Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: Liora Bresler. Includes bibliographical references (leaves 178-189) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 275-278; 280-283).

Orientador: Marcio Aurelio Pires de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-13T21:09:16Z (GMT). No. of bitstreams: 1 Haderchpek_RobsonCarlos_D.pdf: 5885076 bytes, checksum: 7f24f20f444b9955dd526b9896a56476 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa de doutorado se deu a partir de uma investigação sobre a arte da direção teatral. Nosso objetivo principal foi averiguar a possibilidade de se estabelecer um modelo referencial que pudesse ser utilizado como base na condução de um processo criativo. A partir de uma metodologia empírica, que se utilizou da análise de experiências práticas - espetáculos teatrais e atividades docentes -, e de rigorosa pesquisa bibliográfica, pudemos investigar a figura do diretor-pedagogo e propor o que chamamos de poética da direção teatral.Palavras-chave: Teatro; Poética da Direção Teatral; Pedagogia Teatral; Diretor-Pedagogo / Abstract: This PhD research happen since then an inquiry on the art of the theater direction. Our main objective was to inquire the possibility of establishing a reference model that could be used as base in the conduction of a creative process. From an empirical methodology, that it was used of the analysis of practical experiences - theaters spectacles and teaching activities -, and of rigorous bibliographical research, we could investigate the figure of the directorteacher and consider what we call poetical one of the theater direction.Key Words: Theater; Poetical of Theater Direction's; Education of Theater; Director-Teacher / Doutorado / Doutor em Artes

A presente pesquisa buscou investigar as relações entre Educação Infantil e Teatro a partir das Linguagens Cênicas que vêm sendo concebidas e construídas em propostas formativas, educativas e infantis da Rede Municipal de São Paulo/SP. Partindo da análise do Curso Percursos de aprendizagens na Educação Infantil: práticas teatrais, junto ao Programa de Formação Continuada da Educação Infantil promovido pela Secretaria Municipal de Educação de São Paulo/SP (SME/SP), denominado A Rede em rede: formação continuada na Educação Infantil, e de alguns de seus desdobramentos, como o Caderno Percursos de aprendizagens na Educação Infantil: práticas teatrais, foi possível se aproximar de propostas educativas de professoras envolvidas e de propostas infantis de meninas e meninos pequenos. Para tal, foram realizados os seguintes procedimentos: pesquisa de campo em um Centro de Educação Infantil (CEI) da cidade de São Paulo, com observação da jornada educativa; oito entrevistas semiestruturadas com professoras, coordenadora e supervisora da SME/SP, e com formadoras do referido Curso; além da coleta e análise de documentos e de outros materiais produzidos. As análises dos dados coletados foram realizadas de forma articulada, à luz da produção recente tanto brasileira quanto estrangeira no campo das pesquisas em Educação Infantil, na interface com as Ciências Sociais e com as Artes na primeira infância, e com a produção teórica sobre o Teatro propriamente dito especialmente da Performance e do Teatro pós-dramático , concebendo as crianças como plenas, inteiras, completas e as Linguagens Cênicas como formas delas conhecerem, criarem, inventarem, sentirem, viverem e compartilharem conhecimentos, saberes e culturas, assim como, também das profissionais da Educação Infantil. O Curso investigado e seus desdobramentos, apesar de não romperem com propostas formativas que ainda desconsideram o protagonismo e as criações de crianças, professoras, gestoras e formadoras, trouxeram alguns avanços e contribuições que se revelaram emergentes para a construção de uma Pedagogia da Educação Infantil fundamentada nas Artes, mas que só poderá ser construída quando forem consideradas as propostas educativas e infantis que estão sendo inventadas pelas professoras e, especialmente, pelas meninas e meninos pequenos, a partir das Linguagens Cênicas. / This research sought to investigate the relationship between Child Education and Theater in the perspective of the Scenic Languages that have been conceived and constructed in formative, educative and infantile proposals in the education system of the city of São Paulo/SP. Starting with the analysis of the Course on Itineraries of learning in Child Education: theatrical practices, by Continued Training Program on Child Education conducted by the Education Department of the City of São Paulo/SP (SME/SP), called The networking in education system: continued training on Child Education, and some of its outcomes, as the Booklet Itineraries of learning in Child Education: theatrical practices, it was possible to take a close look at educative proposals of female teachers involved and at infantile proposals for young girls and boys. For such, the following procedures were carried out: field research in a Child Education Center (CEI) in the city of São Paulo, with observation of the educative working hours; eight semi-structures interviews of female teachers, educational coordinator and the supervisor from SME/SP, and with lecturers in the training course mentioned above; in addition to the collection and analysis of documents and other materials produced. The analysis of the data collected was conducted in an articulated fashion, in the light of the recent literature both in Brazil and abroad in the field of studies on Child Education, in interface with Social Science and Art in early childhood, and with theoretical production about Theater specially Performance and post-dramatic Theater , conceiving children as full, integral, complete subjects and the Scenic Languages as ways of knowing, creating, inventing, feeling, living and sharing different types of knowledge and cultures, as well as the professionals working in Child Education. The Training Course being investigated and its deployments, although they do not break away with the formative proposals that still disregard the prominence and the creativity of children, teachers, managers and trainers, brought forth some improvements and contributions that turned out to be emergent in the construction of a Pedagogy for Child Education based on Art, but it will only be able to be devised when and educative and infantile proposals are taken into consideration as they have been invented by teachers and, especially, by the young girls and boys, aided by the Scenic Languages.

A presente pesquisa buscou investigar as relações entre Educação Infantil e Teatro a partir das Linguagens Cênicas que vêm sendo concebidas e construídas em propostas formativas, educativas e infantis da Rede Municipal de São Paulo/SP. Partindo da análise do Curso Percursos de aprendizagens na Educação Infantil: práticas teatrais, junto ao Programa de Formação Continuada da Educação Infantil promovido pela Secretaria Municipal de Educação de São Paulo/SP (SME/SP), denominado A Rede em rede: formação continuada na Educação Infantil, e de alguns de seus desdobramentos, como o Caderno Percursos de aprendizagens na Educação Infantil: práticas teatrais, foi possível se aproximar de propostas educativas de professoras envolvidas e de propostas infantis de meninas e meninos pequenos. Para tal, foram realizados os seguintes procedimentos: pesquisa de campo em um Centro de Educação Infantil (CEI) da cidade de São Paulo, com observação da jornada educativa; oito entrevistas semiestruturadas com professoras, coordenadora e supervisora da SME/SP, e com formadoras do referido Curso; além da coleta e análise de documentos e de outros materiais produzidos. As análises dos dados coletados foram realizadas de forma articulada, à luz da produção recente tanto brasileira quanto estrangeira no campo das pesquisas em Educação Infantil, na interface com as Ciências Sociais e com as Artes na primeira infância, e com a produção teórica sobre o Teatro propriamente dito especialmente da Performance e do Teatro pós-dramático , concebendo as crianças como plenas, inteiras, completas e as Linguagens Cênicas como formas delas conhecerem, criarem, inventarem, sentirem, viverem e compartilharem conhecimentos, saberes e culturas, assim como, também das profissionais da Educação Infantil. O Curso investigado e seus desdobramentos, apesar de não romperem com propostas formativas que ainda desconsideram o protagonismo e as criações de crianças, professoras, gestoras e formadoras, trouxeram alguns avanços e contribuições que se revelaram emergentes para a construção de uma Pedagogia da Educação Infantil fundamentada nas Artes, mas que só poderá ser construída quando forem consideradas as propostas educativas e infantis que estão sendo inventadas pelas professoras e, especialmente, pelas meninas e meninos pequenos, a partir das Linguagens Cênicas. / This research sought to investigate the relationship between Child Education and Theater in the perspective of the Scenic Languages that have been conceived and constructed in formative, educative and infantile proposals in the education system of the city of São Paulo/SP. Starting with the analysis of the Course on Itineraries of learning in Child Education: theatrical practices, by Continued Training Program on Child Education conducted by the Education Department of the City of São Paulo/SP (SME/SP), called The networking in education system: continued training on Child Education, and some of its outcomes, as the Booklet Itineraries of learning in Child Education: theatrical practices, it was possible to take a close look at educative proposals of female teachers involved and at infantile proposals for young girls and boys. For such, the following procedures were carried out: field research in a Child Education Center (CEI) in the city of São Paulo, with observation of the educative working hours; eight semi-structures interviews of female teachers, educational coordinator and the supervisor from SME/SP, and with lecturers in the training course mentioned above; in addition to the collection and analysis of documents and other materials produced. The analysis of the data collected was conducted in an articulated fashion, in the light of the recent literature both in Brazil and abroad in the field of studies on Child Education, in interface with Social Science and Art in early childhood, and with theoretical production about Theater specially Performance and post-dramatic Theater , conceiving children as full, integral, complete subjects and the Scenic Languages as ways of knowing, creating, inventing, feeling, living and sharing different types of knowledge and cultures, as well as the professionals working in Child Education. The Training Course being investigated and its deployments, although they do not break away with the formative proposals that still disregard the prominence and the creativity of children, teachers, managers and trainers, brought forth some improvements and contributions that turned out to be emergent in the construction of a Pedagogy for Child Education based on Art, but it will only be able to be devised when and educative and infantile proposals are taken into consideration as they have been invented by teachers and, especially, by the young girls and boys, aided by the Scenic Languages.

Der Beitrag vermittelt Ansätze zu einem Theorie- und Gehörbildungsunterricht, der die Berufsziele und künstlerischen Neigungen der Studierenden als Inspiration zur Entwicklung innovativer Methoden nutzt. Dazu bedarf es seitens des Lehrenden einer genauen Kenntnis der wissenschaftlichen Inhalte einerseits sowie der künstlerischen und pädagogischen Praxis andererseits. Gleichzeitig ist eine Offenheit des Lehrer-Schüler-Diskurses für die schöpferischen Beiträge beider Seiten unabdingbar – nicht selten sind es die Anregungen von Studierenden, die faszinierende Erkenntnisse für Lernende und Lehrende möglich machen. So kann Gehörbildung anhand beliebter Titel aus Rock und Pop zur Entdeckungsreise in eine Welt musikalischer Archetypen werden – z.B. bizarr verkleidet in den Songs der Rockband Knorkator. Praxisverfügbarkeit von Theorie bedeutet, dass der Weg zwischen Konzept und klingender Umsetzung jederzeit in beide Richtungen begehbar ist. Sie impliziert, dass Musiker und Pädagogen sich als Künstler in umfassendem Sinn verstehen. Als Beispiel für ein Fächer und Institutionen verbindendes Projekt beschreibt die Autorin die Entwicklung eines Schulmusicals durch Studierende von der Auswahl des Sujets über szenische Konzeption, Textdichtung, Komposition bis hin zur Einstudierung und Aufführung. / The essay provides approaches to a teaching of music theory and ear training that uses the students’ professional goals and artistic inclinations as inspiration for the development of innovative methods. This requires the teacher to have precise knowledge of the scientific content on the one hand and of artistic and pedagogical practice on the other. The discourse between teachers and students has to be open for creative contributions on both sides – suggestions of students frequently afford fascinating insights. In this way ear training on the basis of well-known rock and pop songs can turn into an expedition to musical archetypes – as bizarrely disguised in the songs of the rock band Knorkator. Practical availability of theory means that the path between concept and audio implementation can be walked into both realms at any time. It implicates a self-concept of musicians and pedagogues as artists in a wide-ranging sense. As an example of a project linking subjects and institutions the author describes the development of a school musical by students, from the selection of the subject to scenic conception, text poetry, composition, rehearsal and performance.