EXPERIENCIAR A ARTE DO TEATRO DO OPRIMIDO: UMA REFLEXÃO SOBRE A PRÁTICA DE ESTÁGIO

Abstract

The article reflects on the experience of an internship in a theatre degree course. It reveals the commitment to teacher training and the importance of working with aesthetic sensitivity in education. It invites other voices to think about education and theatre from the point of view of experience and meaning, Jorge Larrosa (2002), highlighting the importance of experience as a fundamental dimension for learning. Along these lines, the text points to the need to strengthen a critical and sensitive pedagogical practice (Canda, 2019) that favours the voice of the oppressed and stimulates discussion about identities. It addresses how the Theatre of the Oppressed (Boal, 1991) and its contributions to a critical pedagogical approach are a powerful means of exploring and valuing the diverse cultural identities that have historically been marginalised. From these reflections emerged dialogues woven in an attempt to point out how the aesthetic experience in the regency internship with the practice of T. O can reveal oppressed voices and present possibilities for those involved to think about their identities and subjectivities. Bogdan and Biklen's (1982) qualitative analysis involved describing and interpreting dimensions of teaching practice. The research instrument used was the descriptive report on the internship environment; transforming it into a methodology for analysis and critical reflection, insofar as it echoes the practice of the internship based on records, observations and lived experiences. We concluded that the Forum Theatre practice allowed the students to recognise and express themselves, promoting an environment of dialogue and respect for differences. The interweaving of activities developed during the internship was challenging because it linked the two essential dimensions of professional training, both research and experience in the art of theatre. The practice showed that theatre is effective in questioning hegemonic narratives and opportunize a voice to those who have been silenced. In this way, the pedagogical work not only enriched learning in the field of theatre, but also contributed to understanding the need for practical activities that discuss the strengthening of identities.