(Re)descobrir a prática pedagógica no ensino de voz nas artes cênicas: um exercício de (auto)análise crítica em perspectiva ontológica
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Data
2022-03-31
Autores
Barbosa, Laura Melamed [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho consiste na (auto)análise crítica da prática pedagógica conduzida pela pesquisadora a partir de uma experiência educacional, oriunda do desenvolvimento de uma matéria optativa - cuja abordagem pedagógica se ampliou no sentido de provocar reflexões a respeito da práxis social artística - oferecida para estudantes de graduação dos cursos de bacharelado em Artes Cênicas e de licenciatura em Arte-Teatro do Instituto de Artes da UNESP. A trajetória de estudos percorrida culminou na ampliação de sua percepção a respeito de seus reais intentos como educadora, como ser social e como sujeito histórico, compromissada com a transformação social, de modo que a fez reconhecer o quanto suas aspirações pedagógicas vão ao encontro de uma práxis social ancorada em uma concepção de mundo materialista histórico dialética em perspectiva ontológica com vistas à emancipação humana. Contudo, da (auto)análise crítica a respeito da experiência pedagógica decorreu que o ensino de voz na formação de atores e atrizes pode articular os conhecimentos de natureza técnica - fundamentais para o desenvolvimento da elocução artística – com o conhecimento a respeito da realidade social concreta, tendo em vista que o(a) artista desempenha um papel social e deve se posicionar frente ao mundo como ser social, reconhecendo que são os homens e mulheres que fazem a história. O processo de formação humana demanda mediações de natureza educacional. A educação sempre está condicionada ao contexto histórico de seu tempo, sendo assim, é determinada pelos modos e meios de produção e reprodução social. A sociedade capitalista alicerçada em contradições que expressam os mais brutais traços de desumanidade, tais como a divisão de classes sociais, a divisão social do trabalho, a propriedade privada, a exploração do homem pelo homem, a produção de mercadorias para obtenção de lucro e acúmulo de riqueza, tem a educação como um aparato à serviço dos interesses da classe dominante, operando estrategicamente sobre instâncias educacionais objetivando a formação – cada vez mais fragmentada e especializada - de profissionais para o mercado do capital integrada à difusão de um ideário de mundo pautado em valores que justifiquem, naturalizem e eternizem a manutenção desta ordem social. Reconhecendo que vivemos em tempos de barbárie em que a grande maioria da humanidade, representada pela classe trabalhadora explorada, “vive” para sobreviver desumanamente, a atuação educacional exige um tratamento pedagógico que considere, dentro das incisivas limitações impostas pelo sistema, a relevância de convidar os(as) estudantes à reflexão acerca da totalidade da realidade social concreta a partir da perspectiva materialista histórico dialética com vistas à possível, mas não inevitável, superação do capital. No que tange ao ensino de voz em teatro, o tratamento pedagógico reflexivo e crítico a respeito de suas aplicações no contexto contemporâneo da sociedade capitalista, possibilita reconhecer o papel do(a) artista como sujeito histórico, como ser social conectado ao gênero humano.
The present work consists of the critical (self)analysis of the pedagogical practice conducted by the researcher from an educational experience, arising from the development of an optional disciplinet - whose pedagogical approach was expanded to provoke reflections about the artistic social praxis - offered to undergraduate students of the bachelor’s degree in Performing Arts and Teaching Degree in Theatre – Art at the Instituto de Artes at UNESP. The trajectory of studies culminated in the expansion of her perception about her real intentions as an educator, as a social being and as a historical subject, committed to social transformation, in a way that made her recognize how much her pedagogical aspirations meet a social praxis anchored in a dialectical historical materialist world conception in an ontological perspective with a view to human emancipation. However, it emerged from the critical (self) analysis of the pedagogical experience that the teaching of voice in the formation of actors and actresses can articulate knowledge of a technical nature - fundamental for the development of artistic elocution - with knowledge about the concrete social reality, given that the artist plays a social role and must position himself before the world as a social being, acknowledging that men and women make history. The process of human formation demands mediations of an educational nature. Education is always conditioned to the historical context of its time; therefore, it is determined by the modes and means of production and social reproduction. Capitalist society based on contradictions that express the most brutal traits of inhumanity, such as the division of social classes, the social division of labor, private property, the exploitation of man by man, the production of goods for profit and accumulation of wealth, has education as an apparatus at the service of the interests of the ruling class, operating strategically on educational instances aiming at the training - increasingly fragmented and specialized - of professionals for the capital market integrated to the diffusion of a world ideology based on values that justify, naturalize and perpetuate the maintenance of this social order. Acknowledging that we live in barbaric times in which the vast majority of humanity, represented by the exploited working class, "lives" to survive inhumanly, educational action requires a pedagogical treatment that considers, within the incisive limitations imposed by the system, the relevance of inviting students to reflect on the totality of concrete social reality from the dialectical historical materialist perspective with a view to the possible, but not inevitable, overcoming of capital. Regarding the teaching of voice in theater, the reflective and critical pedagogical treatment regarding its applications in the contemporary context of capitalist society recognizes the role of the artist as a historical subject, as a social being connected to the human genre.
The present work consists of the critical (self)analysis of the pedagogical practice conducted by the researcher from an educational experience, arising from the development of an optional disciplinet - whose pedagogical approach was expanded to provoke reflections about the artistic social praxis - offered to undergraduate students of the bachelor’s degree in Performing Arts and Teaching Degree in Theatre – Art at the Instituto de Artes at UNESP. The trajectory of studies culminated in the expansion of her perception about her real intentions as an educator, as a social being and as a historical subject, committed to social transformation, in a way that made her recognize how much her pedagogical aspirations meet a social praxis anchored in a dialectical historical materialist world conception in an ontological perspective with a view to human emancipation. However, it emerged from the critical (self) analysis of the pedagogical experience that the teaching of voice in the formation of actors and actresses can articulate knowledge of a technical nature - fundamental for the development of artistic elocution - with knowledge about the concrete social reality, given that the artist plays a social role and must position himself before the world as a social being, acknowledging that men and women make history. The process of human formation demands mediations of an educational nature. Education is always conditioned to the historical context of its time; therefore, it is determined by the modes and means of production and social reproduction. Capitalist society based on contradictions that express the most brutal traits of inhumanity, such as the division of social classes, the social division of labor, private property, the exploitation of man by man, the production of goods for profit and accumulation of wealth, has education as an apparatus at the service of the interests of the ruling class, operating strategically on educational instances aiming at the training - increasingly fragmented and specialized - of professionals for the capital market integrated to the diffusion of a world ideology based on values that justify, naturalize and perpetuate the maintenance of this social order. Acknowledging that we live in barbaric times in which the vast majority of humanity, represented by the exploited working class, "lives" to survive inhumanly, educational action requires a pedagogical treatment that considers, within the incisive limitations imposed by the system, the relevance of inviting students to reflect on the totality of concrete social reality from the dialectical historical materialist perspective with a view to the possible, but not inevitable, overcoming of capital. Regarding the teaching of voice in theater, the reflective and critical pedagogical treatment regarding its applications in the contemporary context of capitalist society recognizes the role of the artist as a historical subject, as a social being connected to the human genre.
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Palavras-chave
Arte Estudo e ensino, Artes cênicas, Representação teatral, Voz, Art Study and teaching, Performing arts, Theatrical performance, Voice