Teatro de rua e universidade: imbricamentos entre o popular e o político no ensino superior público de teatro no Brasil
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Data
2021-02-26
Autores
Araújo, Alexandre Falcão de
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Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho trata da inserção da modalidade teatro de rua nos cursos de graduação presenciais de Artes Cênicas e de Teatro das instituições de ensino superior (IES) públicas brasileiras. De acordo com a pesquisa, dos 68 cursos presenciais ofertados por IES públicas no país, apenas cerca de 30 por cento inserem o teatro de rua em sua matriz curricular, seja como componente obrigatório ou optativo. No entanto, foi possível identificar a efetiva oferta de componentes de teatro de rua em somente 22 por cento dos cursos, indicando que a aludida modalidade teatral ainda segue marginal no ensino superior de teatro. Especialmente por meio da pesquisa de campo, verificou-se que, nas IES, o teatro de rua é ensinado e praticado de forma articulada às matrizes e vertentes ligadas a culturas populares; teatro político; circo e palhaçada; e intervenção urbana. Na pesquisa de campo, as matrizes popular e política do teatro de rua estiveram mais evidentes, tendo sido foco de aprofundamento da tese, com relatos e análises de experiências de diversas universidades. Em relação ao teatro de rua articulado às culturas populares, destacam-se notadamente os projetos pedagógicos e a práxis dos cursos de Teatro da Ufal, em Maceió e UFRN, em Natal. Nesses casos, o ensino de teatro de rua articula-se, mais especificamente, aos estudos de pedagogia das máscaras, danças populares e narração de histórias de inspiração africana. Concernente ao teatro político, foram observadas, em particular, experiências na UFGD, em Dourados, e na Unir, em Porto Velho, onde o ensino de teatro político de rua partiu de distintas abordagens, notadamente tendo como ponto de partida o texto (dramatúrgico, literário ─ em prosa ou verso ─ e jornalístico), e também a inspiração em (e adaptação de) formas da cenopoesia, do agitprop e do teatro do oprimido. Foi possível observar ainda que o ensino de teatro de rua, articulado às matrizes e vertentes previamente elencadas, tem amplo potencial educativo e político, de forma contextualizada às realidades regionais de cada um dos cursos, contribuindo para a reversão do histórico elitista e excludente do ensino superior de teatro no Brasil.
The present work deals with the insertion of the street theatrical modality in the classroom undergraduate programs of performing arts and theater courses of Brazilian public higher education institutions. According to the research, of the 68 face-to-face courses offered by public higher education institutions in the country, only thirty percent (30%) of the courses insert street theater into their curricular matrix, whether mandatory or optional. However, it was possible to identify the effective provision of curricular components in only twenty two percent (22%) of the courses, which indicates that such theatrical modality still remains marginal in higher education. Particularly by means of field research, it was observed that in higher education institutions, street theater is taught and practiced in conjunction with matrices and strands of popular culture, political theater, circus and clowning and urban intervention. In the field research, popular and political matrices of street theater were more evident, having been the deepening focus of the present thesis, with narratives and analysis of experiences of different universities. Concerning street theater in conjunction with popular culture, noteworthy are the educational projects and the praxis of the Theater Undergraduate Programs of Ufal (Federal University of Alagoas), in Maceió, and of UFRN (Federal University of Rio Grande do Norte), in Natal. In these cases, street theater teaching is more specifically linked to studies on performing masks pedagogy, popular dances and african-inspired storytelling. Concerning political theater, experiences in UFGD (Federal University of Grande Dourados), in Dourados, and in Unir (Federal University of Rondônia), in Porto Velho, were specially observed and showed that political street theater teaching started from different approaches, taking as a starting point, in particular, the text (whether dramaturgical or literary – in prose or verse – and journalistic), and also inspiration in the forms (and adaptation) of cenopoetry, of agitprop and Theater of the Oppressed. It was also possible to notice that teaching of street theater, when hinged on the previous listed matrices and strands, has a high educational and political potential, in a contextualized way related to regional realities according to each course, contributing to the reversal of a classist and excluding background seen in the context of High Education of Theater in Brazil.
The present work deals with the insertion of the street theatrical modality in the classroom undergraduate programs of performing arts and theater courses of Brazilian public higher education institutions. According to the research, of the 68 face-to-face courses offered by public higher education institutions in the country, only thirty percent (30%) of the courses insert street theater into their curricular matrix, whether mandatory or optional. However, it was possible to identify the effective provision of curricular components in only twenty two percent (22%) of the courses, which indicates that such theatrical modality still remains marginal in higher education. Particularly by means of field research, it was observed that in higher education institutions, street theater is taught and practiced in conjunction with matrices and strands of popular culture, political theater, circus and clowning and urban intervention. In the field research, popular and political matrices of street theater were more evident, having been the deepening focus of the present thesis, with narratives and analysis of experiences of different universities. Concerning street theater in conjunction with popular culture, noteworthy are the educational projects and the praxis of the Theater Undergraduate Programs of Ufal (Federal University of Alagoas), in Maceió, and of UFRN (Federal University of Rio Grande do Norte), in Natal. In these cases, street theater teaching is more specifically linked to studies on performing masks pedagogy, popular dances and african-inspired storytelling. Concerning political theater, experiences in UFGD (Federal University of Grande Dourados), in Dourados, and in Unir (Federal University of Rondônia), in Porto Velho, were specially observed and showed that political street theater teaching started from different approaches, taking as a starting point, in particular, the text (whether dramaturgical or literary – in prose or verse – and journalistic), and also inspiration in the forms (and adaptation) of cenopoetry, of agitprop and Theater of the Oppressed. It was also possible to notice that teaching of street theater, when hinged on the previous listed matrices and strands, has a high educational and political potential, in a contextualized way related to regional realities according to each course, contributing to the reversal of a classist and excluding background seen in the context of High Education of Theater in Brazil.
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Teatro - Estudo e ensino (Superior), Teatro de rua, Teatro - Universidades e faculdades - Currículos, Theater teaching, Curriculum, Political Theater, Popular Culture