Studiens syfte är att utforska en musikers kroppsspråk vid instuderingen av en orkesterstämma. Detta har observerats under instuderingen av förstaflöjtstämman i fjärde satsen av Brahms andra symfoni. Studien har sin utgångspunkt i det designteoretiska perspektivet och har genomförts med hjälp av videoobservationer under repetitionsperioden av verket. Jag har även fört loggbok under processen av självobservationen. Resultatet av studien visar att de kroppsliga resurserna kan hjälpa, men också stjälpa, den musikaliska processen och dess uttryck. I diskussionen tar jag bland annat upp hur resurserna används sett ur det designteoretiska perspektivet. / The purpose of this study is to explore a musician's body language when studying an orchestral part. The observation took place during my own practice of the first flute part in the fourth movement of Brahms' second symphony and also during the rehearsal with the orchestra. The study has its basis in the perspective of design theory and I have used video observations during the rehearsal period of the work. I have also written a logbook during the process of self-observation. The result shows that the physical resources can help, but also hinder the musical process and its expression. In the end I discuss among other things how resources are used, seen from the design theory perspective.

Icke verbal kommunikation förekommer i vårdmöten dagligen. Den kan vara omedveten och otydlig vilket kan göra patienten förvirrad och stressad. Informationen som patienten får av sjukvårdspersonal uttrycks både med verbal och icke verbal kommunikation. i mötet kan icke verbal kommunikation ge stöd och trygghet i omvårdnaden för patienten. Syftet med studien var all belysa sjukvårdspersonalens icke verbala kommunikation i relationen till patienten. Studien utfördes som en systematisk litteraturstudie där resultatet baserades på fjorton vetenskapliga artiklar. De var inhämtade från databaser relevanta för omvårdnadsforskning. Resultatet indikerade att icke verbal kommunikation är ett redskap i vårdmötet. Då kommunikationsprocessen även fortlöper utan ord kan icke verbal kommunikation uttryckas på många olika sätt, däribland tonläge, beröring, gestikulering och kroppsspråk. Det påvisar betydelsen av icke verbal kommunikation för relationen. Det verbala får en djupare förståelse med hjälp av det icke verbala och det kan stärka relationen mellan sjukvårdspersonal och patient. Forskning visar på att sjukvårdsyrkena behöver bredda sin utbildning av icke verbal kommunikation för att optimera vårdmötet. Även mer forskning behövs inom icke verbal kommunikation. / Nonverbal communication occurs in healthcare daily. It may be unconscius and unclear, and it may make the patient confused and stressed. The information that the patient receive from the medical staff, can be expressed in both nonverbal and verbal communication. Under the meeting the patient can feel support and security through nonverbal communication. The purpose of this study was to elucidate professional's nonverbal communication in relation to the patient. It was conducted as a literature study where the results were based on fourteen scientific articles. They were retrieved from databases, relevant to nursing research. The results indicate that nonverbal communication is a tool in health care encounter. When the communication process continues even without words, nonverbal communication is expressed in many different ways. There, in among other, the tone, touch, gestures and body language. It demonstrates the importance of nonverbla communication in the relationship. The verbal get at deeper understanding through the nonverbal and it can streghten the relationship between the health professional and patient. Research shows that the medical profession needs to broaden its training of nonverbal communication to optimize the health care encounter. Although more research is needed on the subject.

Syftet med denna undersökning är att undersöka och belysa pedagogers syn på rörelseaktiviteters betydelse för barnens språkutveckling. Jag vill också få kunskap om man arbetar på olika sätt med rörelseaktiviteter och språkutveckling när det gäller barnens ålder.Jag har använt mig av intervjuer som verktyg för att uppnå syftet med min undersökning. När jag formulerade mina intervjufrågor utgick jag från min frågeställning. Jag valde att genomföra intervjuerna via mail. Jag har intervjuat 5 pedagoger. Pedagogerna bor i olika kommuner i Mellansverige och är kvinnor i blandade åldrar. De har arbetat olika länge och med barn inom förskolan.Flera pedagoger nämner att språket är en ständigt pågående och utvecklande process. Denna process startar redan när man som spädbarn börjar jollra. Processen fortsätter och leds framåt med hjälp av både vardagliga diskussioner och att aktivt arbete med estetiskt lärande. Språkutveckling handlar inte enbart om det talande språket utan också om kroppsspråket då detta är viktigt för att förstärka och förtydliga ord och meningar, kroppen förstärker den inre förståelsen. Pedagogerna anser att den motoriska utvecklingen främjar barns språkutveckling genom exempelvis leken. För att främja denna utveckling kan man som pedagog arbeta med de estetiska ämnena. Som pedagog är man en förebild och en inspirationskälla till barnen i förskolan. / The purpose of this study is to explore and illuminate teacher´s views on movement influence their children's language development. I also want to gain knowledge of working in different ways with physical activities and language development when it comes to children's ageI have used the interviews as tools to achieve the object of my inquiry. When I formulated my interview questions, I assumed my issue. I chose to conduct the interviews by email. I have interviewed five teachers. The teachers live in different municipalities in central Sweden and women of mixed ages. They have worked for different periods and with children in the preschool.Several teachers mentioned that language is an ongoing and evolving process. This process starts already when the infant begins to babble. The process continues, and led forward by using both everyday discussions and actively works with aesthetic learning. Language development is not only about the spoken language, but also about body language as this is important for strengthening and clarifying words and sentences, the body strengthens the internal understanding. Educators believe that motor development promotes children's language development by example game. To promote this development can be as an educator working with the aesthetic subjects. As an educator, you are a role model and an inspiration to the children in preschool

Studien utgår ifrån ett interaktionistiskt och socialkonstruktionistiskt perspektiv och har till syfte att studera och jämföra beteende och social interaktion i två olika krogmiljöer. Frågeställningarna berör flera delar av interaktion, bland annat kroppsspråk och umgänge. För att undvika försköningar av verkligheten och studera beteenden i en kontext används observation som metod Detta genom en kvalitativ undersökning där händelser och beteenden fokuseras. I observationerna fokuseras olika typer av grupperingar, hur personer tar kontakt med varandra, hur personer använder sig av kroppsspråket och blicken, om det förekommer beröring och vilket avstånd personer håller till varandra. Fokus ligger även på hur personer använder sig av rummet, till exempel var och hur man placerar sig i rummet och även den rådande normen kring utseende. Materialet från observationerna bearbetas med hjälp av en modifierad kvalitativ innehållsanalys för att sedan kopplas samman med tidigare presenterade teorier. Resultaten visar på att kroppsspråk är ett viktigt verktyg för att kommunicera och interagera i krogmiljön. Det vanligaste sättet att ta kontakt är genom dansen och beteende och interaktion förändras över tid, vilket i studien kan ses genom att kontaktförsöken ökar under kvällens gång. Studien visar även att det finns tydliga normer i utseende, vilka skiljer sig åt mellan de båda undersökta krogmiljöerna. / The study is based on an interactionist and social constructionist perspective and aims to study and compare the behavior and social interaction in two different pub/nightclub environments. The study concentrates on several aspects of the interaction such as body language and socializing. It is a qualitative study in which events and behaviors are focused on using observation as a method. This to avoid embellishment of reality and to study the behavior in a context. The focus of the observation is different types of groupings, how people make contact with each other, how people use their body language and make eye contact, if there is touching involved in contact and what kind of distance people are maintaining from each other. How individuals are using the room, where and how they position themselves in the room and the norms surrounding appearance are focused on as well. The material from the observations is processed using a modified content analysis and then linked together with previously presented theories. The study shows that body language is an important instrument for communicating and interacting in the pub/nightclub environment and that the most common way to make contact is through dance. The study also shows that behavior and interactions changes over time, as the observation showed increased attempts to make contact during the evening. Another result of the study shows distinct rules in appearance. These rules differ between the two investigated pub/nightclub environments.

The design discipline is reliant on communication as a means to express and share ideas during the creation of products. Design communication can take place in two distinct settings: formal communication presentations and informal interaction communication. Group design communication involves the communication of various attributes of a design. Attributes such as the scale, shape and functionality of a product are communicated. Designers employ various mechanisms including verbal, non-verbal (e.g. hand gestures), and physical tools (e.g. sketches and models) to communicate attributes. Although the verbal and physical tools are commonly used effective tools, hand gestures remain underused. Yet, hand gestures are extensions of the human mind, which may reveal thoughts that verbal communication may not be able to communicate (McNeil, 1992). Hand gestures have the potential to reveal thoughts and if used as an interface mechanism, can augment the information space. As such, hand gestures may facilitate design communication within a group. This study explores the potential of hand gestures as tools in design communication. Moreover; the purpose of this study is to understand how gestures can facilitate the design communication that occurs within a group. A two-phase study was proposed: a research phase and a design phase. During the research phase, ethnographic research in design education environments was conducted to understand what gestures are produced and how they are used during formal and informal design communication settings. The data collected was analyzed and categorized to reveal quantitative and qualitative results. Survey studies were also conducted to validate the hand gesture meaning. The data was used to create design guidelines that directed the design phase, where concepts used hand gestures as interface mechanisms, to augment the experience of a design information exchange. The significance of this project is to generate new knowledge to be applied to the development of more natural technological systems where gestures are used as an alternative to current input devices (e.g. mouse and keyboard) for navigation and manipulation of design material amongst a group. The goal was to improve the communication between designers and their materials and enhance the experience of distributing and receiving design information.

Made available in DSpace on 2015-04-17T15:02:02Z (GMT). No. of bitstreams: 1 ArquivoTotalAlana.pdf: 4327173 bytes, checksum: 5ea6c7ae925f776cd144429bbfc3ffae (MD5) Previous issue date: 2013-07-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper summarizes research on the Lapinha staged during the Christmas period and through body language that revelry unfolds with a body gesture full of meaning. This study aims to analyze the dance Lapinha as body language in a religious context. It is a descriptive qualitative research, the subjects investigated are brincantes and engineers Lapinhas of Jesus de Nazaré and Menino Deus. The instruments used for data collection were interviews, camera and camcorder and the observations used a diary (ethnography). Data analysis used the Structural Analysis of Narrative by Roland Barthes (2001) and data processing concepts of phenomenology Merleu-Ponty (2006). Therefore, research promoted a cutout revealing the history of a culture typically Lapinha Northeast. Well as in the considerations corporeality in dance, how the experiences and bodily experiences enables the development of sensitivity, expressiveness and ability to engage with the world body. Finally, we analyze the body language and arrive at the result that dance Lapinha through body movements, expressions and gestures make up the choreography and it is through the dancing bodies that are the meanings and senses the manifestation of mirth. Results and discussions fostered highlight the importance of analyzing a culture that is so rich in meanings, as well as your body language in a religious context, taking into account that the body is not an object, but rather a body that transmits messages can be understood through their gestures and has historical and cultural influences. / Esta dissertação sumariza uma pesquisa sobre a Lapinha encenada durante o período natalino e por meio da linguagem corporal nesse folguedo se desvenda um corpo com gestualidade repleto de significados. Este estudo tem como objetivo analisar a dança da Lapinha enquanto linguagem corporal no contexto religioso. É uma pesquisa qualitativa descritiva, os sujeitos investigados são as brincantes e os coordenadores das Lapinhas Jesus de Nazaré e Menino Deus. Os instrumentos utilizados para coleta dos dados foram entrevistas, câmera fotográfica e filmadora e para as observações usou um diário de campo (etnografia). Para análise dos dados utilizamos a Análise Estrutural da Narrativa de Roland Barthes (2001) e para tratamento dos dados os conceitos da fenomenologia de Merleu-Ponty (2006). Para tanto, a investigação promoveu um recorte da história da Lapinha revelando uma cultura tipicamente nordestina. Bem como, nos possibilitou reflexões sobre a corporeidade na dança, de como as vivências e experiências corporais possibilita o desenvolvimento da sensibilidade, expressividade e da capacidade de diálogo do corpo com o mundo. Por fim, analisamos a linguagem corporal e chegamos ao resultado que a dança da Lapinha por meio dos movimentos corporais, das expressões e dos gestos compõem a coreografia e é por meio dos corpos que dançam que estão os significados e sentidos da manifestação desse folguedo. Os resultados e discussões fomentados evidenciam a importância de se analisar uma cultura que é tão rica de significados, bem como a sua linguagem corporal no contexto religioso, levando em consideração que o corpo não é um objeto, mas sim, um corpo que transmite mensagens que podem ser compreendidas por meio de sua gestualidade e que tem influências histórico-culturais.

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No. of bitstreams: 1 ferreira_nam_me_ia.pdf: 2771185 bytes, checksum: 679fbaf3a047f906ab828d2549a5f948 (MD5) Previous issue date: 2017-08-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação resulta da investigação das possibilidades de materialização do espaço construído pelo corpo em movimento e suas representações físicas, por meio de dispositivos tecnológicos emergentes, a partir de investigação acerca das espacialidades do corpo. Identificamos a perspectiva de explorar a hipótese de materialização tridimensional do corpo em movimento com base nos princípios desenvolvidos por Rudolf Laban como a kinesfera, o espaço pessoal que envolve os movimentos de nosso corpo. Partindo desta hipótese, construímos uma narrativa a partir da relação do sujeito com o espaço e desenvolvemos uma interface denominada Kintra, que é capaz de identificar elementos estruturais do corpo em movimento e gerar dados que permitam a construção de modelos arquitetônicos tridimensionais corporificados que possam, posteriormente, vir a ser impressos em 3D. Como metodologia de pesquisa utilizamos um método de abordagem sistêmico, pautado nos estudos da complexidade, em que reconhecemos este processo artístico como um sistema. Para tanto, a base teórica e conceitual dos estudos inclui a Teoria Geral dos Sistemas e estudos da complexidade presentes nas obras de Werner Mende (1982), Humberto Maturana e Francisco Varela (2003), Edgar Morin (2005), Jorge de Albuquerque Vieira (2006); os princípios da linguagem da dança encontrados em Rudolf Von Laban (1929;1978), Valerie Preston-Dunlop (2003), Ciane Fernandes (2006) e Isabel Marques (2010); conceitos e noções relacionadas ao sujeito e espaço de Merleau-Ponty (1992, 1994), Peter Eisenman (1990), Marc Augé (1994), Bernard Tschumi (1995), Henri Lefebvre (2000), Madeline Gins e Shusaku Arakawa (2002) além de Juhani Pallasmaa (2013); fundamentos de Arquitetura e Parametria nos estudos de William Mitchell (1977) e Branko Kolarevic (2003); bem como as compreensões de corpo e tecnologia levantadas por Ivani Santana (2006), Mark Hansen (2006) e Rosangella Leote (2015). / This dissertation investigates the possibilities of materialization of the space built by the moving body and its physical representations through emergent technological devices from the research about the spacialities of the body. We identify the perspective of the explorating the hypothesis of the tridimensional materialization of the moving body based on the fundamentals developed by Rudolf Laban (1966) as the concept of kinesphere, the personal space that involves the movements of our body. From this hypothesis, we create a narrative from the relationships between the subject with the space and we develop an interface named Kintra, wich is able to identify the structural elements of the moving body and generates information that makes possible for us to build tridimensional architectural models wich can be later 3D printed. As methodology of research, we will make use of the systemic approach, based on complexity studies, in wich we recognize this artistic process as a system. Therefore, the theoretical basis includes the General Systems Theory and Complexity studies inside the works of Werner Mende (1982), Humberto Maturana and Francisco Varela (2003), Edgar Morin (2005), Jorge de Albuquerque Vieira (2006), the Dance Language funtamentals and principles found in Rudolf Von Laban (1929;1978), Valerie Preston - Dunlop (2003), Ciane Fernandes (2006) and Isabel Marques (2010), the philosophic concepts and notions related to the subject and space of Merleau - Ponty (1992, 1994), Peter Eisenman (1990), Marc Augé (1994), Bernard Tschumi (1995), Henri Lefebvre (2000), Madeline Gins e Shusaku Arakawa (2002) and Juhani Pallasmaa (2013), the basis of Architecture and Generative Models in the studies of William Mitchell (1977) and Branko Kolarevic (2003), as well as the comprehension of body and technology raised by Ivani Santana (2006), Mark Hansen (2006) and Rosangella Leote (2015). / CAPES: 1481783

Orientador: Rosangela da Silva Leote / Resumo: Esta dissertação resulta da investigação das possibilidades de materialização do espaço construído pelo corpo em movimento e suas representações físicas, por meio de dispositivos tecnológicos emergentes, a partir de investigação acerca das espacialidades do corpo. Identificamos a perspectiva de explorar a hipótese de materialização tridimensional do corpo em movimento com base nos princípios desenvolvidos por Rudolf Laban como a kinesfera, o espaço pessoal que envolve os movimentos de nosso corpo. Partindo desta hipótese, construímos uma narrativa a partir da relação do sujeito com o espaço e desenvolvemos uma interface denominada Kintra, que é capaz de identificar elementos estruturais do corpo em movimento e gerar dados que permitam a construção de modelos arquitetônicos tridimensionais corporificados que possam, posteriormente, vir a ser impressos em 3D. Como metodologia de pesquisa utilizamos um método de abordagem sistêmico, pautado nos estudos da complexidade, em que reconhecemos este processo artístico como um sistema. Para tanto, a base teórica e conceitual dos estudos inclui a Teoria Geral dos Sistemas e estudos da complexidade presentes nas obras de Werner Mende (1982), Humberto Maturana e Francisco Varela (2003), Edgar Morin (2005), Jorge de Albuquerque Vieira (2006); os princípios da linguagem da dança encontrados em Rudolf Von Laban (1929;1978), Valerie Preston-Dunlop (2003), Ciane Fernandes (2006) e Isabel Marques (2010); conceitos e noções relacionadas ao sujei... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This dissertation investigates the possibilities of materialization of the space built by the moving body and its physical representations through emergent technological devices from the research about the spacialities of the body. We identify the perspective of the explorating the hypothesis of the tridimensional materialization of the moving body based on the fundamentals developed by Rudolf Laban (1966) as the concept of kinesphere, the personal space that involves the movements of our body. From this hypothesis, we create a narrative from the relationships between the subject with the space and we develop an interface named Kintra, wich is able to identify the structural elements of the moving body and generates information that makes possible for us to build tridimensional architectural models wich can be later 3D printed. As methodology of research, we will make use of the systemic approach, based on complexity studies, in wich we recognize this artistic process as a system. Therefore, the theoretical basis includes the General Systems Theory and Complexity studies inside the works of Werner Mende (1982), Humberto Maturana and Francisco Varela (2003), Edgar Morin (2005), Jorge de Albuquerque Vieira (2006), the Dance Language funtamentals and principles found in Rudolf Von Laban (1929;1978), Valerie Preston - Dunlop (2003), Ciane Fernandes (2006) and Isabel Marques (2010), the philosophic concepts and notions related to the subject and space of Merleau - Ponty (1992, 199... (Complete abstract click electronic access below) / Mestre

Aborder la rhétorique du silence chez Pinter revient à examiner à la fois ce qui se passe sur scène, dans le texte poétique, et à jeter un regard sur les différents média dont son théâtre se sert pour aborder des thèmes liés à la guerre, à la menace, à l'existence, à la philosophie et à la métaphysique. Il y est aussi question de voir le rapport de cette modalité du langage à l'outil linguistique. L'ontologie du silence à permis de comprendre, qu'il s'agisse dans la communication ou dans la représentation, que cette réalité ne peut être compréhensible qu'à l'ombre de l'élément verbal. Le silence peut être perçu comme ce qui se dérobe à toute tentative de mise à mots. Pour nous imprégner du contenu de ce que Pinter cherche à nous faire parvenir, nous devons considérer ce sous-territoire verbal constitués de non-dits, d'allusions, de sous-entendus, mais également des espaces de l’indétermination. Et comme le langage n'est pas toujours téléologiquement motivé par l'expressivité, son caractère ambivalent, elliptique, fragmentaire, minimaliste et ésotérique constitue un défi pour le public. Cependant, l'étude étiologique (causes) du silence montre que tout ne peut s'expliquer par les limites, les failles et les impossibilités du langage et par le refus de l'engagement du locuteur ou de son capital cognitif et épistémologique. Le temps représente un obstacle majeur dans les efforts de l'homme d'expliquer des événements, faits antérieurs. S'il est difficile de parler précisément et objectivement du passé et du futur, nommer ou désigner ce qui se passe sous les yeux semble l'être également. En plus de la labilité et de l'oubli, la complexité des choses à dire peut aussi signifier l'arrêt définitif ou temporaire de tout discours. Avant l'échéance eschatologique, le silence n'est absolument pas un vide, un néant, même si des pesanteurs d'ordre encratique, idéologique et social rendent compte de la contrainte à laquelle sur tout sujet parlant est appelé à faire face. LE silence qui traverse le théâtre de Pinter est différent de cette absence de parole qu'impose la mort. Il n'est donc pas néontique, parce qu'il se justifie, d'une part, par une option artistique, et d'autre part, par le désir de nous rappeler qui nous sommes. Ce sont nos mots et nos silences qui font de nous ce que nous sommes dans ou sans interaction subjective : une entité sonore et une autre silencieuse. Tout être langagier est fait de ce qui s'énonce clairement et de ce qui ne cesse de s'échapper à toute expression verbale.Le choix porté sur l'adaptation cinématographique des pièces de Pinter obéit à l'effort de montrer que, quand les mots n'arrivent plus à dire, il faut se tourner vers des données sémiologiques, sémiotiques et somatico-gestuelles. Le genre poétique est un autre moyen par lequel les voix du silence nous parviennent à travers les allusions, les images et les symboles. Dans l’œuvre artistique de Pinter, le silence n'a pas qu'une signification mais aussi un rôle, une nature et des limites. Le silence n'est pas exclusivement dans le tacite ou le caché : il se trouve également dans ce qui se montre ou ce qui s'entend. Ce théâtre rappelle qu'à l'image du langage, le silence est une forme d'expression qui exige du spectateur une profonde attention pour comprendre le message qu'il entend lui faire passer. Par ailleurs, la protologie du silence révèle que d'autres arts de la scène tels que le praxis orchésale et la pratique musicale doivent leur existence à la réalité silencieuse. Vu que le silence sous-tend les moyens d'expression et de communication humaines, cela révèle du bon sens de lui reconnaître comme forme vivante. Le silence est à la fois une force centrifuge et centripète, car tout part de lui et retourne à son sein. Il est à l'origine de toute chose, et il survivra toute existence. / The main purpose of this research is not only to try to grasp the meaning of the unsaid and the hidden in the artistic work of Harold Pinter, but first and foresmost to show that language can neither have a meaning nor be made out if we do not consider what is lying underneath or if we disregard any reading between the lines. Even if it's obvious that the stage is more often than not under the yoke of words, the gist of any play is to be looked for in silence. In Pinter's dramatic world, silence can be understood as what cannot be said, what is not thoroughly said, what is not clearly expressed, what is not yet said, what will never be said. It can be due to many reasons, a silence may be observed under duress, as it may be made purposefully. The body language is more than important, for what is displayed through it can urge any shrewd spectator to muse upon what is beyond his eyes. Since words and images are not often reliable, the work of any spectator is to ponder over what is shown or said to him. And like any tool of communication, silence requires a text and a context to yield the substance emnodied in it. Any attempt to sever the language of words from that of silence is doomed to failure. Silence per se is the realm of silent words. Before being uttered, any word was first kept in silence. All discourses stem from silence, and whilst some can reach the listener, others need a particular attention, whence our interest in Pinter's early poems. The silence we'redealing with is not a void. It's pregnant with meaning and cannot be avoided as long as we're able to speak or we're potential locutors.

A pesquisa tem por objeto a formação corporal do profissional de educação que trabalha com a primeira fase de vida do ser humano, mais precisamente o período compreendido entre o nascimento e os três anos de idade, por se reconhecer a importância do período de \"chegada à vida\" na constituição do psiquismo. O objetivo geral foi verificar como tem sido feita a formação de pedagogos na linguagem expressiva corporal voltada ao trabalho pedagógico com os bebês, analisando as possibilidades, os desafios e as necessidades dessa formação. Como procedimento metodológico foi criado um curso de extensão na Faculdade de Educação da USP, do qual participaram sessenta e seis pedagogas que trabalham em Centros de Educação Infantil localizados nos municípios de São Paulo, Barueri, Cotia, Embu e Francisco Morato, e no qual foram utilizados os conhecimentos do campo da Pedagogia do Teatro como mediadores de formação. Os resultados denunciam que a ausência de formação corporal priva os pedagogos, entre outros aspectos: da compreensão do corpo e do movimento como condição indispensável para a construção de conhecimento e para o trabalho pedagógico com bebês; da compreensão das linguagens expressivas na primeira infância; e, da revisão de valores sobre a corporeidade, a experiência e o bebê como sujeito, colaborando para que as estruturas de controle e opressão do corpo continuem a se fazer presentes na instituição escolar para crianças pequenas. Da análise dos dados provenientes da investigação de campo e do cotejamento destes com a pesquisa bibliográfica, derivaram as categorias aprofundadas: formação corporal do pedagogo; disciplinamento e repressão corporal; percepção sobre os bebês; reflexões sobre formação e valores docentes. / This research aims at developing professionals in the educational field who deal with the first stage of human beings´ lives i.e. the period from birth up to three years old since it is a stage of starting life in the latter´s psychological development. The general objective was to investigate how the pedagogues´ knowledge had been developed regarding the expressive body language in their pedagogical practice in babies by analyzing possibilities, challenges and the necessities concerning such instruction. An extension course was created at Faculdade de Educação at Universidade de São Paulo as a methodological procedure. Sixty six pedagogues who work for public daycare centers in São Paulo, Barueri, Cotia, Embu and Francisco Morato joined this course which used some knowledge from the Theatre Pedagogy as a tool in this instruction. Such results say that lacking body language notions can prevent pedagogues, among other things: from understanding of body and movement as a prerequisite for building knowledge and for pedagogical work with infants; from comprehension of the expressive languages in early childhood, besides reviewing some concepts regarding the body, the experience and the baby as a person to avoid body oppression and control over toddlers at schools. Based on collected data from field investigation (extension course) and on the conciliation of these with the bibliography the following categories were analyzed: pedagogues´ body perception instruction, body discipline and repression, perception of babies, reflections about teachers´ instruction and teachers\' values.