Sujeito transitivo na encenação curricular: personagens possíveis daquele que sou-sendo-professor-de-português

Abstract

This research, a theoretical construction based on a bibliographic study, aims to discuss the role of the Portuguese Language teacher within the curriculum. It draws from the memory of an experience lived by the author-researcher with students in the Learning Program of the National Service for Commercial Learning of Bahia (Senac - BA) in 2011. At that time, the researcher taught the subject "Communication" and, together with the institution's pedagogical supervision, sought to include orality as a topic of study for young apprentices. By subverting the day’s planned lecture and instead placing the students in a presentation scenario — later providing commentary on their bodily performances — the teacher allowed his theatrical background as an actor to shape the activity. This approach used theatrical dynamics to guide students in the construction of characters through a pedagogical activity focusing on linguistic registers. Methodologically, the professor's experience with his students was revisited during the research through embodied memory and external memories, including lesson plans, evaluation documents, and classroom materials such as texts and workbooks. Drawing on Heidegger’s concept of being-becoming, William Pinar’s perspectives on the curriculum as a “complicated conversation” and as currere, and the researcher’s expertise in linguistics and theater, these memories were developed into an autofictional narrative. This narrative foregrounds the subject and their possibilities. The convergence of these concepts and experiences leads to the notion of the transitive subject. Inspired by syntactic analysis terminology, the transitive subject (human) is understood as someone shaped by historicity, open to exploring and composing other possible selves, and navigating various ways of being. Organized into acts and scenes, the text invites a theatrical reading experience, connecting corporeality to the subject as an actor fully embracing transitivity. This challenges Cartesian dualism, which diminishes the body's role in intellectual spaces. Using theatrical terminology, the research also introduces the concept of curricular staging. It views both theater and curriculum as dynamic processes that take shape through projects, planning, and rehearsals, culminating in encounters with the audience—and in the actors' encounters with themselves. These interactions provoke individual and collective projections, enabling transitive subjects to see themselves in others and simultaneously become other possible versions of themselves. Ultimately, the research argues that within the curricular staging of linguistic formation for transitive subjects, oral performance transcends the practice of speech for interpreting social roles. It becomes an individual endeavor, wherein each learner—whether teacher or student—composes and presents their possible characters.