Artes da Cena e Educação: um comparativo entre Brasil e Itália

Abstract

Performing Arts and Education: a comparison between Brazil and Italy -This comparative paper aims to search for modes of doing, thinking and organizing theatre and dance in schools in Brazil and in Italy. Its purpose is to understand the insertion of performing arts in the regular education. For such, it has been analyzed documents from European and Brazilian official government bodies, as well as it has been made a literature review situating the fields of theatre and dance in both countries. Keywords: Theatre. Dance. School. Brazil. Italy. RÉSUMÉ -Des Arts Vivants etÉducation: un comparatif entre Brésil et Italie -Ce travail comparatif cherche à relier les façons de faire, de penser et d'organiser le théâtre et la danse dans les écoles du Brésil et de l'Italie. L'étude vise à élargir les horizons de possibilités pour comprendre l'insertion des arts de la scène dans l'éducation régulière. Pour ce faire, des documents émanant d'organismes officiels européens et brésiliens sont analysés, ainsi qu'une revue bibliographique qui place le théâtre et la danse dans les champs éducatifs des deux pays. Mots-clés: Thêatre. Dance. École. Brésil. Italie. RESUMO -Artes da Cena e Educação: um comparativo entre Brasil e Itália -O artigo, de cunho comparativo, busca relacionar os modos de fazer, pensar e organizar o teatro e a dança nas escolas no Brasil e na Itália. O estudo tem como objetivo ampliar os horizontes de possibilidades de compreensão da inserção das artes da cena na educação regular. Para tanto, são analisados documentos de órgãos oficiais europeus e brasileiros, bem como é realizada uma revisão bibliográfica que situa o teatro e a dança nos campos educacionais dos dois países. Palavras-chave: Teatro. Dança. Escola. Brasil. Itália.

On an Impossibility of Establishing Dissent: fragments for a small dictionary of theater pedagogy verbs

“…"In this sense, I ventured into a theatrical practice in which emotion, intuition and imagination could guide my artistic-aesthetic-pedagogical practice in a process of working with theater and, in this process, therefore, enabled self-knowledge, creativity, ethics, cooperation, sociality (being together), learning, autonomy, emancipation and humanization" (Cortês, 2014, p. 354). "In addition, both in Brazil and in Italy, the guidelines point to a valorization of art in school to improve subjects and their relations with society, art as a promoter of processes of humanization and socialization based on respect for differences and the promotion of diversity" (Ferreira;Mariot, 2019, p. 106). "After all, that is the role of art!…”

“…"In this sense, it was possible to be together with the inmates and, thus, produce their narratives, since they participated in the workshop entitled by me Playing with Theater, taking as procedures for this endeavor both traditional games (playing in round games, songs) and theatrical games (learning to play/act scenically with the other), since both (sic) enabled a learning focused on self-knowledge of oneself and of the other, which were essential to reflect as an urgency their humanization through the space in which they were, that is, the prison space" (Côrtes, 2014, p. 375). "The teaching of theater in Brazil, since its beginnings, as narrated by Santana (2010) and Pupo (2005), is based on the absolute importance of the full exercise of dramatic play, theatrical play, rules and symbolic games and improvisation as a means for the acquisition (seeing, doing, living, understanding, meaning) of elements of scenic language and scenic relation" (Ferreira;Machado, 2017, p. 62). "Aware of the situation, we ask ourselves how to do Theater -a practice that requires exposure without ties, freedom to play and put oneself in someone else's place -in spaces where control is the rule?…”

“…Do we act as the ignorant master of Rancière, who, by ignoring fulfills the function of questioning (and instigating), more than providing answers?" (Ferreira;Machado, 2017, p. 63-64). "Considering that Theater, as we view it, has at its core the function of questioning the current order, we start, in our practice, to find moments where with art we would be able to tension the places of authority and, by tracing these moments, propound the debate -even if in a microscale -about the oppressive structures Sidmar Silveira Gomes -On an Impossibility of Establishing Dissent: fragments for a small dictionary of theater pedagogy verbs Rev.…”

“…Available at: <http://seer.ufrgs.br/presenca> 6 Play "In other words, it is by playing that children discover the world and, at that time, imagination is one of the most important elements" (Correa;Araújo, 2014, p. 82). "End of the divisions between subjectivity and objectivity: onset of a mode of being in the world, with children and youth where play and games are not means, but, rather, the main existential broth of the relations between theater teacher and beginner student, people in coexistence, where the relational field is already the class itself, is already the form-content, is already what matters to us -body acquired in a state of risk, provisional, performed in inconstancy" (Ferreira;Machado, 2017, p. 66). "In this context, our provocation was: how to develop a scenic product in which the child experienced the work, were a game partner feeling summoned to assume the protagonism of the scene, to play with the performers.…”

Refusal and Adhesion: resistance between studies of cognition and theater education

“…The teaching of theater in Brazil is plagued by many issues, such as the excessive focus on visual arts in the imaginary about arts education, the scarcity of trained teachers, and the general lack of structure and working conditions in schools (Ferreira, 2020). And, even though there are pertinent laws, their "[...] practical implementation in regular Brazilian schools is still far away" (Ferreira, 2020, p. 7).…”