Made available in DSpace on 2016-04-29T14:17:51Z (GMT). No. of bitstreams: 1 Janaina Bilate Martins.pdf: 1228677 bytes, checksum: c5d2fcd6f7b2f748fa2edac3249994fd (MD5) Previous issue date: 2009-06-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work intends to reflect about the experience of the Theatre of the Oppressed in Santo André City, São Paulo, having as a theorical methodological orientation the reflections of Antonio Gramsci. The implementation and trajectory of the Group of Theatre of Oppressed (GTO) are analyzed by an articulation between the historical determining of the strcuture and conjuncture which made that experience possible to be carried out. In this research, we objective study the methodological aspect from the Theatre of the Oppressed and the possibilities that may come up as a result of this process related to the stimulation of the criticiness, reflections and political actions of some groups, as well as the limits and possibilities of stimulating the socialization of the culture. The categories ideology, hegemony, civil society and culture are directing this research and they are used based on that perspective, in which is defended that the possibility of a construction of a new societal order, directly connected with culture area, and this reproduction, straightly articulated to the economy production. In this sense, we point out some limits of the use of Theatre of the Oppressed methodology in the Santo André experience, in the way of giving instruments, or not, to create conditions for a hegemony conquest. Its affirmed because of the link between the GTO experience and the city public administration, and the fact that in the objetives of this experience there isn t any consideration about the struggles between social classes in capitalism / A presente tese visa à reflexão sobre a experiência do Teatro do Oprimido na cidade de Santo André, São Paulo, tendo como orientação teórico-metodológica as reflexões de Antonio Gramsci. A implementação e trajetória do Grupo de Teatro do Oprimido (GTO) são analisadas buscando-se a articulação entre os determinantes históricos estruturais e conjunturais que possibilitaram a criação desta experiência. Nesta, objetivamos estudar os aspectos metodológicos do Teatro do Oprimido e as possibilidades que por ventura possam surgir deste movimento no âmbito da potencialização da consciência crítica, estímulo à reflexão e a ações políticas coletivas, bem como os seus limites e possibilidades de estimular a socialização da cultura por meio da fruição. As categorias ideologia, hegemonia, sociedade civil e cultura serão centrais nesta pesquisa e utilizadas na perspectiva supracitada, na qual é defendida que a possibilidade de construção de uma nova ordem societária está diretamente ligada à esfera da cultura, e à reprodução desta, articulada intrinsecamente à produção econômica. Neste sentido, apontamos alguns limites da utilização da metodologia do Teatro do Oprimido na experiência de Santo André, no sentido desta instrumentalizar, ou não, condições para uma disputa pela hegemonia. Isto encontra bases na análise de sua vinculação direta à administração municipal e na desarticulação de seu objetivo inicial central, de ampliar a participação da população na esfera governamental, das considerações acerca da disputas entre as classes sociais no capitalismo

Over the course of the 2007/2008 school year, I visited three classrooms to investigate the effectiveness of Augusto Boal’s drama method, Image Theatre, with elementary-aged students. In Image Theatre, the practitioners and students use their bodies to create frozen images, which in turn become the focus of collaborative meaning- making. I applied the reflective practitioner methodology in my work as it allowed me to adapt to the rapidly altering situations that arise in elementary classrooms. Through reflecting on my interactions with students, I refined a set of teaching techniques that worked best to integrate Image Theatre into the classroom and ultimately into the curriculum. My research provides a qualitative analysis of the power of Image Theatre to foster student dialogue, develop empathic learning, and introduce conflict awareness techniques. My thesis highlights some specific exercises and theoretical frameworks that guided my work and produced the most effective results. The effects of applying Image Theatre to elementary-aged classrooms has not been extensively studied in the past and my research attempts to address this academic gap. It is my hope that future researchers will adapt my activities and further demonstrate the capacities of this theatre technique. Ultimately, I hope that Image Theatre methods can find a place in standard curricula.

Over the course of the 2007/2008 school year, I visited three classrooms to investigate the effectiveness of Augusto Boal’s drama method, Image Theatre, with elementary-aged students. In Image Theatre, the practitioners and students use their bodies to create frozen images, which in turn become the focus of collaborative meaning- making. I applied the reflective practitioner methodology in my work as it allowed me to adapt to the rapidly altering situations that arise in elementary classrooms. Through reflecting on my interactions with students, I refined a set of teaching techniques that worked best to integrate Image Theatre into the classroom and ultimately into the curriculum. My research provides a qualitative analysis of the power of Image Theatre to foster student dialogue, develop empathic learning, and introduce conflict awareness techniques. My thesis highlights some specific exercises and theoretical frameworks that guided my work and produced the most effective results. The effects of applying Image Theatre to elementary-aged classrooms has not been extensively studied in the past and my research attempts to address this academic gap. It is my hope that future researchers will adapt my activities and further demonstrate the capacities of this theatre technique. Ultimately, I hope that Image Theatre methods can find a place in standard curricula.

Thesis (Ph. D.)--Miami University, Dept. of Educational Leadership, 2008. / Title from second page of PDF document. Includes bibliographical references (p. 189-199).

Over the course of the 2007/2008 school year, I visited three classrooms to investigate the effectiveness of Augusto Boal’s drama method, Image Theatre, with elementary-aged students. In Image Theatre, the practitioners and students use their bodies to create frozen images, which in turn become the focus of collaborative meaning- making. I applied the reflective practitioner methodology in my work as it allowed me to adapt to the rapidly altering situations that arise in elementary classrooms. Through reflecting on my interactions with students, I refined a set of teaching techniques that worked best to integrate Image Theatre into the classroom and ultimately into the curriculum. My research provides a qualitative analysis of the power of Image Theatre to foster student dialogue, develop empathic learning, and introduce conflict awareness techniques. My thesis highlights some specific exercises and theoretical frameworks that guided my work and produced the most effective results. The effects of applying Image Theatre to elementary-aged classrooms has not been extensively studied in the past and my research attempts to address this academic gap. It is my hope that future researchers will adapt my activities and further demonstrate the capacities of this theatre technique. Ultimately, I hope that Image Theatre methods can find a place in standard curricula. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

The aim of this thesis is to find out how the participants of the Theatre of the Oppressed become empowered and how they use these experiences from the Theatre in other spheres of life. The research is based on a qualitative method and semi-structured interviews with open coding. The sample consists of Roma and non-Roma respondents. The results show that the necessary prerequisites for empowerment include meetings and dialogues with others, games and interventions, sharing of experiences and active work against oppression. In other dimensions of life, we can see personal empowerment manifest itself by higher self-confidence, advanced communication skills and responsible citizenship. In the professional sphere empowerment is presented in a work with a group, in a current job or in an involvement in new projects. For a civil society to thrive it is important that people from the majority society meet and work together with members of the minority groups. It is also essential to promote civil competences and social capital, meet with strongly engaged activists, open discussions in the public sphere and support the principle of taking responsibility for one's life and the life of the community. Key words: Theatre of the Oppressed, empowerment, active work against oppression, Roma and non-Roma people,...

This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The dissertation argues that Appreciative Inquiry can enrich the practice of Community Theatre by approaching HIV and AIDS education through an asset-based, participatory, inclusive, learner-centred approach. The dissertation further hypothesises that the infusion of the 4-D process of Appreciative Inquiry into Community Theatre processes aimed at HIV and AIDS education will enhance young people’s agency as active participants and agents of change in their communities beyond the didactic notions inherent in ABC education approaches to HIV prevention. This approach can encourage meaningful participation and critical consciousness amongst young people in the HIV prevention response. / Dissertation (MA (Drama))--University of Pretoria, 2010. / Drama / unrestricted

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Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.