Participants began thinking about their professional options, questioning the market and the work relations they would belong to as educators. It is also possible to notice how the praxis proposed by the group served as a counterpoint to the paradigm lived by the intern:. Due to the whole situation, to the lack of interaction this child had with her peers, I had the impression that, with her, I had lost myself as a child, as an educator, as a teacher.
I was locked inside my body, like the children, I felt like I was simply there but was not existing. I did not have that spark, that will to play, to run, to jump, because I had always done these things with my students.
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Of feeling myself. Of knowing that the child who always existed in me somehow was still there, and this made me extremely happy. Even though I was exhausted, I knew that if I applied myself to this moment, it would make me feel lighter. To Jaci, another participant, questioning her work conditions as an intern in Basic Education brought her elements to devise a direction:.
I can observe the importance of a balanced nurturing of motor, instinctive, intellectual, and emotional functions Ouspensky, , or, to put it simpler: body, mind, and feelings working in harmony. These functions, operating in harmony, would allow for the full practice of human ontological characteristics which have been neglected, asleep, or forgotten in the urban, Western, and so-called civilized individual.
These characteristics, nurtured by the educator, could constitute a calling for students to also positively desire something of better quality for themselves and for others. The need produced by this perception creates a genuine feeling of searching, of trying, of experiencing modulations of being Merleau-Ponty, One of the many ways to exercise these modulations of being is when educators in their initial education establish contact with the characters and the characteristics of the masters of traditions and of the initiators who often appear in certain philosophical stories.
There are many forms of performing arts which value improvisation. At the end of the 19th century and throughout the 20th century, performing-arts improvisation resurfaced under varied forms with different purposes.
It can be used as the basis for the construction or for the deconstruction of the theatrical text, but also as an exercise functioning as a vehicle for several forms of communication and expression. I am interested, overall, in that modality of improvisation which, as Pupo , p. In my approach to performing-arts improvisation, I privilege a self-education and self-unveiling work in the initial education of educators by dramatizing Cabrera, , philosophical stories.
According to Ferreira-Santos and Almeida , p. This approach also does not entail the multiplication of learnings related to the theatrical language or to the strategic processes of attempting to comprehend the philosophical stories. It also is not a professional education for actors, storytellers, lecturers, orators, occupational therapists, psychodramatists, sociodramatists, human-resources psychologists, art therapists, etc.
The curricular experiences of the stories dramatization group are located in the art-education context. By adopting the generic expression of art-education, I am not addressing the innumerable nomenclatures which also refer to the intersection between education and art in their respective historical trajectories and whose context is not the purpose of this article. As I understand it, art-education can provide experiences and experiments with performing arts, for the exercise of oneself, in the self-education processes of educators in their initial education.
They are curricular experiences related to play. I refer to a specific type of play , one from the mimicry category Caillois, : a play which calls for the temporary acceptance of an illusion physically materialized in a behavior, thus characterizing the play with a sense of miming, disguise, simulation, simulacrum.
Caillois recognizes play as an anthropological phenomenon and indicates that it can have different levels in several categories, including mimicry: from paidia less regimented, more chaotic , to ludus more regimented, more systematized. From our non-hierarchizing perspective, each of these levels has an intrinsic value. My ethical-poetical choice has been, in the last years, of using dramatization Cabrera, , , a praxis from the mimicry category, which does not fit the category of dramatic play or jeu dramatique Pupo, — in its English and French senses—nor of theater game Pupo, Dramatization regards itself as a poetic experience of the roleplaying game, in which actors are willing to play as if they were someone different from their habitual, daily-life selves.
Similar to other forms of play from the mimicry category, even within dramatization there are levels of this involvement or not of the actor with the fictional situation presenting itself; there is an artistic-pedagogical trajectory to be searched for by the actors while they are cultivating their metamorphosis capacity Lopes, Lopes , pp.fredunsebi.ml
According to the author, during the dramatic practice, metamorphosis as a basic phenomenon demands the growth of the abstraction, conception, and individual decentralization abilities, i. Thus, the more individuals are distanced from the evolutions surrounding themselves, the further their actions and interferences can reach.
Dramatization is, therefore, an authorial way to foster actors to cultivate their metamorphosis capacity Lopes, , providing them with experiences directed at the discovery of the relations between inner life and physical expression Santos, , p. In dramatization , as we propose it, receiving impressions is the basis of expression.
And, I might add, when expressing ourselves, we continue to impress ourselves and others, as is posited by the Hermesian formulation of Delsarte as cited in Cabrera, , p. Delsarte then concludes that each intonation, gesture, or word which does not obey this fundamental Law of Correspondence will be false, affected, or conventional. Any expression will be false or conventional if it lacks an act of feeling and of feeling oneself. Through movements and actions, the players are led to discover the lived and not-lived dimensions of their inner worlds Santos, , p.
I chose to focus on the etymology of drama , which, according to Slade , p. This author also affirms that doing, searching, and fighting are attempted by everyone. It means, rather, taking part in a roleplaying game, a simulation game, in front of a more intimate audience. During the dramatizations there might and might not be anyone watching the improvisations, but many of them, soon afterwards, might experience similar processes.
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And this alters how you see, from where you see, for what you see, and why you see. The players , in this context, share their processes with witnesses, trying to reach them through resonance. As Barret and Landier , p.
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The authors further indicate, thus, that we get to know someone better after having played with them. I would add that we can also get to know ourselves better while playing with others. And by better knowing ourselves, it is possible to establish contact with others in a more intense, more vertical, and full-of-life manner. They are short stories directly transmitting the knowledge accumulated by human beings in their civilization processes, in a reading of their deeper layers and vertical dimensions. Existing in several cultures, philosophical stories are an instrument for containing and transmitting precious teachings, literally extra -ordinary, in the sense that they extrapolate the ordinary aspect of everyday experiences.
Listening to and narrating these stories is, ancestrally, a way of educating children, youth, and adults. This concept, within this tradition, does not include fairy tales, mythical accounts, fantastic tales, moral tales, parables, or didactic stories; which are usually based on primordial timeless beings and times, as in origin myths. The Anthropology of the Imaginary does not consider symbolic narratives such as myths and philosophical stories as belonging exclusively to primitive, irrational, backward populations. Even though philosophical stories contain humor, and several of them can make us smile and laugh, they are not jokes.
Philosophical stories are ripe with regenerative power. It looks to me as if the teachings contained in them dig deeper in the listeners while they are laughing. Philosophical stories are the raw material for sensitizing and developing a sensitive reason Ferreira-Santos, ; they help dealing with apparently impossible situations; they provide us with the opportunity of laughing at our own problems, putting these problems phenomenologically in perspective; they help us notice the object and the background , preventing the hyperdimensioning of the object personal communication, Grillo, The oral-tradition story is ripe with a concept of cosmos situating human beings in a scale in which they are not in a superior hierarchical position, but which they compose with other natures of being.
Through the double event of listening and narrating an oral-tradition story, we can observe that every life experience is unique, at least for each one of us, experiencing for the first time what is ancestral or archaic.
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According to Bachelard , as cited in Ferreira-Santos, , p. Self-achievement is understood in Socratic terms: knowing myself and becoming who I am. Healing understood as pharmakon, as medication or, more precisely, as re-mediation, reestablishing plots whose threads were previously cut from ourselves Ferreira-Santos, Traditional stories reflect an internal cosmogony personal communication, Grillo, , they do not have a prevailing spatial-temporal ideology as more socializing perspectives might assume , because they serve, among others, the purpose of teaching self-observation.
The double event of listening and narrating these stories enables an experience of the power games continually acting over the human being, it expresses inner conflicts in external situations. Facing the same situation, each internal aspect reacts a certain way, having diverse and sometimes contradictory tendencies. Philosophical stories expose the duality of wanting and not-wanting which cohabit and continuously alternate within ourselves at every moment. These stories connect generations, because they describe inner processes which are common to people of several ages living in different parts of the world.
These propellers are the external expression of inner enemies. As Shah , p. These indications made us reflect upon the nature and the function of the teaching stories and the philosophical stories , understanding that the knowledge obtained in these narratives has its own way of being taught because, according to Shah , p.
Resignifying oneself through fabulation depends on who receives the story, and on how and when they are being received Shah, , p. The meeting of the narrative and the listener happens when the narrative resonates with the people experiencing it. In contact with these narratives, something extraordinary might happen, impossible to put into words, but physically perceptible by the senses: an electricity, a magnetism, an impression of something unhabitual, with a very specific flavor.
New York: Visualthesaurus, Acesso em: 18 jul. REID, R. Arthur C. Clarke : a critical companion. Westport: Greenwood, ROJO, A. Campinas: Unicamp, Naturwissenschaften , Heidelberg, v. Acesso em: 13 jan. Acesso em: 16 mar. Campinas: Mercado de Letras, Literatura e pedagogia : ponto e contraponto.
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Campinas: Global, Einstein e a literatura de cordel. Canoas: Ulbra, Acesso em: 9 fev. SNOW, C. As duas culturas e uma segunda leitura.
Detective fiction and the rise of forensic science. Cambridge: Cambridge University Press, Poe invents science fiction! The Cambrige companion to Edgar Allan Poe. Borges : uma vida. Sim, a literatura educa. Services on Demand Journal.
Abstract: This paper approaches the relationship between Physics and Literature, represented by the fantastic tale and its didactic possibilities. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book.