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Authors
Abstract(s)
A presente tese tem o intuito de proporcionar um estudo acerca da vivência teatral denominada Teatro da Encarnação que, a partir da comunhão criativa entre a Filosofia de Michel Henry, a Pedagogia de Paulo Freire e o Teatro de Augusto Boal, se propõe como uma experimentação pedagógica de superação da barbárie, esse insuportável desinvestimento na vida que promove o desmoronamento da cultura ou de nossa civilização.
Compreendemos que as marcas da redução galilaica, alvo da denúncia henryana, legou-nos um crescente movimento de abstração conceitual e mecanização da transmissão de conhecimento, que teve como consequência direta o mutismo, manifesto tanto nos baixos quanto nos altos níveis de aquisição de saber, que, em sentido freireano, toma forma na negativa de dizer sua própria palavra. Negativa que, segundo entendemos, é proveniente da impossibilidade de encontrar essa mesma palavra, já que esta lhe é oferecida e não gerada na vida. Será em face desse mutismo aniquilador da capacidade crítica que o Teatro da Encarnação buscará oferecer resposta pautada na corpropriação, fazendo do humano atuante um co-proprietário do mundo, ao ponto de sentir-se potente para alterar esse mesmo mundo pela via afetiva.
Dessa forma, a tese que aqui nos propomos a defender é a de que o atual modelo galilaico/cartesiano chegou ao seu esgotamento e demonstrou não corresponder aos saberes da vida e tampouco poder oferecer possibilidade de acréscimo cultural, de forma que cabe estabelecer um novo caminho, para o qual propormos o Teatro da Encarnação, por ser um teatro do lúdico e do sensível. Essa é a possibilidade que aqui defenderemos pela via filosófica/pedagógica.
The present thesis is the goal of the accomplish a study or research on the theatrical practice experience so called Teatro da Encarnação (Incarnation Theater) that, coming from a creative communion among Michel Henry’s philosophy, Paulo Freire’s pedagogy and Augusto Boal’s theater, intends to be and stands itself as a pedagogic experience of barbarian overcoming. We comprehend that the inherited marks of the Galilean reduction (reference to what Henry consider to be the influence of Galileu and what it represents to modern science), target of Henry’s complaints, left to us an increasing movement of conceitual abstraction and mechanization of knowledge transmission, that had their direct consequences on the mutism, present either in the low or high levels of knowledge acquisition, that, in a Freireano’s (Paulo Freire’s) sense, gets shape along a denying dimension of saying its own word. A denying dimension that, as we understand, is produced or shaped from the impossibility of finding this same word, once this is already offered and not generate genuinely in life. It will be in face of this crushing mutism of the critical capacity, that the Teatro da Encarnação (Incarnation Theater) will seek to offer an answer based on the corpropriação (an embodiment of the subject at the proper experience), making off the human acting a co-owner of the world, so able enough to change this same world by its own affective ways. This way, the thesis here that we would like to defend is that, as the actual Galilean/Cartesian model has come to its own exhaustion, not even more corresponding to the life knowledge, and even less offering the possibility of any cultural rise, shall be established a new way, for which the Teatro da Encarnação (Incarnation Theater), for being a playful and sensible theater, is a possibility that here we will defend through a philosophical and pedagogic path.
The present thesis is the goal of the accomplish a study or research on the theatrical practice experience so called Teatro da Encarnação (Incarnation Theater) that, coming from a creative communion among Michel Henry’s philosophy, Paulo Freire’s pedagogy and Augusto Boal’s theater, intends to be and stands itself as a pedagogic experience of barbarian overcoming. We comprehend that the inherited marks of the Galilean reduction (reference to what Henry consider to be the influence of Galileu and what it represents to modern science), target of Henry’s complaints, left to us an increasing movement of conceitual abstraction and mechanization of knowledge transmission, that had their direct consequences on the mutism, present either in the low or high levels of knowledge acquisition, that, in a Freireano’s (Paulo Freire’s) sense, gets shape along a denying dimension of saying its own word. A denying dimension that, as we understand, is produced or shaped from the impossibility of finding this same word, once this is already offered and not generate genuinely in life. It will be in face of this crushing mutism of the critical capacity, that the Teatro da Encarnação (Incarnation Theater) will seek to offer an answer based on the corpropriação (an embodiment of the subject at the proper experience), making off the human acting a co-owner of the world, so able enough to change this same world by its own affective ways. This way, the thesis here that we would like to defend is that, as the actual Galilean/Cartesian model has come to its own exhaustion, not even more corresponding to the life knowledge, and even less offering the possibility of any cultural rise, shall be established a new way, for which the Teatro da Encarnação (Incarnation Theater), for being a playful and sensible theater, is a possibility that here we will defend through a philosophical and pedagogic path.
Description
Keywords
Encarnação Pedagogia Teatro de animação Paulo Freire Michel Henry Augusto Boal Incarnation Pedagogy