Lines of Research of PPGAC

Research Area - Theory and Practice of Theatre

Assuming that practical and theoretical research are complementary forms of producing knowledge, in this field, researchers become theorists, critics, hermeneutics and theater arts creators, all in the same person, who, as seen in contemporary artist-researchers, moves freely through the various levels of theatrical operations. When stimulating the collective production of theatrical knowledge and practice we are able to dissolve schemes based on the temporal disassociation of creative and reflection-oriented operations. Both are exercised simultaneously, each one questions and complements the other, since their practice is based on theoretic reflections, and theory is necessarily a praxis of theater arts.

Based on this broad academic major, two differential vectors are traced, giving name to the two lines of research derived from this trunk: Text and Scene and History of Theater.


Research Line: Text and Scene

      To reflect on the relationship between Text and Scene one must necessarily analyze questions revolving around Staging, Acting and Dramaturgy, not seen as separate fields, but as productive instances of performing arts texts, comprised of all the significant systems mobilized in a performance, both complementary and interdependent. Keeping in mind that contemporary performances reside in a tension-filled space cohabitated by various renditions – that of the director, the actor and the playwright -, the object of the intended thematic division is to emphasize the preferential interest of the researcher who, in most cases, should not hesitate in analyzing the live theatrical scene, characterized by the fluidity and the mobility of boundaries between the generally unstable areas specified.


Research Line: History of Theater

The History of Theater research line, encompassing both Brazilian and International Theater  History – is directed towards investigators who prioritize an approach to theater through its relationship with history, by means of studies in which the temporality of any specific moment of social evolution be a determining factor in the interpretation of a performance. The global processes of history, the collective social movements and the determining aspects of contexts in theater are a few of the premises that orient this line of theatrical investigation, be it aimed specifically at Brazilian or International Theater, east or west.



Research Area  - Theater’s  Pedagogy

In the Theater’s  Pedagogy Research Area,  the diverse aspects that characterize the relationship between Theater and Pedagogy come together, uniting both those investigations dealing with the educational character of theater practices, as well as those aimed at the principles and methods of teaching and learning theater arts in professional and amateur spheres. This academic research area thus encompasses research focusing on theatrical practices as a relevant experience in an individual’s training, as well as the processes revolving around the technical and contemplative refinement of theater artists. This field is divided into two research lines: Theater and Education and Training of Theater Artists.


Research Line: Theater and Education.

The Theater and Education research line proposes to investigate theater arts as an educational activity, through perspectives based on different approaches. It thus encompasses theatrical performance as a teaching practice, emphasizing a variety of issues revolving around the concepts and methodologies relative to learning theater in school and in other educational and cultural institutions. It also deals with theater practices as a form of cultural activity, without forgetting the relationship between the theater and today’s society, both in spheres of cultural democratization as well as in the possibilities existing in theater arts today as an instrument of social transformation. The research line encompasses questions and practices that reflect on the creation of theater audiences, focusing the theme through a wide variety of perspectives, both touching on the different propositions of cultural mediation aimed at creating audiences as well as the artistic-pedagogical practices that endeavor to capacitate spectators. In this sense, it also delves into studies of theatrical Reception, contemplating spectator activities in face of a performance, and how the stage props and scenery presented by their creator may be transformed into an aesthetical experience.


Research Line: Training of Theater Artists

    The Training of Theater Artists line of research focuses on the different concepts, methodologies and content that constitute processes of teaching/learning contemporary theater artists. It thus encompasses research that investigates theatrical interpretation, emphasizing those methodological aspects that deal with the actor’s craft and those that indicate the importance of his/her consciousness concerning their learning process in itself, revealing just how relevant an actor/researcher’s training is while being aware of the premises that guide his/her own work and investigative the processes. This research line also revolves around research of the techniques and principles that deal with the creation of stage directors, set designers, costume designers, dramatists, stage illuminators, musical directors and other theater artists.


Research Lines Teaching Staff