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Postgraduate Program in Teaching Performing Arts - Professional Master's

 

Course Characterization

The Professional Master in Teaching Performing Arts  (MPEAC) at the University

of the State of Rio de Janeiro (UNIRIO) is understood, stricto sensu , as a regular course cycle following the Graduation, systematically organized, for the granting of the title of Professional Master in Teaching Performing Arts .

 

The MPEAC has the following objectives:

I. stimulate the development of artistic-scientific research, through the

improvement of historical, critical and related theoretical-practical knowledge

to the teaching of the Performing Arts and its interrelation with the manifestations of

culture;

II. qualify teachers of Performing Arts for the exercise of teaching,

preferably in Basic Education, in order to contribute to the advancement

of education in the country.

The Master Degree (MP) is a stricto sensu postgraduate program aimed at training professionals in different areas of knowledge, through the study of techniques, processes, or themes that meet some demand in the job market.

Its objective is to contribute to the national productive sector in order to add a higher level of competitiveness and productivity to companies and organizations, whether public or private. Consequently, proposals for new courses in the Professional Master's modality must present a curricular structure that emphasizes the articulation between up-to-date knowledge, mastery of the relevant methodology and application oriented to the specific professional area. "

The Professional Masters in Performing Arts Teaching is aimed at active teachers, preferably in Basic Education, who must prove this condition in the act of enrollment in the selection process. As of 2022, with the approval of a new regulation, the MPGEAC will be able to receive educators who are also working in the area of non-formal education.

Application to MPEAC will be made according to the Notice of Examination of

Student Selection, published on the PPGEAC page on the UNIRIO website and which will contain a calendar of registrations and exams, evaluation criteria and will comply with the provisions of art. 46 of the stricto sensu Postgraduate General Regulations.

 

Profile of the professional to be trained

The course focuses primarily on teachers of the performing arts. Graduates of the Course will be able to develop research projects in the area of Performing Arts and produce knowledge intrinsically articulated to their pedagogical practice.

MPGEAC offers the degree of Master in Teaching of Performing Arts, compatible with the subsequent doctorate.

Course Completion Work

The Final Paper may be a dissertation, a pedagogical practice project or an artistic production (laboratory, scene, show, scenic project or scene element, dramaturgy), accompanied by an analytical memorial. In the third case, the work must be presented to the final work analysis panel, in a format agreed with the supervisor, and the work and the memorial will be jointly evaluated.

Area of concentration and line of research

The MPEAC consists of a single Area of Concentration: Teaching of the Performing Arts , which encompasses research with different conceptions, procedures and

methodologies of the Performing Arts as a knowledge area of  that articulates with the knowledge, processes and practices of the area of formal and non-formal education, with a special focus on laboratory and teaching practice as a privileged place for analysis and construction of methodologies.

Within the Area of Concentration there is also a single Line of Research/Action, entitled Scenic Processes in Education, which develops studies and research of a trans and interdisciplinary nature, through theoretical-methodological perspectives that focus on the Performing Arts in their relationships with the knowledge, processes and practices of education in formal and non-formal teaching contexts. Different conceptions, procedures and methodologies related to the literature are analyzed, staging, acting, characterization, scenography, costumes, lighting and sound, articulating processes of analysis and construction of knowledge of theatrical know-how.

 

 

Research Project

The research projects being developed by PPGEAC faculty members reveal in their objectives approaches to studies about the pedagogy of performing arts. Students of the Program are articulated to the teaching projects and can accompany the pedagogical experiences of the instructors, based on conceptual, thematic or methodological affinities, especially in the Seminar on Teaching Practice. The subjects Advanced Studies in Scenic Processes in Education and Special Topics in Performing Arts Teaching provide a dialogue with the updated bibliography of ongoing research projects.

 

Theater pedagogy and teacher training: epistemological, pedagogical and aesthetic perspectives – Coordination Prof. Adilson Florentino

Contemporarily, in the last decade, with the representative and growing creation of Undergraduate Theater Courses, mainly in Public Institutions of Higher Education, a significant interest in the professionalization of the performing artists and for the initial training of Theater teachers. The inclusion of Undergraduate Theater Courses, both in the form of bachelor's and licentiate degrees, allows for the production of a deep reflection on the multiple meanings involved in this instigating professional training. The research axis discussed here points to the specificities of the formation of Degree Courses in Theater in the following constitutive devices, namely, the curricular matrix, the learning processes and the art-teaching articulation. The analytical approach has to circumscribe the pedagogical projects of all the public institutions that train Theater teachers in the national territory from a critical-emancipatory perspective and with the objective of explaining the existing pedagogical trends and counter-trends, as well as the epistemological and underlying aesthetics.

 

Actor pedagogies: exercises of the self and of the scene in the traditions of mask and clown shows– Coordination Prof a . Ana Achcar

The research deals with the investigation and development of pedagogical and/or artistic approaches to the process of acting creation, based on the study of the tradition of masks and clowning and the organization, systematization and classification of the grades of courses taught for the formation and training of the actor. at the university in the last 25 years.

 

The theatrical event in the classroom – Coordination Prof a . Andrea Bieri

At the intersection of the performing teaching arts with philosophy, the research takes as a starting point some propositions by the Argentine playwright Jorge Dubatti and also rescues the dialogue between some pedagogical principles of Paulo Freire and Orlando Fals Borda (namely, the theory of dialogic action and the IAP). The main goal is, through the offer of regular workshops held with the students of the professional master's degree in performing arts education, to provide a space for reflection and discussion about the methodological and epistemological aspects of their own research, usually carried out in conjunction with their teaching practice in secondary and/or elementary schools, and which has, therefore, its own specificities.

 

Methodologies for approaching the History of Brazilian Theater in the classroom – Coordination Prof a  Angela Reis

The project intends to investigate methodologies for approaching the History of Brazilian Theater in the classroom from two biases: in the first, the research thread of the research will be the dialogue between the life stories of the students and the contents discussed in the scope of the Theater discipline. , Culture and Society, taught by me in the Theater Degree Course at the UNIRIO Theater School; in the second, in parallel, the theoretical arsenal of Oral History will also be used to investigate the history of the carioca revue theater through interviews with J. Maia, famous stagehand of Brazilian theater, resident at Retiro dos Artistas who not only has a rich experience in this area but also a valuable collection of documents on the subject.

 

Theater of Reminiscences – Coordination Prof a . Carmela Soares

Investigation of the creation processes in which the collection of life stories and fragments of memories of the elders are collected and, later, transported to the scene and their importance for the pedagogy of theater teaching and teacher training.

 

Ways of acting in triangulation – Coordination Prof. Daniel Marques

This research project aims to study the mechanisms and instruments of acting in a situation of triangulation - therefore, in a constant interchange between stage and audience -, present in the construction of comic types, melodrama, epic acting techniques and clown art.     Although many are based on long-lasting theatrical practices, these techniques and artistic methods have a strong relationship with contemporary theater, in a fruitful and powerful contraction between contemporaneity and tradition, which points paths for the training of actors, directors, playwrights, etc. As a first stage of the project, the mechanisms of composition of the character-type will be studied.

 

Methodological Pathways: the formation of the theater teacher and the scenic artist in Brazil – Coordination Prof. Elza de Andrade

The research proposes a reflection on the methodological, artistic, procedural, experimental, traditional, curricular and other paths that can contribute to the formation of the actor (in the broad sense, the one who acts) and the theater teacher. The discussion turns to inside the school and also to non-formal teaching spaces, where training can also take place.

 

Musical Theater: body and voice investigation – Coordination Prof a . Enamar Ramos

Studies techniques/methodologies of dramaturgical composition in the most recent teaching practice - such as Respiração Vivenciada, by Ilse Middendorf, and Vocal Dance & Voice Movememt Integration, by Patricia Bardi, relating  to the voice work presented by Jerzy Grotowski in the book O Teatro Laboratório 1959- 1969 and based on Molik's Alfabeto do Corpo, which now appear as important works in the area of body movement and voice in their dramaturgical and pedagogical approaches. Research linked to the UNIRIO/CNPq Movement Arts Research Group.

Staging and pedagogy – contemporary devices of a socially engaged theater. Coordination Prof. Isabel Penoni

The guiding question is to what extent the recent production of a set of theater groups from the outskirts of Rio de Janeiro, in sync with peripheral collectives from other Brazilian cities, has given new meaning to the contemporary scene in the country. It is particularly interesting to identify the specificity of the creation and staging devices developed by these collectives and their relationship with the emergence of a new socially engaged contemporary scene, or a new political or pedagogical theater, no longer based on the modern notion of representation, neither. in the postmodern of presence, but in the decoloniality premise of representativeness.  Through an extensive analysis of the production of those collectives, it is also intended to investigate articulations between their artistic-pedagogical projects and new methodologies for teaching theater in a formal and non-formal context.

Composition forms of the contemporary Brazilian actor - possible insertions, congruences and frictions in staging poetics – Coordination Prof a . Jacyan Castilho

The object of the research is the contemporary Brazilian actor-dancer, studied in his skills and competences in the composition of the scene, which implies, in saying, in the composition of a dramaturgy of the scene or of the performance. The object covers not only the professional performer, theater and dance artist involved in productions offered to the public, but also the artist in training (performing arts students) and all those involved in educational processes through the performing arts (teachers and students of the Network Basic Teaching). The objective is to raise research procedures and scene creation, both in its conceptual aspects, in which the current theoretical area regarding scenic performance will be investigated, and in its laboratory aspects, with effective practical experimentation. The starting point is the assumption of the actor as the composer of his actions, entering in tune or in friction with the scenic languages in force in his space-time environment. For this, approaches are raised that are characterized by the plurality of staging methodologies, always crossed by body studies as the guiding axis of these aspects. The desired objectives are 1) To deepen notions of dramaturgical construction regarding the composition of physical actions and verbal text; 2) Recognize and dialog, with different methodologies and concepts that constitute today as a possible inter textual fabric of appropriation by the actor: the techniques of Viewpoints, the contribution of the Laban Movement Analysis System in the actor's work, the derivations of the theater- physical and dance-theater, and the aspects of inclusion through Somatic Education; 3) Compose didactic sequences and other methodological procedures of investigation of the scene through the body, aimed at elementary and high school students and 4) Produce Extension activities and publications of the results obtained.

 Scenic Body: Agents, Analysis and Creation – Coordination Prof. Joana Ribeiro

It approaches the body in the performing arts and is articulated in three main axes: dance historiography, analysis of movement/gesture and processes study of creation/choreographic composition. Comprises of research actions, extension, teaching and culture actions, integrating undergraduate and graduate courses through extension actions. Prof. Collaboration  Dr. Christine Roquet - University Paris-8 Vincennes Saint Denis - has been organizing events and publications in the area.

Different perspectives on the construction and applicability of pedagogical practices in theater teaching – Coordination Prof a . Liliane Mundim

Research on pedagogical practices developed by student-researchers; development of a critical-reflexive analysis of the main references in the area of Theater Pedagogy; investigation on the repertoire of pedagogical practices, mainly concerning Dramatic and Theatrical Games; construction of other pedagogical practices contextualized to the universe of student-researchers.

Applied theater: investigations into an expanding territory – Coordination Prof a . Marina Henriques Coutinho

A phenomenon found here in Brazil and also in other parts of the world has taken the theater to the most varied contexts and expanded its access to different segments of the population. A great diversity of theatrical practices crosses the room boundary of conventional commercial theater rooms, to reach and act in other spheres, as in community projects carried out in the outskirts and slums of large cities; in areas of non-formal education, outside the walls of schools; in programs for human rights and health; in actions sponsored by companies, by the church or in projects implemented by non-governmental organizations (NGOs). Although it is a universe that is expanding at a great speed, the theoretical and critical reflection about this area, among us, is still not very systematized. Although, recently, they have begun to attract the attention of the academic world and to arouse reflections on the subject here in Brazil as well. As here, in other parts of the world, academic research has been trying to respond to the emergence of this diversity of initiatives. In English-speaking countries, the research area has been named as applied theatre/applied performance; in Portugal, community artistic practices and in Brazil, theater in communities. It is in this environment of reflection that this research is inserted. The study mainly seeks to: stimulate and contribute to the development of academic research directed to the area of study; bring together researchers interested in the area in order to generate theoretical and practical knowledge; expand researchers' access to specific literature in the area; encourage new researchers to identify and transform current practices in the area into an object of analysis; to expand the insertion and recognition of this line of investigation within the scope of research in Performing Arts in Brazil; stimulate the exchange between Brazilian and foreign researchers/professors by promoting and participating in national and international scientific meetings.

 The body and the city: research on body painting – Coordination Prof . Mona Magalhães

This is a theoretical/practical research in which experiments are carried out with painting on the body. The painted statements place the body as a counterpoint and/or reiteration in relation to spaces in the city. At first, through body painting, the body can camouflage itself, blending into the environment in which it lives. On the other hand, the body will stand out from the social environment, causing extra-daily meaning effects. The relationship of images with the body, between games, from the perspective of education, is verified. The project is interested in the imagery and poetic perspectives of the theatrical and performative scene and its pedagogy.

 

Bodies in Movement: Dance, Race, Sexualities and School Life – Coordination Prof. Paulo Melgaço 

This project belongs to the area of arts and education with the central objective of reflecting and investigating educational practices and possibilities of working with bodies in schools. Develop studies on the relationships between arts, arts education, language, social representations, identities. Thus, by understanding the school as a universe composed of crosses of multiple cultures, marked by power relations, this project has a specific interest in awakening a look at the crossings of race, gender, sexualities and masculinities in urban peripheries. We are interested in understanding how students' knowledge of the arts is putting these subjectivities into question. The research also aims to analyze the production of knowledge in the teaching of the arts and to develop case studies on training curricula and teaching practices in schools in the suburbs of Rio de Janeiro and urban outskirts.

 

Senses of melodrama: part 4 - the féerie : clues for the constitution of a theater aesthetics for children and youth (TIJ) – Coordination Prof. Paulo Merisio

This project continues the research that has been undertaken in the Sentidos do Melodrama project (UNIRIO; CNPq; FAPERJ; Capes). The first part - Poetics, writings, visualities and pedagogical potentialities - ended in February 2013. The second part - Classic Scene and Contemporary Scene - ended in February 2017. While the third part - A study on the féerie - is expected to be completed in February 2020. The fourth part consists of the continuation of the investigation of one of the modalities that was presented on the Boulevard Du Crime, contemporaneous with the melodrama: the féerie. Its study provides the articulation of two universes that have been guiding longer-term research: the melodramatic genre and theater for childhood and youth (TIJ). It proposes to focus the investigation on three constitutive aspects of the scene: narratives, visuality and musicality. These aspects will have the theatrical scene as the main investigative axis, based on the bibliographic domain, the analysis of sources and the realization of practical experiments, laboratories, disciplines and shows. The Sentidos do Melodrama project has been providing research in several modalities: Teaching Project, Scientific Initiation, Master's and Doctorate, as well as the performance of shows in the company’s Trupe de Truões (from UFU) and Cia. Melodramática do RJ (set up at UNIRIO). CNPq Research Productivity Scholarship - PQ 2.

Dramaturgy in process – Coordination Prof a . Rosyane Trotta

This project belongs to the area of expanded dramaturgy and scene dramaturgy, as a laboratory practice in line with corporeality, the artistic project, the authors involved and, mainly, the process of creation in the rehearsal room. Over the last ten years of research, the investigation of dramaturgical writing has been carried out together with collectives and artists of the scene, proving to be particularly powerful, as a process and as a result of both the scenic work and the impact on the group's development, in the experiences together to the peripheral theater. Situated in the area of performing arts research, as a theoretical-practical investigation of the creative process, the scope of the project is composed of three biases: 1) group theater as an organizational and artistic modality of self-management; 2) the process of dramaturgical construction through the laboratory and collaborative approach to scenic composition; 3) the notion of periphery as a geographic and cultural cut, observed under the hypothesis that theatrical practices generated by peripheral collectives can be approached as paths to a decolonial theater and pedagogy, especially if the creative process is guided by the search for a writing of itself, as collective autofiction. In creating in partnership and in networks, the study of contemporary dramaturgy is deepened, the possible overlaps between the epic and the performative are sought, aesthetic challenges are encountered, the free artistic and technical exercise is undertaken, in the experiment of forms of scenic-dramaturgical construction. The orientation of academic projects that focus on group theater in the Carioca suburbs and outskirts, or that are in the area of artistic-pedagogical methodologies for public education, nourish the research territory with area data. The project thus mobilizes complementary actions and methodologies in the area of dramaturgy and Brazilian social issues.

Whiteboard – Coordination Prof a . Rosyane Trotta

Description: The project observes the transformations within the Brazilian university based on affirmative actions, taking as a starting point the play "Auto dos 99%", created by the Centro Popular de Cultura da UNE, in 1962. Based on both area research and auto-fiction, since the authors of the project are part of the teaching staff of public higher education, the dramaturgy aims to discuss the concept of teaching practiced in Brazil.