DISSERTATIONS - 2010

THEATRICAL PROCESS – A JOURNEY ACROSS THE PSYCHE. THE CONSTRUCTION OF PSYCHIC-HISTORICAL FABLES IN A THEATRICAL STAGING

Patricia da Silva Teixeira

Advisor: Liliana Liviano Wahba
Key words: fables, subjectivity, Brecht, theatrical techniques, analytical psychology, jungian psychology.

Recent studies and practices have resumed the importance of artistic expression as a therapeutic auxiliary, as well as, within cultural programs of public policy which offer formative activities in arts and culture in order to promote social inclusion and the recognition of children and youths as legal persons. Theories like psychodrama, the drama therapy, the systemic family constellation, among others, in the area of psychology, try to find in the theater, the space of their investigation scope and the development of techniques largely spread and developed. The present work searches for the understanding of the psychical journey in the elaboration of subjectivity by a psychic-historical fables construction technique developed through the process of the theatrical staging. This technique was based on the structure and on some concepts of the dialectic Brecht's theater, which focuses the historical individual, jointly with the perspective of the individuals' singularity according to the analytical psychology approach. The method used for it was the qualitative one, using the analysis of the content after Laurence Bardin (2002), through some preestablished categories coming from fables constructed by the participants. The results pointed to the "existential function" of the Theater, which within this research, made possible the opposition and confrontation of the individuals and their fables. Therefore, the arena was observed and understood as a space of the individual's coexistence with "lost or forgotten" parts of his personal history in consonance with the broader view of the history of his time. As an artistic and cultural tool, theater modernized a socio-historical view with psychical apprehension and elucidation. With this work, rises a new path for doing theater, beyond its backstages proscenium or any other delimitation: what it can offer to individuals, that is, a new creative contact. This new creative contact could be described as a person's feeling of pertaining to his space, to society or to the world in which this person is an active actor. In this space, human beings can retell their own stories, making up their history, by tracing the dramaturgy of their lives with a line that will go through the time; goes through the past, the present and is on the way to the future.