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A presente pesquisa objetivou refletir sobre o uso e os benefícios de atividades lúdicas e de improvisação teatral em fase inicial de aprendizado da língua estrangeira (LE) em contexto institucional. Almejou também demonstrar que a associação Teatro, Jogo e Aprendizagem de línguas realizada de modo sistemático, constante e em função de objetivos precisos estimula e auxilia na apropriação e no desenvolvimento da língua alvo. Para essa reflexão, propomos no primeiro capítulo um panorama histórico da relação teatro, jogo, educação. No segundo, as questões didáticas que deram abertura a uma prática lúdico - teatral no ensino de LE no século XX e aquelas que norteiam o ensino atual de línguas. No terceiro capítulo, apresentamos algumas características do Lúdico e de práticas teatrais adaptáveis ao contexto de ensino de LE (jogo teatral, de papéis e simulação global). O quarto capítulo é dedicado ao relato da experiência lúdico-teatral realizada em janeiro e fevereiro de 2007 com duas turmas de nível 01 do Curso Extracurricular de Francês oferecido pelo departamento de Letras Modernas da Faculdade de Filosofia Letras e Ciências Humanas da Universidade de São Paulo. Os resultados demonstraram que o uso de atividades lúdicas e de improvisação teatral no ensino do Francês contribuiu significativamente no aprendizado da LE e na criação de um ambiente de descontração e de interação favoráveis à expressão na língua-alvo, onde a desinibição e o medo do erro deram pouco a pouco lugar ao prazer de se comunicar-se na LE. Assim, foram contemplados aspectos referentes à aprendizagem, à relação sujeito-LE, à relação e interação aluno-aluno/ professor, tendo sido de extrema significação para a aquisição da língua-alvo e para as relações interpessoais. / This research aims at reflecting about the use and the benefits of playful activities and of theatrical improvisation for a communicative and interactive teaching of a foreign language, and to demonstrate that the association Theater, Play and Apprenticeship of methodical way brings contributions to the apprentices and the benefits go beyond the apprenticeship of a foreign language. In the first chapter a historic overview of the relation theater, play, education is proposed. In the second chapter, we present the educational questions that arose with the use of games and theatrical activities in the teaching of a foreign language in the century XX and the questions about the current teaching of languages. In the third chapter, some characteristics of the Playful one and of theatrical adaptable practices to the context of teaching (theatrical play, role-play-games and global simulation) what contributed to the construction of our improvised practice, besides the benefits of this transposition found in the literature. The chapter four is dedicated to the theatrical-playful report of the experience carried out in the level 01 of the extracurricular course of intensive French (FLE) of the FFLCH-USP between January and February of 2007. In this application, we notice that the playful use of a methodology - improvised in the teaching of FLE allowed a better apprenticeship, an environment of favorable casualness to the expression in the target-language and of integration between the participants, which contemplates aspects referring to the apprenticeship, to the relation Subject-LE, to the relation and interaction of student-student. We could also conclude that the plays and the improvisations create a favorable environment to the experimentation in the LE and that shyness and the fear of making a mistake are replaced slowly by the pleasure of learning the targetlanguage, of communicating with other people.

A presente pesquisa objetivou refletir sobre o uso e os benefícios de atividades lúdicas e de improvisação teatral em fase inicial de aprendizado da língua estrangeira (LE) em contexto institucional. Almejou também demonstrar que a associação Teatro, Jogo e Aprendizagem de línguas realizada de modo sistemático, constante e em função de objetivos precisos estimula e auxilia na apropriação e no desenvolvimento da língua alvo. Para essa reflexão, propomos no primeiro capítulo um panorama histórico da relação teatro, jogo, educação. No segundo, as questões didáticas que deram abertura a uma prática lúdico - teatral no ensino de LE no século XX e aquelas que norteiam o ensino atual de línguas. No terceiro capítulo, apresentamos algumas características do Lúdico e de práticas teatrais adaptáveis ao contexto de ensino de LE (jogo teatral, de papéis e simulação global). O quarto capítulo é dedicado ao relato da experiência lúdico-teatral realizada em janeiro e fevereiro de 2007 com duas turmas de nível 01 do Curso Extracurricular de Francês oferecido pelo departamento de Letras Modernas da Faculdade de Filosofia Letras e Ciências Humanas da Universidade de São Paulo. Os resultados demonstraram que o uso de atividades lúdicas e de improvisação teatral no ensino do Francês contribuiu significativamente no aprendizado da LE e na criação de um ambiente de descontração e de interação favoráveis à expressão na língua-alvo, onde a desinibição e o medo do erro deram pouco a pouco lugar ao prazer de se comunicar-se na LE. Assim, foram contemplados aspectos referentes à aprendizagem, à relação sujeito-LE, à relação e interação aluno-aluno/ professor, tendo sido de extrema significação para a aquisição da língua-alvo e para as relações interpessoais. / This research aims at reflecting about the use and the benefits of playful activities and of theatrical improvisation for a communicative and interactive teaching of a foreign language, and to demonstrate that the association Theater, Play and Apprenticeship of methodical way brings contributions to the apprentices and the benefits go beyond the apprenticeship of a foreign language. In the first chapter a historic overview of the relation theater, play, education is proposed. In the second chapter, we present the educational questions that arose with the use of games and theatrical activities in the teaching of a foreign language in the century XX and the questions about the current teaching of languages. In the third chapter, some characteristics of the Playful one and of theatrical adaptable practices to the context of teaching (theatrical play, role-play-games and global simulation) what contributed to the construction of our improvised practice, besides the benefits of this transposition found in the literature. The chapter four is dedicated to the theatrical-playful report of the experience carried out in the level 01 of the extracurricular course of intensive French (FLE) of the FFLCH-USP between January and February of 2007. In this application, we notice that the playful use of a methodology - improvised in the teaching of FLE allowed a better apprenticeship, an environment of favorable casualness to the expression in the target-language and of integration between the participants, which contemplates aspects referring to the apprenticeship, to the relation Subject-LE, to the relation and interaction of student-student. We could also conclude that the plays and the improvisations create a favorable environment to the experimentation in the LE and that shyness and the fear of making a mistake are replaced slowly by the pleasure of learning the targetlanguage, of communicating with other people.

Cette étude vise à démontrer qu'en dressant le portrait d'Honoré de Balzac, Michel Butor se met lui-même en scène en plaçant à l'avant-plan certaines de ses propres préoccupations littéraires. Il existe ainsi deux niveaux de discours aux Improvisations, l'un renvoyant à Balzac et l'autre à Butor, comme si le portrait du second se surimprimait à celui du premier. Ce chevauchement invite à des lectures et à des interprétations où chacune des deux oeuvres apporte un éclairage nouveau à l'autre. C'est cette possibilité de dialogue qui sera explorée en rapprochant des textes des deux auteurs et en réfléchissant à la démarche critique et autoréflexive de Butor telle qu'elle se présente dans les Improvisations

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-04-26T10:36:42Z No. of bitstreams: 2 Dissertação - Laís Domingues Fujiyama - 2018.pdf: 18389180 bytes, checksum: e480b9f7ae8fc9fe91fa822ab08b68f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-26T11:16:40Z (GMT) No. of bitstreams: 2 Dissertação - Laís Domingues Fujiyama - 2018.pdf: 18389180 bytes, checksum: e480b9f7ae8fc9fe91fa822ab08b68f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-26T11:16:40Z (GMT). No. of bitstreams: 2 Dissertação - Laís Domingues Fujiyama - 2018.pdf: 18389180 bytes, checksum: e480b9f7ae8fc9fe91fa822ab08b68f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work deals with the discussion of the compositional aspects and technical idiomaticism of the 12 IMPROVISOS for guitar solo by Theodoro Nogueira. The dissertation is divided into three parts: the first one consists of a brief biography of the composer, which included the biographical’s recollection data (visit to the Zequinha de Abreu Museum, where the composer's Collection is at), interviews with guitarists Gilson Antunes and Geraldo Ribeiro (who recorded this cycle) and with the son of the composer João Antonio Nogueira. The second part consists on the compositional analysis processes of the improvisations, in confrontation with the nationalistic aesthetic influence and with the critics of other guitarists. We use the writings of the authors Schoenberg (2011) and White (1976) as the theoretical foundation for this aspect. In the third chapter, we intended to show the idiomatic aspects in his music writing. As a reference for our discussion about compositional and instrumental idiomaticism we consulted the writings of Tullio (2005), Kreutz (2014), Scarduelli (2007), Pereira (2012), Battistuzzo (2009) and Vasconcelos (2002). Some of our results have shown that, besides belonging to Brazilian nationalist aesthetics, Theodore Nogueira presents compositional peculiarities that put him in a position of visibility and academic interest in relation to his work for guitar, in addition to the technical level required for the performance of his parts is hard. The idiomatic suggestions for 12 Improvisos enhance the compositional aspects described in the previous chapter. / O presente trabalho trata da discussão dos aspectos composicionais e idiomatismo técnico violonístico do ciclo dos 12 Improvisos para violão solo de Theodoro Nogueira. A dissertação está dividida em três partes: a primeira consiste numa pequena biografia do compositor que incluiu o recolhimento dos dados biográficos (visita ao Museu Zequinha de Abreu onde está o acervo do compositor), entrevistas com os violonistas Gilson Antunes e Geraldo Ribeiro que gravaram este ciclo e com o filho do compositor João Antonio Nogueira. A segunda parte consiste na análise dos processos composicionais dos 12 Improvisos confrontada com a influência estética nacionalista/guarnieriana e com as críticas de outros violonistas e pesquisadores da obra de Nogueira. A fundamentação teórica do capítulo 2 consistiu nos autores Schoenberg (2011) e White (1976). O terceiro capítulo descreve as evidências dos recursos idiomáticos composicionais presentes na escrita do ciclo dos 12 Improvisos. Os autores que fundamentaram nossa discussão sobre idiomatismo e idiomatismo instrumental foram Tullio (2005), Kreutz (2014), Scarduelli (2007), Pereira (2012), Battistuzzo (2009) e Vasconcelos (2002). Alguns dos nossos resultados mostraram que, além de pertencer à estética nacionalista brasileira, Theodoro Nogueira apresenta peculiaridades composicionais que o colocam numa posição de visibilidade e de interesse acadêmico com relação à sua obra para violão, além disso o nível técnico exigido para a performance de suas peças é rigoroso. As sugestões idiomáticas para os 12 Improvisos potencializam os aspectos composicionais descritos no capítulo anterior.

A presente pesquisa, de natureza teórico-prático-artística, propõe ampliar os diálogos entre as Artes da Música, da Dança e da Atuação, pelo viés da Técnica Vocal, para atoresbailarinos. A metodologia teve como finalidade buscar um instrumental coerente, claro e elaborado, em que foi possível introduzir questões de cunho teórico para o desafio da prática. Para tanto, foram pesquisadas formas metodológicas que abarcassem minhas experiências pessoais e vivências por meio da Autoetnografia, do Método Descritivo e das Entrevistas Semi-Estruturadas. Tendo como tema a voz na sua multiplicidade ao integrar novas formas na cena artística, foi constituído um espaço para debate e reflexão sobre o fenômeno vocal e sua potencialidade criativa, através dos encontros com os integrantes do Laboratório de Pesquisa e Estudos em Tanz Theatralidades (Lapett), grupo sediado na Escola de Comunicações e Artes da USP e dirigido por Sayonara Pereira. As narrativas descritas pelos integrantes do Lapett, bem como as entrevistas realizadas com quatro atoresbailarinos atuantes na cena artística de São Paulo, ajudam a tecer voz, dança e teatro, trazendo informações preciosas para a tese. O processo experimental realizado com o grupo Lapett, pelos jogos cênicos e brincadeiras cantadas, mostrou, na prática, a técnica vocal, e especificou as relações entre movimento, respiração e canto. Além disso, este estudo enfatizou a musicalidade para a cena, a partir da improvisação e jogos ligados à consciência e ao uso do corpo como centro da ação musical, dialogando com elementos da Técnica de Alexander e da pedagogia de Koellreutter. / The present research, from theoretical- practical- artistic nature, proposes to expand the dialogue between the Arts of Music, Dance and Performance, through Vocal Technique, for dancers- actors. The methodology had intended to get a coherent, clear and elaborated instrumental, in which was possible to introduce theoretical issues for the challenge of the practice. To do so, were researched methodological ways to englobe my personal experiences and living through Autoethnography, from the Descriptive Method and the Semi-Structured Interviews. Taking as its theme the voice in its multitude by integrating new forms in the artistc scene, was set up a space for debate and reflection on the vocal phenomenon and its creative potentiality, through meetings with the members of the Research and Studies Laboratory in Tanz Theatralidades (Lapett), a group based in the School of Communication and Arts of the University of São Paulo, directed by Sayonara Pereira. The narratives described by the members of Lapett, as well as the interviews made with four (4) acting dancers- actors in São Paulo art scene, helped to weave voice, dance and theatre, bringing valuable information for the thesis. The experimental procedure performed with the Lapett group, through scenic games and sung plays, showed, in practice, the vocal technique and specified the relationships between movement, breathing and singing. In addition, this study emphasized the musicality to the scene, from the improvisation and games related to consciousness and the use of the body as a center of the musical action, dialoguing whith elements of the Alexander Technique and pedagogy of Koellreutter.

A presente pesquisa, de natureza teórico-prático-artística, propõe ampliar os diálogos entre as Artes da Música, da Dança e da Atuação, pelo viés da Técnica Vocal, para atoresbailarinos. A metodologia teve como finalidade buscar um instrumental coerente, claro e elaborado, em que foi possível introduzir questões de cunho teórico para o desafio da prática. Para tanto, foram pesquisadas formas metodológicas que abarcassem minhas experiências pessoais e vivências por meio da Autoetnografia, do Método Descritivo e das Entrevistas Semi-Estruturadas. Tendo como tema a voz na sua multiplicidade ao integrar novas formas na cena artística, foi constituído um espaço para debate e reflexão sobre o fenômeno vocal e sua potencialidade criativa, através dos encontros com os integrantes do Laboratório de Pesquisa e Estudos em Tanz Theatralidades (Lapett), grupo sediado na Escola de Comunicações e Artes da USP e dirigido por Sayonara Pereira. As narrativas descritas pelos integrantes do Lapett, bem como as entrevistas realizadas com quatro atoresbailarinos atuantes na cena artística de São Paulo, ajudam a tecer voz, dança e teatro, trazendo informações preciosas para a tese. O processo experimental realizado com o grupo Lapett, pelos jogos cênicos e brincadeiras cantadas, mostrou, na prática, a técnica vocal, e especificou as relações entre movimento, respiração e canto. Além disso, este estudo enfatizou a musicalidade para a cena, a partir da improvisação e jogos ligados à consciência e ao uso do corpo como centro da ação musical, dialogando com elementos da Técnica de Alexander e da pedagogia de Koellreutter. / The present research, from theoretical- practical- artistic nature, proposes to expand the dialogue between the Arts of Music, Dance and Performance, through Vocal Technique, for dancers- actors. The methodology had intended to get a coherent, clear and elaborated instrumental, in which was possible to introduce theoretical issues for the challenge of the practice. To do so, were researched methodological ways to englobe my personal experiences and living through Autoethnography, from the Descriptive Method and the Semi-Structured Interviews. Taking as its theme the voice in its multitude by integrating new forms in the artistc scene, was set up a space for debate and reflection on the vocal phenomenon and its creative potentiality, through meetings with the members of the Research and Studies Laboratory in Tanz Theatralidades (Lapett), a group based in the School of Communication and Arts of the University of São Paulo, directed by Sayonara Pereira. The narratives described by the members of Lapett, as well as the interviews made with four (4) acting dancers- actors in São Paulo art scene, helped to weave voice, dance and theatre, bringing valuable information for the thesis. The experimental procedure performed with the Lapett group, through scenic games and sung plays, showed, in practice, the vocal technique and specified the relationships between movement, breathing and singing. In addition, this study emphasized the musicality to the scene, from the improvisation and games related to consciousness and the use of the body as a center of the musical action, dialoguing whith elements of the Alexander Technique and pedagogy of Koellreutter.

This dissertation examines classroom conversations involving refugee and immigrant youth in a second language (L2) introduction program, exploring how L2 Swedish emerges as a multiparty accomplishment by both the teacher and the students. Drawing on forty hours of video-recorded Swedish L2 classroom conversations, as well as on observations and informal interviews, it focuses on talk as a form of social action. Theoretically and methodologically, the dissertation primarily combines insights from language socialization and social constructionist frameworks and detailed transcriptions informed by conversation analysis. Study I documents how schooled Swedish as a second language (SSL) student identities emerged as performative effects of how the students in school activities were addressed as “ethnic” students, and how they managed to handle, adopt, and contest being positioned as the Other. Study II records classroom performances and the formation of a community of practice. The analyses cover how students’ verbal improvisations (repetitions, stylizations, and laughter) and alignments to local registers authenticate SSL identities. The findings show how stylizations were important resources for metalinguistic reflections on correctness, and for the establishment of a local language ideology. Study III documents the interactional nature of classroom repair work. Detailed analyses of correction sequences and trajectories show that both the teacher and the students produced ambiguous other-corrections, illuminating the intricate multiparty work in correction trajectories. In brief, this dissertation illuminates multiparty aspects of classroom L2 socialization. The analyses of classroom talk show how both teacher and student investments in language competencies and local ideologies of correct Swedish or style, as well as participation and identity work, are co-constructed through participants’ tailoring of talk. / <p>At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Manuscript. Paper 3: Accepted.</p>

This paper presents a comparative study on two Tabletop Roleplaying Games, Dungeons &amp; Dragons and Blades in the Dark. This paper takes a look at the narrative differences within the two systems. More specifically investigate if Blades in the Dark is more playerdriven than Dungeons &amp; Dragons. The two tested as closely as possible and will be compared with each other. This is a close reading on the rules and player agency rather than a one-on-one comparison. The comparisons were made regarding the mechanics and narrative differences within the systems rather than quality of the story. This study was conducted by running two sessions, one for each system, played by separate groups with the same game scenario and premise. Meaning that the background for both games, character and plot for the session were the same. Comparisons were made by observing player decisions, situations that arose and the influence that the gamemasters had on the game. It was found that there is a clear difference between the two systems, this difference regarding whether the players were reacting to the gamemaster, or the other way round. In Dungeons &amp; Dragons, it was observed that the players reacted and acted according to what the gamemaster explained and played out, whereas in Blades in the Dark it appeared to be the opposite. Here we found that it was the Gamemaster who was reactive to the players instead. The paper concluded that Blades in the Dark is the more player-driven system. This short study could later be built upon and used by game developers to keep in mind and plan their future game systems around. Taking these observations on emergent narrative in Tabletop Role-playing Games into account can be used to create more player-centric and player-driven games. Meaning that the players are more in influence and decisions to make in the story and game. / I detta papper presenteras en jämförande undersökning av två rollspelssystem, Dungeons &amp; Dragons och Blades in the Dark. Det här papperet kollar på skillnaderna när det kommer till spelar-drivet berättande inom de två spelen. Mer specifikt så utreds om Blades in the Dark är mer spelar-drivet än Dungeons &amp; Dragons. De två kommer att testas så likt som möjligt och jämföras med varandra. Detta är en noggrann läsning av reglerna och spelarnas påverkan på spelets berättande, där vad som undersöks är spelets funktioner och skillnader i hur de berättas och presenteras, snarare än kvalitén på spelen eller berättelserna. Denna studie genomfördes genom att hålla två sessioner, en för varje system, spelad av separata grupper men med samma scenario och förutsättningar. Jämförelser gjordes genom att observera spelarbeslut, situationer som uppstod, samt det inflytande som spelmästare hade på spelet. En tydlig skillnad blev synlig mellan de två systemen var gällande huruvida spelarna reagerade på spelmästaren eller tvärtom. I Dungeons &amp; Dragons observerades att spelarna reagerade och agerade enligt vad spelmästaren förklarade och spelade ut. I Blades in the Dark studerades en motsatt effekt, här upptäcktes att det var spelmästaren som reagerade på spelarna istället. Med denna undersökning kom vi fram till att Blades in the Dark är det mer spelar-drivna systemet. Den här studien kan i framtiden användas och byggas på av spelutvecklare för att göra nya spelsystem, med dessa observationer som framkom, kan komma till användning för att göra fler spel med mer spelar-drivet fokus. Vilket innebär att spelaren har mer inflytande på historiens som berättas och spelet i sig.

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