Teses da Capes, trabalhos de Campo realizados em ambientes de aprendizagens formais ou não formais, que versassem sobre a Metodologia do Teatro do Oprimido. Buscamos nestas teses e dissertações compreender a interpretação e o uso que fazem do Teatro do Oprimido. Agrupamos os trabalhos em duas (02) categorias temáticas, Educação escolar (representando ambientes formais de aprendizagem) e Processos Socioeducativos (representando ambientes informais de aprendizagem). Para o desenvolvimento desta pesquisa utilizamos a técnica de Análise de Conteúdo, além da apresentação de dados quantitativos e qualitativos das teses e dissertações.
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Harrison, Kiersten Rose. "A Theatre for Change: Applying Community Based Drama Practices into Ontario Middle Schools." Thesis, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20511.
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Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood.
Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.
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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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Previous issue date: 2013-04-10This 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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Josephson, Agneta. "Jokern – dialogkonstnär i spelet." Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7827.
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Sammanfattning I stora delar av världen används forumteater för att motverka förtryck. När forumteater spelas har jokern en nyckelroll. Undersökningens syfte är att ta reda på vad de i studien ingående jokrarna uppfattar som jokring och hur de uppfattar jokring samt att skapa beskrivningskategorier för dessa uppfattningar. Frågeställningen är: Hur beskriver jokrar jokring? I undersökningen har korta intervjuer med 19 jokrar analyserats. Jokrarna kommer från 11 länder. Intervjuerna är hämtade från den internationella hemsidan för Teater för förtryckta. Metoden i undersökningen är huvudsakligen fenomenografisk. Resultat: Jokring är att leda forumteaterprocessen med dialogen i centrum. Fyra uppfattningar av aspekter hos jokerns roll har framkommit, här beskrivna metaforiskt: Jokern som etiker/filosof, jokern som samhällsförändrare, jokern som hantverkare och jokern som psykolog. Jokern stimulerar med hjälp av forumteatern till dialog. Jokrarna i undersökningen har uppfattningen att dialogen utgör både medel och mål med jokring och med forumteater. Dialogen uppfattas ske med olika medel, olika riktning och med olika föresatser. Den sker visuellt, med tal och i handling. Den har sitt fokus, sin riktning, gentemot individerna i publiken, mot publiken som grupp och/eller mot den samhällsgrupp som publiken antas komma ifrån. Föresatsen med jokerns dialog är att stödja och/eller utmana. Avsikten med undersökningen har varit att få ökad kunskap om jokring och att skapa underlag för fortsatt arbete för ökad kunskap om jokring.
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Leal, Douglas Tavares Borges. "Narrativas da participação: estudo foucaultiano sobre a poética do teatro do oprimido nas plenárias de orçamento participativo em Santo André." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/12/12136/tde-27082010-095858/.
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A busca por novas linguagens para a participação no processo público de tomada de decisão levou a prefeitura do município de Santo André, estado de São Paulo, a aliar ao programa de Orçamento Participativo processos de Teatro do Oprimido, sistema desenvolvido pelo teatrólogo Augusto Boal a partir de seu exílio da ditadura brasileira até o ano de sua morte, 2009. A partir de uma abordagem crítica do Orçamento Participativo, segundo uma leitura à luz da obra do filósofo Michel Foucault, considera-se que a participação no governo pode conferir uma manutenção da ordem em vez de empoderamento da população. No que se refere ao Teatro do Oprimido, estudos críticos indicam que haveria nessa estética poucas possibilidades de elaboração poética dos processos. Considerando-se esses problemas, investiga-se de que forma o teatro possibilitaria redimensionar o processo de participação no orçamento. Estudam-se aspectos estéticos e pedagógicos relacionados ao desenvolvimento do Teatro do Oprimido nas plenárias de Orçamento Participativo em Santo André no período de 1997 a 2001. A discussão teórica empreendida levanta os conceitos foucaultianos de governamentalidade, biopolítica, panóptico e sujeito para operar a genealogia do poder em Teatro da qual se depreende a gênese do Teatro do Oprimido e a genealogia do poder em Contabilidade da qual se depreende a gênese do Orçamento Participativo. O estudo de caso que se realiza considera entrevistas com atores e espectadores das apresentações da esquete Orçamento Participativo pelo Grupo de Teatro do Oprimido de Santo André nas plenárias de Orçamento Participativo regionais e temáticas da cidade e outros documentos como fotos e textos. Desenvolve-se também uma simulação de um processo teatral sobre o orçamento na qual se avalia junto a estudantes universitários novas possibilidades ao Teatro do Oprimido e ao Orçamento Participativo. A avaliação dos resultados do caso indica limitações às intenções estéticas de abordagem do orçamento na modalidade do Teatro-Fórum, dadas pelo contexto governamental. A avaliação da simulação aponta o Teatro-Imagem como alternativa de investigação pedagógica sobre o orçamento, parecendo estar mais de acordo com uma perspectiva artística contemporânea. Considera-se que é a partir não da promoção da participação, mas do exercício de aproximação que o teatro pode reconfigurar o processo pedagógico do orçamento.The search for new languages for public participation in the decision-making process led the municipality of Santo André, São Paulo, to combine the program of Participatory Budgeting with process of Theatre of the Oppressed, a system developed by Augusto Boal from his exile from the dictatorship in Brazil until the year of his death, in 2009. From a critical approach to Participatory Budgeting, based on the work of the philosopher Michel Foucault, it is considered that participation in government can give a regularity enforcement rather than empower the population. In the scope of Theatre of the Oppressed, critical studies indicate that there would be little chances of developing aesthetic poetic processes. Considering these problems, the research investigates how theater would allow interfere the process of participation in the budget. The study considers aesthetics and education related to the development of Theatre of the Oppressed in the plenary of Participatory Budgeting in Santo Andre in the period of 1997 to 2001. The theoretical discussion take up the Foucauldian concepts of governmentality, biopolitics, panoptics and subject to operate the genealogy of power in the theater which indicates the genesis of the Theatre of the Oppressed and the genealogy of power in Accounting from which indicates the genesis of the Participatory Budget. The case study considers to be held interviews with actors and spectators of the performances of the play \"participatory budget\" by the Group of Theater of the Oppressed Santo Andre in the regional and thematic plenary of Participatory Budgeting in the city and other documents such as photos and texts. It also carries the simulation of a theatrical process on the budget in which is evaluated with university students new opportunities to Theatre of the Oppressed and to Participatory Budget. Findings of the case indicates the limitations of the aesthetic intentions of the Forum Theatre method of approaching the budget given by government context. Findings suggest the Image Theater approach as an alternative of educational investigation to the budgetary process, as it seems to be better aligned to a contemporary artistic perspective. In conclusion, practice of connectedness and approximation seems to be much more relevant than promotion of participation to reset the budgetary pedagogical process.
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Downing, Brendan J. "Rehearsing for Their Revolution: A Portraiture of Rural Appalachian Young Adolescent Conscientization and Liberation." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1565829713271047.
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Fernandes, Kelly Cristina. "Teatro do oprimido: uma prática em busca de transformação social." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/17078.
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Previous issue date: 2014-09-26Conselho Nacional de Desenvolvimento Científico e Tecnológico
This paper analyzes the experience of Forum Theatre one of the methodologies of Theatre of the Oppressed in the play "Torquemada 17 bullets" as a possibility of psychosocial intervention. This is a play about state violence in Brazil. We will talk about Forum Theatre as struggle and as a process of awareness and liberation of the oppressed. We will point out the importance of the fear as a social and political oppression, from the analysis of public safety issues, impunity, and citizen participation in public space. The text researchs through quantitative and qualitative data the public participation in the discussion of social issues through the theater. Analyzed especially the presentations of the play in four cities: Rio de Janeiro, São Bernardo do Campo, Guarulhos and Santos
O presente trabalho analisa uma experiência de Teatro Fórum uma das metodologias de Teatro do Oprimido na peça Torquemada 17 balas , como uma possibilidade de intervenção psicossocial. Trata-se de uma peça sobre a violência do Estado no Brasil. Vamos discorrer sobre Teatro Fórum como processo de conscientização e luta pela libertação dos oprimidos. Apontaremos a importância do medo como mediação da opressão social e política, a partir da análise dos temas: segurança pública, impunidade e participação do cidadão no espaço público. O texto examina através de dados quantitativos e qualitativos a participação do público na discussão de temas sociais através do teatro. Analisou-se especialmente a apresentação da peça em quatro cidades: Rio de Janeiro, São Bernardo do Campo, Guarulhos e Santos
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Oliveira, Sarah Reimann. "O Curinga no teatro Fórum: formação teatral e política pelo bufão." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8032.
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The Forum Theater is one of the most widespread Theater of the Oppressed’s modalities. It was systematized in the 1970s and it approaches social and psychological opressions on the scene so that they are discussed and restaged by the public. The mediator between the forum-scene and the public is the joker. This work proposes an investigation between the Forum Theater joker’s language and the buffoon. The buffoon is a clown with origins in the medieval times that uses comicality mainly through grotesque body gestures and ironic speech. This research has as primordial objective to investigate political and theatrical buffoon’s characteristics being in Forum Theater’s joker in order to provoque the critical eye. To that end, it was accomplished a historical rescue of the Forum Theater, of the joker and of the buffoon by means of books and videos that bring concepts and practices about them; it was written about the Victor Turner’s social drama bearing in mind one of the research’s development axes: the study of the Cultural Performances and their relations with the Theater of the Oppressed; and it was effected an analysis of videos, found on the internet, about Forum Theater’s plays presented in the brazilian’s state capitals. The selected videos’ analysis was done parting from two categories, they are: Forum theater and jokering; and buffoon aspects. The analyis’ categories were guided through three questions: In what way the Forum Theater has been presenting regarding the criticality matters? Is there criticality in the spect-actors’ fruition through the jokering? Can the buffoons’ aspects contribute to the Forum Theater’s joker formation? The mainly consideration obtained in this investigation shows that part of the studied Forum Theater plays are politically emptied and don’t seek the spect-actor’s critical eye. Therefore is fundamental that the joker builds his/her acting game by the improvisational quality that is one of the atributes of the buffoon’s activities, in this way is going to be possible having criticality in the spect-actors’ fruition.
O Teatro Fórum é uma das modalidades mais difundidas do Teatro do Oprimido. Ele foi sistematizado nos anos de 1970 e aborda em cena opressões sociais e psicológicas para que sejam discutidas e reencenadas pelo público. O mediador entre a cena-fórum e o público é o curinga. Este trabalho propõe uma investigação entre a linguagem do curinga do Teatro Fórum e do bufão. O bufão é um palhaço com origem nos tempos medievais que faz uso da comicidade, principalmente, através de gestos corporais grotescos e falas irônicas. A presente pesquisa tem como objetivo primordial investigar características do bufão presentes no curinga do Teatro Fórum de modo que o olhar crítico do público seja provocado. Para isso, foi realizado um resgate histórico do Teatro Fórum, do curinga e do bufão por meio de livros e vídeos que trazem conceitos e práticas sobre eles; foi escrito sobre o drama social de Victor Turner, tendo em vista um dos eixos de desenvolvimento da pesquisa que é o estudo das Performances Culturais e suas relações com o Teatro do Oprimido; e se realizou uma análise de vídeos, encontrados na internet, de peças de Teatro Fórum apresentadas em capitais brasileiras. A análise dos vídeos selecionados foi feita a partir de duas categorias, são elas: Teatro Fórum e curingagem, e aspectos bufonescos. As categorias para a análise foram guiadas por três perguntas: De que forma o Teatro Fórum vem se apresentando no que tange as questões da criticidade? Há criticidade na fruição dos espect-atores através da curingagem? Os aspectos bufonescos podem contribuir para a formação do curinga do Teatro Fórum? A principal consideração obtida nesta investigação mostra que parte das peças de Teatro Fórum estudadas estão esvaziadas politicamente e não buscam o olhar crítico dos espect-atores. Portanto, é fundamental que o curinga construa o jogo de sua atuação pela qualidade improvisacional, que é um dos atributos das atividades do bufão, dessa forma poderá haver criticidade na fruição dos espect-atores.
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Scatolini, Roberta. "Um estudo da corporeidade com educadores: uma experiência com o Teatro do Oprimido." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/16040.
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Previous issue date: 2012-06-12Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The objective of this research was to understand how the perception of corporeity developed with fifteen educators from a Child Education Center (CEC), a Children and Adolescents Center (CAC) and two municipal primary schools. We conducted a qualitative study of intervening nature, inserted in a broader research project - Project Articulation and Dialogue - which aimed to monitor the construction process of articulated proposals between different educational contexts, in a community in the outskirts of São Paulo. The research consisted in conducting a Workshop of Theatre of the Oppressed, developed in seven moments of three hours each, totaling twenty-one hours, and two collective and Reflective Meetings, which were recorded, transcribed, read and rewritten, giving origin to synthesis texts for each one of them. Then the units of meaning found, were grouped in "constellations" and analyzed in the light of Paulo Freire and Augusto Boal. The analysis revealed that the Theatre of the Oppressed workshop allowed participants to realize the mechanization of their bodies, due to a bureaucratic practice, which emphasizes rationality and limits the creativity and authentic to personify the world. And from there, awakened to the fact that the mechanization of their senses deprives their students to live their corporeality in its fullness. They also understood corporeality as cultural construction, which requires the exercise of problematization, in order to contribute to the rupture of paralyzing oppression, which prevent the subjects of "being more." Thus, the experience with the corporeality allowed educators new transformative and creative pedagogical approaches
O objetivo desta pesquisa foi compreender como se desenvolveu a percepção da corporeidade com quinze educadores de um Centro de Educação Infantil (CEI), um Centro da Criança e do Adolescente (CCA) e duas Escolas Municipais de Ensino Fundamental (EMEF). Realizou-se um estudo qualitativo, de cunho interventivo, inserido num projeto de pesquisa mais amplo Projeto Articulação e Diálogo que visa acompanhar o processo construtivo de propostas articuladas entre diferentes contextos educativos, em uma comunidade da periferia da cidade de São Paulo. A pesquisa constituiu-se na realização de uma Oficina de Teatro do Oprimido, desenvolvida em sete momentos, de três horas cada um, totalizando vinte e uma horas, além de dois Encontros Reflexivos coletivos, que foram gravados, transcritos, lidos e reescritos, dando origem a textos-síntese de cada um dos nove momentos. Em seguida, as unidades de significado encontradas foram agrupadas em constelações e analisadas à luz do referencial de Paulo Freire e Augusto Boal. A análise revelou que a Oficina de Teatro do Oprimido permitiu aos participantes perceberem a mecanização de seus corpos, decorrente de uma prática profissional burocratizada, que prioriza a racionalidade e limita a capacidade criativa e autêntica de se personificarem no mundo. E a partir disso, despertaram para o fato de que a mecanização de seus sentidos impede seus educandos de viverem suas corporeidades em plenitude. Também compreenderam a corporeidade enquanto construção cultural, que requer o exercício pedagógico da problematização, de maneira a contribuir para a ruptura de opressões imobilizadoras, que impedem os sujeitos de serem mais Desse modo, a experiência com a corporeidade ensejou novos olhares para as práticas pedagógicas dos educadores, que constataram a força expressiva e criativa do corpo, como agente da ação transformadora
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Simões, Nenita Gouveia. "Rehearsing reality : an interactive docufragmentary exploration of the Theatre of the Oppressed's engagement with the Brazilian Landless Movement (MST)." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/5636/.
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This thesis explores the Theatre of the Oppressed's practices at the point of interaction with peasants of Brazil's Landless Movement. It uses the interactive docufragmentary entitled Rehearsing Reality to explore the social and political role of art, and to ask whether particular applications of theatre and film can be used to understand and possibly transform points of view and raise consciousness about contemporary issues in the world. The Theatre of the Oppressed created by Augusto Boal comprises a series of interactive games, exercises and other theatrical methods developed with the purpose of using these drama techniques as a subjective medium contributing both to question and search alternatives for personal and social problems. Amongst its theatrical methods is Forum Theatre, the main practice adopted by Brazil's Landless Movement. This technique breaks with the conventions of the traditional language of theatre. Its main aim is to transform passive audiences into active participants of a theatrical scene. This thesis argues that Forum Theatre is an open medium that offers people the chance to participate democratically in the theatrical space in order to suggest and rehearse new ideas to be applied into their lives. In order to explore how these theatrical experiences work in practice this thesis includes a central element entitled Rehearsing Reality, which is specifically designed to adapt some of the main features from Forum Theatre to film language. Its aim is to activate viewers to interact with the film process. This thesis also explores the historical developments of the Theatre of the Oppressed with major emphasis on Forum Theatre and its practices amongst members of Brazil's Landless Movement living in camps and settlements in the hinterland of Sergipe State, North-East of Brazil. The structure of the thesis is divided into five parts: Chapter One analyses the relevant literature on the subject; Chapter Two provides a reflective account of the filming period; Chapter Three offers an overview of Boal' s life and the development of the Theatre of the Oppressed methods; Chapter Four briefly looks at the history and development of the Brazilian Landless Movement and provides a practical analysis of the experiences of Theatre of the Oppressed amongst the Landless Movement and Chapter Five analyses the creative process of making the docufragmentary Rehearsing Reality. The Conclusion suggests that the social and political aspect of art can significantly contribute to the process of comprehension and transformation of the world.
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Coudray, Sophie. "Histoire politique et esthétique du Théâtre de l'opprimé en france de ses origines aux années 1990." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2124.
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Bien loin de l’image mythifiée et parcellaire du Théâtre de l’opprimé, cette étude historique entend mettre au jour les processus à l’œuvre dans le développement de cette praxis élaborée par le metteur en scène brésilien Augusto Boal. Toujours envisagé tout à la fois comme théorie (la poétique de l’opprimé) et pratique, le Théâtre de l’opprimé est ici saisi dans toute son historicité. En s’appuyant autant sur un corpus théorique que sur des archives — dont un fonds inédit appartenant au Centre du Théâtre de l’opprimé de Paris — et des entretiens avec les praticiens qui ont été membres du centre parisien, les recherches menées nous ont permis de retracer une histoire qui se veut à la fois politique et esthétique du Théâtre de l’opprimé.Structurée chronologiquement, l’étude commence dans les années 1950 au Brésil, afin d’évoquer les préoccupations artistiques d’Augusto Boal — alors metteur en scène au Teatro Arena de São Paulo —, centrées sur la recherche d’un renouvellement des formes dramatiques répondant à un impératif politique : faire du théâtre populaire, c’est-à-dire pour le peuple brésilien. Il s’agit dedéceler, dès cette époque, les prémices d’une réflexion théoriques mais aussi les racines de certaines techniques théâtrales, qui constituent le terreau sur lequel se développera le Théâtre de l’opprimé, au milieu des années 1970, alors que Boal est en exil.La suite de cette étude se déroule en France, un pays où Augusto Boal commence à se faire connaître en 1971 grâce au Festival mondial du théâtre de Nancy et à la revue Travail théâtral. C’est à Paris, à la fin des années 1970, qu’il fonde le tout premier groupe permanent de Théâtre de l’opprimé, dont la mission est de diffuser et de transmettre cette méthode. Le groupe va progressivement se professionnaliser et s’institutionnaliser, pour finir par trouver sa place dans le champ du théâtre d’intervention socioculturelle, un espace dans lequel la structure va poursuivre son activité jusqu’en 1998, date à laquelle celle-ci va éclater pour donner naissance à de multiples compagnies éparpillées sur le territoire français, laissant un centre dont l’identité s’en est trouvée profondément renouvelée.L’histoire française du Théâtre de l’opprimé est l’histoire d’un dialogue permanent entre le théâtre, le champ politique, militant et l’éducation populaire. C’est également l’histoire d’un collectif, que rassemble l’usage d’une même méthode théâtrale et qui traverse deux décennies au cours desquelles l’époque a profondément refaçonné le visage de la société. C’est donc une histoiretraversée de contradictions, d’évolutions, mais aussi de positions maintenues et réaffirmées, qu’il s’agit ici de mettre au jour. Des mouvements militants à la politique de la ville, le parcours du centre parisien de Théâtre de l’opprimé est celui d’un groupe en prise avec son époque. Parisienne, la structure fondée par Boal est cependant centrale dans la diffusion à l’échelle mondiale des techniques du Théâtre de l’opprimé. En cela, écrire l’histoire du Théâtre de l’opprimé en France est une façon de contribuer modestement à en écrire une histoire mondiale, dont le centre parisien constitue une étape crucialeFar from the mythic and fragmented image of Theatre of the oppressed, this study intends to bring to light the ongoing processes in the development of this praxis developed by the Brazilian director Augusto Boal. Systematically considered as both a theory (the poetics of the oppressed) and a practice, Theatre of the oppressed is comprehended in all its historicity. Drawing on a theoretical corpus as well as archives – including unpublished funds from the Parisian Theatre of the oppressedCentre – and interviews with practitioners who used to be members of the Parisian centre, these researches lead us to trace Theatre of the oppressed political and aesthetical history.Organised in chronological order, this study begins in Brazil during the 1930s, in order to discuss Augusto Boal’s artistic concerns – while he works as Teatro Arena’s director in São Paulo – focused on the search for a renewal of dramatic forms tied up with a political imperative: performing popular theatre, that is a theatre performed for Brazilian people. From this time, we attempt to uncover the early stages of a theoretical reflection but also the roots of some theatre techniques, thatconstituted the fertile ground for the further development of Theatre of the oppressed during the mid 1970s, while Boal is in exile.The rest of this study takes place in France, a country where Boal starts to become known in 1971 through the Nancy World Theatre Festival and the revue Travail théâtral. By the end of the 1970s, in Paris he starts the first permanent group of Theatre of the oppressed, whose mission is to spread this method. Progressively, this group will become more professional and institutionalised, and will finally find its place in the field of sociocultural intervention theatre, a place where this structure continues its activities until 1988, when it breaks out and leaves the door open for many companies spread throughout France, leaving the old centre whose theatre identity has been radically altered.The French history of Theatre of the oppressed is the story of a permanent dialogue between theatre, the activist and political fields and popular education. This is also the story of a collective gathered around the use of the same theatrical method over two decades, while the face of society is being deeply reshaped. Thus, this history is fraught with many contradictions, evolutions but also strong positions being held and reaffirmed. Our task is to bring them to light. From activist movements to urban policy, Theatre of the oppressed Centre’s path is nothing else but the path of a group in touch with its time. However, the Parisian structure grounded by Boal is at the core of the spread of Theatre of the oppressed techniques in the whole world. That’s why writing Theatre of the oppressed history in France is a way to modestly contribute to writing its world’s history, in which the Parisian centre represents a major step
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Carruthers, Jean Catherine. "Performance as a platform for critical pedagogy in social work education." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205094/1/Jean_Carruthers_Thesis.pdf.
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The aim of this research is to discover whether and how 'critical performance pedagogy' (CPP) is a strategy for students to think critically about the ways they link theory and practice in social work using theatrical performance as a platform. Using critical thematic and critical discourse analysis of qualitative interviews, video recorded performances and corresponding texts, this research has uncovered the various ways CPP supports critical and collaborative engagement in social work. The research indicates, students initially develop social and political analysis, make relevant links between theory and practice (praxis) and foster skills in democratic leadership and social action.
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Neves, Mara Inês Ventura. "O teatro do oprimido enquanto estratégia de promoção do empowerment em populações socialmente vulneráveis - estudo de caso do Grupo de Teatro do Oprimido de Lisboa." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2016. http://hdl.handle.net/10400.5/11529.
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Dissertação de Mestrado em Política SocialA presente dissertação é o resultado de um estudo exploratório e descritivo sobre o Teatro do Oprimido e do seu papel enquanto estratégia de intervenção social que promove o empowerment de populações socialmente vulneráveis. Cruzámos algumas contribuições teóricas com o estudo de Caso do Grupo de Teatro do Oprimido de Lisboa, tendo sido efectuada uma pesquisa de base qualitativa. Foi analisada a aplicação prática do Teatro do Oprimido,em contexto português, em vários grupos do Teatro do Oprimido de Lisboa, no seu trabalho com populações vulneráveis, nomeadamente grupos de jovens, tendo sido efectuadas uma observação no terreno, assistindo a ensaios e espetáculos, e entrevistas semiestruturadas. O teatro do Oprimido de Augusto Boal recria a realidade, identificando temas prioritários para serem debatidos e resolvidos por cada grupo ou comunidade, dando-‐lhes a possibilidade de procurar e (re)inventar soluções. É neste contexto, que fomenta o conhecimento e a consciência crítica e promove nos intervenientes um aumento de competências pessoais/psicológicas, bem como sociais, nomeadamente ao nível da cidadania. Falamos portanto num acréscimo de poder psicológico,social e político. Esta mudança no indivíduo, conduz ao empowerment individual, grupal e comunitário que é, ele mesmo, um objetivo da intervenção social.
This work is the result of an exploratory and descriptive study on the Theatre of the Oppressed and its role as a social intervention strategy that promotes the empowerment of socially vulnerable populations. We have crossed some theoretical contributions to the case study of “Grupo de Teatro do Oprimido de Lisboa” having carried out a qualitative baseline survey. The practical application of Theatre of the Oppressed was analyzed within the Portuguese context in various groups run by the 'Teatro do Oprimido de Lisboa' (Theatre´of the Oppressed of Lisbon), through their work with vulnerable populations, including the youth. We made observations on the ground, attending rehearsals and performances and conducted semi-‐structured interviews. The Theatre of the Oppressed of Augusto Boal recreates reality, dentifying top issues to be debated by each group or community, giving hem he ability o search and (re)invent solutions. It is in this context that the Theatre of the Oppressed fosters in the participants knowledge and critical awareness, increasing/psychological and social skills, namely regarding to citizen’s rights and duties. We are talking about an increase of psychological, social and political power. This change in the individual leads to individual, group and community empowerment, which is a goal of social intervention.
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Silva, Flávio José Rocha da. "O teatro do oprimido como instrumento para a educação ambiental." Universidade Federal da Paraíba, 2010. http://tede.biblioteca.ufpb.br:8080/handle/tede/4583.
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Previous issue date: 2010-02-23Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research focuses on the Theater of the Oppressed as a tool for Environmental Education. Although the initial motivation of this theater technique was to discuss the oppressive relationships between human beings, our work had the intention to understand how this methodology can be undertaken with a group of students in a public school to talk about the environmental crisis. Our research was made with a group of volunteer students from the Professor Antônio Gomes Middle and High School, located in the neighborhood of Mutirão-Bayuex/PB during the second semester of 2008 and the first semester of 2009. Throughout this time, we coordinated thirty workshops on the Theater of the Oppressed techniques and discussed themes connected to the environment on each acti vity. At the end of each semester , the group presented a play focusing on the garbage on the school grounds and class rooms and on the devastati on the Mata do Xém-xém State Park, located in the same neighborhood. At the beginning of our research and at the end of our workshops, we applied questionnaires with the Eighth, Ninth, Eleventh and Twelfth grade students to discover if there was an increase in the level of understanding of environmental problems and concepts like nature, environment and environmental education. Our research confirms that the Theater of the Oppressed can be a tool to facilitate a critical Environmental Education and promote Environmental Justice in a participatory method.
Este trabalho tem o seu foco na utilização do Teatro do Oprimido como instrumento para a Educação Ambiental. Embora a finalidade inicial desta técnica teatral fosse lidar com as relações de poder opressivas entre os seres humanos, a nossa pesquisa teve a intenção de compreender como esta metodologia pode ser levada aos alunos de uma escola pública para discutir a problemática ambiental. Nossa investigação foi realizada com um grupo de educandos voluntários da Escola Estadual de Ensino Fundamental e Médio Professor Antônio Gomes, localizada no Bairro do Mutirão-Bayeux/PB no segundo semestre de 2008 e no primeiro semestre de 2009. Durante este período, coordenamos trinta oficinas lúdico-pedagógicas e discutimos temas ligados a questão ambiental a cada atividade. Ao final de cada semestre, o grupo apresentou peças teatrais com a temática do lixo na escola e sobre a degradação do Parque Estadual da Mata do Xém-xém, localizado no mesmo bairro. Para averiguar o resultado da pesquisa, foram aplicados questionários com as turmas dos 8° e 9° Anos do Ensino Fundamental e das 1ª e 2ª Séries do Ensino Médio ao início e ao término do nosso trabalho, onde pudemos constatar um crescimento no nível de entendimento da maioria dos educandos das referidas turmas acerca da problemática ambiental e de conceitos como natureza, meio ambiente e educação ambiental, confirmando que o Teatro do Oprimido pode ser utilizado como ferramenta pedagógica para facilitar uma Educação Ambiental crítica e promover a Justiça Ambiental de forma participativa.
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Martins, Janaina Bilate. "Teatro do Oprimido: a experiência de Santo André/SP." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/17991.
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Previous issue date: 2009-06-25Conselho Nacional de Desenvolvimento Científico e Tecnológico
This work intends to reflect about the experience of the Theatre of the Oppressed in Santo André City, São Paulo, having as a theorical methodological orientation the reflections of Antonio Gramsci. The implementation and trajectory of the Group of Theatre of Oppressed (GTO) are analyzed by an articulation between the historical determining of the strcuture and conjuncture which made that experience possible to be carried out. In this research, we objective study the methodological aspect from the Theatre of the Oppressed and the possibilities that may come up as a result of this process related to the stimulation of the criticiness, reflections and political actions of some groups, as well as the limits and possibilities of stimulating the socialization of the culture. The categories ideology, hegemony, civil society and culture are directing this research and they are used based on that perspective, in which is defended that the possibility of a construction of a new societal order, directly connected with culture area, and this reproduction, straightly articulated to the economy production. In this sense, we point out some limits of the use of Theatre of the Oppressed methodology in the Santo André experience, in the way of giving instruments, or not, to create conditions for a hegemony conquest. Its affirmed because of the link between the GTO experience and the city public administration, and the fact that in the objetives of this experience there isn t any consideration about the struggles between social classes in capitalism
A presente tese visa à reflexão sobre a experiência do Teatro do Oprimido na cidade de Santo André, São Paulo, tendo como orientação teórico-metodológica as reflexões de Antonio Gramsci. A implementação e trajetória do Grupo de Teatro do Oprimido (GTO) são analisadas buscando-se a articulação entre os determinantes históricos estruturais e conjunturais que possibilitaram a criação desta experiência. Nesta, objetivamos estudar os aspectos metodológicos do Teatro do Oprimido e as possibilidades que por ventura possam surgir deste movimento no âmbito da potencialização da consciência crítica, estímulo à reflexão e a ações políticas coletivas, bem como os seus limites e possibilidades de estimular a socialização da cultura por meio da fruição. As categorias ideologia, hegemonia, sociedade civil e cultura serão centrais nesta pesquisa e utilizadas na perspectiva supracitada, na qual é defendida que a possibilidade de construção de uma nova ordem societária está diretamente ligada à esfera da cultura, e à reprodução desta, articulada intrinsecamente à produção econômica. Neste sentido, apontamos alguns limites da utilização da metodologia do Teatro do Oprimido na experiência de Santo André, no sentido desta instrumentalizar, ou não, condições para uma disputa pela hegemonia. Isto encontra bases na análise de sua vinculação direta à administração municipal e na desarticulação de seu objetivo inicial central, de ampliar a participação da população na esfera governamental, das considerações acerca da disputas entre as classes sociais no capitalismo
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Cristino, Nathali Corrêa. "Teatro e saúde mental: uma investigação que relaciona autonomia, poder contratual e teatro do oprimido no contexto de um CAPS I." Universidade Federal de Juiz de Fora, 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/1805.
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O objetivo deste trabalho é descrever e analisar como a oficina terapêutica de teatro, orientada pela teoria do Teatro do Oprimido, influencia na autonomia e poder contratual dos usuários de um CAPS I. Efetuamos, inicialmente, uma revisão bibliográfica, que contextualiza as bases teóricas e práticas da Reforma Psiquiátrica Brasileira, onde apresentamos as primeiras experiências de trabalho com arte e a forma atual como este trabalho, mais especificamente o teatro, tem sido utilizado nos diversos dispositivos de Saúde Mental do país. Em seguida, delineamos a metodologia do Teatro do Oprimido, de Augusto Boal e suas contribuições para o campo da Saúde Mental, para, mais adiante, realizar um diálogo entre esta teoria e a Pedagogia do Oprimido de Paulo Freire. Apresentamos, então, o trabalho da oficina terapêutica de teatro, realizada no CAPS I de Porto Real, interior do Estado do Rio de Janeiro. Efetuamos filmagens nesta oficina, durante sete encontros e um grupo focal. A partir daí realizamos uma analise temática acerca das ideias que sobressaíram deste material. Isto revelou que a experiência com o teatro tem auxiliado no tratamento, proporcionando reflexões e ações que poderiam estar relacionados a um incremento de autonomia e poder contratual.
The aim of this study is to describe and analyze how the therapeutic theatre workshop, guided by the Theatre of the Oppressed's theory, influences on users' contractual power and autonomy from a CAPS I. We have carried out, initially, a literature review, which contextualizes the theoretical and practical bases of the Brazilian psychiatric reform, where we present the first experiments with art and the current form as this work more specifically the theatre, has been used in several Mental Health devices in the country. Then, we have outlined the Theatre of the Oppressed's methodology, Augusto Boal and his contributions to the Mental health field, to later perform a dialogue between this theory and the Pedagogy of the oppressed by Paulo Freire. Then, we present the work of drama therapy workshop, held in CAPS I of Puerto Real, in the State of Rio de Janeiro. We carry out filming in this workshop for seven meetings and a focus group. From there we conducted a thematic analysis of the ideas that we have seen of this material. This analysis revealed that the experience with the theatre workshop has helped in the treatment, providing reflections and actions that could be related to an increase of autonomy and power.
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Canda, Cilene Nascimento. "Todo mundo pode fazer teatro: o teatro do oprimido e a formação político-estética de trabalhadores da indústria." Escola de Teatro, 2013. http://repositorio.ufba.br/ri/handle/ri/27317.
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A pesquisa, de caráter qualitativo, visa a analisar o processo de formação estética e política de trabalhadores da indústria pelo viés do Teatro do Oprimido. Para tanto, foram estudadas as características do contexto social contemporâneo, ressaltando o campo do trabalho e da estética contemporânea, com vistas a delimitar a importância do Teatro do Oprimido para a formação de trabalhadores na atual conjuntura social. A coleta de dados foi norteada pela abordagem qualitativa de pesquisa, tendo como método a pesquisa-ação. Nos procedimentos metodológicos, o jogo foi identificado como principal estratégia de formação estética e política, sendo ressaltado em diversas pesquisas no âmbito da Pedagogia do Teatro e do Teatro do Oprimido. O trabalho apresenta as etapas do processo formativo do Grupo Embasart, composto por trabalhadores da Empresa Baiana de Águas e Saneamento, ressaltando desde a aplicação de jogos e exercícios, os desafios de inserção do Teatro do Oprimido em uma indústria, o processo de encenação de Teatro-fórum, até a análise das intervenções produzidas pelos espect-atores do espetáculo Cresça e Apareça. Os dados empíricos foram analisados à luz da mediação do processo formativo de trabalhadores, dos depoimentos coletados sobre a experiência e da observação das intervenções dos espect-atores em um espetáculo de Teatro-fórum, procurando compreender o lugar do sujeito como cocriador da experiência teatral. A descrição detalhada dos dados obtidos e os resultados da pesquisa ampliam a compreensão de uma Pedagogia do Teatro do Oprimido como experiência complexa, pelo seu caráter estético, político e educativo. No texto, a técnica do Teatro-fórum é analisada em uma perspectiva de formação de atores e de espect-atores, de cunho crítico e improvisacional, destacando-se a mediação do curinga, visto como educador que provoca reflexões e estimula a participação ativa da platéia, como ensaio para novas ações cotidianas. A pesquisa revelou a influência da prática do Teatro do Oprimido para a ampliação do olhar estético, para a aprendizagem improvisacional e para um maior empoderamento do trabalhador em seu contexto do trabalho. Em virtude dos parcos estudos sobre Teatro do Oprimido, no âmbito da Pedagogia do Teatro, o trabalho aponta novas direções de pesquisa, especialmente a estimulação sensorial do corpo e da voz dos participantes de um processo de formação estético-político.
The research, qualitative, aims to analyze the aesthetic and politic training process of industrial workers by the Theater of Oppressed. For both, the characteristics of the contemporary social context were studied, highlighting the work and contemporary aesthetic field, with a view to delimit the Theater of Oppressed importancefor the workers training in the current social conjuncture. The data collect was guided by the research qualitative approach, having the research-action like a method. In the methodological procedures, the game was identified like the main strategy of aesthetic and politictraining, been highlighted in several researches in the Pedagogy of Theater and Theater of Oppressedscope. The work presents the steps of the GrupoEmbasart‟straining process, compounded by EmpresaBaiana de Águas e Saneamento‟sworkers, highlighting since the application of games and exercises, the challenges of Theater of Oppressed insertion in an industry, the process of theater-forum staging, to the analyze the interventions produced by spect-actors of the spectacle Cresça e Apareça. The empiric data were analyzed by the mediation of the workers training process, by testimonials collected about the experience and by the observation of the espect-actors interventions in a theater-forum spectacle, searching to understand the site of subject like theatrical experienceco-creator. The detailed description of the obtained data and the research results expand the comprehension of a Theater of Oppressed Pedagogy like a complex experience, by its aesthetic, politic and educational character. In the text, the theater-forum technique is analyzed in an actor and espect-actorstraining perspective, by critical and improvisational essence, highlighting the wildcard mediation, seemed like the educator that provokes reflections and stimulates the audience active participation, like a test to new everyday actions. The research demonstrates that the Theater of Oppressed practices influence to aesthetic viewexpansion, to the improvisational learning and to a more worker empowerment in his work context. Because the scant studies about Theater of Oppressed, in the Pedagogy of Theater scope, the work appoint to new researches directions, especiallythe participants‟ body and voice sensorial stimulation of the aesthetic-politics training process.
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Toledo, Paulo Vinicius Bio. "Debates sobre teatro e sociedade após o golpe de 1964: reflexão e trabalho teatral de José Celso Martinez Corrêa e Augusto Boal." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-17072018-170648/.
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Augusto Boal e José Celso Martinez Corrêa foram artistas que protagonizaram momentos de singular importância na história do teatro brasileiro nas décadas de 1960 e 1970. Apesar da significativa diferença no trabalho artístico entre os dois, eles transitam por categorias semelhantes e decisivas para aquela geração que deu novos rumos para a modernização do teatro no Brasil. Com este trabalho, buscou-se acompanhar as formulações estéticas e políticas dos dois diretores após o golpe civil-militar de 1964. Tomou-se como base a discussão sobre a fratura histórica ocasionada pela ditadura no campo da arte engajada e os impasses decorridos dela. A partir daí, a tese analisa alguns espetáculos, o tipo de trabalho criativo e principalmente o material teórico e reflexivo produzido por Boal e Zé Celso a partir de 1967, quando ambos iniciam um processo de reavaliação sobre as tentativas de resistência no campo de teatro político. A proposta foi de tentar compreender a linha de pensamento que leva-os até as formulações vanguardistas do começo da década de 1970, os caminhos de resistência e enfrentamento sugeridos por eles e, fundamentalmente, o tipo de travamento histórico que suas posições sofreram no Brasil. Por fim, o trabalho apresenta uma pesquisa sobre os anos de exílio de ambos, quando tiveram a chance de trabalhar em ambientes marcados por forte agitação social fora do país. Foi no exílio que as formulações de Boal e de Zé Celso ganharam novos sentidos críticos que, por sua vez, proporcionaram um ângulo diverso para compreender o trabalho realizado no Brasil entre 1964 e o começo da década de 1970.Augusto Boal and José Celso Martinez Corrêa were artists who performed moments of singular importance in the history of Brazilian theater in the 1960s and 1970s. In spite of the significant difference between their artistic work, they moved through similar and decisive categories for that generation that gave new directions for the modernization of theater in Brazil. With this work, we sought to follow the aesthetic and political formulations of the two directors after the civil-military coup of 1964. The discussion was based on the historical fracture caused by the dictatorship in the field of the engaged art and the impasses that followed. From that point on, the thesis analyses some of the shows, the kind of creative work and, mainly, the theoretical and reflexive material produced by Boal and Zé Celso from 1967, when both began a revaluation process on attempts at resistance in the field of political theater . The proposal was to try to understand the line of thought that leads them to the avant-garde formulations of the early 1970s, the ways of resistance and confrontation suggested by them and, fundamentally, the type of historical locking that their positions suffered in Brazil. Finally, the paper presents a survey of the years of exile of both, when they had the chance to work in an environment marked by strong social unrest abroad. It was in exile that the formulations of Boal and Zé Celso gained new critical senses that, in turn, provided a diverse angle to understand the work done in Brazil between 1964 and the early 1970s.
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Silva, Anita Cione Tavares Ferreira da. "Educação não formal e gestus social: teatro em comunidade com o grupo Na Boca de Cena." Escola de Teatro, 2014. http://repositorio.ufba.br/ri/handle/ri/27523.
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Esta dissertação trata de um estudo de caso envolvendo a condução e análise de oficinas de teatro produzidas e ministradas pela pesquisadora com um grupo de teatro de uma comunidade socialmente vulnerável na área do parque de Pituaçu em Salvador, Bahia, a companhia teatral Na Boca de Cena. Procurou-se compreender os potenciais emancipatórios do método de investigação, como processo de conscientização e aprimoramento da linguagem teatral do grupo pela via da Educação Não Formal. O trabalho é vinculado à linha de pesquisa de Processos Educacionais em Artes Cênicas, fundamentado em pedagogias críticas e dialógicas como a Peça didática de Brecht, a Poética do oprimido de Boal e a obra do educador Paulo Freire. Foi também abordado o Teatro em Comunidades, eixo específico do campo da Pedagogia do Teatro. Na prática de campo foram utilizados jogos, improvisações e debates para o aprofundamento em questões sociais da comunidade. Concluiu-se que a metodologia empregada, além de ser de extrema utilidade em um teatro que vise estimular o desenvolvimento do artista de comunidades menos favorecidas, permite a provocação de problematizações políticas e sociais por meio do teatro como ferramenta popular para a discussão social coletiva.
This dissertation is about a study of case which deals with the performance and analyses of theater workshops produced and conducted by the researcher with a theater group of a socially vulnerable community in the area of Pituaçu Park in Salvador, Bahia state, named Na Boca de Cena. The goal was trying to understand the emancipatory potentials of the investigation method as a process of consciousness and improvement of the group via nonformal education. The work is linked to the line of research of Educational Processes in Performing Arts and based upon dialogical and critical pedagogies like the Learning play of Brecht, the Poetics of the oppressed of Boal and the work of the educator Paulo Freire. It was also addressed the Theater in Communities, an specific axis of study in the field of Pedagogy of Theater. In the field practice, games improvisations and debates were utilized to deepen the social issues of the community. It was concluded that the methodology employed, besides being extremelly useful in a theater method which aims to stimulate the development of the artist in underprivileged communities, allowing the raising up of political and social problematizations through theater as a tool used by the people to debate social and collective issues.
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Ribeiro, Paula Chagas Autran. "O Pensamento Dramatúrgico de Augusto Boal. As Lições de Dramaturgia da Escola de Arte Dramática (EAD)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-02102018-164654/.
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Augusto Boal teve um importante papel como professor de dramaturgia, nas décadas de 50 e 60 tanto no Teatro de Arena, no qual fundou o Seminário de Dramaturgia e o Laboratório de Atuação, como na Escola de Arte Dramática (EAD). Ele integra o quadro de professores da escola a partir de 1960, ano em que Alfredo Mesquita, fundador e diretor da escola, abre o curso de Dramaturgia e Crítica, até a incorporação da escola pela USP, em 1968. Na EAD, Boal estabelece uma didática inovadora - como já havia ocorrido no Arena, com o ineditismo da pesquisa laboratorial que instituiu por lá após retornar dos Estados Unidos, onde estudou em Columbia - que consistia em ministrar aulas práticas e teóricas e incluir a vida cultural da cidade na sala de aula. O presente trabalho se baseia em anotações das aulas de Boal, material inédito que nos foi cedido pelo dramaturgo Lauro César Muniz. Analisa e reflete sua prática didática em contraste com demais escritos de Boal, principalmente o livro Teatro do Oprimido, no qual ele faz uma espécie de síntese das aulas ministradas na EAD. Utilizamos também, aulas da década de 60, contidas no Arquivo Augusto Boal. Do entrecruzamento e análise desse material surge o retrato de um artista ligado a seu tempo, trabalhando no trânsito entre prática política, didática e artística, tendo sempre a dramaturgia como mediadora.Augusto Boal played an importante role as a drama teacher in the Fifties and Sixties decades in Arena Theather in which he founded the Dramaturgy Seminary and the Acting Laboratory as in the School of Dramatic Art. He integrated the School Teacher\'s board from 1960 the year in which Alfredo Mesquita, founder and director of the school, opened the course of Dramaturgy and Critique, until the incorporation of the school by University of São Paulo in 1968. In EAD, Boal established an innovative didactic - as had already occured in the Arena with the inedition of the laboratory research that he had instituted there after returning from the US where he attended Columbia University. The didactic consisted in teaching practical and theorical lessons and including the cultural life of the city in the classroom. The present paper is based on Boal\'s classes notes, which are an unprecedented material that was given us by playwriter Lauro Cesar Muniz. These notes analysed and reflected Boal\'s didactic practice in contrast with other Boal\'s writings, mainly the book Theater of the Oppressed, in which he did a sort of synthesis of the classes he taught at EAD. We also used classes for the Sixties decade from Augusto Boal\'s archives. From the intercrossing and analyses of this material arose the portrait of an artist connected to his time, a transient between political, didactic and artistic practices always having the playwrite as a mediator.
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Sousa, Rogério Newton de Carvalho. "Direitos humanos e teatro do oprimido [manuscrito] : uma aproximação dialógica." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/4444.
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Previous issue date: 2011-04-11Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research shows the thread of Ariadne which links human rights and the theater of the Oppressed. It chooses to place them in the world of life using the tragedies of the century of Pericles and the Law visions of Flores, Bobbi ,Ost and Dworki , in search of the political dimension of human experience and the political and social character of the judicial phenomenon. The human rights are presented in the historical context of modernity in connection with the enlightenment thought. Pursuing the contagion between the Law and the historical aspects of individual and collective experiences, one of the main theoretical axes is a critical and realist theory of the human rights of Flores. Starting with Boal s assertion that every theater is political, and that a citizen is not only the one who lives in society, but the one who transforms it, this study visits its critical revision of the Western theater from Aristotle to Brecht as a reflexive base for identifying the main political and cultural ideas that guided the creation of the Oppressed Aesthetics : Impure Ganga - the theater of the Oppressed is inserted in the historical context that presided its genesis, evidencing the political engagement of the left side. The influences about the pedagogical character are captured in authors such as Marx, Freire and Brecht. Originated in the society, human rights and the theater of the oppressed are attracted to each other but by the critical capacity of the theater and literature, they also repel each other under the sign of non acceptance . The dialogue between both elects the political aspect as theme and counter hegemonic theory and practice. It presents the plurality of routes as methodological place in which the distinctive conception of human dignity and rights are legitimate. This fact points to a joint authorship instead of an exclusive affiliation to the Western modernity. The art is taken as a measuring criterion of axiological progress or retrocess. The a priori universalism of the Universal human rights declaration is questioned through the perspective that such rights are historical constructed and not given artifacts. Resistance to oppression, political participation and democratic transitivity are common characteristics of human rights and of the theater of the Oppressed. The idea of revolution is revisited under the counter -hegemonic prism in the visions of Flores and in the joint revolution of Morin. A society without the oppressed and the oppressors and an ethical horizon are very dear characteristics to the human rights and to the theater of the oppressed evidencing the responsibility as the ethics by excellence of both.
A pesquisa procura o fio de Ariadne que liga direitos humanos e Teatro do Oprimido. Opta por situá-los no mundo da vida, recorrendo às tragédias do século de Péricles e às visões do direito de Flores, Bobbio, Ost e Dworkin, em busca do caráter político e social da experiência humana e do fenômeno jurídico. Os direitos humanos são apresentados no contexto histórico da modernidade em conexões com o pensamento iluminista. Perseguindo o contágio entre o direito e os aspectos históricos das experiências individuais e coletivas, um dos eixos teóricos principais é a teoria critica e realista dos direitos humanos de Flores. Partindo da assertiva de Boal de que todo teatro é político e que cidadão não é apenas quem vive em sociedade mas quem a transforma, o estudo visita sua revisão crítica do teatro ocidental, de Aristóteles a Brecht, base reflexiva para identificação das principais ideias políticas e culturais que nortearam a criação da Estética do Oprimido. Ganga impura , o Teatro do Oprimido é inserido no contexto histórico que presidiu sua gênese, evidenciando-se o engajamento político de esquerda. As influências sobre o caráter pedagógico são capturadas em autores como Marx, Freire e Brecht. Originados na sociedade, direitos humanos e Teatro do Oprimido se atraem mas, pela capacidade crítica do teatro e da literatura, se repelem sob o signo do não acolhimento . O diálogo entre ambos elege o político como teoria e prática contrahegemônicas. Apresenta a pluralidade de vias como lugar metodológico em que legítimas são as distintas concepções de dignidade humana e de direitos humanos que apontam para uma autoria conjunta , ao invés da filiação exclusiva à modernidade ocidental. Toma a arte como critério aferidor de progresso ou retrocesso axiológico. O universalismo a priori da Declaração Universal dos Direitos Humanos é questionado pela perspectiva de que tais direitos são artefatos históricos construídos e não dados. Resistência à opressão, participação política e transitividade democrática são características comuns dos direitos humanos e do Teatro do Oprimido. A ideia de revolução é revisitada sob o prisma contra-hegemônico, nas visões de Flores e de Boal e na de revolução de conjunto , de Morin. Uma sociedade sem oprimidos e opressores e o horizonte ético são características bastante caras aos direitos humanos e ao Teatro do Oprimido, evidenciando-se a responsabilidade como a ética por excelência de ambos.
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Sukhraj, Jacinta. "Why do the oppressed become the oppressors?" Theological Research Exchange Network (TREN), 1991. http://www.tren.com.
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Rodrigues, Anderson Zotesso. "Teatro do oprimido: incorporações mediáticas de uma poética popular." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/5306.
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Previous issue date: 2010-05-10Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The present study brings to light the ramifications, incorporations and dialogues between radio and television elements in plays and/or sketches based upon the poetics of the Theater of the Oppressed as systematized by the dramatist Augusto Boal, paradigmatically, against the attempts of mediatic manipulations of individual behaviors and cultural practices. The purpose, specifically, is to demonstrate how, predominantly in popular theater stagings, ways to interpret, to narrate, certain gestures, themes and songs that are part of these two mediums of mass communication embedded in the urban home tend to appear as a part of the plays. The theoretical basis of this research lays in the elaborations by Jesus Martin-Barbero of the dialogues between mass media and culture, and in the relations between media, culture and economy as proposed by Néstor García Canclini. The bibliography by Augusto Boal as well as articles about his propositions also constitute an important part of the present study, since they serve as material for the poetical elaboration of the plays staged by the researched groups. To accomplish our field research, certain plays were elected as objects of study, such as Que onda con Borges? , staged by the Infierno de los vivos, a group from Buenos Aires, Argentina, and the play Um dia a casa cai , staged by GATO (Teenage group of theater of the oppressed), from São Paulo, Brazil. Interviews with members and analysis of the plays were conducted between July, 2008 and January, 2010. The present study also contains a critical analysis of the institutional, political and economical relations developed by organizations and theatrical groups of São Paulo and Londrina, in order to detail and interrelate the political and aesthetic options of such groups
A presente dissertação busca apontar e descrever desdobramentos, incorporações e diálogos entre elementos do rádio e da televisão em peças e/ou esquetes da Poética Teatral do Oprimido, sistematizada pelo teatrólogo Augusto Boal e, paradigmaticamente, contrárias às tentativas de manipulação mediática dos comportamentos individuais e práticas da cultura. O objetivo, especificamente, é demonstrar como emergem, em encenações de teatro predominantemente populares, modos de interpretação, narrativas, gestos, temáticas e canções componentes de programas desses dois meios de comunicação incrustados nos lares das grandes cidades. O referencial teórico da pesquisa assenta-se nas concepções do diálogo cultura - medias de massa propostas por Jesús Martín-Barbero e das relações entre media - cultura - economia apontadas por Néstor García Canclini. Também serve de base a bibliografia de Augusto Boal por constituir-se como fundamento para o desenvolvimento poético dos grupos pesquisados, além de textos acadêmicos diretamente ligados ao tema. Para produzir o trabalho de campo foram prioritariamente eleitas as montagens Que onda con Borges? do Grupo Infierno de los Vivos, de Buenos Aires Argentina e Um dia a Casa Cai, do GATO (Grupo Adolescente de Teatro do Oprimido), de São Paulo, praticantes com os quais foram realizadas entrevistas e estudos de suas montagens entre os meses de Julho de 2008 e Janeiro de 2010. Há também análises críticas acerca das relações institucionais, políticas e econômicas desenvolvidas por organizações e outros coletivos teatrais de São Paulo e Londrina, em prol do detalhamento das suas opções políticas, estéticas e plásticas
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DAVID, FERNANDO TADEU. "HUMAN RIGHTS: AN ANALYSIS FROM THE SPEECH OFTHE OPPRESSED." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12939@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROO Brasil possui uma vasta legislação que trata de direitos fundamentais, principalmente a partir da promulgação da Constituição Federal, em outubro de 1988. A Lei Maior, depois de um longo período de exceção, garantiu uma gama enorme de direitos individuais e coletivos, e isto foi da mais valiosa importância, pois possibilitou direitos e não favores. Mas esta normatização não alcança a efetividade que se espera de uma legislação. Existe um vazio, um profundo abismo entre esta normatização, fruto das lutas históricas e constantes da sociedade civil organizada e a sua efetividade. Tento pensar e apontar caminhos que podem ser as causas deste distanciamento, deste vazio que existe entre normatização e efetivação. Da mesma forma que Direitos Humanos são uma construção humana, assim esta conquista de sua efetivação também vai ser fruto de uma construção, forjada nas lutas do povo organizado e sedento de garantia de seus direitos.
Brazil has a vast legislation that treats fundamental rights, principally from the promulgation of the Federal Constitution, in October 1988. After a long period of exception, the Constitution guaranteed a large number of individual and collective rights, and this fact was of great importance, because it allowed of rights and not favors. But these rules do not reach the effectiveness expected of a law. There is a vacuum, a deep abyss between these rules, the result of historical and constant struggles of the organized civil society, and their effectiveness. I try to think about and to point to the possible causes of this distance, of this emptiness that exists between the rules and their effectiveness. In the same way that human rights are a human construction, the achievement of their effectiveness will also be the result of a construction, forged in the struggles of the organized people in search of the guarantee of their rights.
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Pedroso, Raquel Turci. "Teatro do oprimido: em busca de uma prática dialógica." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/16219.
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Previous issue date: 2006-04-28O método do Teatro do Oprimido propõe pesquisar maneiras de superações de situações de opressão vividas por homens e mulheres e ensaiar, portanto, ações para a articulação de grupos na conquista do cumprimento de seus direitos. O presente estudo buscou compreender as possibilidades do uso do Teatro do Oprimido na construção de um processo educacional dialógico, segundo a perspectiva de Paulo Freire. A pesquisa-ação de referencial teórico-metodológico de Paulo Freire orientou a pesquisa realizada com um grupo de jovens participantes do projeto Protagonistas de Direitos Humanos , no qual a autora dessa dissertação foi também educadora. Os dados desse estudo provêm dos diários de campo elaborados ao longo do projeto e das duas entrevistas reflexivas realizadas junto aos participantes. Para análise dos dados, usou-se a fenomenologia de cunho hermenêutico, com o objetivo de compreender os horizontes que se abrem num processo dialógico, bem como os possíveis caminhos para a construção deste processo. A trajetória do grupo revelou a construção de uma consciência crítica em relação à luta pela garantia dos direitos dos jovens, numa perspectiva reflexiva de reinvenção, mudança e inovação. O Teatro do Oprimido foi um instrumento auxiliador na construção de uma educação para libertação: como prática dialógica, ele não acontece na desesperança, mas somente com a certeza das possibilidades de transformação
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Enno, Angela Marie. "The Intersection of Multiple Oppressed Identities Implications For Identity Development." DigitalCommons@USU, 2012. https://digitalcommons.usu.edu/etd/1231.
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Multicultural theorists argue that foundational theories of identity development fail to capture the experiences of ethnic and sexual minorities. Likewise, models of ethnic and sexual identity, separately, may not capture experiences of lesbian, gay, bisexual, transgender, queer, or questioning (LGBTQ) ethnic minorities. Intersectional models have been proposed that consider the interaction of identity statuses in their real-world context. However, more empirical support for such models is needed. This study represents a preliminary investigation into patterns of identification, values, attitudes, behaviors, and sense of belonging of these LGBTQ ethnic minorities. The patterns that emerged were varied and complex. Demographic questions were structured in a way that allowed participants to describe with complexity their identities, and the intersections among them. Four distinct groups were identified using Q-sort methodology. Both commonalities and important group differences emerged.
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Siersch, Clara. "Theatre for growing - growing Theatre." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391713.
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Reflektujeme význam neutrality zkoumáním práce s neutrální maskou jakožto nástroje k docílení utišení výrazu obličeje, čímž se stimuluje fyzické povědomí vnitřního neutrálního centra. Povědomí o těle a fyzická vnímavost vyvíjí základní výhody a vlastnosti pro kreativní vývoj a ve výcviku herce, a také v Gestalt terapii. Soustředení se na předpokládanou neutralitu, kterou se myslí centrální referenční bod, umožňuje exploraci neznámých oblastí osobnosti a charakteru, což se může využít při vývoji nových hereckých rolí a také v řešení osobních konfliktů. Vlastní zkušenosti s představeními s maskami, a s maskami použivanými v terapii se porovnávají s teoretickým pozadím práce s maskou a filozofickými nápady o neutralitě. Předpoklad je ten, že v nicotě je pojmuto všechno. Žádný stres.
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Haugbak, Sara, and Jenny Thomsen. "Towards Equality : - Oppressed Non-White Women in Cape Town, South Africa." Thesis, Växjö University, School of Social Sciences, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-991.
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ABSTRACT
Authors: Sara Haugbak & Jenny Thomsen
Title: Towards Equality – Oppressed Non-White Women in Cape Town, South Africa
Subject: Sociology
Level: Undergraduate thesis, D-level, 10 p.
Department: School of Social Science
Tutor: Svante Lundberg
Supervisor: Anders Nilsson
Prior to the first democratic election in 1994, South Africa experienced the racist and sexist legislation of apartheid. The democratisation was surrounded by violent struggles amongst the non-white population and the issue regarding gender had to step aside in favour of the struggle against racial discrimination.
This study focuses on how the lives of the underprivileged non-white women in Cape Town are affected by the post-apartheid changes. This area will be divided in to four more specific topics: civil society, human rights, collaboration between civil society and the Government and power structures that affect the development and lives of the women.
Our methodology is based on interviews with women with insight in the problem area, participant observation, and secondary material constituted by legal sources, reports and statistics.
The main findings can be summarised with mentioning that the deprivation are based upon five different dimensions: poverty, isolation, physical weakness, vulnerability and powerlessness. They are all closely linked to violations of human rights, and in order to create a complete picture power is of great significance. There are three different views on power, all of which are surrounded by a complexity of problems. This can be wrapped up in the statement that the society as a whole is permeated by underlying power structures that makes the non-white women of South Africa doubly exposed.
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Stephens, Angharad Closs. "Oppressed by our utopias: the politics of communities, origins and temporality." Thesis, Keele University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489684.
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This is a study of the continuing capacity of a 'community in unity' to shape discussions of future f i,jII ! .. political possibilities despite the prevalence of claims about multiculturalism, network societies and global communities. It asks: How does the idea of a community in unity persistcntly dominate attempts to imagine what community might be? And what can we do to disrupt this reification of a community in unity and open up different possibilities? The central claim is that the commanding authority of a community in unity shapes even the most robust attempts to resist it. The argument begins with a study of the ways in which Benedict Anderson, Emest Gellner and others are complicit in presuming the necessity of a community in unity. The thesis then proceeds to explore some of the general forms through which accounts of a community in unity have been articulated in key texts by Max Weber and Jean-Jacques Rousseau. It focuses specifically on assumptions about temporality that are expressed in these fOlms which lead in tum to a study of the politics of origins. The analysis considers how these forms constrain attempts to think differently about our political futures and how these constraints might be disrupted. The thesis then identifies the approach of 'perfom1ativity', as developed by Judith Butler. and Homi • Bhabha, as a resource for developing different political imaginarie~. This leads me to a study of urban . writings, by Walter Benjamin in particular, and to offer a comparative analysis of the possibilities for disruption presented by the city. It concludes with a case study of political response to the bombings in London on 7th July 2005 and, using this as an example of a broader problem, finds that the idea of a community in unity has the capacity to prevail over ~ltemative possibilities identified in the urban context. Keywords: 'community; unity; temporality; origins; nations; cities; subjectivity; performativity; ontology.
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Mendez, Therese M. "Horizontal Violence in the Nursing Work Environment: Beyond Oppressed Group Behavior." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1377.
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The United States has been experiencing a nursing shortage since the mid-1990s. The shortage is expected to deepen as the provisions of the 2010 Patient Protection and Affordable Care Act are enacted. Horizontal violence is a negative phenomenon in the nursing workplace that contributes to difficulty in recruiting and retaining nurses in hospitals. Horizontal violence has been described as a form of mistreatment, spoken or unspoken, that is threatening, humiliating, disrespectful or accusatory towards a peer. The effects of this nurse on nurse aggression can be devastating for the nurse involved and also for the patients under the nurse's care.
Nursing and social science literature have advanced oppressed‐group behaviors as a motivating factor driving this phenomenon in nursing. Workplace stress has also been implicated in these negative behaviors. This study used a grounded theory approach to examine how nurses explain, through semi‐structured and open ended interviews, the phenomenon of horizontal violence in the nursing workplace. The primary outcome of this study was a small scale theory focused specifically on horizontal violence in the nursing work environment. The theory that emerged from this analysis was that horizontal violence can be influenced by other environmental factors beyond oppression theory. The results from the data indicated that these behaviors, described as horizontal violence, may be employed as a method of manipulating the care environment in an effort to enhance patient outcomes while maintaining group or individual perception of security through a sense of environmental control.