Detalhes bibliográficos
| Ano de defesa: |
2011 |
| Autor(a) principal: |
Silva, Mariza Bicudo da
 |
| Orientador(a): |
Giovinazzo Júnior, Carlos Antonio |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Educação: História, Política, Sociedade
|
| Departamento: |
Educação
|
| País: |
BR
|
| Palavras-chave em Português: |
|
| Palavras-chave em Inglês: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
https://tede2.pucsp.br/handle/handle/10323
|
Resumo: |
The objective of this study was to investigate the training of trajectory of Technical Course in Dramatic Art. Starting from the premise that, over of its existence, important changes occurred, particularly in relation to the labor market in the arts and the increased number of people who are interested in this training type, were analyzed documents provided by schools, testimonials from students, collected by teachers of Theatre History and Dramatic Interpretation and notes made by teachers and pedagogical coordination during the course. Thus, were investigated: a) the profile of individuals who seek technical professionalization in theatre; b) the main characteristics of the approved in the selection process; c) the day by day in the classroom of one of classes this course. The analysis was performed based on ideas and concepts expressed by authors of the Critical Theory of Society, in specially, studies of T. W. Adorno and M. Horkheimer about the cultural industry and cultural background. For sometimes such ideas and concepts were related to the precepts of the Stanislavski system of scenic research, considering that these are the main theoretical reference used in the course. The results indicate that the course attracts residents of distant districts and cities, which use public transportation to their locomotion to school. Most of them have previous experience in the area, obtained in free courses promoted by public bodies, studied in public school, completed high school, but not attended superior level. Moreover, coexistence in group, promoted by the methodology used, was identified as essential and beneficial for students, because to provide the possibility of contact with the other and with art as a vehicle for self-knowledge and development of critical thinking. However, given the difficulties imposed by social conditions currently, the intention of the recent actors graduates is to remain in areas which offer greater financial stability, working with theatre only in free time |
