Nota previa al proyecto de Teatro de Aula

 

Este proyecto de Teatro de Aula es el resultado de una experiencia pedagógica realizada en el C. P. Birjinetxe de Bilbao desde los años 1985 al 2001.

Desde la concepción clásica de Aula de Teatro hasta llegar a la filosofía con la que hemos impregnado nuestras últimas actuaciones hemos sufrido una catarsis personal y profesionalmente, que ha invertido valores y conceptos tradicionales tanto en Educación como en Teatro.

La tarea ha sido dura y lenta; con avances y retrocesos; con entusiasmos y decepciones. Nos hemos sentido incomprendidos la mayoría de las veces y, cuando el azar ha coronado una dramatización con un premio más o menos espectacular pocas personas, incluidas aquellas que, por su posición pedagógica, debieran haber intuido la trascendencia del proceso, se han quedado en la anécdota de la representación brillante. Solamente en una ocasión, en 20 años, una Inspectora se detuvo a analizar técnicamente nuestro sistema y nos animó a publicarlo.

Gracias a ello y después de una dura autocrítica unida a un inquebrantable entusiasmo, nos hemos atrevido a formular este proyecto como guía para educadores optimistas.

El formato del trabajo corresponde a las bases de un concurso sobre innovación pedagógica, al que osamos presentarnos y que, naturalmente, ganó un proyecto sobre nuevas tecnologías.

1. ¿Qué es el Teatro de Aula?

Puede parecer pretencioso que, después de cerca de tres mil años de vigencia, alguien considere el Teatro como una innovación, máxime cuando en la mayoría de los centros de enseñanza se llevan a cabo dramatizaciones que dan prestigio y realce al Colegio. Pero el Teatro escolar no debe ser solamente el broche de oro con que termine el curso: puede y debe ser exprimido de tal manera que se convierta en el meollo de nuestro quehacer educativo.

En estos tiempos tan poco generosos, tan poco dialogantes, en los que el niño se siente solo, no ha de pedírsele que exprese exclusivamente su mundo interior -siendo interesantísimo- como ocurre en la clase de Expresión Plástica, sino que escuche también. El gran problema de la sociedad en la que vivimos es que no sabemos escuchar. Tal vez hayamos generado esta sordera como refugio ante la invasión de mensajes que nos acosan continuamente, enviados por alguien que sí tiene, sabe y posee medios para emitir. La actitud de nuestros escolares ha sufrido un acentuado viraje hacia horizontes hasta hace poco insospechados. El abuso de medios audiovisuales, si bien informa sus mentes, va deformando su expresividad. El niño teleadicto de ahora no juega, no ríe, no compite con los demás: lo hace con y contra la máquina, contra el videojuego, contra el ordenador. Ha dejado de ser un emisor de emociones para convertirse en un mero receptor… y, tristemente, no de los conocimientos y las ideas naturales, propias de su evolución, sino de otras exteriores, inculcadas subliminal y programadamente por personas que no pretenden educar en valores. Nunca en la historia ha estado el niño mejor atendido y más abandonado.

Por ello hemos de buscar una actividad artística que respete y potencie la expresividad de nuestros alumnos, pero que les haga saber que, además de la suya, existen otras opiniones igualmente respetables. La actividad artística que conjuga estas dos posturas (escuchar y exponer), que son el eje de la convivencia y la ciudadanía, es el Teatro.

El Teatro, que es, ante todo, diálogo, supone un reto, un estímulo, una transformación… y aplausos. El niño de hoy necesita todo eso y mucho más para superar el handicap de la superprotección familiar, la pobreza de conseguir todos sus antojos, la soledad producida por largas horas ante el televisor, el agobio de las clases particulares, la angustia materna por no tener dinero para pagar el plazo de la lavadora, las riñas conyugales o la separación de sus padres. O para superar sus propios problemas, como pueden ser su timidez, torpeza, pereza, despiste, atolondramiento, inseguridad o miedo.

En algunos centros educativos se suele trabajar el Teatro con mucha dignidad, tanto por parte del profesorado como por monitores especializados, en horario extraescolar. A este tipo de actividad se conoce con el nombre de Aula de Teatro y acoge a alumnos con aptitudes dramáticas, dispuestos a todos los sacrificios por conseguir una brillante representación. Previas al Aula de Teatro y, ya dentro de las programaciones escolares, aparecen ejercicios de sicomotricidad, juegos dramáticos, etc., que damos por realizados desde el parvulario.

Lo que se ofrece en este Proyecto no es un Aula de Teatro convencional, sino Teatro de Aula, que presenta una filosofía, planteamientos y soluciones completamente distintos.

El TEATRO DE AULA es una estrategia pedagógica, lúdica, motivadora, transversal y multidisciplinar, que parte de la inmersión de un aula completa en un proyecto dramático. Diseñado principalmente para alumnos de Tercer Ciclo de Primaria y Educación Secundaria Obligatoria, pretende, no solamente potenciar cualidades específicas tradicionales, como pueden ser la expresión corporal, la memoria, el sentido espacial o la sensibilidad artística, cuanto aglutinar al colectivo de alumnos alrededor de una empresa que pertenece a todos y a cada uno. No es solamente un área transversal, sino el eje vertebral que va a configurar todas las actividades del tiempo que le queramos dedicar (ciclo, curso, trimestre…); la urdimbre alrededor de la cual se tramará la vida escolar fuera y dentro del aula; la transgresión consciente y voluntaria del tratamiento de las áreas de trabajo, de por sí duras, para convertirlas en accesibles y entrañables. En el Teatro del Aula todos los participantes han de ser protagonistas y autores porque es flexible y elástico y se valoran todas las opiniones.

Este Teatro de Aula no está programado tanto para realizar un estreno teatral espectacular, cuanto para ser vivido y asimilado durante el proceso de preparación. Su meta es el camino a recorrer. No es una representación escénica -que puede, incluso, no llegar- sino el proceso que la ha generado.

El Teatro de Aula no es un fin sino un medio.

2. Objetivos del Teatro de Aula

2.1. Objetivos generales:

1° -Elevar la autoestima y la autoconfianza en los alumnos.

2° -Crear en el aula un marco de convivencia agradable entre los compañeros y entre éstos y el profesor.

3° -Fomentar hábitos de conducta que potencien la socialización, tolerancia y cooperación entre compañeros.

4° -Hacer sentir a los escolares la necesidad de someterse a una disciplina necesaria en todo grupo.

5° -Sembrar inquietudes intelectuales para que los alumnos disfruten del estudio y de la investigación.

6° -Sensibilizar a las familias acerca del proceso educativo de sus hijos.

 2.2. Objetivos específicos:

 Conseguir que el alumno aprenda a:

-Conocer su propia voz y utilizar la palabra como el más noble medio de expresión.

-Encontrar en su cuerpo (manos, voz, gesto, mirada, movimientos) recursos comunicativos y disfrutar de ellos.

-Potenciar la lectura y corregir defectos de dicción.

-Asimilar los problemas de los demás al tener que asumir los de sus personajes, lo mismo que su manera de hablar y sentir según su época y condición.

-Poder transportarse con la imaginación, a otros momentos históricos.

-Analizar los personajes y las situaciones representadas.

-Realizar una crítica del hecho dramatizado.

-Saber colaborar en la preparación de vestuario, decorados, manipulación de aparatos (magnetófono, luces…), etc.

-Comportarse debidamente en un espectáculo.

-Conocer los recursos de grabación en vídeo como resumen e inmortalización de una tarea artística efímera.

Deliberadamente ninguno de estos objetivos está relacionado con la perfección de un estreno teatral, que incluso puede no llegar, aunque sea lo que esperen los alumnos. Puede ser su meta, pero no nuestra meta. Ellos no son actores ni actrices y, posiblemente, no lo serán nunca. Si luchamos por conseguir una correcta vocalización o la asunción de su personaje es porque consideramos que son objetivos del curso la expresión oral o la empatía para comprender a otro. Gracias al Teatro de Aula lo van a conseguir.

 2.3. Desarrollo de los objetivos generales

 1° –«Elevar la autoestima y la autoconfianza en los alumnos.»

Desde que el niño se suelta de las faldas de su madre hasta que, ya adulto, consigue afirmar su personalidad, debe ir quemando etapas de miedos, inseguridades, dudas, ilusiones y desilusiones que van haciéndolo madurar. La mayoría son inherentes al proceso vital y se superan de forma natural, pero la sociedad de hoy abruma de tal manera a las criaturas que su tierna sensibilidad hace que éstos reaccionen con dos tipos de actitudes, aparentemente contradictorias: hacia afuera (el niño agresivo), y hacia adentro (el niño reconcentrado). Arañando suavemente en ambos casos descubrimos niños inseguros y temerosos. Naturalmente, el que molesta en la clase es el primero. Su agresividad es proporcional a su falta de autoestima y a él le vamos a dedicar nuestras principales atenciones. Si, además de molestar, es incordiante con preguntas incómodas, podemos estar ante un tipo inteligente, posiblemente buen actor, y un papel oportuno puede convertirse en la mejor terapia que lo redima de su incompatibilidad con el resto del grupo y con el profesorado.

En el apartado de alumnos que reaccionan hacia dentro, para defenderse de la opresión exterior, podríamos incluir a los empollones y a los adictos al televisor u ordenador. Aunque los padres se quejen de que su falta de sociabilidad se deba a la teleadicción, a veces, sobre todo en la preadolescencia, puede ser un refugio donde ocultan su timidez y su pánico a enfrentarse a una cuadrilla.

El aislamiento televisivo o intelectual puede ser efecto, en vez de causa. En el Teatro de Aula van a romper los primeros hielos y hacer amistades.

2° –«Crear un marco de convivencia agradable entre los compañeros y entre éstos y el profesor.»

La educación para la convivencia debe constituir un fin en sí misma. Si queremos una escuela viva, tanto en Primaria como en Secundaria, no nos puede satisfacer el simple hecho de «explicar» normas y reglas: hay que resolver los problemas cotidianos e, incluso, originar situaciones en las que necesariamente surjan aspectos vitales para atacarlos in situ. No es lo mismo hacer un mural sobre la tolerancia religiosa o social, muy bonito pero muy teórico, que aceptar al testigo de Jehová que no quiere participar en el festival de Navidad pero no pone obstáculo en representar a Orfeo en una obra sobre la mitología clásica.

Muchas veces, a principio de curso, aparecen niños nuevos que no son acogidos por el resto de los compañeros; o el repetidor, un año mayor que los demás, comienza a trabajar un liderazgo amenazante. Entonces el profesor, que tiene fama de excesivamente serio, y se ha tenido que poner los bigotes los primeros días para dejar establecidas las jerarquías y las normas de convivencia, quiere relajar el ambiente. Nada mejor, para romper el hielo, que, echando mano de su carisma, lea en la clase, con toda espectacularidad, esa obrita de teatro que le viene al pelo para coger al toro por los cuernos. Media hora es suficiente para calentar el ánimo y meterse a la clase en el bolsillo: ya se puede empezar a trabajar, porque ya tiene soñando a los chiquillos.

Este tipo de convivencia, al margen de asignaturas, que se va a generar entre los compañeros, y entre éstos, el director y demás colaboradores en la experiencia, va a marcar el resto de su relación, que quedará a caballo entre amistosa y escolar, enriquecida por múltiples anécdotas que todos recordarán de por vida.

3° –«Fomentar hábitos de conducta que potencien la socialización, tolerancia y cooperación entre compañeros.»

Uno de los problemas más graves con los que se encuentra la Educación en estos momentos es el de la intolerancia entre los escolares. Independientemente de la crueldad infantil, proporcional a la inconsciencia de sus consecuencias, y que también debemos vigilar. En los colegios públicos, donde se reúnen alumnos de varias etnias, religiones, culturas y sensibilidades pueden originarse estrepitosas o sordas batallas, de las cuales, a veces, solamente se entera el profesorado cuando está lesionado el niño desvalido, porque existe una mafia que domina la situación en el patio y la víctima sabe que será castigada doblemente por acusar. Los agresores -que siempre son alumnos con problemas- se ceban en todos aquellos que no se someten a su dictadura o porque son estudiosos o torpes o tímidos, inmigrantes o diferentes. Sí suelen respetar, e incluso proteger, a los compañeros disminuidos síquica o físicamente: ahí se sienten superiores, y muchas veces acogen bajo su tutela al minusválido, lo que suele aumentar su «caché» de padrone entre los compañeros.

De este talón de Aquiles es por donde hay que coger a los matones de barrio, a las insultonas, las pegonas y toda la cuadrilla agresiva escolar para comenzar el trabajo de convertirles en compañeros respetuosos, tolerantes y hasta generosos. Pero no para potenciar la superioridad de los prepotentes sino para acercar distancias y generar un entendimiento y una comprensión. Nada mejor para ello que obligarles a participar en la misma escena, que cambien sus papeles para matizarlos, que se equivoquen juntos: terminarán siendo amigos, o, al menos, terminarán aceptándose y respetándose, que no es poco.

4° –«Hacer sentir a los escolares la necesidad de someterse a una disciplina necesaria en todo grupo.»

Otro objetivo, primordial por su dificultad, es lograr una disciplina que no sea traumatizante. La disciplina no tiene que serlo, ya que el juego de cumplir unas normas es la base de toda convivencia. Pero la mayoría de nuestros niños llegan al colegio apenas sin conocerla. Los abuelos de ahora, que sufrieron una dura infancia represiva, consideraron lo mejor educar en la condescendencia y, como consecuencia, los padres actuales no tienen referentes. Las clases regladas, necesariamente han de trabajarse con una serie de condicionantes disciplinarios previos, que, en muchos casos, no predisponen a los alumnos difíciles, sino que actúan negativamente. El colegio supone para muchos chavales un mundo hostil en el que hay que cumplir un horario, escuchar y ejecutar a la primera las órdenes, controlar personalmente sus libros y objetos, pedir permisos… y otras muchas actividades obvias hace pocos años e insólitas ahora. El Parvulario y el primer ciclo de Primaria se encargan de fomentar todos estos hábitos; pero la llegada de las clases en las que hay que atender y trabajar seriamente puede suponer un estrés para algunos escolares, en cuyos hogares viven acostumbrados a recibir todo hecho.

Cuando se propone en clase el proyecto de Teatro, éste suele ser muy bien acogido por todos aquellos golfantes a los que supone un trauma someterse a cualquier tipo de reglas. Sobre todo si trabajamos en Secundaria. Piensan que todo el monte es orégano y el Teatro les va a proporcionar juerga y diversión. No saben, los muy ingenuos, que van a necesitar más disciplina, más orden, más sistematización que en cualquiera de las clases convencionales. Tampoco sospechan que van a ser ellos, y no el profesor, quienes van a mandar callar a los compañeros que hablan cuando les toca ensayar para que se oiga su parlamento. Silencio que cuidarán mantener cuando son los demás los que actúan. Van a aprender a esperar, a escuchar, a organizar sus ensayos particulares con los compañeros que forman una escena determinada, donde necesitarán unas normas consensuadas por todos. Van a tener la oportunidad de ayudar a compañeros menos dotados y se van a acomodar unos y otros a las características del equipo. La necesidad imperiosa del diálogo va a generar la valoración del otro y eliminar egoísmos. Y, en definitiva, al terminar la experiencia, su número de buenos amigos habrá aumentado en cantidad y calidad, al haber tenido oportunidad de conocer a compañeros que habían ignorado en cursos anteriores.

5° –«Sembrar inquietudes intelectuales para que los alumnos disfruten del estudio y de la investigación.»

Motivar a nuestros alumnos, hacerles sentir el placer que produce la búsqueda de información para aumentar su conocimiento es otro de nuestros objetivos básicos. El Teatro de Aula tiene que estar configurado de tal manera que sea necesario situar la historia que se representa en un lugar y un tiempo, con determinadas connotaciones socioculturales. La Biblioteca del colegio (hablar de Internet aún parece una utopía para la mayoría de los centros educativos) puede ser la gran aliada para ayudar a los alumnos en esta recopilación de datos, que pueden archivarse en un magnífico cuaderno, que guardarán de por vida, máxime si incluimos en él las fotografías del estreno.

Para conocer el tema, cualquiera que sea (fantástico, histórico, ecológico, etc.), son necesarias una serie de actividades previas. No se puede nadie meter en la piel de un personaje sin conocer sus circunstancias. Para ello hay que echar mano de documentales, películas, mapas, enciclopedias, y toda suerte de elementos necesarios para hacernos comprender la obra que queremos representar. El profesor, o los profesores que formen el equipo multidisciplinar encargado del proyecto, aunque tengan que alterar la programación del curso, con muy poca dificultad pueden organizar sus clases explicando su asignatura en función de los nuevos intereses, y con unos alumnos más motivados, que responderán mil veces mejor. No es tan atractivo hallar el área de un rectángulo vulgar como medir la superficie del escenario y calcular a qué distancia se tienen que colocar tres personajes para que la escena quede equilibrada.

6° –«Sensibilizar a las familias acerca del proceso educativo de sus hijos.»

Aunque en casi todos los centros educativos se suele encontrar un grupo de madres -más que de padres- que realizan una labor encomiable a través de las A.P.A.S., colaboran codo con codo con el equipo directivo, acuden a Ayuntamientos y otras entidades a pedir subvenciones, se encargan del comedor, de las clases extraescolares, etc., se evidencia una apatía enorme por parte de la mayoría de las familias en relación con la educación de sus hijos. Un estudio sociológico lo atribuiría al trabajo de ambos progenitores, que les impide acudir a recoger notas o a entrevistarse con el tutor. La realidad constata que ese no es un impedimento para mantener una relación fluida con el colegio: la mayoría de los padres que tienen cargos de responsabilidad en el mismo suelen tener trabajo. Otra cosa es que la política educativa del centro escolar sea lo suficientemente atractiva para que los padres se sientan vinculados a ella de manera activa.

El Teatro de Aula puede ser el catalizador que amalgame a los padres y los profesores en una empresa común cuyo único fin es mejorar la calidad de la enseñanza de una forma agradable y motivadora. Una entusiástica charla por parte de los organizadores, en la que se planteen los objetivos pedagógicos, las normas de organización y los problemas de vestuario y decorado, va a conseguir que, al terminar la misma, tengamos una fila de madres, padres y abuelas dispuestas a encargarse de la parafernalia teatral, dejando al profesorado el aspecto intrínsecamente educativo. Omitir esta información previa puede acarrear graves problemas con los padres que, educados en la concepción clásica del Teatro (categoría del papel = categoría del actor), se consideren agraviados si su niño no es el protagonista, siendo el que saca las mejores notas.

3. Metodología

La diferencia esencial del Teatro de Aula respecto a otras modalidades de Teatro escolar radica en el reparto de papeles y el tratamiento de personajes y actores.

Potenciar la responsabilidad, adjudicando cometidos dentro del equipo, para que todos los participantes en la experiencia se sientan necesarios, como puede ser encender el magnetofón o encargarse de controlar el vestuario o, simplemente, pedir en dirección la llave del Salón de Actos, hace sentirse a los alumnos elementos imprescindibles. Lo mismo que les va a motivar el que el director tenga en cuenta su observación acerca del texto y la puesta en escena o, mucho más aún, si les consulta ante sus dudas.

Desde el matón guaperas a la vampiresa y desde la empollona hasta el cobardica y el torpe, todos los alumnos tienen, desde el comienzo de la escolaridad, adjudicado un rol tácito; la mayoría de las veces asumido por ellos, por sus compañeros, los profesores y las familias («… es que mi niño es muy bruto, ¿sabe?»). El Teatro de Aula quiere romper esquemas. Cada niño es un pozo de sorpresas que hay que descubrir. Nosotros le vamos a ayudar adjudicándole un papel inversamente proporcional al rol que desarrolla. De esta manera vamos a convertir en princesa a la niña pecosa y mofletuda; en mendigo, al hijo del empresario que se chulea luciendo zapatillas de marca; en duquesa, a la cojita; en rey, al gitano. Al empollón, que solo se expresa con frases copiadas de los textos, le adjudicaremos un papel flexible, con el que tenga necesidad de improvisar; al tartamudo, un verso; a la coqueta, la sirvienta vieja y gruñona… Y, a ese alumno que nos amarga la vida, con el que no hacemos carrera, con el que hemos fracasado siempre a pesar de utilizar las técnicas pedagógicas más sofisticadas, alumno inadaptado, peleón, agresivo, incordiante… pero inteligente y sagaz cuando le interesa… le daremos un papel de responsabilidad, para que sea capaz de salir del agujero y cambiar el rumbo de su vida.

Habremos de insistir en que una representación teatral es una obra coral en la que todos y cada uno son imprescindibles. Tal vez haya que lavar cerebros para convencer a los que no pueden ser protagonistas de que solo los actores y las actrices muy buenos son capaces de hacer bien los papeles más «feos».

En el sistema educativo actual conviven en el aula niños con necesidades educativas especiales, a veces, muy serias: desde disminuidos físicos, como ciegos o parapléjicos, hasta paralíticos cerebrales. Afortunadamente solo debe encontrarse un niño de estas características por clase. A ellos hay que dedicarle un hueco muy especial. Si su invalidez es física, deben hacer cualquier papel: ¿por qué no puede ser la alcaldesa una niña en silla de ruedas? Si el problema es de retraso mental, también pueden actuar según su capacidad, e intervenir en el diálogo hasta donde lleguen. O sin hablar, participando en el gran grupo, si no pueden hacerlo. No solamente por el empuje que esto supone en su propia evolución, que puede ser mínima en un caso muy agudo, sino por la ayuda educativa de comprensión y madurez para el resto de sus compañeros. Es digno de contemplar el cariño con el que los demás alumnos cuidan a los deficientes, cómo les ayudan, e incluso, cómo son capaces de alterar -sin que nadie lo note- la representación, en el caso de que el compañero diferente haya cometido un fallo. Solamente por este aspecto, debiera merecer todos los respetos el Teatro de Aula.

Existe un tipo de niños que no está contemplado en los libros de Pedagogía ni de Sicología: el niño feo y, sobre todo, la niña fea. En este momento que nos toca vivir, cuando el culto a la belleza alcanza cotas insospechadas hace un par de décadas; cuando supone un rito indispensable en el tercer ciclo de Primaria sonreír enseñando el aparato de la ortodoncia; cuando, al acabar la escolaridad, los padres cambian las gruesas gafas de sus hijos por lentillas; cuando la madre somete a la pepona de su hija a régimen para que sea más esbelta; en este tiempo, digo, la niña gordita, la canija, la pecosa, la dientona, la miope, la altísima, la bajita… lo tienen muy crudo. Eso, tratándose de condiciones físicas poco atractivas para su edad, que generan innumerables complejos salvables con amabilidad y cariño por parte de los mayores que las rodean. Pero es que, además, hay niños realmente feos, desagradables, que producen repulsión, que se sienten rechazados no solamente por sus compañeros, sino hasta por sus familiares. Estos niños y estas niñas ven a Dios cuando el profesor les pone en la mano una varita mágica y les da el papel de hada. Si, además de feos, son inteligentes, lo que acrecienta su dolor, ese papel les va a transfigurar ante el espejo y ante la clase, y van a renacer, van a sentirse hermosos, que, en fin de cuentas, es lo que todos deseamos. No le tiene que preocupar al profesor arriesgarse con tamaña elección: el maquillaje y la ilusión hacen maravillas.

Cada actor debe tener el texto completo de la obra. Es importante que ningún alumno monopolice su papel, que éstos sean rotativos hasta que se hayan decantado las personalidades, que la obra sea en todo momento un trabajo colectivo. Es fácil conseguirlo ya que, en una semana de ensayos, todo el mundo se conoce todos los papeles. (García Lorca ponía mucho interés en que los actores de «La Barraca» dominaran toda la obra, no solamente para solucionar situaciones de emergencia, sino para fomentar el aspecto global de la representación.)

Es muy importante para que los alumnos se identifiquen con su papel que, durante los ensayos, no se les llame por su nombre sino por el del personaje que representan, incluso a aquellos que tienen un papel anodino y, que si no figura nominado en el guión, deberemos adjudicarle para afianzar su identidad. Es posible que nosotros les recordemos también, en el futuro, por este nombre mejor que por el suyo propio.

Todos los alumnos que no pueden conseguir un papel relevante -el gran grupo- tienen que sentirse también parte imprescindible de la representación. Hay muchas maneras de conseguirlo: desde representar a unos soldados desfilando marcialmente, hasta simular las flores de la pradera que se mueven al compás del viento. Pero lo que realmente les va a motivar, aunque al principio se rebelen algunos, es una escena de baile. A través de él se van a redondear nuestras pretensiones educativas. Lo que verdaderamente llena el escenario, integra a los niños, es espectacular y consigue la plenitud de una representación infantil es el baile. El baile es la armonía total. No hace falta que sea complicado: dos pasitos adelante y dos hacia atrás… El baile es el colofón de toda fiesta y el teatro lo es. Es el momento unificador, en el que se pueden subsanar pequeños roces que hayan surgido en el reparto; es cuando la Reina le va a dar la mano al compañero con síndrome de Down, y los dos van a saludar juntos, igualando la trascendencia de su papel… El baile es la apoteosis de la igualdad dentro de la diferencia, que es uno de los objetivos que nos habíamos marcado.

La experiencia teatral, concebida de esta manera, va a ser un revulsivo que cambie las constantes incómodas que habíamos descubierto en la clase. Un ejército de sicólogos no aumentará la autoestima de los niños acomplejados como lo va a conseguir una representación ante el colegio en pleno, sobre un escenario lleno de luces, en el que cada uno se ha sentido centro de todas las miradas. Ni va a hacer reflexionar al navajero, que le ha tocado el papel de emigrante desvalido y que ha tenido que ir asumiendo a través de múltiples ensayos. Ni va a crear los lazos de amistad fraguados entre risas, mientras se repasan los ensayos. Y va a hacer que los alumnos sean capaces de comprender que el profesor que da voces y les hace repetir una frase varias veces no está enfadado con ellos, sino que tiene que ponerse serio para que las cosas salgan bien.

4. Temporalización

Aunque el Teatro de Aula figure en el Proyecto de Curso vamos a tener dificultades para encontrarle una ubicación dentro del horario escolar. Si es el tutor quien lo organiza, puede ir quitando minutillos de aquí y de allá, incluido el recreo, para dedicarle todos los días un ratito.

Pero el Teatro es una actividad literaria. Nuestro momento está en la clase de Lenguaje, dedicándole unos minutos diarios. Las primeras sesiones, que se realizan en el aula, con los alumnos sentados en su sitio, son las que van a profundizar en el aspecto hablado de la representación. Una vez iniciados los ensayos, se van a encargar los mismos chicos de pedir permiso para ensayar durante el recreo; y hay que dejarles, si no a todos juntos, al menos al grupito que conforma una determinada escena.

También el Teatro es una actividad artística, por lo que debemos adecuar nuestra programación de Expresión Plástica o Musical o, incluso, Educación Física, en función de la actividad dramática en la que nos hemos embarcado. Ello no implica alterar el programa, sino los motivos que vamos a trabajar.

A pesar de que le tendremos que robar su tiempo a las manualizaciones tradicionales, que tanto gustan a padres y alumnos, vamos a conseguir un proceso de simbiosis entre la Plástica y el Teatro por el que ambas materias se van a enriquecer mutuamente. No solamente le va a prestar la Plástica sus pinceles al Teatro para pintar decorados, preparar los programas del festejo, dibujar figurines, decorar con guirnaldas de papel o maquillar a los actores; también el Teatro le va a proporcionar a la Plástica temas para historietas de comics, paisajes sugerentes, objetos para modelar en arcilla o papel maché o un mural de quince metros en el que contemos nuestro cuento.

De la misma manera se complementarán el Teatro y la Música. Los profesores específicos de Música, sobre todo en Secundaria, tienen la sensación de que su área es considerada una «maría» por la mayoría de los alumnos. Ellos mismos, como ocurre con los de E. Plástica, son tratados por éstos como profesores de segunda, salvo en casos de una enorme personalidad e influencia en los escolares. Esta situación, tan lamentable como cierta, sería superada con creces si la Música trabajada en clase tuviera una aplicación inmediata, en la que los alumnos se pudieran lucir tocando instrumentos dentro de la representación teatral, o si, en vez de preparar una audición de música barroca, por ejemplo, a muchachos que se pasan el día tirando de auriculares estridentes, se les invitara a escuchar varias piezas con el fin de elegir la más idónea para la escena de miedo. La iluminación, los decorados y los efectos especiales auditivos forman parte de un cuadro mutante y vivo. No debe preocuparnos, pues, utilizar las clases de Plástica y Música para los ensayos, abandonando las manualidades y el pentagrama. El sentido estético, que es lo que estamos educando, no se encuentra ni en las manos ni en los oídos, sino al final de ellos: en el cerebro. Ahí hemos de hacer confluir los caminos artísticos. Si conseguimos colocar en «trance» creativo a nuestros alumnos, habremos añadido el ingrediente emocional y estaremos realizando una obra de arte.

La incorporación en un todo global de las tres áreas de expresión artística (Música, Plástica, Teatro), para realizar la puesta en escena puede ser la salvación de ellas. Por eso es muy interesante la coordinación de horarios y profesores específicos de estas materias a la hora de trabajar en equipo.

Pero, ¿solamente podemos «robarle» tiempo a la clase de Lenguaje y demás actividades artísticas?, ¿no sentaremos precedente de irresponsables si le quitamos tiempo a esa asignatura tabú, que es la Matemática, para ensayar en su horario? A esta pregunta tan grave podemos contestar con esta otra: ¿Les puedo prometer a mis alumnos que si trabajamos requetebién las Matemáticas, vamos a repasar el teatro los últimos diez minutos de la clase?… A lo mejor, resulta que matamos dos pájaros de un tiro.

Si tenemos programado el Teatro de Aula para un largo período de tiempo (trimestre, curso, ciclo), podemos, sin miedo, abandonarlo durante días, e incluso semanas, si debemos insistir en otros aspectos del programa escolar, como pueden ser evaluaciones o cualquier otra actividad. No es malo. Al retornar encuentran los chavales nuevo entusiasmo, lo mismo que nosotros. También se puede cambiar de frente: unas veces habrá que abandonar los ensayos para trabajar en los decorados y otras para organizar el vestuario. Todo ello forma parte del entramado teatral, muy rico en actividades paralelas a la escena e igualmente educativas.

5. El Teatro de Aula vertebrador de actividades

La primera vinculación del Teatro con el área de Lenguaje parte del momento de su lectura inicial en la que habremos de valorar tanto el tema como el texto.

5.1. Tema

Un trabajo que nos puede durar medio curso, en el que vamos a poner todo nuestro interés, no se puede echar a perder con un tema banal en el que el asunto gira alrededor de un sabio chalado que pierde las gafas. Aparte de encandilar a los alumnos, el tema les debe aportar situaciones para atacar las áreas transversales más acuciantes: los derechos humanos, la marginalidad, la libertad, el respeto al medio ambiente, etc. No solo deben impregnar la obra teatral, sino que deben ser su esencia.

Tenemos hermosas leyendas y una historia riquísima en anécdotas representables que, además, nos van a dar juego para desde allí fomentar el amor hacia las Humanidades, un poco de capa caída. El baúl sin fondo donde podemos bucear hasta dar exactamente con lo que buscamos es el Romancero. ¿Podemos encontrar mayor integración, e investigar, de paso, la historia del lugar, que escenificar ese romance que las mismas alumnas cantan cuando juegan a la cuerda?

Existen algunas obritas de Teatro escritas para Primaria. Bastantes menos para Secundaria. El problema estriba en que suelen estar pensadas para Aula o Taller de Teatro, que es lo que nosotros queremos superar, y ocupan a pocos actores. Las podemos reconvertir, de acuerdo con nuestra filosofía de que esta actividad debe acoger absolutamente a todos los integrantes del curso. Puede ocurrir que estemos interesados por una obra dramática programada para diez personajes y tengamos treinta chavales, con lo que el grueso de la clase quedaría abandonado. En este caso, se pueden utilizar varios narradores o intercalar algún incidente relacionado con el tema que nos dé pie para una conversación multitudinaria, o varios diálogos paralelos en los que aparezca gente del pueblo, con frases más o menos corrientes, y que pueden ser pronunciados por chicos o chicas indistintamente.

5. 2. Texto y lenguaje

Una vez que contamos con un texto, con dignidad literaria, que puede haber sido consensuado por los alumnos y el profesor, hay que diferenciar en él las partes fundamentales y accesorias.

a) Texto fijo

Es la parte de texto que obligatoriamente se tiene que estudiar de memoria sin concesiones a la improvisación. Aquí hemos de ser estrictos y exigentes en cuanto a la vocalización, pronunciación, y demás aspectos de la expresión oral. Hay que ser inflexibles en defectos de tono y dicción, que si no se corrigen a tiempo, no se solucionarán nunca. Nosotros mismos hemos de leer una y otra vez papeles distintos con las connotaciones expresivas correspondientes, sin olvidar gestos, que hemos de exagerar, lo mismo que la vocalización. La lectura del texto es lo primero que se trabaja y donde más hay que insistir ya que es el momento del acercamiento lingüístico del alumno y que no debemos ni podemos desaprovechar para conseguir que disfruten del idioma bien utilizado.

b) Texto flexible

El texto fijo debe ser el esqueleto de la dramatización, pero su cuerpo debe ser multiforme. Cada curso debe modelarlo según sus características. El guión debe estar siempre abierto a posibles modificaciones que puedan surgir en los ensayos. Debemos estar pendientes de las sugerencias de los chiquillos que, muchas veces, ofrecen soluciones que nosotros no habíamos previsto.

Dentro de la representación hay momentos en los que las emociones deben ser tan fuertes, que hay que dar oportunidad a los alumnos para desarrollar su propia creatividad y para identificarse, de tal manera, con la escena, que deben irrumpir en ella con toda la expresividad que les pida el alma. Algunas de estas aportaciones suelen ser magníficas, y correremos a incorporarlas a las cuartillas para dejarlas fijas, añadidas al texto original.

Para profundizar en el área de Lenguaje, una vez seleccionado el texto y dependiendo del curso y momento, podemos, desde descomponer una frase en sílabas hasta jugar con los verbos, los adjetivos, analizar oraciones, utilizar el diccionario, comentar textos… y toda suerte de ejercicios correspondientes al tema que nos toca estudiar ese día. Podemos ejercitar la redacción liberando la imaginación y creando historias paralelas, descripciones, narraciones, monólogos, etc., de acuerdo con el programa. Los debates entre los personajes, a la vez que sirven para mejorar la expresión oral, nos van a identificar con el espíritu de la obra, mientras educamos en ese arte tan difícil que es discutir sin perder la compostura. Son los momentos en los que cada actor se va a meter de lleno en su personaje, y puede llegar a entender una actitud aunque no la comparta.

5.3. Geografía e Historia (Conocimiento del medio)

 Si queremos matar varios pájaros de un tiro hay que buscarse una historia que nos ayude en el conocimiento de lugares y/o momentos históricos.

Para situarnos en el lugar de los hechos, hemos de recurrir al mapa. La localización espacial es muy difícil de asimilar en Primaria y la situación temporal tampoco la tienen solucionada los alumnos de Secundaria, por lo que habremos de intentar, a través del Teatro, procurar la mayor aproximación posible al tiempo y al espacio.

Si el lugar donde se desarrolla la acción es desconocido, exótico o remoto, después de situado hay que intentar conocerlo. A veces tendremos que alterar el orden de los temas del programa para estudiarlo en el momento oportuno; otras, echaremos mano de enciclopedias, folletos turísticos y documentales, o proyectaremos películas ambientadas en el momento histórico que tratamos.

El mismo criterio hemos de utilizar para motivar en el área de Conocimiento del Medio: en el lugar donde se desarrolla la acción habrá flora, fauna, accidentes geográficos, clima, deportes, costumbres, etc., que iremos incorporando a medida que lo requiera el curso.

Para el niño, el pasado no tiene más interés cronológico que el haber ocurrido hace mucho tiempo. El orden de acontecimientos no le afecta. Aceptémoslo y limitémonos a hacerle amar la Historia… y la Leyenda. Una obrita de Teatro en la que se trabaje un momento determinado de la Historia, con todo su entorno: sociedad, economía, alimentación, cultura, vestido, música, etc., va a conseguir que ese grupo de alumnos, durante toda su vida, tenga un referente que le sirva para situar acontecimientos anteriores y posteriores a él.

5.4. Matemáticas

 Además de los problemas que tendremos que resolver de compras relacionadas con el Teatro y de los que nos iremos inventando sobre la marcha, a medida que avancemos en el programa de Matemáticas, vamos a convertir el campo de la Geometría en algo vivo. Si es muy importante que el niño se familiarice con las mediciones y las unidades necesarias en cada caso, vamos a conseguir que asimilen con facilidad conceptos dificilísimos para él como la verticalidad, paralelismo o perpendicularidad correspondientes al curso que desarrollemos.

5.5. Nuevas tecnologías

 El hecho de plantear un tratamiento humanístico a la educación, que es la base de nuestra filosofía, y a la que hemos llegado como reacción a la invasión de medios audiovisuales (Televisión, videojuegos, ordenador…), que ha desbordado todas las expectativas y sumergido a nuestros escolares en un mundo donde se trastocan los valores de la generación anterior, no quiere decir que estemos en contra de los avances científicos.

Las nuevas tecnologías son un medio -aunque los chavales lo utilicen como un fin-, y de su utilización depende que se conviertan en un arma de guerra o un instrumento útil y necesario. En el Teatro de Aula vamos a utilizar la televisión, el vídeo y el ordenador. Si tenemos posibilidades, echaremos mano de Internet para conseguir la información que precisamos y para chatear con otros compañeros que se encuentren en nuestras circunstancias, e intercambiar experiencias.

 5.6. Expresión Plástica y Musical

(Han sido tratadas en el apartado de Temporalización.)

 6. Evaluación

Puede parecer que la evaluación de una experiencia teatral haya que realizarla después del estreno. Pues no. El estreno es la zanahoria que hemos colocado delante de nuestros alumnos para encandilarlos. Además, el estreno de cualquier grupo de niños siempre es magnífico, sobre todo si son «nuestros niños», por lo que no sería objetivo. No hay relación entre el éxito de una representación teatral y el proceso educativo que ella haya generado y, aunque parezca paradójico, éste no es óbice para el triunfo en el escenario.

Nuestro proyecto educativo es una estrategia pedagógica para mejorar la calidad de la enseñanza y como tal hay que evaluarlo. Esta mejora debe incidir en todos los aspectos escolares, desde el rendimiento en el estudio hasta el comportamiento; por lo tanto, debemos evaluar todos los aspectos pedagógicos acostumbrados en nuestro centro y comparar la evolución percibida con esta estrategia y otras utilizadas anteriormente.

Podemos incorporar a la Memoria del curso los pasos seguidos, y toda la evolución de la experiencia con las reflexiones pertinentes acerca de nuestros fallos y aciertos, incorporando propuestas para sucesivas ediciones y toda clase de observaciones a las que hayamos llegado. Pero son tan sutiles los objetivos del Teatro de Aula que, posiblemente, aunque queramos se nos van a escapar. ¿Cómo vamos a contar en una memoria que hemos conseguido que Ruth, que antes solo emitía gruñidos, sonría cuando le preguntamos?, ¿que la madre de Ángel, el niño tartamudo, lloró al oírle exponer una parrafada de un tirón?, ¿que Noelia, tan fea ella, es ahora aceptada por sus compañeros, después de haberse sentido protagonista?

Y ¿cómo vamos a contar que tuvimos miedo de no hacernos con el curso de rebotados y ahora somos todos colegas?, ¿que puede salir de clase un momento el profesor sin que se alboroten como acostumbraban? ¿Y, sobre todo, que hemos sido capaces de romper nuestros propios moldes, que ahora somos mucho más tolerantes, que hemos aumentado nuestra autoestima y trabajado con un entusiasmo desconocido por nosotros mismos, que hemos conseguido un equipo multidisciplinar con los compañeros realmente eficaz?… Esto lo dejaremos para el currículum oculto, personal e íntimo de cada uno.

 7. Bibliografía

No se me oculta que un trabajo de este estilo debiera ir acompañado de la bibliografía correspondiente; pero no existe bibliografía sobre este tema. Pueden encontrarse interesantes reflexiones sobre lo que se llama «AULA o TALLER DE TEATRO», pero se trata de otra cosa. El Teatro de Aula presenta características singulares que yo misma he experimentado. De ahí que toda la reflexión precedente no tenga más apoyatura escrita que mis propias publicaciones, que figuran en otro lugar. Y, naturalmente, mis 40 años de experiencia en las aulas. Es muy posible que haya otros docentes que estén desarrollando experiencias semejantes a la aquí propuesta, pero, salvo un par de casos, desconozco sus nombres y direcciones.

 8. Conclusión

El oficio de educar no es pródigo en satisfacciones. Nuestra misión es sembrar inquietudes que otros -los mismos alumnos, la sociedad- recogerán después. Con el Teatro de Aula, al margen de resultados a largo plazo, se logran otros inmediatos, que vamos a saborear nosotros mismos olvidando cotidianas amarguras. Gracias a él veremos evolucionar espectacularmente a nuestros alumnos, les oiremos preguntar por temas que antes no les interesaban, observaremos que se sientan en el mismo pupitre personas antagónicas, en medio de un ambiente relajado… y sentiremos el placer de corregir dignos trabajos de estudiantes por los que, antes de comenzar la experiencia, nadie apostaba.

Hagamos Teatro. Pero hagámoslo no solamente pensando en nuestros alumnos y en nosotros. Debemos intentar convencer a la Administración de que las Bellas Artes no deben ser impartidas como áreas estancas en Primaria y Secundaria, de que la Estética, la Música y la Dramática son un todo global fundamental en la educación de los ciudadanos. No puede funcionar un sistema educativo en el que se ignora la trascendencia del Teatro, en el que concurren todas las demás actividades artísticas.

No por casualidad, el pueblo griego descubrió la Democracia a la vez que inventaba el Teatro. El Teatro es el arte de la palabra y la palabra es la base del diálogo y la madre de la convivencia.

Bilbao, febrero de 2001

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