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The purpose of this culminating project is to start translating quality Mexican and Latin American dramatic literature in order to provide to educators and theatrical directors a fundamental collection of plays. The author worked with her San Gorgonio High School students to conduct a dramaturgical study of the setting and political background of Rojo Amanecer by Xavier Robles, a play which outlines the events leading to the 1968 student massacre at Mexico City's Plaza de Tlatelolco. The author then directed the play in her role as San Gorgonio High School's new theater teacher.

Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-25T19:21:51Z No. of bitstreams: 1 Dissertação_de_Anita_Cione versão final mesmo (1).pdf: 9099224 bytes, checksum: 38b4804f8d0179c79a7d1e12cdd2ffa2 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-26T16:11:42Z (GMT) No. of bitstreams: 1 Dissertação_de_Anita_Cione versão final mesmo (1).pdf: 9099224 bytes, checksum: 38b4804f8d0179c79a7d1e12cdd2ffa2 (MD5) / Made available in DSpace on 2018-09-26T16:11:42Z (GMT). No. of bitstreams: 1 Dissertação_de_Anita_Cione versão final mesmo (1).pdf: 9099224 bytes, checksum: 38b4804f8d0179c79a7d1e12cdd2ffa2 (MD5) / Esta dissertação trata de um estudo de caso envolvendo a condução e análise de oficinas de teatro produzidas e ministradas pela pesquisadora com um grupo de teatro de uma comunidade socialmente vulnerável na área do parque de Pituaçu em Salvador, Bahia, a companhia teatral Na Boca de Cena. Procurou-se compreender os potenciais emancipatórios do método de investigação, como processo de conscientização e aprimoramento da linguagem teatral do grupo pela via da Educação Não Formal. O trabalho é vinculado à linha de pesquisa de Processos Educacionais em Artes Cênicas, fundamentado em pedagogias críticas e dialógicas como a Peça didática de Brecht, a Poética do oprimido de Boal e a obra do educador Paulo Freire. Foi também abordado o Teatro em Comunidades, eixo específico do campo da Pedagogia do Teatro. Na prática de campo foram utilizados jogos, improvisações e debates para o aprofundamento em questões sociais da comunidade. Concluiu-se que a metodologia empregada, além de ser de extrema utilidade em um teatro que vise estimular o desenvolvimento do artista de comunidades menos favorecidas, permite a provocação de problematizações políticas e sociais por meio do teatro como ferramenta popular para a discussão social coletiva. / This dissertation is about a study of case which deals with the performance and analyses of theater workshops produced and conducted by the researcher with a theater group of a socially vulnerable community in the area of Pituaçu Park in Salvador, Bahia state, named Na Boca de Cena. The goal was trying to understand the emancipatory potentials of the investigation method as a process of consciousness and improvement of the group via nonformal education. The work is linked to the line of research of Educational Processes in Performing Arts and based upon dialogical and critical pedagogies like the Learning play of Brecht, the Poetics of the oppressed of Boal and the work of the educator Paulo Freire. It was also addressed the Theater in Communities, an specific axis of study in the field of Pedagogy of Theater. In the field practice, games improvisations and debates were utilized to deepen the social issues of the community. It was concluded that the methodology employed, besides being extremelly useful in a theater method which aims to stimulate the development of the artist in underprivileged communities, allowing the raising up of political and social problematizations through theater as a tool used by the people to debate social and collective issues.

This case study examined women’s identity development in the workplace through the application of storytelling as a learning technique. Study participants included twenty-two women graduates and 2nd year students of diverse backgrounds ranging in ages 25 to 71 from a master’s degree applied theatre program in a Northeastern university. This study describes identity development through ways in which women make meaning of their lived experience and perceived interactions in the workplace. Data collection derived from 22 semi-structured interviews. Deeper data analysis surfaced through dramaturgical coding. Three analytical categories emerged: 1) Generations, 2) Race and 3) Sexual Orientation. The findings exposed power and positionality barriers as obstacles and challenges that undermine women’s careers. Three conclusions emerged: 1) Women continue to struggle with barriers that pose as obstacles and challenges to their learning and identity development in the workplace, 2) Women of color experience the double bind barriers of racism and sexism and 3) Women learn through storytelling and sharing workplace stories. This study privileges storytelling, a form of presentational knowing, as a legitimate way of knowing and has been shown to be conducive to learning and identity development. Women’s perspectives changed through theatre techniques using critical reflection and action; they engaged in communities of practice that offered supportive structures. Also, there continues to be resistance to hard conversations around race and inequality. Diversity programs that build upon Paulo Freire’s praxis of reflection and action hold leaders who espouse diversity initiatives to account. To avoid the paradox of diversity, human resources diversity training, organizational learning, professional development and community based social programs can leverage the power of storytelling. Affective empathy as an embodied component of storytelling establishes empathic connections between dominant culture and the marginalized. Critical and constructive development theories need to be embedded into curriculum to address systemic racism. Presentational knowing is an effective tool for social action and social justice by broadening learning beyond adult education to encourage empathy between people whose views are different. This qualitative study is grounded in critical theory, John Heron’s (1992) Presentational knowing, theories of identity and constructive development.