Disclosures in applied theatrical performance in teaching is not current issues because many teachers do it in teaching learning process, but they do not realize it, so this paper appear merely to remember all the educators that the whole activities in teaching learning process have close relationship with the theatrical performance.
In many ways, a teacher is like a live-theatre actor. A teacher has an audience of students, and has to perform in front of and for (and in interaction with) that audience. So the teacher doing theatrically aspects theatrically is evident in terms like ‘studio’ and ‘lecture. The point towards the artifice of the theatre and to the idea of pretending to be what one is not (mimesis); however, they also mean simply to do, to act, to perform an action. The word ‘theatre’ comes from an ancient Greek word meaning ‘seeing place’, and it would be misleading to identify theatrical art purely with mimesis. In Oxford Learner’s Pocket Dictionary theatre is building in which plays are performance. Perhaps even more fundamental to theatre than mimesis is the notion of embodiment: the sensuality, the actuality (act, action, actor, actuality) of live performance.(John Jacob: p1)
As Peter Brook in John Jacob article ((1968: p 1) wrote in The Empty Space, ‘I can take any empty space and call it a bare stage. A man walks across this empty space while someone else is watching him, and this is all that is needed for an act of theatre to be engaged.’ Theatre’s power as an educational tool derives both from its mimetic capacity and also from this actuality, this sensuality, this immediacy: the idea that the subject explored is not merely discussed, but embodied.
Theatre has always depicted psychological, social, political, philosophical and even religious problems. It is within its very nature to explore human and social issues and get audiences involved both with the aesthetic aspect of performances and with their ideological content. (De Berggel : 2009)
From the illustration above, the writer will present two principles points first the applied theatrical performance in teaching is very urgent! Secondly, why the applied theatrical performance is important in teaching?

1. The urgently of applied theatrical.
The arts approach in teaching learning strategies is urgent to apply by the teachers. as UNESCO intends to motivate the promotion of the teaching and learning process of the Art and of the Theatre, aiming the development of children, youths and adults creativity and the appreciation of the cultural and artistic goods.
Because “On the pedagogical perspective, Theatre and Drama are terms used in different cultures with the same conceptual meaning. Drama/Theatre is an area of acquisition and construction of knowledge in school. It should be present in the school curriculum attributing to it the same importance as the other areas of knowledge. In early childhood and primary education, Drama/Theatre should be part of the area of knowledge "arts", along with Dance, Music and visual arts, in an integrated and interdisciplinary program.(UNESCO : 2001)
To develop activities on the Drama/Theatre teaching, it is recommended two models of teacher education, one with a "generalist" character, early childhood and primary education, the other "specialist", for the higher levels of primary school and secondary school.(UNESCO : 2001)
The generalist is pre-service or initial teaching education and, specialist is in- service, or continuing teaching education. Pre-service education, takes place before a teacher is certified to teach. In – service education may take place at any point in the career of a certified teacher.
The use of theatre principles and methods to design classroom activities, to train teachers to become better communicators or as a theoretical background to teaching appears as a clearer manifestation of Applied Theatrical , mostly because in this type of application there is no theatre performance of a finished work before an audience and theatrical is used for purposes other than staging a theatre show or training learners in theatrical arts, but if we were to take this application as the only one, we would be severely restricting the scope of Applied Theatrical.
Playing roles as an actor, a critic, or a character in classroom theatre, the children understand the disciplines of dramatic expression and the nature of theatrical interpretation. In Brazil, the “Art and ICT Resource Project” for fifteen to eighteen year old students shows that to learn other ways of making works of art through a computer stimulates students’ artistic skills.(Kaori : 2003)

2. The Important of Theatrical
The teacher is regarded as a facilitator, a consultant and a leader rather than an instructor or lecturer. The “jug and mug” metaphor, which purported that the student was an empty mug that the tutor had to fill with knowledge, has been set aside in favor of views of learning which consider the learner’s previous experience as the foundation for the acquisition of more knowledge. It is widely accepted that this acquisition will take place within the context of social interaction and that the learner is not just a brain, but a person whose feelings, principles, convictions and emotions also have to be addressed for learning to be successful. We may say that teaching EFL has been inserted into the broader concept of educating in a foreign language, and that learners are considered whole persons and developed as such.
The teachers who carry out this foreign language education need, besides their professional skills as language tutors, the capability to
 Help in the development of their learners as whole persons, in physical, intellectual, ethical, artistic and social aspects.
 Provide an education in practical skills for work or study purposes.
 Favor creativity.
 Help learners in their adaptation to the social medium past and present by providing a link between the school and the socio-cultural environment, its culture, history and traditions.
In this concept of teaching and learning, traditional teacher education, with an emphasis on language and methodology, appears insufficient. Applied theatrical could well be the missing link, the discipline which would help in the exploration of cultural roots and offer the framework to construct meanings and model behaviour. It would also help teachers develop creativity and a deep understanding of the dramatic nature of human interaction.
There is nothing on the stage that is basically different from what we do in our daily life. The essential difference is that in our daily lives we don’t pay attention to the fact that we are using that language. The Theatre of the Oppressed tries to develop this capacity of everyone to use that language: first with the objective of trying to discover what oppressions we are suffering; second, to create a space in which to rehearse ways and means of fighting against those oppressions; third, to extrapolate that into real life, so that we can become free. (Boal in Jacob 1996: 47)

As a conclusion there are many possible definitions of teaching, and we need to consider at least two of these here. A teacher can be a guide, leading students out into the world or into some part of it. From this perspective, a teacher is somewhat like the actor/presenter of ‘teaching play.’ the actors come out and address the audience: ‘We are about to tell you the story of a journey/An exploiter and two of the exploited are the travelers/Examine carefully the behavior of these people/Find it surprising though not unusual/Inexplicable, though normal/Incomprehensible, though it is the rule.’ Or a teacher can lead students on an inward journey of self-introduction.
Here the teacher is more like the mimetic actor, an actor so immersed in her or his role that the audience, too, becomes immersed. Either way, teachers are frequently revered, even idolized, by their students, much as performers tend to be revered by their audiences. The activity of teaching can, moreover, be even more easily identified with the activity of film or theatre directing than with acting. So the theatrical are very urgent and important to applied in teaching learning process.

De Bergel, Rozzi MarĂ­a Ana.(2009). Disclosures in Applied Drama, Available Online < http://materialsdesign.pbworks.com/.../DISCLOSURES+IN+APPLIED+DRAMA>(Accessed 18 September 2011)
Griggs, Tom. (2001). Teaching as Acting : Considering acting as epistemology and its uses in teaching and teacher preparation. Available Online .[accessed 18 September 2011]
Iwai, Kaori. (2003). The contribution of arts education to children’s live Available Online < http://portal.unesco.org/.../12669211823contribution.../contribution%2BAE.pdf> (Accessed 18 September 2011)
Jacob, John. Teaching and Live Performance Applied Theater In Universities and School. Available Online < http://www.griffith.edu.au/__data/assets/pdf_file/0010/.../07-Jacobs-FINAL.pdf> Accessed 18 September 2011)
Manser, H. Martin. (1996). Oxford Learner’s pocket dictionary. Oxford University press.
UNESCO. (2003). Arts Education in Latin America and Caribbean. University of Uberaba. Available Online < http://portal.unesco.org/culture/en/files/18561/...pdf/133377e.pdf>(Accesed 18 September 2011)

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