The aim of the thesis is to present the phenomena of game that is an inspiration for many methods of teaching French, as well as to point out the idea of all the other options how to teach children independently of a schoolbook. The objective is not to downgrade the schoolbook, which definitely belongs to the traditional teaching, but to emphasise the role of the game that is not less important. The work defines the areas (drama, music and diverse types of games) which are closely related to the game. Furthermore, in teaching French it focuses on dramatic education being postulated as an ideal mean to the whole child's personality activation, and on the development of the ability to react autonomously in a foreign language. The work covers the analysis of two schoolbooks and deals with the question whether game activities or dramatic education elements are included. In conclusion there is a description of the project realised in school year 2010-2011 which is aimed to teaching without schoolbook.

Made available in DSpace on 2016-04-27T14:31:35Z (GMT). No. of bitstreams: 1 Celso dos Santos Solha.pdf: 1244187 bytes, checksum: 476a002e5bf4703d2cf5dc336534acf6 (MD5) Previous issue date: 2015-08-10 / Presently, the education of a professional in the field of arts and theatre concerned with the theatre language that has been following a pedagogical pattern, reinforcing technical aspects and utility, providing our society with a professional who has a limited creative and ludic potential, who is not focused on obtaining different interdisciplinary skills partnership, coherence, dialogue, humbleness and unselfishness. With the aim of bringing to society a professional who is more human, creative, critical, and an agent of his time, this interdisciplinary research suggests a model and an approach of theatre practice structured in four principles that are generated from ten classes taught throughout its teaching practice, which is called formative didactical meetings by its author. The principles are set as necessary tools for the education of students and teachers, and can be used in the classroom, as an adequate model of working topics and developing interdisciplinary attitudes and actions. The author, making use of the metaphor Written letters, words scattered in creative life, space, school, educator and student , leads to a dialogue with the author, among them, Paulo Freire, Augusto Boal, Viola Spolin, and Ivani C. Fazenda, and with the research done by the professionals and students of the area that was gathered throughout his career. This material may, in a way, help the artistic directors, mainly the ones who deal with the theatre language, as well as transformation of the classroom into a space that stimulates creativity, human development a place for group interaction, more engaging, with a broader meaning and relevance / Na atualidade, a formação do educador artístico voltado para o ensino da linguagem teatral tem seguido um modelo pedagógico que privilegia o tecnicismo e o utilitarismo, trazendo para a sociedade um profissional com menor potencialidade criativa e lúdica, insensível à obtenção das categorias interdisciplinares - a parceria, a coerência, o diálogo, a humildade e o desapego. No intuito de trazer para a sociedade um profissional mais humano, criativo, crítico e agente do seu tempo, esta pesquisa de caráter interdisciplinar, propõe um modelo e um método de trabalho teatral, estruturado em quatro princípios formulados a partir de 10 aulas ministradas no decorrer de sua docência, que seu autor denominou de encontros didáticos formativos. Esses princípios configuram-se como ferramentas necessárias para a formação de alunos e docentes e podem ser utilizadas em sala de aula, como um modelo propício de trabalhar conteúdos e desenvolver atitudes e ações interdisciplinares. O autor utilizando-se da metáfora Cartas escritas, palavras soltas no espaço criativo da vida, da escola, do educador, do educando , promove um diálogo com outros autores, entre eles, Paulo Freire, Augusto Boal, Viola Spolin, e Ivani C. Fazenda e com os relatos de profissionais e estudantes da área, coletados ao longo da sua carreira. Esse material poderá de alguma forma, auxiliar o educador artístico, principalmente aquele que atua com a linguagem teatral, e transformar a sala de aula em um espaço que estimula a criatividade, o desenvolvimento humano - um espaço de convivência coletiva, cultural, lúdico, dotado de maior sentido e significado

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2017-01-24T13:18:11Z No. of bitstreams: 1 Antonio Delfino2.pdf: 2527939 bytes, checksum: 611f0694f684db07916c4d574b9298e8 (MD5) / Made available in DSpace on 2017-01-24T13:18:11Z (GMT). No. of bitstreams: 1 Antonio Delfino2.pdf: 2527939 bytes, checksum: 611f0694f684db07916c4d574b9298e8 (MD5) Previous issue date: 2016-09-14 / This work, “The Art curriculum – Theater language in the early years of Elementary School in the State of São Paulo”, has as object of study the Curriculum Guidelines and Art Teaching (OCDArte) in the language of Theater, for the 1st, 2nd and 3rd years of Elementary Education of the Education Secretariat of the State of São Paulo (2013/2015). The authors of this curriculum proposal are: an expert consultant in the area of Theatre and an Art Reference Group, constituted by seventeen Art Coordinating Teachers of the Pedagogic Nuclei of the Regional Teaching Directories (PCNP) of which the investigator of this research was part. The adopted methodologies in this research have a qualitative and quantitative character including literature review and documentary research. This analysis consists of an account of the construction and implementation process of the curriculum guidelines that are the subject of this study and that had collaborative authoring proposal; then we set off for a contextualization of the social and political point of these steps; made a brief analysis of its editorial and graphic structure; and finally we focused our analysis on the specific area of our study, the theater language, on these curriculum guidelines for the early years, discussing the adopted methodologies, its teaching resources and its theoretical basis, in order to put into perspective and deepen the different dimensions of the document. Our goal is to understand if the construction process of these guidelines has enabled the participation of all stakeholders, how it manifests the theatrical language in these guidelines, and further contribute to the discussion of this curriculum and didactic proposal, reflecting on its alignment with contemporary design trends of art, education and art learning. We note that the OCDArte, in the language of theater, as it is structured, has an important role in education for the early years, since the preparation of educators in this language is generally insufficient. On the other hand, we notice some gaps in the choices and adaptations of literary works that permeate the studied learning situations, as well as a shy presence of contextualization action and interdisciplinary proposals. / Esse trabalho, “O currículo de Arte – a linguagem do Teatro para os anos iniciais do Ensino Fundamental no Estado de São Paulo”, tem como objeto de estudo as Orientações Curriculares e Didáticas de Arte (OCDArte), na linguagem do Teatro, para os 1ºs, 2ºs e 3ºs anos do Ensino Fundamental da Secretaria de Educação do Estado de São Paulo (2013/2015). Os autores dessa proposta curricular são: um consultor especialista na área do Teatro e um Grupo de Referência de Arte, composto por dezessete Professores Coordenadores de Arte dos Núcleos Pedagógicos das Diretorias Regionais de Ensino (PCNP) do qual o pesquisador dessa investigação fez parte. As metodologias adotadas para este estudo têm caráter qualitativo e quantitativo incluindo revisão bibliográfica e pesquisa documental. Essa análise compõe-se de um relato do processo de construção e implementação das orientações curriculares que são objeto desse estudo e que teve proposta de autoria colaborativa; partimos então para uma contextualização do momento social e político dessas etapas; fizemos uma breve análise da sua estrutura editorial e gráfica; e finalmente focamos nossa análise na área específica do nosso estudo, a linguagem do teatro, nessas orientações curriculares para os anos iniciais, discutindo as metodologias adotadas, os recursos pedagógicos e as bases teóricas, no sentido de colocar em perspectiva e aprofundar as diferentes dimensões do documento. Nosso objetivo é compreender se o processo de construção dessas orientações permitiu a participação de todos os atores envolvidos, como se manifesta a linguagem teatral nestas orientações, e ainda contribuir para a discussão dessa proposta curricular e didática, refletindo sobre seu alinhamento com as tendências contemporâneas de concepção de arte, de educação e de aprendizagem em arte. Observamos que as OCDArte, na linguagem do Teatro, como está estruturada, tem um papel relevante no ensino para os anos iniciais, visto que, a preparação dos educadores nessa linguagem é, regra geral, insuficiente. Por outro lado, percebemos algumas lacunas nas escolhas e adaptações das obras literárias que permeiam as situações de aprendizagem estudadas, assim como uma presença tímida da ação de contextualização e das propostas interdisciplinares.