Teatro y ESI: un binomio fantástico

Overview

The video presents a talk on the relationship (“binomial”) between theater and the 21st century—often connected to Argentina’s education context and Comprehensive Sex Education frameworks. The speaker argues that this pairing can shape classroom practice and may contribute to forming a new disciplinary field. The talk combines theoretical references with firsthand experiences from theater education.

Artistic techniques and creative processes discussed

“Fantastic binomial” word-play as a method

• Drawing on ideas from Gianni Rodari to treat meaning as something created through pairing words that “force” each other into new senses.
• Constructing a playful conceptual path using theatrical language—for example, prepositional combinations such as:
  • “theater of / about / with / for / in the 21st century”

Didactic theater (redefined)

• Theater is used with an explicit purpose: to instruct and invite reflection on social problems, rights, violence, discrimination, and gender/power structures.
• The talk stresses that the aim is not mere moralizing, but social and rights-based transformation, aligned with education law.

Theater as group co-creation / dramaturgical production

• Students collectively construct dramatic texts and an “expressive aesthetic product.”
• The emphasis includes:
  • collective meaning-making
  • improvising situations
  • exploring and recording body/voice/imagination
  • rehearsal and role assignment with different ways of participating (acting, writing, logistics)

Staging as a “multiplier” in the educational community

• When productions are shared beyond the classroom (school community, parents, colleagues), spectators experience effects that “multiply,” adding further interpretive layers and new forms of movement.

Core concepts emphasized in the framework

Theater in formal education (constraints + enabling factors)

• Constraints
  • grades and evaluation systems
  • the school calendar
  • institutional framing
  • subordination to other subjects
• Enabling factors
  • state policy can bring theater experiences to students who may be experiencing theater for the first time
  • national education structures can support access

21st-century expectations for arts education

Theater is presented as supporting:

• critical observation
• emotional/sensitive experience
• learning diverse artistic languages
• respectful human relationships

It is framed as critical and reflective, including awareness of:

• production contexts
• circulation
• social valuation

Polysemy and collective invention

• Theater is described as inherently polysemous (many layers of meaning) and collective.
• This is positioned as a bridge between individual imagination and shared social reflection.

“Theater of inequality / theater of decision” (production as classroom power dynamics)

• School theatrical production can expose and negotiate students’ beliefs and values, especially under conditions of visibility.

“Theater of improvement / theatrical canon under construction”

• The talk references adaptations of canonical works used in school contexts.
• It also argues that a new canon is still emerging in 21st-century classroom theater.

Theatricalization (theory-based explanation)

• Citing Jorge Dubatti (Dubatti/Jorge Dubatti’s notion): theatricality precedes theater.
• Humans organize the gaze in everyday life through politics of visibility.
• Theater adds a further difference:
  • metaphor and bodily metaphor
  • parallel worlds
  • a meeting/event that draws attention to how adolescents learn to manage how others see them

Potential formation of a new disciplinary field

• Not “the teaching of theater” + “teaching about the 21st century,” but rather a specific way of doing:
  • theater-shaped structures and methods
• This approach fuses both areas into a new object of study and practice.

Steps, materials, and advice explicitly presented

Grounding the didactic theater rationale in practice

• Use curricular guidelines for Comprehensive Sex Education (available in school libraries and online).
• Align theater objectives to program axes such as:
  • caring for the body and health
  • respecting diversity
  • exercising rights, including asserting rights
  • guaranteeing gender equality
  • valuing affection
  • fostering empathy and democratic coexistence

Approach to teaching (teacher reflection as legal/pedagogical scaffolding)

• Introduce topics to generate discussion and peer exchanges.
• Prepare for questions from families by relying on the legal framework and on shared classroom discussion.

Classroom theater production guidance (attentiveness)

Teachers are encouraged to observe:

• what beliefs/values students reproduce
• how students respond to what they think others expect
• how theatrical play reveals subjectivity (including the idea that “theater reveals your true nature”)

Inclusive participation model

• Include multiple roles so that:
  • those who want can act
  • those who don’t can write
  • those who prefer can handle rehearsal and logistics
• The goal is to help everyone “find their place.”

Creators and contributors mentioned

• Gianni Rodari
• París (cited as the source/attribution for a “didactic theater” definition from a dictionary; the exact individual name is not specified)
• Eleonora Favor (quoted on the state’s responsibility and access to information/resources)
• Miguel Eduardo Andrés (thesis author)
• Esther Trozo (thesis director)
• Patricia Sosa (doctoral thesis mentioned)
• Jorge Dubatti (theoretical reference on theatricalization/theatricality)
• Dulce Victoria by Luis Sampedro (mentioned as a precursor work)
• Leonard Favor (subtitles cite “Leonard Favor,” likely referring to a Favor source; quoted on sexuality as a terrain with doubts)