公共预算中的教育干预和戏剧诗学的贡献（英文）

Pedagogic interventions in public budgeting and contributions of theatrical poetics

1997年至2008年间圣安德烈指导了旨在鼓励公共参与城市投资决策过程的项目,该项目将预算项目的参与实施和'受压迫者的戏剧'相结合。本研究意图评估其美学和教育观点,研究的具体目标是明确在指导戏剧项目时在美学和教育方向上的选择,其目的是为了促进决策过程中的公共参与。社会学家Cecheti(2004)和Baiocchi(2006)关于美学体验有助于促进参与决策的研究成果是本研究的主要关注点。研究方法主要采用了定性研究(Maxwell,1996),案例研究(Stake,1995),以及辅助评估所收集到的材料的话语分析(Martins and Theophilo,2007)。一些访谈表明'受压迫者的戏剧'有助于参与过程中的认同和相异性表达,这样就有助于提升公众在与更有力的意见表达相沟通时表达他们需求的能力。此外,结果表明尽管'受压迫者的戏剧'不得不适应参与预算决策的全体会议的条件,不过这个空间的象征性代表是允许作出修改的。这也揭示了'受压迫者的戏剧'在整体的预算会议期间所呈现出的美学和教育学面貌。尤其值得注意的是戏剧强烈的主观性和分析性体现在预算教育的过程中。

This investigation intends to evaluate the aesthetic and pedagogic perspectives that guided the joint implementation of participatory budgeting programs and the Theatre of the Oppressed in Santo Andréduring the years 1997 to 2008,which aimed to encourage public participation in the decision-making process of the city’s investments.The specific objective of this study was to identify the aesthetic and pedagogic choices that guided a theatre project,which aimed to promote participation in the decision-making process public.The focus of this study is the findings of the sociologists Cecheti(2004)and Baiocchi(2006),where aesthetic experiences contribute to the promotion of participation in decision-making about resources.The methodology of the research was qualitative in nature(Maxwell,1996),used a case study(Stake,1995)and discourse analysis aided the evaluation of the collected material(Martins and Theóphilo,2007).Interviews demonstrated that the Theatre of the Oppressed enabled the identification of participatory processes and alterity,which facilitated the population’s ability to communicate its needs with greater expressiveness.Moreover,the results indicated that the Theatre of the Oppressed,while it had to adapt to the conditions of holding plenary meetings for participatory budgeting,allowed a modification in the symbolic representation of this space.It was possible to unravel the aesthetic and pedagogical aspects of the processes of the Theatre of the Oppressed in plenary budgeting sessions.In terms of budgetary education in particular,it appears possible to verify the theatre’s intensely subjective and analytical nature.