"It seems to me that both Bakhtin and Boal were talking about the same issue: although each one of them from a different perspective. While Bakhtin sets himself outside the whole process of play -- to emergent spectator-author and transition from play to art, Boal speaks from the insider perspective of an author/director, the one who is creating the play and them presenting it to an outsider and through this process transforming it into art." AShane
Yes, Ana. I agree with you.
But we must have in mind also that Boal not always talk about from the perspective of a play director stricto sensu. His "invisible theater" proposal - those performances in streets, subways wagons, restaurants etc in which people (spectator) do not know what really is going on, in which they do not suspect that all things what happens under her/his eyes is an intentional dramatic representation... (theater?)
To some, it is not theater because of the lack or absense of a spectator-author... To others, yes, that is theater - because of the intentionallity of commmunication by those who are involved in acting as invisible actresses/actors... A hot discussion not finnished yet
"I would be very interested to know more about "current brazilian dominant proposal to theatrical luduspedagogic activity in schooling (based on Spolin's theater games system)". Can you tell us more about this? What is the role of ludus pedagogic? AShane
Well.
I wrote a paper in which I try to expose hegemonic current brazilian proposal to theatrical activity in schooling and how it has been adjusted to the educational work in kindgarten. It is written in English and can be found in:
http://www.ricardojapiassu.pro.br/textos.htm
It is named *Cat&Mouses - Children theatrical activity in kindgarten*
Spolin's theater games system has been studied by brazilian researchers interested on the educational dimension of theatrical practices of ludic nature. You will see that some concepts of Brecht and Moreno (protocols), Boal (play area) and Freire (discussion circle) were (re)signed and applyed to the functional frame of Spolin's theater games system (focus, audience, evaluation and instruction).
The main scope of theatrical lususpedagogic practices in education is to promote student aesthetic capacity and cultural development by their use of theatrical language to interact one another and with an audience.
It can be used not only in art (theater) teaching (promoting the appropriation of some theatrical concepts as the concept of physicalization) but also as a strong pedagogic resource to follow social concepts formation process of subjects under investigation. I have been using it (Spolin's system as it was enriched by brazilian researchers) not only looking for some ways of directing a pedagogic intervention mediated by theater language in the territory of art (theater) teaching but also as a tool-and-result for developing new and different kinds of relationship between students and between them and teachers.
In this sense it has some points of convergence with Holzman&Newman's Performative Psychology. As Social Therapy of Performance theatrical luduspedagogic activity based in Spolin's system open new possiblilities of role taking by students and people in general. The pedagogic intervention is conceived as a work-in-process, as LSV's ZOPED - like H&N conceive it, as a tool-and-result artifact.
Traditional brazilian children popular play have been adjusted to theater games system's frame (division of group into teams that suceed one another in play area. Play area can be any SPACE conventionated as it. From that conventionated SPACE, people show PLACES and speak from different PLACES.
Theatrical luduspedagogic activity takes a very important role in children and subject cultural development (development conceived as the collection of changes in a one's life that has not only a biological nature but also - and first of all - an historical-cultural dimension).
It has, aside this pointed above, a decisive role in developing a particular kind of thinking: verbal thinking. That's what I believe and tryed to show with the two last researches I directed in order to get my master and doctor degree.
I do not know if I make it clear to you. Do I?
Ricardo Japiassu
Universidade do Estado da Bahia em Teixeira de Freitas - Uneb X
Rua SS, s/n - Jd. Caraípe
Tx. de Freitas - Bahia
45 995 000 BRASIL
http://www.ricardojapiassu.pro.br
This archive was generated by hypermail 2b29 : Fri Aug 01 2003 - 01:00:09 PDT