This thesis explores oral communication in St. Gallen through the lens of the linen merchant Johannes Rütiner (1501-1556/7). By reconstructing Rütiner's network of informants and probing four genres of communication within their respective social contexts - jokes, gossip, rumour, and memory narratives -, it explores early modern sociability, the circulation of information, and the relationship between oral testimony, manuscript, and print. Sixteenth-century St. Gallers relied heavily on informal, oral networks to provide them with news and information of all kinds. An individual's access to information was thus to a large degree determined by the social networks within which they spent their life. As St. Gallers sought to secure a place for themselves in such circles, they in turn used jokes, gossip, and information of all kinds as a form of "communicative social capital", allowing them to present themselves as witty, well-connected, and knowledgeable. Rather than treating the instability of oral narratives as evidence of the inherent unreliability of the spoken word, this study proposes to analyse their evolution as a key to early modern mentalities. It also calls into question some of the dominant narratives regarding the printing revolution. Not only did oral communication continue to play a central role in the dissemination of information in the first half of the sixteenth century, but existing systems of "source criticism", developed in the context of dominantly oral networks, moreover cast doubt on the reliability of anonymous prints: because they made their trust in a piece of news conditional on their trust in the messenger, Rütiner and his fellow citizens often preferred oral narratives provided by familiar, trustworthy informants.

Ce travail de recherche vise à étudier les expressions écrites de la littérature du cordel et les représentations visuelles de la xylographie de l'auteur José Francisco Borges, connu par son abréviation J. Borges, l'un des artistes populaires les plus reconnus d'Amérique Latine. La littérature de cordel est une forme de manifestation culturelle de la région du Nord-est du Brésil. C’est une poésie orale qui dépeint la mémoire et l’imaginaire de cette région. Le cordel sera souvent lié à la xylographie, gravure sur bois qui illustre ses couvertures. La lecture des folhetos de cordel se rapproche intimement de la tradition de l’oralité, elle permet de parcourir le contexte social, historique et culturel de la région Nord-est En plus de sa fonction linguis-tique et littéraire, on retrouve dans la littérature de cordel l’identité d’un peuple, qui, à travers le langage, les croyances, l’humour et la culture en général, dévoile toutes les caractéristiques de sa société. De même, les xylographies expriment en images cette identité populaire. Il appa-raît donc que le cordel et la xylographie se manifestent comme une identité socio-historique et culturelle de la région Nord-est du Brésil. Cette investigation est multidisciplinaire car elle s’appuie sur les réflexions d’auteurs évoluant dans les domaines de la culture populaire et de la sémiologie d’images. Ces deux éléments établissent les questions théoriques de ce travail. Les relations entre le verbal et le visuel sont étroitement liées dans l’œuvre de J. Borges. Nous chercherons donc à analyser quel sens prennent le cordel et la xylogravure dans l’univers créa-tif de cet auteur. Nous avons adopté comme stratégie de recherche l’analyse du langage dans ces deux formes de création : le texte et l’image. Ces stratégies nous amèneront à réfléchir sur les spécificités de la parole dans le texte et le visuel des xylographies. / This research work aims to study the written expressions of the cordel literature and the visual representations of the xylography made by José Francisco Borges, known as J. Borges, one of the most recognized popular artists in Latin America. The cordel literature is a form of cultural demonstration from the north east of Brazil. It’s an oral poetry that depicts the memory and the imagination of this region. The cordel is often associated to the xylo-graphy, woodblock prints that illustrate its covers. The reading of the folhetos of cordel is deeply rooted in the oral tradi-tion, revealing the social, historical and cultural context of the north east region. In addition to its linguistic and literary role, the cordel literature gives a pic-ture of the people’s identity, that unveils all the society’s characteristics through language, belief, humor and culture in general. Likewise the xylographs express this popular identity through images. Thus, it appears that the cordel and the xylography establish themselves as a socio-historical and cultural identity of the north east region of Brazil. This investigation is multidisciplinary since it is based on the thoughts of authors who evolve in the fields of popu-lar culture and visual semiotics. These two elements establish the theoretical questions of this work. Hence, we will analyze the meaning of the cor-del and the xyloghraphs within the crea-tive universe of the author. We adopted as a research strategy, the analysis of the language in these two forms of creation: the text and the image. These strategies will lead us to reflect on the specificities of the oral in the text and the visual of the xylographs.

Le roman espagnol contemporain a vu l’émergence dans les années 1990 d’un ensemble de romans publiés par une cohorte de jeunes auteurs regroupés par les critiques sous le nom de «Generación X», appellation sans doute problématique dont nous tenterons néanmoins de délimiter les contours. Nés dans les années 1960, ces auteurs mettent en scène une jeunesse désenchantée dans l'ère des mass media et empreinte de culture rock et punk, à laquelle les critiques les ont souvent assimilés, évoluant dans un cadre résolument urbain (généralement Madrid), qu’ils connaissent pour en avoir souvent été acteurs avant de le mettre en scène. Représentants d’une culture éclectique et contemporaine, la ville et l’univers « underground » et marginal que les romans représentent sont profondément marqués par l’omniprésence de l’image et de la musique, et par le rythme accéléré de la vie moderne. Cela se manifeste dans les modalités d’une écriture novatrice et hétérarchique qui repose sur un mécanisme référentiel imposant et où s’entremêlent différents codes sémiotiques et où le langage de la rue est reproduit de façon mimétique. Ces aspects sont ceux qui permettent d'affirmer la convergence de ces auteurs dans un ensemble de textes qui davantage que le critère biologique permet de les rassembler et de dire que ces romans constituent un jalon dans le mouvement généralisé de retour au réel. Notre thèse consistera à étudier ces aspects, la représentation de la société qui se dégage des romans à travers le traitement et le dépassement des instances classiques du réalisme, et notamment la façon dont les différentes visions et représentations de la ville s’opposent et se superposent pour participer à l’élaboration du portrait d’un secteur dérangeant de la société espagnole de la fin du XXème siècle, qui justifie l’emploi du terme de "realismo sucio" pour qualifier l’esthétique de ces romans. Nous proposerons une approche d’une pluralité de textes représentatifs publiés entre 1990 et 1999 par Francisco Casavella,Lucía Etxebarria, Ismael Grasa,José Angel Mañas, Ray Loriga, Benjamin Prado, Pedro Maestre ou encore Roger Wolfe. / Contemporary Spanish novel saw the emergence in the 1990's of an ensemble of novels published by a group of young authors gathered together by critics under the name of " Génération X ", doubtless problematic naming of which limits we shall nevertheless try to define. Born in the 1960s, these authors represent a disillusioned youth in mass media's era,a youth suffused with rock and punk culture to which the critics often likened them, evolving in a decisively urban space (generally Madrid), that they know for being themselves actors of this scenery before staging it. Representatives of an eclectic and contemporary culture, the city and the " underground " and marginal universe which they represent are profoundly marked by the omnipresence of image and music, and by the accelerated rhythm of modern life. It shows in the modalities of an innovative writing based on an imposing mechanism of references, where various semiotic codes are mixed and where language of the street is mimetically reproduced. These aspects are what authorize us to mantain that more than the authors it is an ensemble of novels that converge and constitute a stage in a generelized realistic turn. Our thesis will consist in studying what kind of overview of spanish society emerges from the way this litterature processes the construction of characters, time and space, and how various visions and representations of the city get confronted and overlap to participate in the elaboration of the portrait of a disturbing sector of the end of the XXth century Spanish society, which justifies the use of the term of " realismo sucio " to qualify the esthetics of these authors. We shall propose an approach of representatives published between 1990 and 1999 by Francisco Casavellas, Lucía Etxebarria, Ismael Grasa, José Angel Mañas, Ray Loriga, Benjamin Prado, Pedro Maestre and Roger Wolfe.

“What shows itself is a proposed world, a world I may inhabit, and wherein I can project my ownmost possibilities” (Paul Ricoeur). This research investigates devised biblical drama as an alternative hermeneutic for orally focused churches, whose practical problems in engaging with Scripture leave them at the unintended margins of the global churches’ world of assumed literacy. The work builds on a Ricoeurian perception of Scripture as a dynamic of time, telling and tradition that offers a drawing invitation to Christians to enter and inhabit its proposed worlds of anticipative and participative remembering, beckoning towards life in the now-and-not-yet of the kingdom of God. A telling case is offered by the orally focused Anglican Churches in Gambella (Ethiopia), through the reflective voices of their church leaders, and through the illustration of their dramas: seen within the innovation of fresh interpretation, and also through the sedimentation of their tradition of drama. Firstly, the nature and interpretative process of devising biblical drama is investigated, demonstrating that this holistic, creative, and communal, contextualized approach to Scripture entwines aspects of criticality and orality through its conversational questioning and imagining of Scripture that is enhanced through practical embodiment. The research proposes that the embodied, enacted, mimetic form of drama offers a liminality that enables participative inhabitation of the proposed worlds of Scripture. Secondly, the developing tradition of Anglican biblical dramas in Gambella is investigated. These dramas inherit, form, participate in, and hand on the tradition of Christian cultural memory on which these churches are founded, through a proclamation of Scripture that is made manifest within present event. This research argues that both forms of drama offer participative possibilities for faithful and formative, hopeful inhabitation of the proposed worlds of Scripture, and so could offer potential gifts to the wider church.

O trabalho visa refletir sobre as relações de amor na contação de histórias através do relato das experiências do grupo Quem conta um conto - contadores de histórias e da trupe Quem conta um conto – trupe de contadores de histórias. Para tanto, entende-se que as relações de amor fazem que a performance da contação de histórias esteja diretamente relacionada com as nossas interações no mundo. Somos seres sociais e, portanto, a voz e suas narrativas manifestam-se como uma questão central na relação do eu e do outro. / The work aims to reflect on the relations of love on storytelling through the account of the experiences of the group Who tells a story-storytellers and troupe Who tells a story-storytellers troupe. For both believes that love relations cause the performance of storytelling is directly related to our interactions in the world. We are social beings, so the narrative voice and its manifest themselves as a central issue in the relationship of self and other.

Submitted by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2017-01-31T14:22:19Z No. of bitstreams: 1 DISSERTACAO-VERSAOFINAL - Kelly Cristine.pdf: 3243297 bytes, checksum: f2b0a5a4682c9cf06b9eb36d88079490 (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2017-01-31T14:32:44Z (GMT) No. of bitstreams: 1 DISSERTACAO-VERSAOFINAL - Kelly Cristine.pdf: 3243297 bytes, checksum: f2b0a5a4682c9cf06b9eb36d88079490 (MD5) / Made available in DSpace on 2017-01-31T14:32:46Z (GMT). No. of bitstreams: 1 DISSERTACAO-VERSAOFINAL - Kelly Cristine.pdf: 3243297 bytes, checksum: f2b0a5a4682c9cf06b9eb36d88079490 (MD5) / Esta pesquisa, que tem como tema a movência dos contos de tradição oral e da prática a eles associada − a contação de histórias − das culturais orais e populares para o território escolar, da tradição à contemporaneidade, objetivando analisar como a escola acolhe e reconfigura o ato de contar, constituiu-se em duas etapas. Na primeira, a partir de teóricos da cultura, dos campos da linguagem e da educação, entrelaçados, ao mesmo tempo, com um acervo de entrevistas realizadas junto a contadores de histórias tradicionais de Burkina Faso (África) e do interior da Bahia, desenha-se um percurso histórico demarcado por duas territorialidades: as culturas fundadas na oralidade, com base em Walter Ong e Paul Zumthor, e as culturas populares, neste caso, em diálogo principalmente com Peter Burke. A partir dos referentes históricos, há, ainda, um esforço de demarcar os traços distintivos próprios da palavra oral, tomando aqui o conceito de gênero textual de Bakhtin bem como os estudos de Ingedore Koch sobre a fala. Na segunda parte, para mover-se em direção ao território escolar, ponto de chegada do processo de pesquisa, buscando responder à pergunta inicialmente colocada, optou-se por analisar discursos orais e escritos de professoras da educação básica acerca da contação de histórias e seus usos em sala de aula. No corpus constituído por sete pessoas, une-as o fato de terem tido a experiência de escuta de histórias em suas infâncias, no território das culturas populares, e de terem-na atualizado nas salas de aula em que atuam, em diálogo com referentes outros como a literatura infantil e os programas de formação de público-leitor. Cinco dentre elas, no ano de 2012, produziram monografias de conclusão de curso com temas atravessando a contação de histórias. Assim, a partir dos pressupostos de uma pesquisa de base qualitativa, trabalhou-se com duas instrumentalidades: entrevistas semiestruturadas com todos os sujeitos da pesquisa e, no caso de cinco deles, leitura e análise de seus respectivos trabalhos de conclusão de curso, tendo como base cinco categorias: relação com a tradição (experiências de escuta na infância, em suas comunidades); processos de formação recentes em contação de histórias; constituição de repertório; usos em salas de aula; e concepções e distinções entre o contar e o ler. Reconhecendo-se ser este um tema vasto com amplas necessidades de aprofundamento, tanto a análise histórica, realizada na primeira etapa, como o exame das entrevistas e textos das professoras contadoras de histórias revelam um objeto – o conto e a contação de histórias – não apenas de fruição estética, mas também político, ator de embates entre as chamadas culturas subalternas e as culturas hegemônicas, questões estas que se refletem na escola. A pesquisa revela que, sob o discurso dominante da necessidade de formação de público-leitor, as práticas narrativas orais são colocadas em um lugar de menor importância, ocupando, em alguns casos, apenas as atividades extracurriculares, quando não são colocadas a serviço da escrita, desconsiderando-se as marcas distintas da voz bem como suas diferentes possibilidades pedagógicas, para além de acesso ao livro e à literatura. / ABSTRACT This research uses tales from oral tradition and the practices associated to them, namely storytelling, from oral and popular tradition to contemporary days, focusing on how they coexist in the schools. The way schools embrace and format the act of storytelling has two parts. The first one comes from the viewpoints of specialists the fields of culture, language, and education together with the archive of interviews conducted with traditional storrytellers from both Burkina Faso and Brazil. This stage is characterized by the historical process of two territories – cultures based on oral tradition dialoguing with Walter Ong e Paul Zumthor and popular cultures which dialogues with Peter Burke. There is also an effort to explore features of oral words taking the textual concept from Bakhtin as well as studies about speech by Ingedore Koch. In the second part, the movement is inside the school environment and the analysis of oral as well as written discourses of basic education teachers on storytelling and its use in the classroom. In the universe of seven people interviewed, everyone had had the experience of listening to storytelling in their childhood and they all updated the experience in the classroom, in dialogue with other references such as children literature and education program for training of readers. In 2012, five of them developed their senior projects on a topic related to storytelling. Thus, using qualitative analysis as the basis, the research used two tools – semi-structured interviews with all subjects of the study and with five people, it used the reading and analysis of the final piece of their undergraduate work in five categories – relationship with tradition (experiences of listening in childhood); processes of recent training in storytelling; making a repertoire; uses in the classroom; and conceptions and distinctions between telling and reading. The study recognizes storytelling is a broad topic with need for deepening both historic analysis conducted in the first part and the interview and texts by storyteller teachers. The tale and storytelling not only have an aesthetic role, it also has a political feature, as it functions as teasers for discourses between the subaltern and dominant cultures, both which are reflected in the classroom. The research reveals that the practice of oral narratives is placed as less important in the dominant discourse for training training of readers. Instead, they are placed as secondary, as an extra-curriculum activity, which in turn disqualify the importance of the voice and its different pedagogical possibilities that go beyond the access to the book and to literature.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-25T12:50:56Z No. of bitstreams: 2 Hildonice Batista parte 2.pdf: 4315629 bytes, checksum: 1e250f8278e6298e4685d0cabf7785d1 (MD5) Hildonice Batista parte 1.pdf: 3847358 bytes, checksum: 198091438589e279121dd4b0980fd885 (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-05-17T14:19:51Z (GMT) No. of bitstreams: 2 Hildonice Batista parte 2.pdf: 4315629 bytes, checksum: 1e250f8278e6298e4685d0cabf7785d1 (MD5) Hildonice Batista parte 1.pdf: 3847358 bytes, checksum: 198091438589e279121dd4b0980fd885 (MD5) / Made available in DSpace on 2013-05-17T14:19:51Z (GMT). No. of bitstreams: 2 Hildonice Batista parte 2.pdf: 4315629 bytes, checksum: 1e250f8278e6298e4685d0cabf7785d1 (MD5) Hildonice Batista parte 1.pdf: 3847358 bytes, checksum: 198091438589e279121dd4b0980fd885 (MD5) Previous issue date: 2008 / Esse estudo aborda a práxis pedagógica indígena Kiriri e pretende dialogar com a práxis pedagógica de professores não indígenas com o intuito de inserir novos pensares sobre a ação educativa no espaço escolar numa perspectiva transdisciplinar. Adotou-se a abordagem fenomenológica, a partir de um estudo de caso na reserva indígena Kiriri em Saco dos Morcegos, Mirandela/Bahia. Optou-se por um recorte cronotópico que abrange o período de 2001 a 2005 para que se possa evidenciar modificações na práxis pedagógica indígena Kiriri que ressoem nas vidas das crianças e dos jovens desta localidade, bem como analisar as possíveis ações educacionais que se aproximam dos princípios da Transdisciplinaridade, essas modificações/ações são compreendidas como atitudes pontuais educacionais. Utilizou-se técnicas de entrevistas, observação direta, questionários, acervo fotográfico, acervo documental, dentre outros, tendo o objetivo de aproximar essas atitudes pontuais educacionais a marcos teóricos como a crítica cultural e a transdisciplinaridade. A adoção das abordagens quantitativa e qualitativa viabilizou a tentativa de entrelaçamento de campos transgressores no pensar e no agir, principalmente, no campo epistemológico denominados de Transdisciplinaridade e Estudos de Cultura, aliados à cultura/práxis indígena Kiriri. Vale ressaltar que apesar de todas as dificuldades, principalmente, no que se refere à questão da luta pela terra e pelo direito de vida, a práxis pedagógica realizada na Escola Kiriri busca caminhos diferenciados para conviver com o instituído, valorando a tradição oral, o aprendizado de vocábulos da língua materna - Kipeá, os rituais sagrados e a sua própria cultura. Portanto, houve a pretensão de se construir uma linha de conexão entre esses saberes de modo a se pensar outras formas de sustentabilidade, outros valores para o modelo escolar da população não indígema, almejando criar um espaço dialógico entre essas culturas, bem como a possibilidade de realização de processos de aprendizagem capazes de aceitar a diferença/diversidade numa perspectiva ontológica, dialogando, portanto, com outras formas de conhecimento. / Salvador

120 f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-30T12:28:17Z No. of bitstreams: 1 Dissertacao Antonio Santos.pdf: 465280 bytes, checksum: 32bb052f29e8191c70a08c0990823848 (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-06-10T16:55:36Z (GMT) No. of bitstreams: 1 Dissertacao Antonio Santos.pdf: 465280 bytes, checksum: 32bb052f29e8191c70a08c0990823848 (MD5) / Made available in DSpace on 2013-06-10T16:55:36Z (GMT). No. of bitstreams: 1 Dissertacao Antonio Santos.pdf: 465280 bytes, checksum: 32bb052f29e8191c70a08c0990823848 (MD5) Previous issue date: 2009 / A presente pesquisa aborda a identidade cultural do educando nas atividades orais da escola do Ensino Fundamental. Busca-se, através de um processo analítico e crítico de reflexão, verificar os motivos que levaram (e ainda levam) a uma subutilização da oralidade em sala de aula, fato este que afeta negativamente o ensino da língua materna. A pesquisa revelou, ainda, que tanto no campo científico (dos estudos linguísticos) quanto no campo legal (Lei de Diretrizes e Bases da Educação) existem subsídios mais do que suficientes para a defesa de uma pedagogia linguística que considere a oralidade como princípio e fim; sem que se esqueça a relevância do aprendizado da escrita numa perspectiva de ampliação do capital cultural do educando. A fala dos indivíduos não é mera transmissão de informação, mas uma forma de constituição da subjetividade, da cognição, uma forma de ação. As diferentes formas de discurso existem tanto para melhorar a eficácia comunicativa, quanto para marcar a identidade. É assim que trabalhar com variação linguística é o mesmo que trabalhar com identidade, e vice-versa. / Salvador

Made available in DSpace on 2016-08-03T16:15:46Z (GMT). No. of bitstreams: 1 CarlosAntonioSilva.pdf: 3236310 bytes, checksum: f9bc220fdca022e96d47669525dbd2cf (MD5) Previous issue date: 2014-09-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / It is known that a great difficulty in education is to help students create a reading habit. Many prefer watching television (usually novels, cartoons or movies), playing outside with friends, or going out instead of reading. Unfortunately, teachers do not rely heavily on the support of some parents to help their children establish the habit of reading as they are so busy with day to day activities and do not actively participate in their childrens lives. This work is to investigate the use of comics as a motivator to encourage reading. For this reason it was researched to understand the structure of comics, how it may assist the teacher in the classroom, and how it can be used in developing the habit of reading. The research was a literature review, with bases in Marcuschi studies (1991 and 2010), Cirne (1971, 1975, 1997 and 2000), Favero, Andrade and Aquino (2009), Martins (1985), Solé (1998), Vergueiro (2006) and Yunes (1984), among others. It was found that the comics are great resources to encourage reading because the resources presented help in the learning process, giving the sensation of hearing the story. The genre comics, that the PCN instructs for the use in the Portuguese language classes, is an aide for discussing orality in the classroom, having a clear interest in the study of oral language, being one of its features, represent elements of orality. From these resources, the students see part of history because they feel theyre witnessing the event while their imagination flows freely. / Sabe-se que uma grande dificuldade na educação é ajudar os alunos a criarem o hábito de ler. Muitos preferem assistir à televisão (geralmente novelas, filmes ou desenhos), brincar na rua com os colegas ou passear ao invés de ler. Infelizmente, os professores não contam muito com o apoio de alguns pais para ajudar seus filhos a criarem esse hábito de leitura, pois estão tão ocupados com as situações do dia a dia e não participam ativamente da vida dos filhos. Este trabalho consiste em investigar o uso das histórias em quadrinhos como elemento motivador para o incentivo à leitura. Para isso verificou-se compreender a estrutura das HQs, como podem auxiliar o professor em sala de aula e se podem ser usadas no desenvolvimento do hábito de leitura. A pesquisa foi de revisão bibliográfica, com bases nos estudos de Marcuschi (1991 e 2010), Cirne (1971, 1975, 1997 e 2000), Fávero, Andrade e Aquino (2009), Martins (1985), Solé (1998), Vergueiro (2006) e Yunes (1984), entre outros. Verificou-se que as HQs são ótimos recursos para o incentivo à leitura, pois os recursos apresentados por elas auxiliam nessa aprendizagem, dando a sensação de ouvir a história . O gênero histórias em quadrinhos, que os PCN orientam para o uso, é um apoio para se discutir oralidade na sala de aula, tendo um claro interesse no estudo da língua oral, sendo uma de suas características, representar elementos de oralidade. Por meio desses recursos, o aluno se vê parte da história , pois sente que está presenciando o seu acontecimento, enquanto sua imaginação flui livremente.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T14:10:59Z No. of bitstreams: 1 MINHA Dissertação -UNIVERSIDADE FEDERAL DA BAHIA.docx: 13601861 bytes, checksum: 45535f34aa9afb23428d6c533f23dd1c (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:19:17Z (GMT) No. of bitstreams: 1 MINHA Dissertação -UNIVERSIDADE FEDERAL DA BAHIA.docx: 13601861 bytes, checksum: 45535f34aa9afb23428d6c533f23dd1c (MD5) / Made available in DSpace on 2018-09-11T13:19:17Z (GMT). No. of bitstreams: 1 MINHA Dissertação -UNIVERSIDADE FEDERAL DA BAHIA.docx: 13601861 bytes, checksum: 45535f34aa9afb23428d6c533f23dd1c (MD5) / Este estudo visa discutir a eficácia do teatro como prática pedagógica para desenvolver a capacidade de expressão oral na escola. Segundo Foucault (1977), a instituição de ensino, visando a “docilidade” dos corpos, utiliza olhar hierárquico de vigilância, sansões e exames que permitem qualificar, classificar e punir. Essa situação, a nosso ver, é coercitiva e impede que a livre comunicação aconteça de forma plena na comunidade escolar. Para Bourdieu (2001), suprimindo-se espaços, inibe-se a criatividade, praticando-se a violência simbólica. Considero que o sistema disciplinar atualmente praticado em escolas públicas, grosso modo, é responsável pela grave crise nas relações interpessoais. Esse contexto impede que sejam atendidas as orientações dos PCNs, relacionadas à espontaneidade, liberdade de expressão e criação, também defendidas por Zumthor (1977). Notamos que a performance da comunicação oral é relevante para a eficácia do resultado, podendo afetar positivamente ou não os participantes. A partir da aplicação dos jogos teatrais propostos por Spolin (1992) e Boal (2005) entre muitos outros, percebo caminho possível para a potencialização da voz do aluno. Defendo, em caráter de conclusão, que certa prática educacional através do teatro, flexibiliza reações, diminui defesas e multiplica relações. / This research aims to discuss the effectiveness of the theater as a pedagogic practice to promote the ability of oral expression in school. According to Foucault (1977), the educational institution, aiming to "docility" bodies, uses hierarchical look, surveillance and disciplinary measures so that exams allow you to qualify, classify and punish. This situation is coercive and don’t permits a free communication between the different parts of de community. For Bourdieu (2001) by removing spaces, it inhibits creativity, practicing the symbolic violence. I believe that the disciplinary system currently practiced in public schools, roughly speaking, is responsible for the serious crisis in interpersonal relationships. This prevents context guidelines are met, PCNs related to spontaneity, freedom of expression and creation, also advocated by Zumthor (1977). We note that the performance of oral communication is relevant to the effectiveness of the result, may affect positively or not participants. From the application of proposed by Spolin theater games (1992) and Boal (2005) among many others, understand possible path for the development of the student's voice. I would argue, in character, that some completion through educational practice of the theater, loosens reactions, reduces defenses and multiplies relationships.