Phase II – 2016-2019

This phase of the research in a network lasted four years, from 2016 to 2019, and joined research groups in four countries: Brazil, Argentina, Portugal and France. This phase was financed by the National Council for Scientific and Technological Development  (CNPq) of Brazil’s Ministry of Science and Technology and by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior [The Coordination for the Improvement of Higher Education Personnel] (CAPES), of Brazil’s Ministry of Education. The research question involved education at the interior of creative processes and was entitled Estudos da presença: práticas (per) formativas na formação em Artes Cênicas [ Studies of Presence: (per) formative practices in performing arts education]. This second phase investigated education in the performing arts, at the interior of creative processes, by creating a data based formed by protocols of procedures in theater, dance, performance, popular forms of expression, etc. The production of data and their analysis was conducted collectively. The central question was: how can creative processes circumscribe educational process from within, while not establishing a temporal or spatial decalage in relation to them? The question, in fact, has mu. ltiple implications for various artistic contexts in the countries involved. It presents problems related to curriculum, to artistic education, and the professionalization of artists and teachers of theater and drama, as well as a significant group of related problems. Education was understood to involve a broad group of processes. The research of education within creative processes placed in practice a series of quite diverse opportunities, considering the diversity of the school, university, and artistic processes in the four countries involved. Thus, it involves understanding the process that engenders the ethics that is specific to the practice of theater and the practice of dance; this creation of self, in the sense of an ethical and aesthetic mode of formulation of the self. In heterogeneous ways, the research shows that there is a pedagogical dimension at the interior of creation. This is not different from the idea that the space of education is considered as a space of creation. Thus, the intricate task was undertaken to understand the difference between education and creation. The pedagogical dimension of creation is a type of understanding that in the performing arts we educate at the interior of creative processes, given that we not only transform the matter upon which we create, but we undeniably transform ourselves through creation. The results were published in the book “Formação e Processos de Criação: pesquisa, pedagogia e práticas performativas” [Education and Creative Processes: research, pedagogy and performative practices].