Ricardo,
> What you are saying about this new movement (is it a movement?)
Yes. It is called "Theater-education" (Teatro-educa=E7=E3o)with the "-". =
It=20
means too that one doesn't may dissociate theater from education. This=20
movement raised from Art-education. In the early seventies, a law=20
written by the dictatorial government stated that all schools were=20
obeyed to ofer to their students "Art-education". To teach art-education=20
one may know visual arts, dance, theater and music... This law obeyed=20
Universities in Brazil to criate corses of "art-education" and to=20
prepare people to teach this discipline... ( people that may be expert=20
in all artistic languages... Can you imagine that?! ). Well, during the=20
eightiees, with the democratization, teachers that was teaching=20
"art-education" began to be together in order to re-think the teaching=20
of "art-education" and to propose the new law of education... that was=20
finally published last year. People decide to separate the teaching of=20
all artistic languages: Visual arts, Music, Theater and Dance. Now, the=20
universities are re-building those corses: There will be corses to=20
prepare teachers to the teaching of Theater, Music, Visual arts and=20
Dance, aside the corses that prepare "artists" in each of those=20
languages. We are in a discussion process now... everything is beeing=20
done right now.
=20
sting to know is there any research into all the
> variations in putting theater in schools? As you said there are various
> models of "theater" itself and there is no way that two schools are goi=
ng
> to do quite the same job in using theater techniques or drama/play etc =
in
> the same way. But maybe there are families and connections between some=
of
> the approaches and confrontations with other approaches?
>=20
> Who are the people engaged in practically doing theater in schools? Are
> they professionals in theater arts or educators/teachers who are also
> interested in drama?
They will be teachers specialized in an artistic language. To teach in a=20
school of the public net in Brazil, now-a-days, one may make tests and=20
has the diploma of one of those universities that ofers the courses I=20
told you above. The new courses ofered to teach one of the artistic=20
languages have a pedagogic direction... Can you understand what I mean?
But the space to artists that wants to develop projects of research in=20
one of the artistic language is also possible in schools... But the=20
teachers of one of the artisitc languages may have a diploma from a=20
university.
The objectives of Theater-education is not to make the student an=20
artist, an actor... The main goal is to permit students know the=20
specificities of theater symbols and language. To discuss things and be=20
together and interact mediated by theater.
What are their explicit/implicit theories and models
> of learning and development?
> In the Conference in Ekaterinburg I saw a difference in the general
> approach to theater in schools between those who are primarily artists =
and
> theater people and those who are primarily educators. It seemed to me t=
hat
> their implicit goals were different even when they agreed on the most
> important and basic premisses. It looked to me that (and this is a matt=
er
> of fine degree) that those who are primarily educators saw theater and =
play
> always as a means of development first; and as an art, second. And vice
> versa: the theater people who got involved with education still looked =
for
> aesthetic and artistic values first and for the development second. The=
se
> differences could also be seen in the performances which accompanied th=
e
> conference: educational workshops and demonstrations were always
> improvisational, developmental, warm and communal. Plays performed by
> children, on the other hand, were beautiful productions in the sense of=
a
> theater production, but they were non-participatory for the audience, o=
n
> stage, "high art" etc. In both cases, however, all could agree that usi=
ng
> theater in school in some form helps develop almost everything: social
> relationships, personality, emotional life, perception, cognition, arti=
stic
> and aesthetic skills and sensitivity etc.
>=20
> It would be interesting, from the third point in your tree model -
> socio-cultural context of a production - to compare what is happening t=
oday
> in Russia and in Brazil. Are there specific contexts which foster this =
or
> that approach? Is there any research in Brazil on this new movement? Or
> some in-depth studies on particular cases (schools)?
Yes, Ana. There are many studies and research of Theater-education in=20
Brazil. I could tell you about the investigations oof PHD Ingrid Dormien=20
Koudela , from University of S=E3o Paulo-USP, about Brecht action model=20
with pedagogic plays, for example.
These things you points out is really yeat real. We understand Theater=20
as a way of knowledge, an art and so as a tool of cultural development.
Much is to be done in this area in brazilian school education.
We don't want that Theater be understood only as a powerful=20
"methodology" to learn/teach "important" disciplines.We think childreen=20
and people have right to be theater and arts education.
I'm studying children cultural development with theater-education from=20
kidgarten to last class of alfabetization.
We're fighting to the inclusion of all artisitc languages in the=20
curriculum of the corses that prepares teacher to kindgarten and first=20
classes of alfabetiztion too.>=20
> Ana
>=20
>=20
>=20
> _______________________________________________________________________=
_> Dr. Ana Marjanovic-Shane
>=20
> 151 W. Tulpehocken St. City of Philadelphia
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> _______________________________________________________________________=
_> pshane who-is-at andromeda.rutgers.edu
> anchi who-is-at geocities.com
> http://www.geocities.com/~anchi/
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