Teatralização no ensino de Geografia: uma condição possível

Abstract

Teaching has become a challenge in its multiple dimensions, social, political, economic and human. Faced with such briefly posed situations, a pedagogical question arises of deep academic debates. How to teach and train critical and autonomous citizens for a world in constant transformation? The socio-interactionist approach proposed by Vygotsky (2009) has proven to be of extreme value and fundamental in the learning-teaching process. We live in an unequal and short-sighted society that gives little value to the role of the teacher within a political-economic model manipulated by big capital that sees the figure of the teacher as an obstacle to its neoliberal desires. Freire (1970; 1996) argues that ideological discourse threatens us to anesthetize mind, to confuse curiosity, to distort the perception of facts, things, events. The teacher emerges as the counterpoint to this ideology of mass alienation, as a possibility of untying knots that hinder the student in their socio-spatial construction. This study proposes to analyze the challenges of Geography teacher in his/her pedagogical practice, facing socioeconomic, structural, curricular, logistical, ideological problems, among others, and essentially presents the Theatricalization of Geography Teaching – TEG as a proposed teaching methodology, being this one of the many possibilities of the encounter between Geography and Art. A dynamic and liberating pedagogical practice, in which the learning-teaching process, a concept also defended by Oliveira (2013), is constructed jointly and collaboratively between teacher-advisor and student-actors. A practice that encourages the student to develop geographic reasoning, critical and active awareness of transversal issues that arise daily in his life. According to Callai (2013), the challenge is to carry out dynamic teaching, that learns the movement and the capacity for continuous transformation of the spaces we study. Through the art of representation, students become protagonists of their learning-teaching processes. For Souza (2009), theater is capable of teaching indirectly and its true learning is not only contained in an explicit curriculum. Boal (1982; 2011) concludes that art modifies the modifiers of society, transforms the transformers and provides teachers and students with new possibilities for presenting spatial reality. Its action is indirect, it is exerted on the consciousness of those who will act in real life. Spolin (2010) shows us that theatrical games enable students to develop the ability to communicate through speech and writing, and non-verbal forms. Cavassini (2008) praises art as a discipline and places theater as the epistemological basis of art. The author argues that theater pedagogy has disciplines that associate theater, pedagogy and borderline disciplines between both.