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SP Drama School Regular Courses Functioning of the Pedagogical System Headquarters Others

Functioning of the Pedagogical System

The organic structure of the SP Escola de Teatro caters to a holistic thought of mediation with stage arts. 

Not by chance, the logotype of the Institution suggests the floor plan of an arena apparently containing labyrinthine lines, at the same time centripetal and centrifugal in relation to the center but soon entrances and exits of this woven net made and cherished by everyone can be clearly noticed.

The teaching functioning is placed on the following elements:

- Module

It transcends the conventional framework of systematic content per semester. It includes a period of teaching in which a Thematic Axis and one Operator unify all Components, allowing interaction and joint work. The Regular Course is made of four Modules, namely Green, Yellow, Blue and Red. Modules do not have an internal hierarchy among the Components and it is expected that from the admission of the second class on the educands will be able to start their courses from any of them on. Each Module takes 20 to 21 weeks per semester.

- Matrix

It replaces the notion of curriculum. The Matrix presupposes inter and trans-disciplinary learning. This arrangement favors parallels, crossing of perceptions released by educators and educands coming from the most different trajectories. It is a way of organizing and distributing contents that, in the case of the theater studies area, are connected to the practice.


- Component

This element composes the Matrix. The Component reflects a coherent unit of content to be shared. Its content is the snip of a group of themes or subjects. It is connected to a Matrix and interdependent with other aspects of learning, relating to the context of the Thematic Axis and the Operator. 

- Thematic Axis

Looking at the sum of form and content, and vice versa, the ways of thinking in SP Escola de Teatro cross ideas, languages and aesthetics. They are the guidelines for the Thematic Axis. It either touches the historical sources or pursues the potential of rupture there is in the act of creation in the contemporary world.

The Thematic Axis contextualizes style and time, as follows: 

Green – elements of realism;

Yellow – elements of epic/narrative;

Blue – elements of improvisation and performance;

Red – elements of contemporary theater.

- Operator

Operator is the way through which such techniques and contents are addressed. In the specific case of SP Escola de Teatro, the Operators are related to the spatial issue: 

Green – black box/Italian stage;

Yellow – a place not built for theatrical purposes;

Blue – street or square; public open space;

Red – scenic box/the whole of the theater space.



- Operator and Thematic Axis Development

Each Module foresees the development of eight projects of short scenes, that is, 16 per semester. Each color represents a Thematic Axis (division that directs, organizes and interferes in cross-actions) and an Operator (space, theater space or not, in which the Experiment will take place). 

Therefore both the Thematic Axis and Operators are predefined, although subject to variation from year to year. They are determinant on the Components provided and about the way of thinking, investigating, performing the scenes and providing reasoning and subjectivity. 

In the following paragraphs, examples are given of the program that is to be completed in four Modules between 2010 and 2011. 

- The Green Studio brings as the Axis elements of realism and, as the Operator, the black box of the Italian stage. In other words, the educands will look at the characteristics of this aesthetic, on how to avoid melodrama, to obtain the illusion of reality close to everyday life, as well as experiencing the descriptive objectivity. The scene projects can be around bits from The Seagull, by Anton Chekhov; A Streetcar Named Desire, by Tennessee Williams; and Barrela, by Plinio Marcos, to name three titles on the list of the first half of 2010.

- In the Yellow Studio, the epic elements form the Axis, such as the breaking of illusion, the rupture of narrative and dramatic elements. And it works within places not built for theatrical activity, as museums, churches and garages. Among the options for plays, The Beadbug, by Vladimir Mayakovsky; The Life of Galileo, by Bertolt Brecht; and Arena Conta Tiradentes, by Augusto Boal and Gianfrancesco Guarnieri. 

- The Blue Studio addresses elements of performance and of the improvisational theater that clash with everyday life, establish multi-language channels and develop the urban intervention. Its Operator is the ancient theatrical place: the street or the square. The possibilities for experimental projects include the languages of installation, collaborative dramaturgy and of the actor-creator. 

- In the Red Studio, the educand exercises flight autonomy over the Axis, prospecting it in collaborative research. Reflection on the plurality of forms existing in the contemporary world is undertaken. The built theatrical space is finally reproduced, in a search for a new meaning.


- Studio and Training

During the Module, consisting of 20 or 21 weeks, depending on the semester, the learning process is developed following both the stages of the Studio and the Training.

- Studio

Lasting from 13 to 17 weeks, the Studio is understood as a territory of artistic production and is present in all Modules. It refers directly to the practice. As the Thematic Axis and the Operators of the Modules are identical in all courses, it allows porosity and permeability. 

The Studio is divided into two phases: 

Process – a phase in which the content and techniques inherent to the Thematic Axis are worked in detail; it encourages the educand's consciousness and awareness of economy on each stage of creation.

In this phase of the learning process the notion of working on short, medium or long-term projects becomes more concrete. The complexity of certain topics may require days, weeks or months of diving into references and genealogies of what one intends to cover. This is consistent with the nature of the theater making.


- Experiment – phase in which educands go to differentiated projects, taking up several pairs of distinct courses to achieve a common procedure.

For example, an acting educand will study the techniques of realism in the classroom with his/her classmates, during the Process. In the next stage, called the Experiment, they will have a few classes together and will mingle with other colleagues from other groups to develop a specific project.

In that case, a project "x" will have two or three educands from Acting who will join two or three from Directing, from Set and Costume Design etc. This new group, with a similar structure to a theatrical troupe, will form a work cell that will develop an articulated project to be presented at the end of the Experiment.


- Training

At the end of the Module comes the Training stage in which the educands return to their group of origin. The Training aims an evaluation of the Studio and especially of the Experiment. Systematize knowledge that was experienced in practice and broaden the theoretical and technical repertoire. 

The purpose is to subvert the conventional path of "to know" for "to do" merging them. It takes the three final weeks in Yellow and Red Modules and the last eight weeks in Green and Blue Modules. 

Precisely, the stage of Training, because it does not precede the practice does not limit it; on the contrary, it deepens it when taking it as a basis. 

Educands are encouraged to reflect and investigate certain Thematic Axis and differentiated Operators for each Module. There isn't an end of course production. In each semester short scenes and related Experiments are welcomed.

When SP Escola de Teatro conquers autonomous cells of the same courses, from 2011 onwards, educands will be able to choose a color according to their interest at the moment of admission. The pact is that in two years, he/she has to go through the four Modules and be evaluated in each of them with the possibility of passing or failing – implying, in the last case, to redo the entire Module.

- Admission Process

The first admission process of SP Escola de Teatro took place between November 2009 and January 2010. It had 1,945 candidates for 200 educand places (a ratio of 9.72 per seat), reflecting the demand for professional training in the performing arts, constituting, possibly one of the most competitive admission process in Brazil on a technical school or university level. 

As for the eight initial vacancies for educators of SP Escola de Teatro – responsibles for delivering the Components for educands, as well as assisting the coordinators in the flow of daily activities – there were 440 subscribers (55 candidates per seat).

In the second half of 2010 there will be applications for the new admission process for classes starting in February of the following year. The admission process includes curriculum vitae analysis, interview and a sample lesson (for educators), and essay exam in the first phase, and vocational exam in the second phase (for educands). 

In Regular Courses, the classes take place from Tuesday to Saturday, from 9h to 13h. Saturday afternoons from 14:30h to 18:30h are intended for the Cultural Territory, the space of the party, the fair and the exchange.

Endereço e E-mails
SP Escola de Teatro
Centro de Formação das Artes do Palco
Sede Brás 
Avenida Rangel Pestana, 2401, Brás
03001-000 • São Paulo - SP
Tel: (11) 3121-3200
Sede Roosevelt 
Praça Roosevelt, 210 • Centro
01303-020 • São Paulo | SP
Tel: 11 3775.8600
Governo do Estado de São Paulo - Secretaria da Cultura
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