Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações do UNIOESTE |
Texto Completo: | http://tede.unioeste.br/handle/tede/4616 |
Resumo: | In this dissertation we aimed to analyze the historical, theoretical-methodological and pedagogical aspects of Augusto Boal's Theater of the Oppressed (1931-2009), singularly regarding his unity theoretical-methodological on the perspective of human formation, exhibited above all, on the following works The Theater of the Oppressed and other Political Poetics (2013) and Games for Actors and Non-Actors (2008), both literary works of the theatrologist. On this bibliographical research, we prioritize the works of Boal, the primary source of the research. As secondary sources, from survey made in the physical and digital media, we selected authors who assisted us in the delimitation of our research object, as well as in the understanding of the historical, social, cultural and political context in which the author/work is inserted. In this analysis, we start from the premise that art and theater themselves play an important role in the global development of individuals. From this perspective, we conceive, according to Konder (2013), that artistic activities preserve inside them important issues associated with men's creativity in the production process of existence. Based on this assumption, we try to answer two main questions: What are the aesthetic approaches to the dialogue in the TO and the respective criticisms that Boal presented to them? How does theoretical-methodological unity of TO contribute to human formation? In order to detail these questions, as well as regarding their objectives, we disserted on the first chapter, about the creation of Poetic Theater of the Oppressed in connection with its historical context. From this angle, we reflect on the political, social and cultural conjuncture that marked the advance of conservative forces and, at the same time, promoted a movement of contestation and proposition of alternative social projects, particularly in the context of the culture in the Brazil during the military dictatorship (1964-1985) and also in the world, in the central decades of the twentieth century. The second chapter contemplates the origin of the theater and its pedagogical heritage linked to the production of the existence. In it we inquire the conception of art and theater, especially the aesthetic discussion present in the poetics of Aristotle, Machiavelli, Hegel and Brecht, on which Boal (2013) articulated his critiques and contributions. In the last chapter, analyzing the theatrical reports of the experiences from the Boal Forum-Theater (2008), experienced in Europe in the 1970s, we point out the relations between the TO and the theatrical theories discussed in the previous chapters, as well as we evidence the theoretical-theoretical unity. Boal's proposal as we evidence the theatrologist's concern with the individual and social transformation of the spectators into spect-actors. Through this study, we conclude that the pedagogical dimension of TO results from its theoretical-methodological unity expressed in the understanding that dramatic art through communication and dialogue teaches men the ways that body and mind must go through to become protagonists of their own history, by the mediation of human formation |
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Galter , Maria Inalvahttp://lattes.cnpq.br/7729468520363574Nunes , Ana Luiza Ruschelhttp://lattes.cnpq.br/2446074749753703Favoreto , Aparecidahttp://lattes.cnpq.br/3103506424875004Fiuza , Alexandre Felipehttp://lattes.cnpq.br/5432939945934180http://lattes.cnpq.br/5334818815032937Portes, Carolina Marcon2020-01-10T13:11:06Z2019-08-28PORTES, Carolina Marcon. Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal. 2019. 135 f. Dissertação( Mestrado em Educação) - Universidade Estadual do Oeste do Paraná, Cascavel, 2019.http://tede.unioeste.br/handle/tede/4616In this dissertation we aimed to analyze the historical, theoretical-methodological and pedagogical aspects of Augusto Boal's Theater of the Oppressed (1931-2009), singularly regarding his unity theoretical-methodological on the perspective of human formation, exhibited above all, on the following works The Theater of the Oppressed and other Political Poetics (2013) and Games for Actors and Non-Actors (2008), both literary works of the theatrologist. On this bibliographical research, we prioritize the works of Boal, the primary source of the research. As secondary sources, from survey made in the physical and digital media, we selected authors who assisted us in the delimitation of our research object, as well as in the understanding of the historical, social, cultural and political context in which the author/work is inserted. In this analysis, we start from the premise that art and theater themselves play an important role in the global development of individuals. From this perspective, we conceive, according to Konder (2013), that artistic activities preserve inside them important issues associated with men's creativity in the production process of existence. Based on this assumption, we try to answer two main questions: What are the aesthetic approaches to the dialogue in the TO and the respective criticisms that Boal presented to them? How does theoretical-methodological unity of TO contribute to human formation? In order to detail these questions, as well as regarding their objectives, we disserted on the first chapter, about the creation of Poetic Theater of the Oppressed in connection with its historical context. From this angle, we reflect on the political, social and cultural conjuncture that marked the advance of conservative forces and, at the same time, promoted a movement of contestation and proposition of alternative social projects, particularly in the context of the culture in the Brazil during the military dictatorship (1964-1985) and also in the world, in the central decades of the twentieth century. The second chapter contemplates the origin of the theater and its pedagogical heritage linked to the production of the existence. In it we inquire the conception of art and theater, especially the aesthetic discussion present in the poetics of Aristotle, Machiavelli, Hegel and Brecht, on which Boal (2013) articulated his critiques and contributions. In the last chapter, analyzing the theatrical reports of the experiences from the Boal Forum-Theater (2008), experienced in Europe in the 1970s, we point out the relations between the TO and the theatrical theories discussed in the previous chapters, as well as we evidence the theoretical-theoretical unity. Boal's proposal as we evidence the theatrologist's concern with the individual and social transformation of the spectators into spect-actors. Through this study, we conclude that the pedagogical dimension of TO results from its theoretical-methodological unity expressed in the understanding that dramatic art through communication and dialogue teaches men the ways that body and mind must go through to become protagonists of their own history, by the mediation of human formationNesta dissertação tivemos como objetivo analisar os aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido, de Augusto Boal (1931-2009), singularmente no que se refere à sua unidade teórico-metodológica, na perspectiva da formação humana, exposta, sobretudo, nas obras O Teatro do Oprimido e outras Poéticas Política (2013) e Jogos para Atores e não Atores (2008), ambas de autoria do teatrólogo. Na pesquisa de cunho bibliográfico, priorizamos as obras de Boal, fonte primária da investigação. Como fontes secundárias, a partir de levantamento feito em meio físico e digital, selecionamos autores que nos auxiliaram na delimitação do nosso objeto de investigação, bem como na compreensão do contexto histórico, social, cultural e político no qual autor/obra se inserem. Na análise, partimos da premissa de que a arte e o teatro em si desempenham um papel importante para o desenvolvimento global dos indivíduos. Nessa perspectiva, concebemos, como Konder (2013), que as atividades artísticas preservam, em seu interior, questões importantes associadas à criatividade dos homens no processo de produção da existência. Fundamentando-nos nesse pressuposto, tentamos responder a duas questões principais: Quais são as abordagens estéticas em diálogo no TO e as respectivas críticas que Boal apresentou a elas? De que forma a unidade teórico-metodológica do TO contribui para a formação humana? Visando a pormenorizar essas questões, bem como no que concerne aos seus objetivos, dissertamos, no primeiro capítulo, sobre a criação da Poética do Teatro do Oprimido, em conexão com seu contexto histórico. Por esse ângulo, refletimos sobre a conjuntura política, social e cultural que marcou o avanço das forças conservadoras e, ao mesmo tempo, promoveu um movimento de contestação e proposição de projetos sociais alternativos, particularmente no âmbito da cultura no Brasil durante a ditatura militar (1964-1985) e no mundo, nas décadas centrais do século XX. O segundo capítulo contemplou a origem do teatro e sua herança pedagógica ligada à produção da existência. Nele, indagamos a concepção de arte e do teatro, sobretudo a discussão estética presente nas poéticas de Aristóteles, Maquiavel, Hegel e Brecht, sobre as quais Boal (2013) articulou críticas e contribuições. No último capítulo, analisando os relatos teatrais das experiências do Teatro-Fórum de Boal (2008), vivenciadas na Europa na década de 1970, apontamos as relações entre o TO e as teorias teatrais abordadas nos capítulos precedentes, bem como evidenciamos a unidade teórico-metodológica da proposta de Boal na medida em que vislumbramos a preocupação do teatrólogo com a transformação individual e social dos espectadores em espect-atores. Por meio desse estudo, concluímos que a dimensão pedagógica do TO resulta da sua unidade teórico-metodológica, expressa na compreensão de que a arte dramática, por meio da comunicação e do diálogo, ensina aos homens os caminhos que o corpo e a mente devem percorrer para se tornarem protagonistas da sua própria história, por mediação da formação humanaSubmitted by Edineia Teixeira (edineia.teixeira@unioeste.br) on 2020-01-10T13:11:06Z No. of bitstreams: 2 Caroline_Portes_2019.pdf: 1312672 bytes, checksum: 8ae83d3df3321c979f9edcbef060338f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2020-01-10T13:11:06Z (GMT). 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dc.title.por.fl_str_mv |
Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal |
dc.title.alternative.eng.fl_str_mv |
Historical, theoretical-methodological and pedagogical aspects of the Theater of the Oppressed from the perspective of Augusto Boal |
title |
Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal |
spellingShingle |
Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal Portes, Carolina Marcon Augusto Boal Arte Teatro do Oprimido Unidade teórico-metodológica Formação Humana Augusto Boal Art Theater of the Oppressed Theoretical-methodological unit Human formation CIENCIAS HUMANAS::EDUCACAO |
title_short |
Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal |
title_full |
Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal |
title_fullStr |
Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal |
title_full_unstemmed |
Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal |
title_sort |
Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal |
author |
Portes, Carolina Marcon |
author_facet |
Portes, Carolina Marcon |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Galter , Maria Inalva |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/7729468520363574 |
dc.contributor.referee1.fl_str_mv |
Nunes , Ana Luiza Ruschel |
dc.contributor.referee1Lattes.fl_str_mv |
http://lattes.cnpq.br/2446074749753703 |
dc.contributor.referee2.fl_str_mv |
Favoreto , Aparecida |
dc.contributor.referee2Lattes.fl_str_mv |
http://lattes.cnpq.br/3103506424875004 |
dc.contributor.referee3.fl_str_mv |
Fiuza , Alexandre Felipe |
dc.contributor.referee3Lattes.fl_str_mv |
http://lattes.cnpq.br/5432939945934180 |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/5334818815032937 |
dc.contributor.author.fl_str_mv |
Portes, Carolina Marcon |
contributor_str_mv |
Galter , Maria Inalva Nunes , Ana Luiza Ruschel Favoreto , Aparecida Fiuza , Alexandre Felipe |
dc.subject.por.fl_str_mv |
Augusto Boal Arte Teatro do Oprimido Unidade teórico-metodológica Formação Humana |
topic |
Augusto Boal Arte Teatro do Oprimido Unidade teórico-metodológica Formação Humana Augusto Boal Art Theater of the Oppressed Theoretical-methodological unit Human formation CIENCIAS HUMANAS::EDUCACAO |
dc.subject.eng.fl_str_mv |
Augusto Boal Art Theater of the Oppressed Theoretical-methodological unit Human formation |
dc.subject.cnpq.fl_str_mv |
CIENCIAS HUMANAS::EDUCACAO |
description |
In this dissertation we aimed to analyze the historical, theoretical-methodological and pedagogical aspects of Augusto Boal's Theater of the Oppressed (1931-2009), singularly regarding his unity theoretical-methodological on the perspective of human formation, exhibited above all, on the following works The Theater of the Oppressed and other Political Poetics (2013) and Games for Actors and Non-Actors (2008), both literary works of the theatrologist. On this bibliographical research, we prioritize the works of Boal, the primary source of the research. As secondary sources, from survey made in the physical and digital media, we selected authors who assisted us in the delimitation of our research object, as well as in the understanding of the historical, social, cultural and political context in which the author/work is inserted. In this analysis, we start from the premise that art and theater themselves play an important role in the global development of individuals. From this perspective, we conceive, according to Konder (2013), that artistic activities preserve inside them important issues associated with men's creativity in the production process of existence. Based on this assumption, we try to answer two main questions: What are the aesthetic approaches to the dialogue in the TO and the respective criticisms that Boal presented to them? How does theoretical-methodological unity of TO contribute to human formation? In order to detail these questions, as well as regarding their objectives, we disserted on the first chapter, about the creation of Poetic Theater of the Oppressed in connection with its historical context. From this angle, we reflect on the political, social and cultural conjuncture that marked the advance of conservative forces and, at the same time, promoted a movement of contestation and proposition of alternative social projects, particularly in the context of the culture in the Brazil during the military dictatorship (1964-1985) and also in the world, in the central decades of the twentieth century. The second chapter contemplates the origin of the theater and its pedagogical heritage linked to the production of the existence. In it we inquire the conception of art and theater, especially the aesthetic discussion present in the poetics of Aristotle, Machiavelli, Hegel and Brecht, on which Boal (2013) articulated his critiques and contributions. In the last chapter, analyzing the theatrical reports of the experiences from the Boal Forum-Theater (2008), experienced in Europe in the 1970s, we point out the relations between the TO and the theatrical theories discussed in the previous chapters, as well as we evidence the theoretical-theoretical unity. Boal's proposal as we evidence the theatrologist's concern with the individual and social transformation of the spectators into spect-actors. Through this study, we conclude that the pedagogical dimension of TO results from its theoretical-methodological unity expressed in the understanding that dramatic art through communication and dialogue teaches men the ways that body and mind must go through to become protagonists of their own history, by the mediation of human formation |
publishDate |
2019 |
dc.date.issued.fl_str_mv |
2019-08-28 |
dc.date.accessioned.fl_str_mv |
2020-01-10T13:11:06Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
PORTES, Carolina Marcon. Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal. 2019. 135 f. Dissertação( Mestrado em Educação) - Universidade Estadual do Oeste do Paraná, Cascavel, 2019. |
dc.identifier.uri.fl_str_mv |
http://tede.unioeste.br/handle/tede/4616 |
identifier_str_mv |
PORTES, Carolina Marcon. Aspectos históricos, teórico-metodológicos e pedagógicos do Teatro do Oprimido na perspectiva de Augusto Boal. 2019. 135 f. Dissertação( Mestrado em Educação) - Universidade Estadual do Oeste do Paraná, Cascavel, 2019. |
url |
http://tede.unioeste.br/handle/tede/4616 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.program.fl_str_mv |
-8451285793228477937 |
dc.relation.confidence.fl_str_mv |
600 600 600 |
dc.relation.department.fl_str_mv |
6678066452762177366 |
dc.relation.cnpq.fl_str_mv |
-240345818910352367 |
dc.rights.driver.fl_str_mv |
http://creativecommons.org/licenses/by/4.0/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
http://creativecommons.org/licenses/by/4.0/ |
eu_rights_str_mv |
openAccess |
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Universidade Estadual do Oeste do Paraná Cascavel |
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Programa de Pós-Graduação em Educação |
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UNIOESTE |
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Brasil |
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Centro de Educação, Comunicação e Artes |
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Universidade Estadual do Oeste do Paraná Cascavel |
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Universidade Estadual do Oeste do Paraná (UNIOESTE) |
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Biblioteca Digital de Teses e Dissertações do UNIOESTE |
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Biblioteca Digital de Teses e Dissertações do UNIOESTE - Universidade Estadual do Oeste do Paraná (UNIOESTE) |
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biblioteca.repositorio@unioeste.br |
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