The PhD project “Puppet theater in the education and training of children” consists of examining the contribution that the puppet allows to everyone to show their knowledge, skills and competences. The person who experiments with puppets works starting from the self, from his own creativity and creates a synergy between cognitive, experiential and social work. The puppets, which are often seen as a simple pastime for children, instead contain the ability to bring out each person's physis. The PhD thesis is structured in three main chapters. In the first chapter I reflect on training alternation. In the Italian language, for the verb “to recite”, the emphasis is on the repetition of the gesture or word. This statement allows us to reflect on the value of experience, common ground between pedagogy and puppetry. I also analyze the interaction of experience and action. I reason on embodied knowledge and learning by doing. I reflect on the harmony between mind and body for the person’s holistic education and training. The second chapter is devoted to the analysis and contextualization of the puppet in education and training. Starting with the three masters indicated by Rousseau, the puppets are “things” that educate. Puppets are “things” that allow us to experience reality thanks to the relationship with each other; they are also “things” built by man and therefore concrete manifestations of his action. The puppets allow those who build them and those who use them to reflect on their conscience, self-awareness and to manifest their physis. Objects animated with intentionality, typical of puppetry, are part of the cultural heritage and they have influences on the person. To justify what I say, I carry out a reflection linked to the pedagogy of local culture. I also make a presentation of the traditional puppets: the puppets are tools that convey the values of the territory they represent. Puppet theater is an art form capable of representing a valid collaborator in the pedagogical, educational and training fields. Puppet theater uses a set of languages and expressive techniques: manipulation, construction, verbal and non-verbal language, sentiment analysis, analysis of the different expressive modes and learning by doing. The third chapter contains the empirical research that I carried out with qualitative methodologies and, in particular, the narrative method in pedagogy. In this chapter I present and I analyze the observations, the biographical interview, the interviews with puppeteers, the interviews with children and the interviews with teachers and educators. These interviews summarize the interviewees’ interpretations on the pedagogical value of the puppet and on the use of the puppet within educational and training contexts. The methodological research that I have conducted has brought to light several issues where the puppet can become the protagonist, valid support and reliable collaborator in the school context. At school, the puppet is a facilitator of communication and whoever uses it can explore numerous communication channels: from verbal to bodily and emotional. Through the puppets each person experiences a total involvement in his potential. Puppets allow a full interaction between theoretical subjects and concrete experiences. The puppet favors a holistic view of the person and the acquisition of knowledge, know-how and knowing how to be. The workshop teaching with puppets is aimed at the pedagogical experience that involves the individual in his being unique, free, singular and unrepeatable. Everything related to the PhD thesis is the result of a research that I conducted using the methodology of observation. The research was carried out in compliance with the circular interaction between theoretical notions and experience that I have gained over the years and thanks to my puppeteering activity.

Il mio progetto di ricerca dal titolo “Il teatro dei burattini nell’educazione e formazione dei bambini” consiste in una disamina approfondita dell’apporto che il burattino permetta a ciascuno - lavorando a partire dal Sé e dalla propria creatività e creando una sinergia fra lavoro cognitivo, esperienziale e sociale- di mostrare le proprie conoscenze, abilità e competenze. I burattini che spesso vengono guardati come un semplice passatempo per bambini, racchiudono invece la capacità di far emergere la physis di ogni persona. La tesi è strutturata in tre macro capitoli. Nel primo capitolo rifletto principalmente su ciò che è l’alternanza formativa. Nella lingua italiana, per il verbo “recitare”, l’accento viene posto sulla ripetizione del gesto o della parola. Questo introduce alla riflessione circa il valore dell’esperienza, terreno comune fra pedagogia e teatro dei burattini. Viene analizzata anche l’interazione tra esperienza e azione, valorizzando il valore espressivo dell’embodied knowledge e del learning by doing, così come l’armonia che deve esserci fra mente e corpo affinché si possa parlare di un’educazione e una formazione olistica del soggetto. Il secondo capitolo è dedicato all’analisi e alla contestualizzazione del burattino in educazione e in formazione. Partendo dai tre maestri indicati da Rousseau, i burattini sono oggetti che educano, “cose” che permettono di effettuare esperienza sulla realtà grazie alla relazionalità con l’altro; sono anche “cose” costruite dall’uomo e quindi manifestazioni concrete dell’azione umana che permettono a chi le costruisce e a chi le utilizza di riflettere sulla propria coscienza, autocoscienza e a manifestare la propria physis. Gli oggetti animati con intenzionalità, propri del teatro di figura, fanno parte del patrimonio culturale e hanno delle influenze sulla persona. Il teatro dei burattini è una forma d’arte capace di rappresentare un valido collaboratore in campo pedagogico, educativo e formativo perché utilizza un insieme di linguaggi e tecniche espressive: la manipolazione, la costruzione, il linguaggio verbale e non verbale, o ancora l’analisi dei sentimenti, delle diverse modalità espressive e l’imparare facendo. Il terzo capitolo racchiude la ricerca empirica che ho realizzato mediante l’utilizzo delle metodologie qualitative e, in particolar modo, al metodo narrativo in pedagogia. Vengono qui presentate e analizzate le osservazioni, l’intervista biografica e le interviste a burattinai, bambini, insegnanti ed educatori circa la propria personale interpretazione della valenza pedagogica del burattino e del suo utilizzo all’interno dei contesti educativi e formativi. La ricerca metodologica condotta ha messo in luce diverse tematiche all’interno delle quali anche il burattino può diventare protagonista, valido supporto e collaboratore affidabile nel contesto scolastico. A scuola il burattino è un facilitatore della comunicazione e chi lo utilizza può esplorare numerosi canali comunicativi: da quello verbale a quello corporeo ed emotivo. Attraverso i burattini si sperimenta un coinvolgimento totale - ognuno secondo le proprie potenzialità- poiché permettono una piena interazione fra materie teoriche ed esperienze concrete. Il burattino favorisce l’acquisizione del sapere, del saper fare e del saper essere, in una visione olistica del soggetto. La didattica laboratoriale con i burattini si rivolge all’esperienza pedagogica che coinvolge il singolo nel suo essere unico, libero, singolare e irripetibile. Il tutto è frutto di una ricerca condotta mediante la metodologia dell’osservazione, nel rispetto dell’interazione circolare fra nozioni teoriche ed esperienza maturate nel corso degli anni grazie alla mia attività di burattinaia.

(2022). Il teatro dei burattini nell'educazione e formazione dei bambini . Retrieved from http://hdl.handle.net/10446/213039

Il teatro dei burattini nell'educazione e formazione dei bambini

NAVONI, Roberta
2022-04-05

Abstract

The PhD project “Puppet theater in the education and training of children” consists of examining the contribution that the puppet allows to everyone to show their knowledge, skills and competences. The person who experiments with puppets works starting from the self, from his own creativity and creates a synergy between cognitive, experiential and social work. The puppets, which are often seen as a simple pastime for children, instead contain the ability to bring out each person's physis. The PhD thesis is structured in three main chapters. In the first chapter I reflect on training alternation. In the Italian language, for the verb “to recite”, the emphasis is on the repetition of the gesture or word. This statement allows us to reflect on the value of experience, common ground between pedagogy and puppetry. I also analyze the interaction of experience and action. I reason on embodied knowledge and learning by doing. I reflect on the harmony between mind and body for the person’s holistic education and training. The second chapter is devoted to the analysis and contextualization of the puppet in education and training. Starting with the three masters indicated by Rousseau, the puppets are “things” that educate. Puppets are “things” that allow us to experience reality thanks to the relationship with each other; they are also “things” built by man and therefore concrete manifestations of his action. The puppets allow those who build them and those who use them to reflect on their conscience, self-awareness and to manifest their physis. Objects animated with intentionality, typical of puppetry, are part of the cultural heritage and they have influences on the person. To justify what I say, I carry out a reflection linked to the pedagogy of local culture. I also make a presentation of the traditional puppets: the puppets are tools that convey the values of the territory they represent. Puppet theater is an art form capable of representing a valid collaborator in the pedagogical, educational and training fields. Puppet theater uses a set of languages and expressive techniques: manipulation, construction, verbal and non-verbal language, sentiment analysis, analysis of the different expressive modes and learning by doing. The third chapter contains the empirical research that I carried out with qualitative methodologies and, in particular, the narrative method in pedagogy. In this chapter I present and I analyze the observations, the biographical interview, the interviews with puppeteers, the interviews with children and the interviews with teachers and educators. These interviews summarize the interviewees’ interpretations on the pedagogical value of the puppet and on the use of the puppet within educational and training contexts. The methodological research that I have conducted has brought to light several issues where the puppet can become the protagonist, valid support and reliable collaborator in the school context. At school, the puppet is a facilitator of communication and whoever uses it can explore numerous communication channels: from verbal to bodily and emotional. Through the puppets each person experiences a total involvement in his potential. Puppets allow a full interaction between theoretical subjects and concrete experiences. The puppet favors a holistic view of the person and the acquisition of knowledge, know-how and knowing how to be. The workshop teaching with puppets is aimed at the pedagogical experience that involves the individual in his being unique, free, singular and unrepeatable. Everything related to the PhD thesis is the result of a research that I conducted using the methodology of observation. The research was carried out in compliance with the circular interaction between theoretical notions and experience that I have gained over the years and thanks to my puppeteering activity.
5-apr-2022
34
2020/2021
FORMAZIONE DELLA PERSONA E MERCATO DEL LAVORO
POTESTIO, Andrea
Navoni, Roberta
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