Thesis advisor: Theresa A. O'Keefe / In this dissertation, I argue that Bible education is best understood as training students to improvise responsibly with Scripture. I explore this pedagogical model by reflecting on my experience as a Bible instructor at Cristo Rey New York High School, an inner city Catholic school. The goal of a Cristo Rey education is the integral liberation of students. In the language of liberation theology, to be "integrally liberated" is to survive and to thrive on all levels - material, cultural, psychosocial, and spiritual. Learning to improvise responsibly with Scripture helps students to grow in integral liberation. It helps them develop the capacity to perceive and to act with greater freedom, discernment, and commitment. It helps them to handle and interpret the Bible in ways that are creative, critical, and true. Here being true means more than being factually accurate; it means being true to the text, being true to the needs of one's interpreting community, and being true to the inner promptings of God's Holy Spirit. Responsible improvisation connects Biblical interpretation with artistry, with problem-solving, and with the construction of counter-cultural spaces. The dissertation supports a pedagogy for improvising responsibly with Scripture in several different ways. In the first chapter, I explain my proposal and the teaching experiences on which it is based. The first half of the chapter introduces the Cristo Rey setting within which I developed the Biblical pedagogy theorized and refined in this project. The second half begins to locate and unpack that pedagogy in terms of academic disciplines and relevant terms. I explain more concretely what I mean by "training students to improvise responsibly with Scripture." I also describe what I mean by "integral liberation," and by "interpretations that are creative, critical, and true." Chapter Two answers the question: "Why consider teaching a program of training?" I use the theory of Situated Learning to outline the religion classroom as a place of training, where students learn to master different interpretive practices in the midst of intersecting communities. I show how my model accurately reflects the teaching and learning dynamics of high school classrooms. A situated learning perspective helps educators identify specific areas where their interventions can help students become better, more responsible Scriptural improvisers. Chapter Three answers the question, "How can you train students for improvisation?" In this chapter, I correlate my educational model with the popular educational technique known as Theatre of the Oppressed (TO). TO brings together critical pedagogy and creative expression to help participants improvise artful and liberating social actions; it has proven both powerful and enduring in a broad range of class and cultural settings. I use TO as a generative metaphor to help teachers imagine more deeply and richly what training students for responsible improvisation might look like. Chapter Four steps back to take in a broader perspective. It answers the question, "Is this pedagogical model coherent? How does it all hang together?" In this chapter, I use the Pragmatist theology of Donald Gelpi, SJ as an overarching framework. I relate the concepts of "interpretation," "creativity," "responsibility," and "norms" with each other, and with a theology of God's Holy Spirit. Using Gelpi's semiotic realism as a conceptual framework shows how my pedagogy is not only conceptually coherent, but also convincingly rooted in the Christian intellectual tradition. Chapter Five presents a detailed example of teaching the Bible for responsible improvisation. It outlines the process of preparing and teaching a chapter from the Gospel of Matthew - specifically, Mt 13, the "Parables Discourse." This chapter argues that a warrant for improvising responsibly with Scripture can be derived from the Gospel itself. In short, I argue that "training students to improvise responsibly with Scripture" is a justice-grounded, empirically accurate, pedagogically compelling, intellectually coherent, and eminently Christian approach to teaching the Bible in Catholic schools. I conclude by discussing the implications of such a model in the context of Catholic educational ministry and ministerial training. / Thesis (PhD) — Boston College, 2015. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Religious Education and Pastoral Ministry.

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abstract: The purpose of this mixed methods case study was to evaluate a dramatic arts curriculum focused on building protective factors including resiliency, cognitive flexibility, self-efficacy, and hope in eight to ten adolescent male sex offenders undergoing treatment at a residential behavioral health facility in Mesa, Arizona. The impetus for this research was suicide prevention efforts. Suicide is the second leading cause of death for ages 15-24 in the United States (CDC 2013), and prevention efforts demand complex approaches targeting major risk factors like lack of belonging and hopelessness. Arts-based prevention efforts have shown promise for building pro-social preventative factors. / Dissertation/Thesis / Doctoral Dissertation Theatre 2018

Submitted by Daniele Amaral (daniee_ni@hotmail.com) on 2016-09-27T18:34:36Z No. of bitstreams: 1 DissMAN.pdf: 3270441 bytes, checksum: f988b0fced7ae407c99fcaab2f031a51 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:25:55Z (GMT) No. of bitstreams: 1 DissMAN.pdf: 3270441 bytes, checksum: f988b0fced7ae407c99fcaab2f031a51 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:26:01Z (GMT) No. of bitstreams: 1 DissMAN.pdf: 3270441 bytes, checksum: f988b0fced7ae407c99fcaab2f031a51 (MD5) / Made available in DSpace on 2016-10-04T18:26:07Z (GMT). No. of bitstreams: 1 DissMAN.pdf: 3270441 bytes, checksum: f988b0fced7ae407c99fcaab2f031a51 (MD5) Previous issue date: 2015-10-30 / Não recebi financiamento / The present study is linked to the Postgraduate Program in Education of UFSCar, under the research line Theories and Practice in School Education. The central theme of this study is the Theatre and Education. The object of the study has as references Theatre of the Oppressed’s working techniques, a theatrical teaching methodology created by Augusto Boal, who seeks to identify the injustices established in oppressed-oppressor’s relations and overcome them through Concrete and Continued Social Actions. Since it is a Library imprint of research, we look for material at dissertation’s bank and Capes’s Theses, who fieldworks were conducted in formal and non-formal learning environments who practices the Theater of the Oppressed methodology. We investigated these theses and dissertations understand the interpretation and the use they make of the Oppressed Theatre. We grouped the works in two (02) themes; School Education (representing formal learning environments) and Social Education Processes (representing informal learning environments). For the development of this research we used the content analysis technique, beyond the presentation of quantitative and qualitative data of theses and dissertations. / A presente pesquisa é vinculada ao Programa de Pós-Graduação em Educação da UFSCar, na linha Educação Escolar Teorias e Práticas. O tema central deste estudo é o Teatro e a Educação. O objeto de estudo se refere às técnicas de trabalho com o Teatro do Oprimido, metodologia pedagógica teatral, criada por Augusto Boal, que busca identificar as injustiças estabelecidas nas relações opressores-oprimidos e superá-las através de Ações Sociais Concretas e Continuadas. Por se tratar de uma pesquisa de cunho bibliográfico, buscamos no banco de dissertações e Teses da Capes, trabalhos de Campo realizados em ambientes de aprendizagens formais ou não formais, que versassem sobre a Metodologia do Teatro do Oprimido. Buscamos nestas teses e dissertações compreender a interpretação e o uso que fazem do Teatro do Oprimido. Agrupamos os trabalhos em duas (02) categorias temáticas, Educação escolar (representando ambientes formais de aprendizagem) e Processos Socioeducativos (representando ambientes informais de aprendizagem). Para o desenvolvimento desta pesquisa utilizamos a técnica de Análise de Conteúdo, além da apresentação de dados quantitativos e qualitativos das teses e dissertações.

Made available in DSpace on 2014-12-17T14:00:17Z (GMT). No. of bitstreams: 1 ElaineLMV_DISSERT.pdf: 2834632 bytes, checksum: d810223032500a53c54e2d6645e17aee (MD5) Previous issue date: 2013-04-10 / This research investigates and reports the contributions of the Theatre of the Oppressed and its techniques as a therapeutic resource in the education of children with Attention Deficit Disorder with Hyperactivity. In the first chapter organize one studying theoretical seeking to conceptualize and understand the Learning, Attention Deficit Hyperactivity Disorder, seeking to better understand the behavior and the behavior of children with ADHD. Researching on the symptoms, causes and effects of this syndrome. Trace a relationship between familyschool- specialists in an attempt to prove the importance of family support in the teachinglearning process and treatment of these children. In the second chapter start conceptualizing theater, the relationship between work-Theatre-Education Therapy, explain the difference between the theatrical stage and the therapeutic stage. Account the importance of theater games in the classroom and its contribution to social and educational training of the child. Justify the choice of the Theatre of the Oppressed recognizing him as the primary method for this research, because it is a set of exercises, games and techniques that help the child regain equilibrium relations, developing autonomy, encourages creativity and spontaneity, freeing them from their oppression. Besides being an efficient transformation behavior, improving behavior, allowing the inclusion of children in society. It is verified the effectiveness of the method and techniques in their work with children Municipal School Professor. Antonio Severiano in Natal / RN, allowing these children develop body awareness, working senses, thought, memory, inhibition, teaching to expose your point of view, understand and deal with their emotions, respecting its limits and develop their motor and cognitive skills / Esta pesquisa investiga e relata as contribui??es do Teatro do Oprimido e de suas t?cnicas, como recurso terap?utico na forma??o da crian?a com Transtorno do D?ficit de Aten??o com Hiperatividade. No primeiro capitulo organizo um estudando te?rico buscando conceituar e entender a Aprendizagem, Aten??o e Hiperatividade, buscando entender melhor o comportamento e a conduta de crian?as com TDAH. Pesquiso sobre os sintomas, as causas e os efeitos dessa s?ndrome. Tra?o uma rela??o entre Fam?lia-escola-Especialistas, na tentativa de provar a import?ncia do acompanhamento familiar no processo de ensino-aprendizagem e no tratamento dessas crian?as. No segundo capitulo come?o conceituando teatro, trabalho a rela??o existente entre Teatro-Terapia-Educa??o, explico a diferen?a entre palco teatral e palco terap?utico. Relato a import?ncia dos jogos teatrais na sala de aula e sua contribui??o na forma??o social e educacional da crian?a. Justifico a escolha do Teatro do Oprimido reconhecendo-o como m?todo fundamental para essa pesquisa, por se tratar de um conjunto de exerc?cios, jogos e t?cnicas especiais que ajudam a crian?a recuperar o equil?brio das rela??es, desenvolve a autonomia, estimula a criatividade e a espontaneidade, libertando-a de suas opress?es. Al?m de ser um meio eficiente na transforma??o do comportamento, melhorando a conduta, permitindo a inser??o da crian?a na sociedade. Constata-se a efici?ncia do m?todo e de suas t?cnicas no trabalho desenvolvido com as crian?as da Escola Municipal Prof. Ant?nio Severiano em Natal/RN, permitindo a essas crian?as desenvolver uma consci?ncia corporal, trabalhar os sentidos, o pensamento, a mem?ria, a inibi??o, ensinando a expor seu ponto de vista, compreender e lidar com suas emo??es, respeitando seus limites e desenvolvendo suas habilidades motora e cognitiva

This Master in Communication for Development thesis is based on the experience of "Amina's looking for a job", a Forum Theatre play created in 2007 - whith the help of her sons and an NGO- by a Moroccan woman who is discriminated by different institutions in her will to find a decent job in Catalonia, Spain. Through this case study, the essay explores the contributions of participatory approaches to Education-Entertainment field from a communication for social change perspective.

A busca por novas linguagens para a participação no processo público de tomada de decisão levou a prefeitura do município de Santo André, estado de São Paulo, a aliar ao programa de Orçamento Participativo processos de Teatro do Oprimido, sistema desenvolvido pelo teatrólogo Augusto Boal a partir de seu exílio da ditadura brasileira até o ano de sua morte, 2009. A partir de uma abordagem crítica do Orçamento Participativo, segundo uma leitura à luz da obra do filósofo Michel Foucault, considera-se que a participação no governo pode conferir uma manutenção da ordem em vez de empoderamento da população. No que se refere ao Teatro do Oprimido, estudos críticos indicam que haveria nessa estética poucas possibilidades de elaboração poética dos processos. Considerando-se esses problemas, investiga-se de que forma o teatro possibilitaria redimensionar o processo de participação no orçamento. Estudam-se aspectos estéticos e pedagógicos relacionados ao desenvolvimento do Teatro do Oprimido nas plenárias de Orçamento Participativo em Santo André no período de 1997 a 2001. A discussão teórica empreendida levanta os conceitos foucaultianos de governamentalidade, biopolítica, panóptico e sujeito para operar a genealogia do poder em Teatro da qual se depreende a gênese do Teatro do Oprimido e a genealogia do poder em Contabilidade da qual se depreende a gênese do Orçamento Participativo. O estudo de caso que se realiza considera entrevistas com atores e espectadores das apresentações da esquete Orçamento Participativo pelo Grupo de Teatro do Oprimido de Santo André nas plenárias de Orçamento Participativo regionais e temáticas da cidade e outros documentos como fotos e textos. Desenvolve-se também uma simulação de um processo teatral sobre o orçamento na qual se avalia junto a estudantes universitários novas possibilidades ao Teatro do Oprimido e ao Orçamento Participativo. A avaliação dos resultados do caso indica limitações às intenções estéticas de abordagem do orçamento na modalidade do Teatro-Fórum, dadas pelo contexto governamental. A avaliação da simulação aponta o Teatro-Imagem como alternativa de investigação pedagógica sobre o orçamento, parecendo estar mais de acordo com uma perspectiva artística contemporânea. Considera-se que é a partir não da promoção da participação, mas do exercício de aproximação que o teatro pode reconfigurar o processo pedagógico do orçamento. / The search for new languages for public participation in the decision-making process led the municipality of Santo André, São Paulo, to combine the program of Participatory Budgeting with process of Theatre of the Oppressed, a system developed by Augusto Boal from his exile from the dictatorship in Brazil until the year of his death, in 2009. From a critical approach to Participatory Budgeting, based on the work of the philosopher Michel Foucault, it is considered that participation in government can give a regularity enforcement rather than empower the population. In the scope of Theatre of the Oppressed, critical studies indicate that there would be little chances of developing aesthetic poetic processes. Considering these problems, the research investigates how theater would allow interfere the process of participation in the budget. The study considers aesthetics and education related to the development of Theatre of the Oppressed in the plenary of Participatory Budgeting in Santo Andre in the period of 1997 to 2001. The theoretical discussion take up the Foucauldian concepts of governmentality, biopolitics, panoptics and subject to operate the genealogy of power in the theater which indicates the genesis of the Theatre of the Oppressed and the genealogy of power in Accounting from which indicates the genesis of the Participatory Budget. The case study considers to be held interviews with actors and spectators of the performances of the play \"participatory budget\" by the Group of Theater of the Oppressed Santo Andre in the regional and thematic plenary of Participatory Budgeting in the city and other documents such as photos and texts. It also carries the simulation of a theatrical process on the budget in which is evaluated with university students new opportunities to Theatre of the Oppressed and to Participatory Budget. Findings of the case indicates the limitations of the aesthetic intentions of the Forum Theatre method of approaching the budget given by government context. Findings suggest the Image Theater approach as an alternative of educational investigation to the budgetary process, as it seems to be better aligned to a contemporary artistic perspective. In conclusion, practice of connectedness and approximation seems to be much more relevant than promotion of participation to reset the budgetary pedagogical process.

Made available in DSpace on 2016-04-29T13:31:13Z (GMT). No. of bitstreams: 1 Kelly Cristina Fernandes.pdf: 16943097 bytes, checksum: c66962e016b645725194642d5fa8a637 (MD5) Previous issue date: 2014-09-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This paper analyzes the experience of Forum Theatre one of the methodologies of Theatre of the Oppressed in the play "Torquemada 17 bullets" as a possibility of psychosocial intervention. This is a play about state violence in Brazil. We will talk about Forum Theatre as struggle and as a process of awareness and liberation of the oppressed. We will point out the importance of the fear as a social and political oppression, from the analysis of public safety issues, impunity, and citizen participation in public space. The text researchs through quantitative and qualitative data the public participation in the discussion of social issues through the theater. Analyzed especially the presentations of the play in four cities: Rio de Janeiro, São Bernardo do Campo, Guarulhos and Santos / O presente trabalho analisa uma experiência de Teatro Fórum uma das metodologias de Teatro do Oprimido na peça Torquemada 17 balas , como uma possibilidade de intervenção psicossocial. Trata-se de uma peça sobre a violência do Estado no Brasil. Vamos discorrer sobre Teatro Fórum como processo de conscientização e luta pela libertação dos oprimidos. Apontaremos a importância do medo como mediação da opressão social e política, a partir da análise dos temas: segurança pública, impunidade e participação do cidadão no espaço público. O texto examina através de dados quantitativos e qualitativos a participação do público na discussão de temas sociais através do teatro. Analisou-se especialmente a apresentação da peça em quatro cidades: Rio de Janeiro, São Bernardo do Campo, Guarulhos e Santos

A presente dissertação tem por base estabelecer reflexões acerca do trabalho desenvolvido nas práticas de teatro na sala de aula com alunos do Programa EJA - Educação de Jovens e Adultos da Escola Municipal Arthur Ostermann, no Município de São Leopoldo, na região do Vale dos Sinos, Estado do Rio Grande do Sul. Procuro estabelecer conexões dessas práticas com a Pedagogia do Oprimido de Paulo Freire e o conceito de Tempos Líquidos, de Zygmunt Bauman. As atividades foram realizadas através de jogos espontâneos e protagonizados, visando o desenvolvimento dos potenciais criativos dos alunos, e a reflexão sobre os potenciais destrutivos da sociedade. As práticas são divididas em duas ramificações: o Teatro Jornal, de Augusto Boal e o exercício de escrita dramática a partir da contextualização das tragédias gregas. Uma tem ligação com a outra, tendo em vista que a partir das improvisações teatrais surgiram necessidades de discutir os fatos vigentes. Estes fatos, a maioria publicados em jornais, foram considerados pelos alunos como tragédias, o que despertou em alguns a pesquisa a partir dos textos trágicos do teatro grego, que consistiu na leitura em específico das peças Édipo Rei e Antígona, de Sófocles, desencadeando assim uma contextualização de determinadas obras. / This thesis is based on established ideas about the work practices of theater in the classroom with students of adult education program - Youth and Adult Education of the School of Arthur Ostermann, in São Leopoldo, in the Vale of Sinos, Rio Grande do Sul. Looking for connections of these practices with the Pedagogy of the Oppressed by Paulo Freire and the concept of Liquid Times of Zygmunt Bauman. The activities were conducted through games and spontaneous protagonists, to develop the creative potential of students, and reflection on the destructive potential of society. The practices are divided into two branches: the Newspaper theater of Augusto Boal and the pursuit of dramatic writing from the background of Greek tragedies. One is linked to another in order that emerged from the improvisational theater needs to discuss current events. These facts, most published in newspapers, were considered by students as tragedy, which sparked some research from the texts tragic of Greek drama, which consisted of reading in specific parts of Édipo Rei and Antigona by Sófocles. Thus triggering a contextualization of certain works.