Esta pesquisa teve como objetivo investigar possíveis relações entre o conto de tradição oral e os jogos teatrais, com a intenção de contribuir para a reflexão de perspectivas do ensino de teatro. Apoiada na sistematização dos jogos teatrais, proposta por Viola Spolin, investiguei a utilização do jogo em um processo de montagem de uma peça, seguindo o caminho indicado no livro O jogo teatral no livro do diretor. Para tanto, realizei experimento com um grupo de jovens do Ensino Médio, de uma escola estadual, na cidade de São Paulo, no ano de 2001. Este trabalho foi baseado em pesquisas sobre o conto e o ensino de teatro, bem como na experiência realizada com o grupo de alunos. / This research intends to check possible relationships between oral traditional short stories and the theatre games, with the intention to contribute to the reflection of perspectives of acting learning. Based on the theatre games systematization, proposed by Viola Spolin, I did an investigation about the use of games to stage a play, following the instructions of the book The theatre games in the directors book. For that, I did an experiment with a young group from a state high school in São Paulo city, during the year 2001. This work was based on researches about short stories and acting learning as well with the experiment performed with the young group.

Esta pesquisa teve como objetivo investigar possíveis relações entre o conto de tradição oral e os jogos teatrais, com a intenção de contribuir para a reflexão de perspectivas do ensino de teatro. Apoiada na sistematização dos jogos teatrais, proposta por Viola Spolin, investiguei a utilização do jogo em um processo de montagem de uma peça, seguindo o caminho indicado no livro O jogo teatral no livro do diretor. Para tanto, realizei experimento com um grupo de jovens do Ensino Médio, de uma escola estadual, na cidade de São Paulo, no ano de 2001. Este trabalho foi baseado em pesquisas sobre o conto e o ensino de teatro, bem como na experiência realizada com o grupo de alunos. / This research intends to check possible relationships between oral traditional short stories and the theatre games, with the intention to contribute to the reflection of perspectives of acting learning. Based on the theatre games systematization, proposed by Viola Spolin, I did an investigation about the use of games to stage a play, following the instructions of the book The theatre games in the directors book. For that, I did an experiment with a young group from a state high school in São Paulo city, during the year 2001. This work was based on researches about short stories and acting learning as well with the experiment performed with the young group.

Made available in DSpace on 2016-03-15T19:43:50Z (GMT). No. of bitstreams: 1 Jorge Wilson da Conceicao.pdf: 1329948 bytes, checksum: 8a8e05250acaf2ac2c516f33f7a24f66 (MD5) Previous issue date: 2010-03-17 / Secretaria da Educação do Estado de São Paulo / Our focus on this research are on Spolin Theatre Game System and Art teachers procedures at public school. In order to better understand the universe in which this system belongs, we first present a study about games and improvisational games. Then we verify if teachers graduated in Theatre Arts work with theatre games, as well as how teachers work with them. With this in mind, we interviewed six teacher from different schools about issues concerning Spolin‟s system theory, academic education in Art, continuing education, and their practice with the games. This research took place in the City of Guarulhos, with Theatre teachers from Regional Department of Teaching named Guarulhos North which belongs to The Education Department of the State of São Paulo. In order to gain the data we talked to participant teachers of the research by the means of semi-structured interviews in two different moments: December, 2008 and October, 2009. Besides, we have also interviewed the specialist in theatre studies Professor Mariana Muniz from Federal University of Minas Gerais, and the actress and clown Rhena de Faria member of Cia. do Quintal. The datas from the search showed us important issues teachers have to deal with to work with improvisational games in the public school, such as: the graduating degree in Art; the role of continuing education; school structure and culture difficulties; how familiar teachers are with improvisational games and theatre games as well as Art teaching on contemporary theatre. / Esta pesquisa tem como foco o Sistema de Jogos Teatrais de Viola Spolin, e a prática de professores de Arte na escola pública. Para um melhor entendimento do universo em que esta categoria de jogos está inserida, apresentamos inicialmente um estudo sobre o jogo, e sobre os jogos de improvisação. A partir disso, buscamos verificar se os professores que possuem especialização em Teatro trabalham com os jogos teatrais, e como se dá essa prática. Com esse objetivo, entrevistamos seis professores de diferentes escolas sobre questões acerca da teoria do sistema de Spolin, a formação acadêmica e contínua, e suas práticas com jogos. A investigação foi realizada na Cidade de Guarulhos, com professores que possuem formação em Artes Cênicas da Diretoria Regional de Ensino Guarulhos Norte da Secretaria de Estado da Educação. A coleta de dados se deu por meio de entrevista semiestruturada que aconteceu em dois momentos diferentes: Dezembro de 2008 e Outubro de 2009. Além disso, e com o intuito de entender a contribuição dos jogos teatrais para práticas contemporâneas, também realizamos entrevistas com especialistas em jogos de improvisação: a estudiosa em assuntos teatrais Profª Mariana Muniz da Universidade Federal de Minas Gerais e a atriz e palhaça Rhena de Faria do Grupo Jogando no Quintal. A análise dos dados nos apontou questões importantes que permeiam as práticas dos professores com jogos de improvisação na escola pública, como: a formação acadêmica da licenciatura em Artes Cênicas; o papel da formação continuada; as dificuldades impostas pela estrutura e cultura escolares; e a familiaridade ou não dos professores com jogos de improvisação, com o sistema de Spolin, e o ensino de teatro contemporâneo.

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.

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