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Práticas teatrais contemporâneas: procedimentos participativos e o espectador no teatro
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Partindo do princípio que a crise de públicos no teatro se mostra como uma questão atual que ultrapassa fronteiras geográficas e socioculturais, essa pesquisa apresenta conceitos e procedimentos atribuídos a capacitação do espectador teatral e a abertura das instituições teatrais para novos modos de participação do público. A discussão teórica legitima o uso de propostas artístico-pedagógicas para a capacitação do espectador no teatro contemporâneo, reflete como o conceito de mediação teatral tem se desenvolvido dentro das instituições teatrais e aponta rumos provocados pelas novas formas de participação do espectador no teatro. Os principais autores de refrência utilizados nesse âmbito são Desgranges (2003), Pinkert (2014) e Seitz (2012, 2014). A pesquisa reúne três estudos de caso inseridos em contextos distintos para mapear e refletir sobre abordagens estratégicas vinculadas a cada caso. O primeiro caso apresenta os workshops de introdução ao espetáculo oferecidos para públicos de todas as idades pelo departamento de pedagogia do teatro no Schaubühne (Berlim/Alemanha), o retrato apresentado parte de um estágio realizado no teatro. O segundo caso reflete sobre as novas formas de participação propostas pelos programadores do Teatro Municipal Maria Matos (Lisboa/Portugal), a reflexão apresentada parte da análise de documentos disponibilizados pelo teatro e pela EGEAC. O terceiro e último caso mostra como o projeto Palco Giratório associa atividades formativas e participativas num circuito de digressão de espetáculos e companhias por todo o território brasileiro, as observações foram elaboradas por meio do levantamento de documentos, conversas informais com o criador e getores do projeto. Os casos apresentam uma perspectiva plural das práticas realizadas atualmente ao leitor, e enfatizam que a importância dada as estratégias pedagógicas para o espectador teatral se articula aos interesses de cada instituição. Além disso, a pesquisa aponta que as práticas artistico-pedagógicas para a capacitação do espectador continuam pouco desenvolvida nos países lusófonos, tornando evidente a necessidade de estudos nesse campo de conhecimento.
Assuming that the audience crisis in theater is an issue that goes beyond geographical, social, and cultural boundaries, this study presents concepts and pedagogical approaches that aim at audience development in theater and at the opening of institutions able to provide new forms audience participation. The theoretical analysis not only justifies the use of artistic and pedagogical proposals for the training of the audience in contemporary theater, but also shows how the concept of theatre mediation has developed in different theater institutions. Additionally, it presents the opportunities that new forms of audience participation in theater provide. The main authors considered in this study were Desgranges (2003), Pinkert (2014), and Seitz (2012, 2014). We present three case studies from different contexts, in order to outline possible scenarios and reflect on strategic approaches related to each case. The first case study consists of practical theater workshops that were offered to a mixed age audience at the theater education department at Schaubühne (Berlin/Germany). The case was part of an internship in the theater. The second case study regards new forms of participation proposed by the artistic directors of Maria Matos Teather (Lisbon/Portugal). Documents provided by the theater and by EGEAC were used in the study. The third and final case study shows how the project Palco Giratório combines education and participation in activities and performances organized by different companies in Brazil. The information used in the study was retrieved by surveys and informal conversations with the creator of the project and the project managers. The case studies offer different perspectives on the current practices and show that the importance given to pedagogical strategies for the audience is strictly related to the interests of each institution. Moreover, this study shows that artistic and pedagogical practices for training the audience are still underdeveloped in Lusophone countries, and, therefore, emphasizes the importance of research in this field.
Assuming that the audience crisis in theater is an issue that goes beyond geographical, social, and cultural boundaries, this study presents concepts and pedagogical approaches that aim at audience development in theater and at the opening of institutions able to provide new forms audience participation. The theoretical analysis not only justifies the use of artistic and pedagogical proposals for the training of the audience in contemporary theater, but also shows how the concept of theatre mediation has developed in different theater institutions. Additionally, it presents the opportunities that new forms of audience participation in theater provide. The main authors considered in this study were Desgranges (2003), Pinkert (2014), and Seitz (2012, 2014). We present three case studies from different contexts, in order to outline possible scenarios and reflect on strategic approaches related to each case. The first case study consists of practical theater workshops that were offered to a mixed age audience at the theater education department at Schaubühne (Berlin/Germany). The case was part of an internship in the theater. The second case study regards new forms of participation proposed by the artistic directors of Maria Matos Teather (Lisbon/Portugal). Documents provided by the theater and by EGEAC were used in the study. The third and final case study shows how the project Palco Giratório combines education and participation in activities and performances organized by different companies in Brazil. The information used in the study was retrieved by surveys and informal conversations with the creator of the project and the project managers. The case studies offer different perspectives on the current practices and show that the importance given to pedagogical strategies for the audience is strictly related to the interests of each institution. Moreover, this study shows that artistic and pedagogical practices for training the audience are still underdeveloped in Lusophone countries, and, therefore, emphasizes the importance of research in this field.
Descrição
Palavras-chave
Teatro - séc.21 Teatro - Públicos Teatro - Aspectos sociais Teatro - Estuto e ensino Teses de mestrado - 2017