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Master's Dissertation
DOI
https://doi.org/10.11606/D.27.2020.tde-09032021-145034
Document
Author
Full name
Marcia de Azevedo
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2020
Supervisor
Committee
Coutinho, Eduardo Tessari (President)
Carvalho, Marcelo Braga de
Paula, José Eduardo de
Title in Portuguese
Imaginação Criativa: teorias e práticas em (re)escrituras cênicas - uma jornada pedagógica
Keywords in Portuguese
Ator
Imaginação
Procedimentos criativos
Stanislávski
Teatro
Abstract in Portuguese
Por meio da exploração do conceito de imaginação, reflete-se sobre o porquê de ela se torna criativa quando direcionada aos trabalhos artísticos. Sua aplicabilidade em sala de aula é analisada durante a formação profissional de estudantes de teatro. A pesquisa é realizada em uma escola com metodologia a partir do sistema de Constantin Stanislávski. A averiguação prática é realizada com três turmas em estágios diferenciados: o primeiro grupo é composto de estudantes que iniciaram o curso livre de teatro; o segundo grupo, de aprendizes que decidiram embarcar no curso de formação profissional; e o terceiro grupo, de estudantes que estavam no último estágio de sua formação em teatro. Os procedimentos experimentados a partir da imaginação e realizados em sala de aula, como jogos dramáticos, treinamentos, vivências e construção de cenas visam, a partir dos saberes pessoais, auxiliar o aprendiz de artes cênicas no exercício do "músculo imaginativo" em prol dos processos criativos e seus desdobramentos.
Title in English
-
Keywords in English
Actor
Creative procedures
Imagination
Stanislavski
Theater
Abstract in English
Through the exploration of the concept of imagination, we reflect on why it becomes creative when directed to artistic works. Its applicability in the classroom is analyzed during the professional training of theater students. The research is carried out in a school with a methodology based on Constantin Stanislavsky's system. The practical study is carried out with three classes in different stages: the first group is composed of students who started the free course of theater; the second group, of apprentices who decided to embark on the vocational training course; and the third group, of students who were in the last stage of their theater training. The procedures experienced from the imagination and performed in the classroom, such as dramatic games, trainings, experiences and scene construction aim, from personal knowledge, to assist the apprentice of performing arts in the exercise of "imaginative muscle" in favor of creative processes and their developments.
 
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MarciadeAzevedoVC.pdf (4.41 Mbytes)
Publishing Date
2021-03-09
 
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