Teatro que fica: sentidos atribuídos por jovens à sua experiência de formação teatral

• Ano de defesa: 2020
• Autor(a) principal: Júlia Camargos de Paula
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FAE - FACULDADE DE EDUCAÇÃO; Programa de Pós-Graduação em Educação - Conhecimento e Inclusão Social; UFMG
• Palavras-chave em Português: Juventudes; Experiência; Sentidos; Formação Teatral; Cicalt - Valores de Minas; Juventude; Teatro > Estudo e ensino; Teatro na educação
• Link de acesso: http://hdl.handle.net/1843/34460

The main objective of the research was to understand the meanings that young people attribute to their theatrical studying experience lived at Valores de Minas - Cicalt (Centro Interescolar de Cultura, Arte, Linguagens e Tecnologias). It was sought to identify possible repercussions of the socializing experience with the theater as an artistic-pedagogical process in the experiences of the researched subjects. For this purpose, a qualitative methodology based on different procedures was used, among which the following stand out: a) narrative interviews with six subjects to understand the interpretations about their experiences with the theater, also considering dimensions of the theatrical studying impact beyond the formative space, such as the family and the professional field, and b) the construction of a creative process in which the six subjects acted as actresses and actors and which was based on the autobiographical content shared in the interviews about their relationship with the theater, which, in turn, brought up other possibilities of academic research in the field of education. The research data were analyzed based on theoretical references from sociology, education, youth and theater and concepts such as experience, socialization and meanings were central to the discussion. The results provided support to verify that the repercussions of theatrical studying exists in different dimensions in the youth’s lives, such as in the construction of knowledge that permeates other routes besides rationality, such as creativity and sensitivity, built from the involvement of the body in the pedagogical process. Also, in the development of critical thinking about social dynamics and a citizen and participative standpoint, as well as, in the experience of their identity processes among a diverse collectivity and in the elaboration of the notions of singularity and otherness. All of these elements contributed to the reflection and design of their life projects that presents theatrical practice in continuity, characterizing it as a space of belonging and realization. Thus, the socialization experienced in the context of theater education is configured as an experience linked to life that encompasses multiple educational properties and is a driver of changes