Abstract

VIANA, Cynthia Maria Jorge  and  FRANCISCATTI, Kety Valéria Simões. Teatro e formação cultural: limites e possibilidades da arte da representação como testemunho do sofrimento. Rev. Mal-Estar Subj. [online]. 2010, vol.10, n.4, pp. 1365-1396. ISSN 1518-6148.

This research report aims at considering individual formation by means of intertwining scientific and artistic knowledge. Such thoughts have been both contrasted and articulated on the grounds of investigations carried out with amateur theatrical groups in which college students have taken part. Critical Theory of Society have served as a framework for investigating the dimensions of the process of artistic creation of theatrical performances and the importance of micro-groups and its affective associations related to development process. Besides carrying out systematic arrangements for the theoretical foundations and the main theme surrounding São João del-Rei's theatrical tradition, three amateur theatrical groups have been chosen to be observed during their rehearsals and performances. During this process, interviews have been conducted with directors and college actors based on a pre-developed script. Results from such observations were registered on field diaries. Through group observations, it has been possible to realize that they differed as for the techniques employed for playing, the content of the plays, the group dynamics and the artistic creation. When provided the privilege for affective contact, the groups - somehow - also provided identification and differentiation, which would then become privileged settings for cultural development. However, by abandoning their psychosocial role - of providing non-threatening moments related to the possibility of experience -, they would become reproducers of suffering. Once the tension between shape and content is properly kept, art reveals unnecessary sufferings: mutilations that inflict the mankind. On the other hand, if the shape appears as the content, even though part of the expression becomes outstanding, the critical potential of art gets reduced. That seems to be somehow reflected on the observed groups, that once immersed in the industrial society's ideology, end up betraying the fidelity held by expression with instinctual drive and reproduce what art could reveal as a denial and testimony for reality.

Keywords : Critical theory of society; Individual; Groups; Expression; Process of artistic creation.

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