A linguagem teatral na educação infantil: entre o gesto da criança e a solicitação do espetáculo

• Ano de defesa: 2016
• Autor(a) principal: Silva, Talita Pereira da
• Orientador(a): Almeida, Cleide Rita Silvério de
• Banca de defesa: Almeida, Cleide Rita Silvério de, Dias, Elaine Dal Mas, Limena, Maria Margarida Cavalcanti, Lorieri, Marcos Antônio
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Nove de Julho
• Programa de Pós-Graduação: Programa de Pós-Graduação em Educação
• Departamento: Educação
• País: Brasil
• Palavras-chave em Português: linguagem teatral; educação infantil; pensamento complexo
• Palavras-chave em Inglês: theatrical language; childhood education; complex thinking
• Palavras-chave em Espanhol: educación infantil; pensamiento complejo.
• Área do conhecimento CNPq: CIENCIAS HUMANAS::EDUCACAO
• Link de acesso: http://bibliotecatede.uninove.br/handle/tede/1558

This dissertation presents a study about the theatrical language in early childhood education, and it is supported by bibliographic sources and field research through interviews carried out with five kindergarten female teachers from two public schools in the city of São Paulo. Throughout the survey, the aim was to contextualize the teaching of Arts in early childhood education, to ponder on the theatrical language at this stage of basic education and gather ideas and experiences from teachers about working with this language. School education lacks spaces for discussions about the sensitivity of the subjects involved in their actions, and theatrical language allows the creation of environments to consider the sensitivity through imagination, aesthetics and poetry. From these perspectives, this study considers the complex thinking of Edgar Morin as its theoretical framework, which presents the aesthetic and poetic states as essential to think about the human development. There is a relationship between these ideas and the sensitive experience that the theatrical language offers. The survey also brings the pioneer of theater games, Viola Spolin, whose principle is that everyone is able to act; players take turns between audience and actors, in order to improvise scenes from the rules given. Despite presenting this improvisation technique, the present study does not dwell exclusively on it, but uses the conception of children's theater games exploited from dramatization challenges to children, without worrying about its finishing and the final product. This game does not require an audience in order to happen, favoring the child’s spontaneity and expression. To delimit the bibliographic sources, the references available to public preschool teachers in São Paulo city are considered. After this step, interviews with preschool teachers are carried out. The field research showed great diversity of intentions and definitions from the interviewed female teachers to work with the theatrical language, who include the child’s spontaneous dramatization and the theatrical language in the same parameter setting. It was also verified that the planning of these professionals oscillates from free performing to these multiple intentions.