Esta tese realiza uma pesquisa bibliográfica acerca das acepções do termo performance e suas possibilidades para pensar o campo da Educação. Problematiza-se a noção de ensino como performance, propondo pensar o professor e o aluno como performers. Busca-se demonstrar a potência de se projetar a escola como entre-lugar, como espaço liminar, como lócus de transformação de práticas escolares em processos de ensino-criação. Aduz-se a possibilidade de recuperação da corporeidade de professores e estudantes. Procura-se relativizar a crise da oposição professor-estudante, reproduzida em nosso sistema educacional, revendo hierarquias e estabelecendo novas bases para se refletir sobre a educação escolarizada. Apresentam-se as noções de professor-performer e estudanteperformer como sujeitos de trabalho colaborativo. A tese propõe diálogo entre a performance e a educação escolarizada, retomando cadernos de notas da pesquisadora, registros em fotografia e vídeo, oriundos de sua atuação como professora de teatro. A pesquisa circunscreve a performance na educação como forma de mobilizar os papéis de professor e aluno hegemonicamente aceitos. / This thesis consists of a literature review focused on the meanings of the term performance and its possibilities to think the field of Education. It discusses the notion of teaching as performance, proposing to consider teachers and students as performers. The aim is to demonstrate the power of designing the school as an inbetween place, a liminal space, a place to turn school practices into teachingcreating processes. We raise the possibility to recover the corporeity of teachers and students. The thesis seeks to relativise the crisis of the teacher-student opposition, reproduced in our educational system, reviewing hierarchies and establishing new bases to reflect on school education. It presents the notions of teacher-performer and student-performer as subjects of collaborative work. The thesis proposes a dialogue between performance and school education, including material from the researcher's notebooks, and photo and video records of her practice as a theatre teacher. The research confines performance to education as a way to mobilise the hegemonically accepted roles of teacher and student.

Esta tese realiza uma pesquisa bibliográfica acerca das acepções do termo performance e suas possibilidades para pensar o campo da Educação. Problematiza-se a noção de ensino como performance, propondo pensar o professor e o aluno como performers. Busca-se demonstrar a potência de se projetar a escola como entre-lugar, como espaço liminar, como lócus de transformação de práticas escolares em processos de ensino-criação. Aduz-se a possibilidade de recuperação da corporeidade de professores e estudantes. Procura-se relativizar a crise da oposição professor-estudante, reproduzida em nosso sistema educacional, revendo hierarquias e estabelecendo novas bases para se refletir sobre a educação escolarizada. Apresentam-se as noções de professor-performer e estudanteperformer como sujeitos de trabalho colaborativo. A tese propõe diálogo entre a performance e a educação escolarizada, retomando cadernos de notas da pesquisadora, registros em fotografia e vídeo, oriundos de sua atuação como professora de teatro. A pesquisa circunscreve a performance na educação como forma de mobilizar os papéis de professor e aluno hegemonicamente aceitos. / This thesis consists of a literature review focused on the meanings of the term performance and its possibilities to think the field of Education. It discusses the notion of teaching as performance, proposing to consider teachers and students as performers. The aim is to demonstrate the power of designing the school as an inbetween place, a liminal space, a place to turn school practices into teachingcreating processes. We raise the possibility to recover the corporeity of teachers and students. The thesis seeks to relativise the crisis of the teacher-student opposition, reproduced in our educational system, reviewing hierarchies and establishing new bases to reflect on school education. It presents the notions of teacher-performer and student-performer as subjects of collaborative work. The thesis proposes a dialogue between performance and school education, including material from the researcher's notebooks, and photo and video records of her practice as a theatre teacher. The research confines performance to education as a way to mobilise the hegemonically accepted roles of teacher and student.

Educators and researchers have long discussed methods for improving student achievement in the social studies and history. Research on student attitudes reveals that the social studies suffers from a lack of interest among students. Common complaints among students are that the subject is tedious, does not relate to their lives, is not particularly useful for their future careers, is repetitive, or that it is simply boring (Schug et al., 1982}. Even when students recognize the utilitarian value of skills they learn from social studies/ history, they rarely express an interest in the subject (Chiodo, 2004). After reviewing the body of literature on student attitudes towards the social studies, Shaughnessy and Haladyna (1985} concluded, "most students in the United States, at all grade levels, find social studies to be one of the least interesting, most irrelevant subjects in the school curriculum" (p. 694). Russel and Waters (2010) linked these attitudes to the prevalence of passive learning (lecture, worksheets and other busy work, and rote memorization) within contemporary social studies classrooms. Studies examining social studies/ history education suggest that pedagogical techniques from drama/ theatre may be effective at teaching these subjects by helping students actively engage with and retain material. Drama-based strategies can be particularly effective in improving student reading skills (Rose et al., 2000). By strengthening such basic skills, drama/ theatre helps support student achievement in social studies/ history. Teaching strategies that utilize historical narrative have been shown to get students to effectively engage with and improve their understanding of social studies content (Downey et al, 1991; Brophy et al., 1991). Drama can act as a form of historical narrative and be particularly effective at reaching students (Otten et al., 2004; Jackson et al., 2005). Drama-integration methods also complement the social studies curriculum by being well suited for multicultural education practices, cross-curricular learning, and the investigation of social justice issues (Gay & Hanley, 1999; Fautely & Savage, 2011; Lement & Dunakin, 2005}.

Tomando en cuenta la naturaleza pluricultural y pluriétnica de la México, la presente tesis doctoral comienza por observar y analizar las maneras en que los medios de comunicación masiva tradicionalmente han contribuido a la distorsión y devaluación de las identidades de los indígenas mexicanos, así como a la fabricación de sus representaciones más caricaturescas en el México moderno. Arguyo que los medios de comunicación masiva han coadyuvado en la formación de tres construcciones socioculturales falsamente enraizadas en los pueblos indígenas de México. Ellos son el indio, el indio-campesino y el naco. Particularmente la cinematografía y la literatura han tenido un rol crítico en la tarea de insertar tales identidades artificiosas, genéricas e indiferenciadas en la cultura dominante mestiza mexicana, para ser absorbidas y reproducidas como constructos de identidad históricos profundamente asentados en el imaginario sociocultural colectivo de sus ciudadanos. Además de formas masivas más tradicionales como la cinematografía y la literatura, esta tesis doctoral examina la cultura popular y urbana, la música de rock en español, bogas y estilos de arrabal, dialectos urbanos y rurales y otros textos culturales como videos musicales, comics y sketches de comedia. Lo anterior permite una perspectiva alterna y más completa del proceso de creación, distorsión y tergiversación de dichas identidades indígenas ficticias arraigadas en la cultura dominante. En el primer capítulo establezco las formas en que el indio reemplazó la imagen del amerindio, y eventualmente la imagen del indígena mexicano contemporáneo. El segundo capítulo se centra en la imagen del campesino, así como en sus proximidades con el indio y la confusión identitaria que deriva de ellas. El resultado de tal amalgama es la construcción sociocultural del indio-campesino. El tercer capítulo analiza el constructo identitario del naco y sus vínculos con el indio, los cuales dirigen a la creación del naco-indio. Esta tesis doctoral argumenta que, debido a sus múltiples asociaciones con el indio, el indio-campesino ha sido incapaz de enunciar un discurso propio y de lograr autorrepresentarse. Sin embargo, el naco, a través de la música de rock en español y de los performances derivados de ella, pudo expresar su propio discurso y logró la autorrepresentación como una contracultura altamente efectiva y articulada durante las décadas de los ochenta y noventa.

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A self-analysis of the work of a theater director on the play Arcadia, by Tom Stoppard. Through a detailed retelling of all aspects of the production—research, design, script work, rehearsals, and performance—artist strengths and weaknesses are identified, and lessons are articulated that can be applied to future productions of Arcadia, and subsequent work of the director.

My name is Greg Delany Walker. I’m an MFA candidate in Theatre Arts with a specialization in Acting at the University of Iowa. The following is my thesis that addresses my artistic process as an actor. My main focus in this thesis is to unpack my beliefs about what makes good acting and how I personally achieve that. I detail many schools of thought that pair well together to seek out vulnerability in actors. Vulnerability is my chief struggle as an actor given that I have a tendency to overthink things and rely more on intellect than on passionate expression in my daily life and in my work. That tendency leads me to be polite as an actor, which has gotten in the way of my being able to reach my full potential. I discovered time and time again how important it is to understand and embody acting techniques so deeply that I can let them go. All the different techniques of analysis, physical and voice work are essential, but they need to transition to being second nature. The techniques outlined in this thesis, learned in my life and through the program at the University of Iowa, have to be so ingrained that I don’t need to think of them in the moment on stage. The key to being present on stage seems so simple in a way, but it has been a great challenge for me to fully let go of control to allow for my potential public failure and humiliation. The times that I’ve embraced failure have been the strongest moments for me as an actor because of the power of risk. My hope is that by detailing my own process and experiences, with that idea of building technique and releasing into the present moment, that others could be further empowered to do the same in acting or in life.

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