Caminhos para o teatro na escola

Abstract

This work aims to present key authors and references for working with Theater in schools, understanding that the articulation between Viola Spolin's Theatrical Games, Augusto Boal's Theater of the Oppressed (TO), Bertold Brecht's Theater pedagogy and Ana Mae Barbosa’s Triangular Approach, can collaboratively enhance the work of Arts teachers in Basic Education who, by the way, do not always have specific training in Theater, being only authorized to teach the subject or qualified in other specific artistic areas (Music, Dance and Visual Arts). In order to direct the methodologies addressed in line with the regulation of the Art component, this study presents the different legislation that led to the teaching of Theater in schools from the implementation of the Law of Directives and Bases of Education (1961, 1971, 1996) of the National Curricular Parameters (1997), the National Common Curricular Base (2018) and the Minas Gerais Reference Curriculum (2018). Understanding that the skills and abilities in Arts of the last two documents presented can be contemplated through Theater, with regard to the formation and development of students' knowledge, we associate the different Theater methodologies with the objectives that must be addressed by the Arts discipline, giving emphasis on the use of Theater Games. As a methodological procedure, this is an exploratory research, of a qualitative nature, which adopted the literature review as a technical procedure. As a theoretical reference we used the works of Barbosa (1998, 2001), Boal (1991, 2002), Brecht (1967, 1978, 1981), Spolin (1992, 2001, 2007), Desgranges (2003, 2006), Japiassu (2001), Koudela (1992, 2005, 2006, 2010, 2015), the National Common Curricular Base (2018), the Minas Gerais Reference Curriculum (2018), among other authors and documents indispensable for the research development. Theatrical art manifests itself in different ways in the school space, its systematized teaching is always in development, and that is why we must support it so that it is expanded and takes its due space in schools with a theoretical basis and repertoire to give students the possibilities of living it through the body, through improvisation, articulating their sensitive and technical knowledge. It is through mechanisms such as feeling, speaking, listening, waiting our turn and resolving challenges that occur at stake, both in Spolin's proposal, in Brechtian dialectic, and in Boal's, through which we awaken the autonomy and cooperation consciousness of the self with the other; problems are debated and put in the rehearsal room so we can learn to deal with them in life. Boal states that anyone can learn theater, just as anyone can learn and teach theatrical art, as long as it is correctly directed to that function. In this way, this dissertation also counts on the production of a children's dramaturgy, through the metatheatre, brings to the teachers a proposal of an opened montage, with suggestions of games and improv