Caravana de histórias: uma proposta de aproximação do teatro com o espectador na escola

• Ano de defesa: 2018
• Autor(a) principal: Cristiano Antonio Fernandes Barbosa
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; EBA - ESCOLA DE BELAS ARTES; Programa de Pós-Graduação em Artes - Mestrado Profissional; UFMG
• Palavras-chave em Português: Formação do espectador; Pedagogia do teatro; Pedagogia do espectador; Desmontagem cênica; Fisicalização; Teatro e sociedade; Platéias de teatro; Representação teatral; Artes cênicas
• Link de acesso: http://hdl.handle.net/1843/48181

This proposal consists of theoretical-practical research on the development of the spectator through aesthetic-artistic provocations that intend to sensitize the spectator's watchful gaze to the spectacle. “If I could be an animal”, built from a workshop taught by me to city hall’s teachers from Juiz de Fora, MG. The investigation is established from the child-spectator's interaction to the spectacle, in three steps: before, during and after the staging - scenic disassembly. We establish dialogues with the author that research the spectator’s development in school. (DESGRANGES, 2003, 2006, 2017; GUÉNOUN, 2004; KOUDELA, 2010; PUPO, 2012, 2015). For mediation with students-spectators, it was used the system of theatrical games, developed by Viola Spolin ,(1979, 2001, 2004 e 2007) as a methodological resource to list the actions from the previous and the later stage of the presentation, from the concept created by her, “physicalization”. In the face of these assumptions, the goal was to make this action an aesthetic and poetic experience in which the spectators find themselves as possible co-creators, e not only viewers of the presentations they may watch in school. The challenge showed itself to be an encouragement to rich connections between the ones who act and the ones who appreciate and produces thoughts - from what was seen -, resulting in a significant experience for both. With this research, we noticed that the spectator, when properly encouraged, can come close to a richer dialogue with the language brought by the spectacle, realizing yourself as an important piece in this process of theatrical mediation. We hope to be able to contribute with a theatrical appreciation that exhibits the procedures of making art, seeking a dialogical reading of the spectacle referred, and, also, resize the relationship between the group of storytellers and the school with new understandings of what could be Theater focused on Education.