FORMAÇÃO DE PROFESSORES DE TEATRO NO ENSINO FUNDAMENTAL ANOS FINAIS

Abstract

This dissertation is part of the line of Education and Art/theater is the result of a research that aimed to analyze the contexts of initial teacher training in performing arts in Goiás and its implications in the teaching of art-theater in state public schools in Aparecida de Goiânia. In this sense, the specific objectives are: a) To identify the historical and legal frameworks on teacher education and art/theater teaching; b) Analyze the insertion of theater teachers in public schools in Aparecida de Goiânia within the arts curriculum; c) To relate teacher education and the art-theater curriculum in Brazil in Goiás. Given themultipurpose performance and the precarious conditions for theater teaching at school, several reflections on the following problem were made: What are the challenges posed by the lack of teachers with initial training in theater in the Final Years of Elementary School? The method is historical-dialectical materialism, using two procedures: data collection and interpretation of these, according to theoretical references, seeking training of teachers in theater, quantitative of teachers licensed in art, having as cut out the municipality of Aparecida de Goiânia. Another procedure of the research was bibliographic research. As a basis in the works of Pierre Bourdieu (1974, 1978, 2007, 2015), we sought concepts such as symbolic violence, habitus and the different types of capital (social, cultural and symbolic) to help think about teacher education and the teaching of art/theater in Elementary School Final Years. We also used authors such as Barbosa (1978), Charlot (2013), Desgranges (2011), Libâneo (2008), Matias (2020) to think about teacher training and the place of theater in school. Through the analyses and interpretations of the information obtained from the empirical field, we perceive the completion of the framework of the modulation of the school with a licensed teacher in any discipline, resulting in factors that compromise the teaching and learning of this discipline. It was evidenced that in these schools the polyvalence of the licensed teacher prevails. We reflect that this practice mischaracterizes the identity of the professional in performing arts, weakening both the teaching and learning of this art and its place already antagonized in the social context.