Theatrical Scrawls. The Aesthetic Creations of Young Girls and Young Boys Scribble the Scene

Flávio Santiago, IFMT

Ana Lúcia Goulart de Faria, UNICAMP

The lights on the stage turn on, the tiny young girls and tiny young boys watch closely to the details of the scenario, which sometimes contains only a colored ball in the center, or a bathtub from the last century, or even a web of details impossible to observe with a single look. The actors and actresses initiate the play. The eyes of the tiny young girls and the tiny young boys become “vigilant” to the movements, which are being built on the scene, with a “guffawing silence” that rumbles throughout the theater. Aesthetic experiences are instilled, which become perceptible in the instants when the boundaries of what the play is and of whom I am — the spectator — are blurred. At that moment, the theater is taken by a set of different forms, the tiny young girls and the tiny young boys, women and men adults — actors and actresses, and non-actors and non-actresses, who merge into a single and diverse block, producing what can be called theater for the early childhood.

The art repurposes the urge of telling about self and precedes reasoning. The initial desire of communicating is pulsating. It provokes reactions, but it is a thrust. It is to make art, it is to make it “for” and “with” children, it is to provoke their artistic acts, it is not narrating the original thrust, but rather the will to drive (Frabetti, 2016, p. 20).

The show is populated by the difference of tiny young girls and tiny young boys, being open to the new: the singular act of each presentation welcomes the other, which is, at each different scene, unique and interlocutor of the play: either by the smile of a tiny young girl that draws it at the sight of a movement built by an actor, or by the guffawing silence which rumbles throughout the theater, there is an “aesthetic populating” that links the childhoods, the tiny young girls, the tiny young boys and the theater.

The little ones speak with the eyes and with their silences. The eyes that accompany the silences of children sometimes open us doors to unknown worlds. Doors that we often find it difficult to see. And we miss a thousand chances to surprise ourselves (Frabetti, 2011, p. 40).

The aesthetic expression of the theater for the early childhood trespasses the borders of the show structure — spectator, bringing up the perception of the child as a cultural and historical subject, who lives the artistic experience of the play with their whole body and their hundred languages, also producing culture as they share the artistic experience with both their peers and men and women adults.

all receptive and active senses are together, and they activate in a really human way, the human ears are capable of listening to music, the eyes are capable of contemplating the beauty, the taste which picks the food rather by please than by necessity of eating and surviving is a taste particularly human and there it goes, just as the faculties of thinking, of imagining which moves through the field of artistic creation, of scientific creation, etc. (Piozzi, 2005, p. 135).

DOI: https://doi.org/10.36253/rief-11396

Read Full Text: https://oaj.fupress.net/index.php/rief/article/view/11396

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University of Florence

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