O lugar dos textos dramatúrgicos no proscênio escolar

Abstract

Anchoring on the contributions of Ghiraldelli Jr (2009), Vieira (2009), Gentili (1996) on the history of Brazilian education and government policies, as well as Cassiano (2013) by immersing ourselves in the textbook market in the twenty-first century, supported by the studies of Lajolo and Zilberman (1996) Aguiar and Bordini (1993), Bosi (1992), Vieira (1989), about the school-literature setting, along with Pascolati (2009), Magaldi (1998) Ryngaert (1995 ) and Palottini (1989) and Prado (1974) on the dramaturgical text, its market and the characters, this research, of a descriptive-analytical nature, has as a central objective to investigate the dramatic genre in school proscenium, since drama is understood as the first Greek literary expression and the dramatic games are seen as the first children's artistic expression. In this segment, we will discuss specifically the analysis and critical reflection of the pieces of the Portuguese playwright Gil Vicente, mentioned in two teaching collections that adorn on their covers the white sheet of education: MEC / PNLEM, thus, we extend our investigations by the genre to be asked in Enem and Fuvest evaluations, checking for harmony between the structure of the textbook and the organization of these reviews. We adopted as a methodology the bibliographical and documentary research, being constituted by the educational policies and government agencies, covering the LDB / 96 to the High School Innovative Program / 2009. At first, we base the discussion from a historical path of laws and reforms that established the teaching of literature in schools, pointing its main changes in this scenario. We continue investigating how this art, as a curriculum component, is examined in dramatic texts through the Vincentian parts, in the specific case of two textbooks that cover different publishers, different study periods and different classification, we have the book A (2012-2014), Attica publisher, classified as manual, because it organizes itself as a map of teaching / learning activities and book B (2006-2008), Brazil's publisher, called compendium, which exposes systematically the most relevant curriculum content of the course for each level of education, leaving the teacher responsible for the selection and distribution of each grade and each class. Divergent search was deliberate since our interest corresponds to understanding the explanation of dramaturgical texts in their time and space. We found that in approximately six years from a didactic collection to another, an extract of the Vincentian play O Auto da Barca do Inferno, prevailed. One reason for this is because this piece is mentioned in the required reading list of Fuvest until the year 2012. Both productions explore, from an excerpt of the piece, its context by historical period. As the Editorial Board of textbooks seeks inspiration in the lists of required books to teach literature, we can say that the dramatic genre is likely to disappear within the school, since the Gil Vicente play has been replaced by a narrative genre in the Fuvest list, as well as, the gender barely appears in the Enem evaluation, a national examination which is among the world's largest. We also emphasize that the dramaturgical text approach in textbooks is made not only from the perspective of the stage, the theatrical performance, but also as an opportunity to teach the Portuguese language. The discussion extends to government policies, aimed at universalization of high school, and they are still far from offering an education of quality. Thus, from the theoretical reflections, we will consider that the textbook is a guide, not a finished product, and therefore allows the proposed surveys in this research.