Jogos teatrais na educação: desafios
Autor(a) principal: | |
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Data de Publicação: | 2011 |
Tipo de documento: | Trabalho de conclusão de curso |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://repositorio.pucsp.br/jspui/handle/handle/28762 |
Resumo: | This research education / intervention is focused to answer the question: How does the theatrical play can promote their work in school? For this picture I drew a background of art education in Brazil, focusing on the history of drama in education. Authors have presented some of theater games, specifying the materials used, the teaching, the teaching procedures. Developed and reported the practical work with a group of seven students (boys) 11 to 13 years old with learning difficulties and attitudinal. This work finds itself placed under the Interinstitutional studies of the Chair Joel Martin, based in the Faculty of Education at PUC-SP and its locus of research EMEF Judge Amorim Lima, public school elementary school located at Rua Professor Vicente Peixoto, 50, Indian Village, California. For this, first introduced in March, a theorist with national and international authors on the theatrical play, as well as the concepts and methods, which influenced the proposed practice. Following through exploratory research with students, I sought to know the reality of children and their interests from the developed exercises / workshops. The activities were varied, such as coordination games, theater games, dance and visual arts. The classes form developed at the school, the room once a week, always with music. I was surprised to go to practice and see that the theater would not be the first path as I had planned. The group showed me through his body movements, their gestures, their speech: the dance. Needed to achieve them permeate their interests. Talking to the group was not easy, had difficulty channeling their energies, they beat all the time, climbed on the tables, throwing chairs and tables on the floor, shouted out the window, threw objects, not listening. Therefore the dialogue would not be the first phase of work, and yes, body language, specifically dance. Involved with the repertoire that I brought in the first and second class, for they could not. Would really love to funk. Respect their choices, but brought a funk different from their usual, but with the same beat. Excited, we speak the same language, even though I am an adult and a teacher, an authority to them. So we gradually became acquainted, we understand. Realized that I was not there as an enemy, or someone putting them down, but someone who wanted to work them, believed in the potential of the group. Gradually met their interests and even talked about the confusion who got in school. This research showed me the wealth that is the blending of different artistic fields, and how you can use them. Time was short, I needed more, they planned mainly playing theater was not possible. But the achievements such as: working together, doing double, listen up, look up, self esteem, were clearly important. For me, it was difficult and challenging. How important was watching them, forget a little of my interests and go for them. Feeling the group, see where we can step, conquer them, so as to speak the same language, art |
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Carneiro, Suzana Filizola BrasilienseCancello, Ana Marques2022-10-11T11:48:22Z2022-10-11T11:48:22Z2011-11-07Cancello, Ana Marques. Jogos teatrais na educação: desafios. 2011. Trabalho de Conclusão de Curso (Graduação em Pedagogia) - Faculdade de Educação da Pontifícia Universidade Católica de São Paulo, São Paulo, 2011.https://repositorio.pucsp.br/jspui/handle/handle/28762This research education / intervention is focused to answer the question: How does the theatrical play can promote their work in school? For this picture I drew a background of art education in Brazil, focusing on the history of drama in education. Authors have presented some of theater games, specifying the materials used, the teaching, the teaching procedures. Developed and reported the practical work with a group of seven students (boys) 11 to 13 years old with learning difficulties and attitudinal. This work finds itself placed under the Interinstitutional studies of the Chair Joel Martin, based in the Faculty of Education at PUC-SP and its locus of research EMEF Judge Amorim Lima, public school elementary school located at Rua Professor Vicente Peixoto, 50, Indian Village, California. For this, first introduced in March, a theorist with national and international authors on the theatrical play, as well as the concepts and methods, which influenced the proposed practice. Following through exploratory research with students, I sought to know the reality of children and their interests from the developed exercises / workshops. The activities were varied, such as coordination games, theater games, dance and visual arts. The classes form developed at the school, the room once a week, always with music. I was surprised to go to practice and see that the theater would not be the first path as I had planned. The group showed me through his body movements, their gestures, their speech: the dance. Needed to achieve them permeate their interests. Talking to the group was not easy, had difficulty channeling their energies, they beat all the time, climbed on the tables, throwing chairs and tables on the floor, shouted out the window, threw objects, not listening. Therefore the dialogue would not be the first phase of work, and yes, body language, specifically dance. Involved with the repertoire that I brought in the first and second class, for they could not. Would really love to funk. Respect their choices, but brought a funk different from their usual, but with the same beat. Excited, we speak the same language, even though I am an adult and a teacher, an authority to them. So we gradually became acquainted, we understand. Realized that I was not there as an enemy, or someone putting them down, but someone who wanted to work them, believed in the potential of the group. Gradually met their interests and even talked about the confusion who got in school. This research showed me the wealth that is the blending of different artistic fields, and how you can use them. Time was short, I needed more, they planned mainly playing theater was not possible. But the achievements such as: working together, doing double, listen up, look up, self esteem, were clearly important. For me, it was difficult and challenging. How important was watching them, forget a little of my interests and go for them. Feeling the group, see where we can step, conquer them, so as to speak the same language, artEssa pesquisa/intervenção tem como foco principal responder a questão: Como o jogo teatral pode favorecer o trabalho na escola? Para tanto tracei um panorama de fundo da arte educação no Brasil, focando a história do teatro na educação. Apresentei alguns autores dos jogos teatrais, especificando os materiais utilizados, as didáticas, os procedimentos de ensino. Desenvolvi e relatei os trabalhos de natureza prática com um grupo de sete alunos (meninos) de 11 à 13 anos de idade com dificuldades de aprendizagem e atitudinais. Este trabalho acha-se inserido no âmbito dos estudos do Grupo de Pesquisa Educação e Produção do Conhecimento (CNPq-PUC-SP) e Cátedra Joel Martins e tem como lócus de pesquisa uma EMEF Desembargador Amorim Lima, escola municipal de ensino fundamental localizada em São Paulo. Para tanto, Inicialmente apresentei um marco-teórico com autores nacionais e internacionais sobre o jogo teatral, assim como as concepções e métodos, que influenciaram a prática proposta. Na sequência, através da pesquisa exploratória com os alunos, busquei conhecer a realidade das crianças e a partir dos seus interesses desenvolvi exercícios/oficinas. As atividades desenvolvidas foram diversificadas, como: jogos de coordenação motora, jogos teatrais, dança e artes plásticas. As aulas forma desenvolvidas na própria escola, na sala, uma vez por semana, sempre com música. Surpreendi-me ao ir para a prática e ver que o teatro não seria o primeiro caminho como eu planejara. O grupo mostrou-se através de seus movimentos corporais, seus gestos, suas falas: a dança. Para alcançá-los precisava permear seus interesses. Conversar com o grupo não era fácil, tinham dificuldade em canalizar suas energias, batiam-se o tempo todo, subiam nas mesas, jogavam cadeiras e mesas no chão, gritavam pela janela, jogavam objetos, não se escutavam. Por tanto o diálogo não seria a primeira fase do trabalho, e sim, comunicação corporal, mais precisamente a dança. As crianças implicaram com o repertório musical que eu trouxe na primeira e segunda aula; gostavam mesmo era de funk. Respeitei suas escolhas, porém trouxe um funk diferente do habitual deles, mas com a mesma batida. Animados, poderíamos falar a mesma língua, mesmo eu sendo adulta e professora, uma autoridade para eles. Assim, fomos aos poucos nos conhecendo, nos entendendo. Perceberam que eu não estava ali como inimiga, ou alguém colocando-os para baixo, mas alguém que queria trabalhá-los, acreditava no potencial do grupo. Aos poucos conheci seus interesses e até mesmo conversei sobre as suas confusões em que se meteram na escola. Essa pesquisa mostrou-me a riqueza que é a mescla das diferentes áreas artísticas, e como é possível usá-las na prática do educador. O tempo foi curto, precisava de mais, o que planejara principalmente do jogo teatral não foi possível fazer. Mas as conquistas como: trabalhar em grupo, fazerem duplas, escutarem-se, olharem-se, a auto estima, foram visivelmente importantes. Para mim, foi difícil e desafiador. Foi importante olhá-los, esquecer um pouco dos meus interesses e partir para os deles. Sentir o grupo, perceber aonde podemos pisar, conquistá-los, para assim falarmos a mesma língua, a arteporPontifícia Universidade Católica de São PauloGraduação em PedagogiaPUC-SPBrasilFaculdade de EducaçãoCNPQ::CIENCIAS HUMANAS::EDUCACAOArte-educaçãoJogo teatralEducaçãoArt educationTheatrical gameEducationJogos teatrais na educação: desafiosinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/bachelorThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPORIGINALAna Marques Cancello - TCC.pdfapplication/pdf754856https://repositorio.pucsp.br/xmlui/bitstream/handle/28762/1/Ana%20Marques%20Cancello%20-%20TCC.pdf66b3e41f8737b45aea3bfd88f8c662d0MD51TEXTAna Marques Cancello - TCC.pdf.txtAna Marques Cancello - TCC.pdf.txtExtracted texttext/plain186567https://repositorio.pucsp.br/xmlui/bitstream/handle/28762/2/Ana%20Marques%20Cancello%20-%20TCC.pdf.txtf3e231c6efc7e3522706d88f3fc0b142MD52THUMBNAILAna Marques Cancello - TCC.pdf.jpgAna Marques Cancello - TCC.pdf.jpgGenerated Thumbnailimage/jpeg1055https://repositorio.pucsp.br/xmlui/bitstream/handle/28762/3/Ana%20Marques%20Cancello%20-%20TCC.pdf.jpgcd076592eac35edc6cb1c4436b9cb9a1MD53handle/287622023-06-27 09:22:34.705oai:repositorio.pucsp.br:handle/28762Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2023-06-27T12:22:34Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.pt_BR.fl_str_mv |
Jogos teatrais na educação: desafios |
title |
Jogos teatrais na educação: desafios |
spellingShingle |
Jogos teatrais na educação: desafios Cancello, Ana Marques CNPQ::CIENCIAS HUMANAS::EDUCACAO Arte-educação Jogo teatral Educação Art education Theatrical game Education |
title_short |
Jogos teatrais na educação: desafios |
title_full |
Jogos teatrais na educação: desafios |
title_fullStr |
Jogos teatrais na educação: desafios |
title_full_unstemmed |
Jogos teatrais na educação: desafios |
title_sort |
Jogos teatrais na educação: desafios |
author |
Cancello, Ana Marques |
author_facet |
Cancello, Ana Marques |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Carneiro, Suzana Filizola Brasiliense |
dc.contributor.author.fl_str_mv |
Cancello, Ana Marques |
contributor_str_mv |
Carneiro, Suzana Filizola Brasiliense |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS HUMANAS::EDUCACAO |
topic |
CNPQ::CIENCIAS HUMANAS::EDUCACAO Arte-educação Jogo teatral Educação Art education Theatrical game Education |
dc.subject.por.fl_str_mv |
Arte-educação Jogo teatral Educação |
dc.subject.eng.fl_str_mv |
Art education Theatrical game Education |
description |
This research education / intervention is focused to answer the question: How does the theatrical play can promote their work in school? For this picture I drew a background of art education in Brazil, focusing on the history of drama in education. Authors have presented some of theater games, specifying the materials used, the teaching, the teaching procedures. Developed and reported the practical work with a group of seven students (boys) 11 to 13 years old with learning difficulties and attitudinal. This work finds itself placed under the Interinstitutional studies of the Chair Joel Martin, based in the Faculty of Education at PUC-SP and its locus of research EMEF Judge Amorim Lima, public school elementary school located at Rua Professor Vicente Peixoto, 50, Indian Village, California. For this, first introduced in March, a theorist with national and international authors on the theatrical play, as well as the concepts and methods, which influenced the proposed practice. Following through exploratory research with students, I sought to know the reality of children and their interests from the developed exercises / workshops. The activities were varied, such as coordination games, theater games, dance and visual arts. The classes form developed at the school, the room once a week, always with music. I was surprised to go to practice and see that the theater would not be the first path as I had planned. The group showed me through his body movements, their gestures, their speech: the dance. Needed to achieve them permeate their interests. Talking to the group was not easy, had difficulty channeling their energies, they beat all the time, climbed on the tables, throwing chairs and tables on the floor, shouted out the window, threw objects, not listening. Therefore the dialogue would not be the first phase of work, and yes, body language, specifically dance. Involved with the repertoire that I brought in the first and second class, for they could not. Would really love to funk. Respect their choices, but brought a funk different from their usual, but with the same beat. Excited, we speak the same language, even though I am an adult and a teacher, an authority to them. So we gradually became acquainted, we understand. Realized that I was not there as an enemy, or someone putting them down, but someone who wanted to work them, believed in the potential of the group. Gradually met their interests and even talked about the confusion who got in school. This research showed me the wealth that is the blending of different artistic fields, and how you can use them. Time was short, I needed more, they planned mainly playing theater was not possible. But the achievements such as: working together, doing double, listen up, look up, self esteem, were clearly important. For me, it was difficult and challenging. How important was watching them, forget a little of my interests and go for them. Feeling the group, see where we can step, conquer them, so as to speak the same language, art |
publishDate |
2011 |
dc.date.issued.fl_str_mv |
2011-11-07 |
dc.date.accessioned.fl_str_mv |
2022-10-11T11:48:22Z |
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2022-10-11T11:48:22Z |
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Cancello, Ana Marques. Jogos teatrais na educação: desafios. 2011. Trabalho de Conclusão de Curso (Graduação em Pedagogia) - Faculdade de Educação da Pontifícia Universidade Católica de São Paulo, São Paulo, 2011. |
dc.identifier.uri.fl_str_mv |
https://repositorio.pucsp.br/jspui/handle/handle/28762 |
identifier_str_mv |
Cancello, Ana Marques. Jogos teatrais na educação: desafios. 2011. Trabalho de Conclusão de Curso (Graduação em Pedagogia) - Faculdade de Educação da Pontifícia Universidade Católica de São Paulo, São Paulo, 2011. |
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