Decoded bodies: theatrical action and gender memories
Corpos decifrados: ação teatral e memórias de género
DOI:
https://doi.org/10.47197/retos.v55.103638Keywords:
Theatre of the Oppressed, Gender, Armed Conflict, Physical EducationAbstract
Think the body from a formative perspective requires directing attention to the scenarios where human life takes place, and also to the bodies of pain that the armed conflict leaves in men and women. There are open or healed wounds, grievances experienced and embodied in intergenerational memories, silences and absences, fear and anxiety that invite us to think about a humanity cracked by war and urgent for restoration; These situations are echoes of suffering to update education and the educational actions that teachers carry out with human life. In the present study, a sample of this memory is taken with 15 women to whom the Colombian armed conflict left traces, regrets, pain, and indignation and, to build hope, we went to the Theater of the Oppressed with the interest of resignifying these female bodies with glimpses of reparation, through exercises, games and theatrical techniques of the Rainbow of Desire, the Image-Theater and the Forum-Theater, performative acts that, together with the narrative biographical method, allowed us to decipher female bodies that embody war in canvas bodies, bodies of the guilt, bodies of exile and bodies of fear. And envision the educational power that theatrical action has to learn about the experience that weaves memory and spins life.
Keywords: Theatre of the Oppressed, Gender, Armed Conflict, Physical Education.
References
Barak, A. (2016). Critical Consciousness in Critical Social Work: Learning from the Theatre of the Oppressed. British Journal of Social Work, 46 (6), 1776-1792. https://doi. org/10.1093/bjsw/bcv102
Betancur, D., Palacio, M. & Posada D. (2023). Cart(a)grafías de la memoria: tejidos de paz. Universidad de Antioquia. Grupo de investigación Somos palabra formación y contextos.
Boal, A. (2004). El arco iris del deseo: del teatro experimental a la terapia. Alba Editorial.
Boal, A. (2014). Teatro del Oprimido. Juegos para actores y no actores. Alba Editorial.
Boal. A. (2016). La Estética del Oprimido. Alba Editorial.
Boal, J. (2014). Por una historia política del Teatro del Oprimido. Literatura: teoría, historia, crítica, 16 (1), 41-79. https://doi. org/10.15446/lthc
Campos, F. N., Panúncio-Pinto, M. P., & Saeki, T. (2014). Teatro do oprimido: um teatro das emergências sociais e do conhecimento coletivo. Psicologia & sociedade, 26(3), 552-561. https://doi.org/10.1590/S0102-71822014000300004
Cárdenas, R., Terron, T. & Monreal, C. (2017). El Teatro Social como herramienta docente para el desarrollo de competencias interculturales. Revista de Humanidades, 31,175-194. https://doi.org/10.5944/rdh.31.2017.19078
Cardona, Á., & Sánchez A. (2021). Narrativas del conflicto armado colombiano en el escenario escolar. Estado del arte. Eleuthera, 23(2), 233–254. Doi: https://doi.org/10.17151/eleu.2021.23.2.12
Coelho, S. (2023). El legado del oprimido. El teatro como instrumento de expresión humana y política en el Brasil del siglo XXI. reCHERches. Culture et histoire dans l'espace roman, (31), 189-198. Doi: https://doi.org/10.4000/cher.16219
Cifuentes Patiño, M. R. (2009). La investigación sobre género conflicto armado. Eleuthera, 3, 127–164. Recuperado a partir de https://revistasojs.ucaldas.edu.co/index.php/eleuthera/article/view/5426
Da Silva, M. & Fonseca, D. (2023). Teatro do Oprimido com jovens em medidas socioeducativas: A construção do Projeto de Vida. Educação: Teoria E Prática, 33(66). doi: https://doi.org/10.18675/1981-8106.v33.n.66.s17714
Founaud-Cabeza, M. P., Martín-Forcadell, S., & Canales-Lacruz, I. (2023). Emociones, acción motriz y género en el alumnado de Educación Física de Primaria. Retos, 50, 342–348. https://doi.org/10.47197/retos.v50.98904
Gamboa, R., Soto, P., & Jiménez, G. (2022). Cuerpo y Escuela: la enseñanza de la educación física como experiencia democrática. Retos, 45,43–53. https://doi.org/10.47197/retos.v45i0.91858
Giesler, M. (2017). Teaching Note-Theatre of the Oppressed and Social Work Education: Radicalizing the Practice Classroom. Journal Of Social Work Education, 53 (2), 347-353. https://doi.org/10.1080/10437797.2016.1260503
Howe, K. (2016). “Nor are we just passing through": Muriel Naessens, Political Consistency, and Feminist Theatre of the Oppressed. Theatre Survey, 57(3), 436-440. https://doi.org/10.1017/S0040557416000466
Jaramillo, M. (2008). Las mujeres y la guerra. Revista Iberoamericana, 74(223), 483-495.
Jiménez, M. (2017). Teatro crítico contra la conciencia en crisis: Nada que perder. Romance Quarterly, 64, (4), 206-214. https://doi.org/10.1080/08831157.2017.1356168
Joca, E., Nobre, M. & Ferreira da Silva, M. (2019). Poéticas do Teatro do Oprimido na Saúde Mental. Estudos de Psicologia (Natal), 24(4), 414-425.
http://dx.doi.org/10.22491/1678-4669.20190041
Lee, Y. (2015). Theatre for the Less Oppressed than I: Reconsidering Augusto Boal's Concept of Spect-actor. Theatre Research International, 40(2), 156-169. https://doi.org/10.1017/S0307883315000036
Martins, V., & Lucio-Villegas Ramos, E. (2014). Teatro do oprimido como ferramenta de inclusão social no bairro Horta da Areia em Faro. Sociologia, Número temático–Ciganos na Península Ibérica e Brasil: estudos e políticas sociais, 57-75.
http://hdl.handle.net/11441/30361
Miller, A., Corrales, S., García, S., Coll, A., Ramírez, O., Armaiz, C., & Grau, E. (2013). La Verdad de las Mujeres: Víctimas del Conflicto Armado en Colombia. Ruta Pacífica de las Mujeres.
Motos, T. (2009). Augusto Boal: integrador del teatro, del activismo social y político, de la educación y de la tera-pia. Ñaque. Expresión Comunicación Educación.
Motos, T., & Navarro, A. (2012). Estrategias del Teatro del Oprimido para la formación permanente del profesora-do. Magis. Revista Internacional de Investigación en Educación, 4(9), 619-635. https://doi.org/10.11144/Javeriana.m4-9.etop
Oliveira, É., & Araújo, M. (2012). Aproximações do Teatro do Oprimido com a Psicologia e o Psicodrama. Psicologia: Ciência e Profissão, 32 (2), 340-355. https://doi.org/10.1590/S1414-98932012000200006
Pavis, P. (2008). Puesta en escena, performance: ¿cuál es la diferencia?. Telondefondo. Revista De Teoría Y Crítica Teatral, (7), 1-37. https://doi.org/10.34096/tdf.n7.9423
Porras Montenegro, E. A. (2016). Sistematización del proceso de formación en prevención de la violencia de género y nuevas masculinidades con jóvenes hombres de 15 a 25 años del proyecto “Yo construyo mi masculinidad” de la ciudad de Quito, de octubre 2015 a marzo 2016 [Tesis de grado]. http://dspace.ups.edu.ec/handle/123456789/13406
Powers, B. Duffy, P, B. (2015). Making invisible intersectionality visible through theater of the oppressed in teacher education. Journal of teacher education, 67 (1), 61-73. https://doi.org/10.1177/0022487115607621
Santos, E., Joca, E., & Alves, A. (2016). Teatro do oprimido em saúde mental: participação social com arte. Interface-Comunicação, Saúde, Educação, 20 (58), 637-647. https://doi.org/10.1590/1807-57622015.0469
Taylor, D. & Fuentes, M. (2011). Estudios avanzados del performance. Fondo de Cultura Económica.
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Retos
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and ensure the magazine the right to be the first publication of the work as licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgment of authorship of the work and the initial publication in this magazine.
- Authors can establish separate additional agreements for non-exclusive distribution of the version of the work published in the journal (eg, to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
- Is allowed and authors are encouraged to disseminate their work electronically (eg, in institutional repositories or on their own website) prior to and during the submission process, as it can lead to productive exchanges, as well as to a subpoena more Early and more of published work (See The Effect of Open Access) (in English).
This journal provides immediate open access to its content (BOAI, http://legacy.earlham.edu/~peters/fos/boaifaq.htm#openaccess) on the principle that making research freely available to the public supports a greater global exchange of knowledge. The authors may download the papers from the journal website, or will be provided with the PDF version of the article via e-mail.
