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.

This qualitative study is a narrative investigation that analyzes the educational experiences of the segregated Turkish people of Sumter County, South Carolina during the integration movement. Four participants share their stories of how attending an elementary school for Turkish students affected their integration into White high schools. Oral history is the specific research methodology that is used. The theoretical framework that guides this study is critical-narrative theory. Through critical research, the researcher analyzes how “the social institution of school is structured such that the interests of some members and classes of society are preserved and perpetuated at the expense of others” (Merriam, 2001, p. 5). Narrative theory also informs this study. Connelly and Clandinin (1990) explain that the heart of narrative analysis is “the ways humans experience the world” (p. 2). The research questions that guide this study are the following: (1) How do the Turkish people of Sumter County, South Carolina, who attended public school during the early part of the 20th century, describe their educational experiences?, and (2) What are the perceptions of the Turkish people regarding the integration movement, educational power struggles and oppression? Through in-depth interviews, participants discuss (a) thoughts on being Turkish, (b) feelings of isolation, (c) experiences at the Dalzell School, (d) experiences at the high schools (Edmunds and Hillcrest), (e) attitudes toward other ethnic groups, and (f) perceptions of the integration movement. The overwhelming evidence from interviews supports Freire’s (2006) two stages of the pedagogy of the oppressed. Freire states, In the first, the oppressed unveil the world of oppression and through the praxis commit themselves to its transformation. In the second stage, in which the reality of oppression has already been transformed, this pedagogy ceases to belong to the oppressed and becomes a pedagogy of all people in the process of permanent liberation (p. 54). The educational implications of this study offer insight into how today’s educators are called to “renew our minds so that the way we live, teach, and work can reflect our joy in cultural diversity, our passion for justice, and our love of freedom” (bell hooks, 1994, p.34).

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).

Made available in DSpace on 2016-08-03T12:20:47Z (GMT). No. of bitstreams: 1 Adriana Soares.pdf: 761404 bytes, checksum: 44e300758f15bb12eef253d08552ae45 (MD5) Previous issue date: 2008-09-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study discusses the relationship between spirituality and education for freedom from the anthropological perspective of human mimetic desire as key to the understanding of human relations, and spirituality as a fundamental dimension in the engagement in the battle for transformation of society. Through literature search, it is the analysis of the problem identified by Paulo Freire, that the oppressive "hosted" the oppressed represents an obstacle to the liberation, from the perspective of the theory of mimetic desire of René Girard. Works with the hypothesis that this essential element in anthropological thinking of Paulo Freire, forgotten as his pedagogical proposal assumed a character purely on conscience, refers to the dimension of spirituality. Because the distance between utopia of the liberation and the reality, establishes itself the scene of a crisis that falls not only on formal educators, but also on many of those who, at some point in their lives, whether in the battle for the engagement in social transformation. Since the method is well known, and it is acquire consciousness, the fact that the dreamed transformation has not occurred leads the conclusion that something failed in the process.(AU) / Este estudo discute a relação entre espiritualidade e educação para a liberdade, a partir da perspectiva antropológica da natureza mimeticamente desejante do ser humano como elemento chave para a compreensão das relações humanas, e da espiritualidade como dimensão fundamental para o engajamento na luta pela transformação da sociedade. Por meio de pesquisa bibliográfica, procede-se à análise do problema identificado por Paulo Freire, de que o opressor hospedado no oprimido representa um obstáculo para a libertação, sob a ótica da teoria do desejo mimético de René Girard. Trabalha-se com a hipótese de que o elemento antropológico fundamental presente no pensamento de Paulo Freire, esquecido à medida que sua proposta pedagógica assumiu um caráter meramente conscientizador, referese à dimensão da espiritualidade. Diante do abismo que se coloca entre a utopia da libertação e a realidade instaura-se o cenário de crise que recai, não apenas sobre educadores formais, como também sobre muitos daqueles que, em algum momento de suas vidas, se engajaram na luta pela transformação social. Uma vez que o método é sabido, e é conscientizar, o fato de que a transformação sonhada não tenha ocorrido leva a conclusão de que alguma coisa falhou no processo.(AU)

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-04T19:11:35Z No. of bitstreams: 1 Tese final CILENE NASCIMENTO CANDA.pdf: 3410297 bytes, checksum: ca8730c16e87b795aebd09630d506548 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:22:23Z (GMT) No. of bitstreams: 1 Tese final CILENE NASCIMENTO CANDA.pdf: 3410297 bytes, checksum: ca8730c16e87b795aebd09630d506548 (MD5) / Made available in DSpace on 2018-09-11T13:22:23Z (GMT). No. of bitstreams: 1 Tese final CILENE NASCIMENTO CANDA.pdf: 3410297 bytes, checksum: ca8730c16e87b795aebd09630d506548 (MD5) / A pesquisa, de caráter qualitativo, visa a analisar o processo de formação estética e política de trabalhadores da indústria pelo viés do Teatro do Oprimido. Para tanto, foram estudadas as características do contexto social contemporâneo, ressaltando o campo do trabalho e da estética contemporânea, com vistas a delimitar a importância do Teatro do Oprimido para a formação de trabalhadores na atual conjuntura social. A coleta de dados foi norteada pela abordagem qualitativa de pesquisa, tendo como método a pesquisa-ação. Nos procedimentos metodológicos, o jogo foi identificado como principal estratégia de formação estética e política, sendo ressaltado em diversas pesquisas no âmbito da Pedagogia do Teatro e do Teatro do Oprimido. O trabalho apresenta as etapas do processo formativo do Grupo Embasart, composto por trabalhadores da Empresa Baiana de Águas e Saneamento, ressaltando desde a aplicação de jogos e exercícios, os desafios de inserção do Teatro do Oprimido em uma indústria, o processo de encenação de Teatro-fórum, até a análise das intervenções produzidas pelos espect-atores do espetáculo Cresça e Apareça. Os dados empíricos foram analisados à luz da mediação do processo formativo de trabalhadores, dos depoimentos coletados sobre a experiência e da observação das intervenções dos espect-atores em um espetáculo de Teatro-fórum, procurando compreender o lugar do sujeito como cocriador da experiência teatral. A descrição detalhada dos dados obtidos e os resultados da pesquisa ampliam a compreensão de uma Pedagogia do Teatro do Oprimido como experiência complexa, pelo seu caráter estético, político e educativo. No texto, a técnica do Teatro-fórum é analisada em uma perspectiva de formação de atores e de espect-atores, de cunho crítico e improvisacional, destacando-se a mediação do curinga, visto como educador que provoca reflexões e estimula a participação ativa da platéia, como ensaio para novas ações cotidianas. A pesquisa revelou a influência da prática do Teatro do Oprimido para a ampliação do olhar estético, para a aprendizagem improvisacional e para um maior empoderamento do trabalhador em seu contexto do trabalho. Em virtude dos parcos estudos sobre Teatro do Oprimido, no âmbito da Pedagogia do Teatro, o trabalho aponta novas direções de pesquisa, especialmente a estimulação sensorial do corpo e da voz dos participantes de um processo de formação estético-político. / The research, qualitative, aims to analyze the aesthetic and politic training process of industrial workers by the Theater of Oppressed. For both, the characteristics of the contemporary social context were studied, highlighting the work and contemporary aesthetic field, with a view to delimit the Theater of Oppressed importancefor the workers training in the current social conjuncture. The data collect was guided by the research qualitative approach, having the research-action like a method. In the methodological procedures, the game was identified like the main strategy of aesthetic and politictraining, been highlighted in several researches in the Pedagogy of Theater and Theater of Oppressedscope. The work presents the steps of the GrupoEmbasart‟straining process, compounded by EmpresaBaiana de Águas e Saneamento‟sworkers, highlighting since the application of games and exercises, the challenges of Theater of Oppressed insertion in an industry, the process of theater-forum staging, to the analyze the interventions produced by spect-actors of the spectacle Cresça e Apareça. The empiric data were analyzed by the mediation of the workers training process, by testimonials collected about the experience and by the observation of the espect-actors interventions in a theater-forum spectacle, searching to understand the site of subject like theatrical experienceco-creator. The detailed description of the obtained data and the research results expand the comprehension of a Theater of Oppressed Pedagogy like a complex experience, by its aesthetic, politic and educational character. In the text, the theater-forum technique is analyzed in an actor and espect-actorstraining perspective, by critical and improvisational essence, highlighting the wildcard mediation, seemed like the educator that provokes reflections and stimulates the audience active participation, like a test to new everyday actions. The research demonstrates that the Theater of Oppressed practices influence to aesthetic viewexpansion, to the improvisational learning and to a more worker empowerment in his work context. Because the scant studies about Theater of Oppressed, in the Pedagogy of Theater scope, the work appoint to new researches directions, especiallythe participants‟ body and voice sensorial stimulation of the aesthetic-politics training process.

Made available in DSpace on 2015-05-07T14:27:27Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 948845 bytes, checksum: 08dc2e0345d1bc56544d8369e2a0ad83 (MD5) Previous issue date: 2011-04-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research shows the thread of Ariadne which links human rights and the theater of the Oppressed. It chooses to place them in the world of life using the tragedies of the century of Pericles and the Law visions of Flores, Bobbi ,Ost and Dworki , in search of the political dimension of human experience and the political and social character of the judicial phenomenon. The human rights are presented in the historical context of modernity in connection with the enlightenment thought. Pursuing the contagion between the Law and the historical aspects of individual and collective experiences, one of the main theoretical axes is a critical and realist theory of the human rights of Flores. Starting with Boal s assertion that every theater is political, and that a citizen is not only the one who lives in society, but the one who transforms it, this study visits its critical revision of the Western theater from Aristotle to Brecht as a reflexive base for identifying the main political and cultural ideas that guided the creation of the Oppressed Aesthetics : Impure Ganga - the theater of the Oppressed is inserted in the historical context that presided its genesis, evidencing the political engagement of the left side. The influences about the pedagogical character are captured in authors such as Marx, Freire and Brecht. Originated in the society, human rights and the theater of the oppressed are attracted to each other but by the critical capacity of the theater and literature, they also repel each other under the sign of non acceptance . The dialogue between both elects the political aspect as theme and counter hegemonic theory and practice. It presents the plurality of routes as methodological place in which the distinctive conception of human dignity and rights are legitimate. This fact points to a joint authorship instead of an exclusive affiliation to the Western modernity. The art is taken as a measuring criterion of axiological progress or retrocess. The a priori universalism of the Universal human rights declaration is questioned through the perspective that such rights are historical constructed and not given artifacts. Resistance to oppression, political participation and democratic transitivity are common characteristics of human rights and of the theater of the Oppressed. The idea of revolution is revisited under the counter -hegemonic prism in the visions of Flores and in the joint revolution of Morin. A society without the oppressed and the oppressors and an ethical horizon are very dear characteristics to the human rights and to the theater of the oppressed evidencing the responsibility as the ethics by excellence of both. / A pesquisa procura o fio de Ariadne que liga direitos humanos e Teatro do Oprimido. Opta por situá-los no mundo da vida, recorrendo às tragédias do século de Péricles e às visões do direito de Flores, Bobbio, Ost e Dworkin, em busca do caráter político e social da experiência humana e do fenômeno jurídico. Os direitos humanos são apresentados no contexto histórico da modernidade em conexões com o pensamento iluminista. Perseguindo o contágio entre o direito e os aspectos históricos das experiências individuais e coletivas, um dos eixos teóricos principais é a teoria critica e realista dos direitos humanos de Flores. Partindo da assertiva de Boal de que todo teatro é político e que cidadão não é apenas quem vive em sociedade mas quem a transforma, o estudo visita sua revisão crítica do teatro ocidental, de Aristóteles a Brecht, base reflexiva para identificação das principais ideias políticas e culturais que nortearam a criação da Estética do Oprimido. Ganga impura , o Teatro do Oprimido é inserido no contexto histórico que presidiu sua gênese, evidenciando-se o engajamento político de esquerda. As influências sobre o caráter pedagógico são capturadas em autores como Marx, Freire e Brecht. Originados na sociedade, direitos humanos e Teatro do Oprimido se atraem mas, pela capacidade crítica do teatro e da literatura, se repelem sob o signo do não acolhimento . O diálogo entre ambos elege o político como teoria e prática contrahegemônicas. Apresenta a pluralidade de vias como lugar metodológico em que legítimas são as distintas concepções de dignidade humana e de direitos humanos que apontam para uma autoria conjunta , ao invés da filiação exclusiva à modernidade ocidental. Toma a arte como critério aferidor de progresso ou retrocesso axiológico. O universalismo a priori da Declaração Universal dos Direitos Humanos é questionado pela perspectiva de que tais direitos são artefatos históricos construídos e não dados. Resistência à opressão, participação política e transitividade democrática são características comuns dos direitos humanos e do Teatro do Oprimido. A ideia de revolução é revisitada sob o prisma contra-hegemônico, nas visões de Flores e de Boal e na de revolução de conjunto , de Morin. Uma sociedade sem oprimidos e opressores e o horizonte ético são características bastante caras aos direitos humanos e ao Teatro do Oprimido, evidenciando-se a responsabilidade como a ética por excelência de ambos.

Augusto Boal teve um importante papel como professor de dramaturgia, nas décadas de 50 e 60 tanto no Teatro de Arena, no qual fundou o Seminário de Dramaturgia e o Laboratório de Atuação, como na Escola de Arte Dramática (EAD). Ele integra o quadro de professores da escola a partir de 1960, ano em que Alfredo Mesquita, fundador e diretor da escola, abre o curso de Dramaturgia e Crítica, até a incorporação da escola pela USP, em 1968. Na EAD, Boal estabelece uma didática inovadora - como já havia ocorrido no Arena, com o ineditismo da pesquisa laboratorial que instituiu por lá após retornar dos Estados Unidos, onde estudou em Columbia - que consistia em ministrar aulas práticas e teóricas e incluir a vida cultural da cidade na sala de aula. O presente trabalho se baseia em anotações das aulas de Boal, material inédito que nos foi cedido pelo dramaturgo Lauro César Muniz. Analisa e reflete sua prática didática em contraste com demais escritos de Boal, principalmente o livro Teatro do Oprimido, no qual ele faz uma espécie de síntese das aulas ministradas na EAD. Utilizamos também, aulas da década de 60, contidas no Arquivo Augusto Boal. Do entrecruzamento e análise desse material surge o retrato de um artista ligado a seu tempo, trabalhando no trânsito entre prática política, didática e artística, tendo sempre a dramaturgia como mediadora. / Augusto Boal played an importante role as a drama teacher in the Fifties and Sixties decades in Arena Theather in which he founded the Dramaturgy Seminary and the Acting Laboratory as in the School of Dramatic Art. He integrated the School Teacher\'s board from 1960 the year in which Alfredo Mesquita, founder and director of the school, opened the course of Dramaturgy and Critique, until the incorporation of the school by University of São Paulo in 1968. In EAD, Boal established an innovative didactic - as had already occured in the Arena with the inedition of the laboratory research that he had instituted there after returning from the US where he attended Columbia University. The didactic consisted in teaching practical and theorical lessons and including the cultural life of the city in the classroom. The present paper is based on Boal\'s classes notes, which are an unprecedented material that was given us by playwriter Lauro Cesar Muniz. These notes analysed and reflected Boal\'s didactic practice in contrast with other Boal\'s writings, mainly the book Theater of the Oppressed, in which he did a sort of synthesis of the classes he taught at EAD. We also used classes for the Sixties decade from Augusto Boal\'s archives. From the intercrossing and analyses of this material arose the portrait of an artist connected to his time, a transient between political, didactic and artistic practices always having the playwrite as a mediator.

Det finns en stor ojämlikhet mellan olika grupper i samhällets i Sverige idag, vilket är ettsocialt problem. Denna studie har fokuserat på en idrottsförening i Västsverige som aktivtarbetar med social inkludering i sin verksamhet för att minska denna ojämlikhet. Syftet medstudien var att ur ett ledarperspektiv belysa vilka faktorer som är avgörande för att kunnaskapa inkludering av nyanlända barn och ungdomar i en idrottsförenings verksamheter iVästsverige. För att tolka resultatet har en teoretisk referensram bestående av socialinkludering, social rättvisa, empowerment och frigörande pedagogik använts i studien.Studien har en tolkande kvalitativ innehållsanalys ansats då det empiriska materialet hargrundats på intervjuer. Den empiri som använts i studien var redan insamlad av forskare frånHögskolan Väst, Göteborgs universitet och Högskolan i Halmstad och fanns tillgänglig somelektroniskt inspelningsmaterial. Materialet bestod av en djupintervju medverksamhetsledaren för idrottsföreningens olika projekt samt två gruppintervjuer med tvåkvinnliga respektive två manliga ledare. Tolkningarna av resultatet ledde till tolv kategoriersom därefter delades in i tre teman. Det första temat inkluderande värdegrund består avkategorierna goda relationer, förtrogenhet med det svenska språket, kunskap om normer,gemenskap, respekt och disciplinering och jämlikhet. Det andra temat, ledarkompetens ochbehovsanpassning består av kategorierna “rätt” personal, engagemang och ansvar,gränsdragningar samt behovsanpassade aktiviteter. Det tredje temat, goda yttre villkor, bestårav kategorierna goda ekonomiska förutsättningar samt fler och bättre resurser. För attförbättra inkluderingsarbetet krävs att de olika faktorerna främjas. Det bör också läggas merfokus på att involvera föräldrarna mer i föreningen, i syfte att skapa en bättre balans mellanledarnas arbetsliv och fritid. De tre teman som tolkades fram från resultatet krävs för attuppnå en social inkludering. För framtida forskning kan det vara intressant att studera andraperspektiv av inkluderingsarbetet, t.ex. ungdomarnas, deras föräldrar och samhällets olikaverksamheter som kommuner, skolor och polis. / There is inequality between different groups in society in Sweden nowadays, which is a socialproblem. This study has been focusing on a sport association in the western part of Sweden,which is actively working with social inclusion with the aim to minimize this inequality. Thepurpose of this study was to illuminate which factors, from a leadership perspective, arecrucial for the creation of inclusion in their work with youth immigrants in a sport associationin western part of Sweden. The theories of social inclusion, social justice, empowerment andpedagogy of the oppressed has been used in order to interpret the results. The study has aninterpretative qualitative content analysis approach since the material was based oninterviews. The empirics used in the study was already collected by researchers fromUniversity West, the University of Gothenburg, and Halmstad University and was available asan electronic recorded material. The material consisted of an in-depth interview with the mainleader of the sport association and two group interviews with two females as well as two maleleaders. The interpretations of the result led to twelve categories that was divided into threethemes. The first theme, inclusive values, consists of the categories good relationships,familiarity with the Swedish language, knowledge of norms, community, respect anddiscipline and equality. The second theme, leadership skills and needs adjustment, consist ofthe categories "right" staff, commitment and responsibility, boundaries and needs-adaptedactivities. The third theme, good external conditions, consists of the categories goodeconomic conditions and more and better resources. To improve the social inclusion withinthe organization is it necessary to support and develop these factors. There should also bemore focus on involving parents in the association, to create a better balance between theleaders work life and their private life. The three themes interpreted from the result arerequired to achieve social inclusion.When it comes to future research it might be interesting to study other perspective of thesocial inclusion as well as. For example, the perspective of the youths, their parents anddifferent organizations of the society, such as local authorities, schools and police.

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