Processos de comunicação entre o movimento do corpo cênico e da educação física

• Ano de defesa: 2003
• Autor(a) principal: Dickel, Débora Bourscheid
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Santa Maria; BR; Educação Física; UFSM; Programa de Pós-Graduação em Ciência do Movimento Humano
• Palavras-chave em Português: Educação física; Corpo; Movimento; Comunicação; Jogo cênico; CNPQ::CIENCIAS DA SAUDE::EDUCACAO FISICA
• Link de acesso: http://repositorio.ufsm.br/handle/1/5458

The present study had as the main objective to examine the contributions of dramaturgy languages for the exam of the relationships between the corporeal movement and human movement, and also; bethink upon different communicative aspects related to the achieving of human movement, trying to show the interrelations of the language in Scenic Arts and Physical Education. The methodology used was the ethnomethodology. First of all, the researcher followed the ludic game process, through the constitutive ethnography method by Hugh Mehan, using the direct observation techniques of atora through registers in formularies. After that, the reflexive ethnographyc method by Steve Woolgar was used, such method has the purpose of describe the ways utilized by the researcher to organize their actions. This method applyed the techniques of photograph images interpretation. In order to do that, a play by an actress in formation process from the Scenic Arts course at Universidade Federal de Santa Maria - RS was used. The data collecting occurred in two moments: first, a ludic game had emerged and little by little changed to a scenic game, up to the finishing of its art. At the same time that the ludic game had passed through the extrapolatory state of the internal process to another comunicational ambit, that was the retention of scenes, when the enchasing of its art starts; the direct observation was not permited anymore, because in that moment another kind of comunication entered in practice, such comunication searched for the technic-dramaturgyc attributives to compose its final art. Afterward, the literature map was prepared involving aspects which guide this work. The second moment of data collecting was in the day of the play release, which was exhibited at the Centro de Artes e Letras Theater (Caixa Preta) at UFSM. The data were a group of photos, in sequence, from the play, totalizing 23 selected photos for the analysis. The photographs were taken by a photographer, specialist in theatre plays. The camera was centered in a tripod focusing the center of the stage; with no possibility of movement for do not wander the actress performance. The analysis was made in relevant categories for the theory source and contrasted between the artistic image and Physical Education. However, we consider that the theatre work of technique-fantasy can stimulate the development. What is missing to us, and the dramaturgy has in large extent, is to learn how to know ourselves, objective which has to be inside of the integrative practices of Physical Education. The activities which fulfill our classes, even the simple ones, have to be based on signification, and frequently the meanings were there, but the problem occur when the educators can t see then and can t guide the students in their proprioception.