The liminality of the pedagogical practices of the scene

visual devices of performance art and the defense of democratic education

Abstract

What is the potential of the scene boundaries in exposing the political characteristics prevailing in the educational system of a country? What visualities of the scene are communicated in contemporaneity? How does the censorship of the transgender theater scene in 21st century Brazil affect the norms of an anti-democratic State pedagogy? What could be the role of performance arts in defending democratic education? This article analyzes the struggle for human rights in the field of Education developed by observing the recent processes of theatrical pedagogy and performance arts. Based on the study by Boal (2009), in which aesthetics is qualified as a human right, we verify the democratic ways that could foster pedagogical practices in the scene within the liminality attributes of performance arts. For such, we use the concept of liminality which is derived from social anthropology (TURNER, 1974), and indicate how its approximation to the Arts field by Caballero (2011) promoted its expansion and subtlety by emphasizing that the temporary nature of the scenic phenomenon liquefies political tensions through a boundaries pedagogy. We note three propositions of scene liminality: eccentricity, the ethics of votive corality and situated thought. The aim is to understand how such visual devices are central to attack and resistance in the context of the defense of democratic education.