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Dissertations |
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1
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ÉRICA CARNEIRO DA ROCHA LOPES
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The Place in Me: deployments of the relation subjects x places in the context of a pedagogical-creative process in performing arts.
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Advisor : CELIDA SALUME MENDONCA
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COMMITTEE MEMBERS :
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CELIDA SALUME MENDONCA
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MARCELO SOUSA BRITO
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LILIANE FERREIRA MUNDIM
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Data: Apr 26, 2019
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Show Abstract
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Starting from the understanding that the spaces of affection and belonging, the places, are constitutive for all of us, both physically and subjectively, this paper explores the interaction subjects x places in the context of a pedagogical-creative process in the performing arts. Using the alchemical elements as a poetic-metaphoric resource, this writing exposes theoretical references that based the research, then describe the practice realized in the Paripe neighborhood, in Salvador / BA, with local residents, having the materiality of the space around as the main incitement for creation and discuss the possible changes in the relationship between the subjects and the place resulting from this experience. Finally, it reflects about the implications of the process on the researcher herself.
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2
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DENISE FIRMO RODRIGUES MARINHO
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The woman in the mirror: a study of the feminine as a sign of the imaginary of culture.
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Advisor : IVANI LUCIA OLIVEIRA DE SANTANA
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COMMITTEE MEMBERS :
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ANA VALECIA ARAUJO RIBEIRO BRISSOT
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IVANI LUCIA OLIVEIRA DE SANTANA
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LEONARDO JOSE SEBIANE SERRANO
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LIA DA ROCHA LORDELO
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Data: May 21, 2019
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Show Abstract
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This work has as main objective the investigation of artistic processes that dialogue about the image of the feminine as a sign inserted in the culture, censuring the hegemonic idea of the representation of the women in the sociohistorical and cultural background. We understand that throughout the construction of the historical narrative of mankind, male subjects, men, dominators of this configuration, forged for the subjects of the feminine gender, women, an identity focused on the service of masculine existence. In this way, they delimited the places of existence in the sociohistorical and cultural planes for the individuals who share the cultural environment according to the gender identities operated according to the narrative of the bodies and consequently of the representation of the same. However, in counterpoint to this representation, women artists, producers of imaginaries, also disputed the meaning of the sociohistorical and cultural existence of the feminine, from creations to the impression of the image of the feminine as a sign of culture. Thus, we discuss in five chapters, through theoretical concepts, historical accounts and exhibitions of artistic works, about the representation of the feminine by the patriarchal culture and about an erasure of representations forged by artists that produce meanings. In this way, we based the article on concepts such as Intermediality and Intersemiotic, to account for the border breaks of speeches and the translation of sign maps.For this, we use theoretical and artistic works that deal with the history of women and semiotics, a science that studies all possible languages, as a fundamental support apparatus for the defense of our point of view for the object researched: the image of the feminine as a sign inserted in the imaginary of culture.
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3
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RODRIGO TOMAZ DA SILVA
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Improvisation games in the formation of the artist-teacher-researcher.
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Advisor : LUIZ CLAUDIO CAJAIBA SOARES
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COMMITTEE MEMBERS :
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FABIO DAL GALLO
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LUIZ CLAUDIO CAJAIBA SOARES
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THARYN STAZAK DE FREITAS
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Data: May 28, 2019
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Show Abstract
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This dissertation describes how creative and pedagogical values contribute to the formation of the artist-teacher-researcher through experiments with theatrical improvisation games in the rehearsal room. The research process was developed through data collection, experimentation of games in workshops and analysis of practice. Thus, the theoretical basis was thaught on the studies of Johan Huizinga and Roger Caillois, with regard to the concepts of play in social contexts, and Jean-Pierre Ryngaert, Viola Spolin, Ingrid Koudela and Marina Elias, in their broad contributions to the area of the teaching of the theater and creation of scene through improvisation games. The results are presented through qualitative evaluations, concluding that the studied games are characterized by aspects of artistic creation, the teaching-learning character without frontiers among those who teach and who learn and the characteristic of knowledge production based on the articulation between the theoretical assumptions and practical experimentation.
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4
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CRISTIANO REZENDE DE MATOS
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Stages, scenarios and actions of the Theater Company: The insertion of theatrical activity in the corporate environment.
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Advisor : GLAUCIO MACHADO SANTOS
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COMMITTEE MEMBERS :
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ANTONIA PEREIRA BEZERRA
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CILENE NASCIMENTO CANDA
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GLAUCIO MACHADO SANTOS
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Data: Jun 19, 2019
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Show Abstract
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The Theater Company, a new theatrical form, performed in corporate environments, having as an audience the employees of the organizations, is the focus of the master's research that gave rise to this dissertation, elucidating some of your questions, such as its origin and, especially its role in dealing with the problems of conjunctural human relations that take place in the corporate environment. As the theater itself proposes, there are no full answers but provocations, a way of expanding reflection on the theme, between theater and business, exposing these new stages and scenarios, in which very little is said or discussed. practice. The theater enters the organizations following the rhythm of the life, following the man, since the theater is the representation of the own life and daily of the man, being the work inserted in its routine day by day, as well as its adversities and restlessness. The theater, in these new stages and scenarios, very little is spoken or discussed its practice. The Theater Company, compared to the theater's own history, is something new and requires understanding its creation processes, its applicability, its pedagogical resources, its methods, its performance, its text, its myths and undoing preconceptions. Companies are increasingly bringing the theater to their environment and this theme, about theater and its paths by business organizations, a growing movement that has come to stay, is a relevant subject, making it important to expand this study, so that one can have more precision of the use of its resources and reach, not only as a process of learning or of problem solving, but as a means of spreading the art itself among those who do not access it.
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5
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GABRIELA WANDERLEY DE HOLANDA
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Sopro d’Água: Flow from body and Earth as a methodology to create (de)composition in dance.
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Advisor : LEONARDO JOSE SEBIANE SERRANO
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COMMITTEE MEMBERS :
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CIANE FERNANDES
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DANIELA BEMFICA GUIMARAES
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LEONARDO JOSE SEBIANE SERRANO
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PATRICIA DE LIMA CAETANO
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Data: Jun 28, 2019
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Show Abstract
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This study presents the possibility of dance composition directed by the flow between the body and environment’s connection from, through the work in progress Sopro d'Água. Adopting the field of Somatic Education (specifically Ecosomatics) as the epistemological basis, this research-creation is immersed in a creative process based in Body-Mind CenteringTM and its study of the Fluid System, on Somatic-Performative Research, underwater dance, and dance composition guided by body states. Driven by the flow in creation, this study proposes a permeable body which is mobilized by the affections, and is in a constant trasient and transmutational state, guided by the internal and external impulses. In order to deepen the body and environment materiality as a creative impulse, we go through the dance paths guided by the perception of the body in connection with the environment and with the integral perspective of soma, intertwining the fields of Somatic Education and Ecology, which comprises body and environment in states of relation and transformation. Embedded in the transmutational flow of body-environment water, this research conceives the creation in dance as a process in transfiguration. Guided by the methodology of Somatic-Performative Research and directed by the constant transformation of water and body fluids, this study conceives the flow as fundamental and adopts it as a methodology for creation and research, understanding the movement as a possibility to flow and to transform oneself internally and externally. The experiments of the creation process took place in different environments and articulated the following elements: body states, memories and images emerged through the experimentation of body fluid corporealization and water states. Reports and traces of the creation-research process are relevant parts of the structure of this study, describing the experiences of the artistresearcher. The main understandings of this study consider a reflexive panorama comprised of theoretical views of the following authors: Arne Naes (1973; 1995), Bonnie Bainbridge Cohen (1993; 2015), Linda Hartley (1994), Suelly Rolnik (1996; 1999; 2000; 2006), Andrea Olsen (2002), Hubert Godard (2003), Enrique Leff (2003; 2009), Rebecca Enghauser (2007a; 2007b), Ciane Fernandes (2010; 2014; 2015; 2018), Cecília Salles (2011; 2012; 2015), Patrícia Caetano (2012a; 2012b; 2015), Carolina Laranjeira (2013) e Martha Bezerra (2016).
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6
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CAMILA GUILERA FERREIRA
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A REHEARSAL ROOM OF OUR OWN: NOTES ON THEATRE GROUPS AND FEMINISMS AMONG SALVADOR’S THEATRICAL SCENE.
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Advisor : HEBE ALVES DA SILVA
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COMMITTEE MEMBERS :
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DENISE MARIA BARRETO COUTINHO
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HEBE ALVES DA SILVA
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SILVANA GARCIA
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Data: Jul 2, 2019
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Show Abstract
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This work focus on the last decade theatre plays staged in the city of Salvador – Bahia that were produced by women (exclusively or in its majority) and thematically engaged with feminist agenda. The discussion is centred on women playing multiple roles on the stage production process, understanding a widen perspective of being an actress as providing scope for creating as well as an authorship position being taken. The observing of the effervescent theatrical movement of plays which or have been stated as feminist by its creators or that clearly approach relevant feminist issues has brought the following inquiries: who are the female artists involved on those productions? How do they organize themselves in the working crews? How are the theatre groups in the city integrated to such movement? Starting from my own experience as a theatre group actress and part of one group exclusively formed by women, I proceeded to a brief review of the theatre collectives and groups in Brazil, and then, more specifically in Salvador to follow with the history of A Panacéia, group to which I belong, its debates and concerns among the first decade of existence. Finally, a panorama of theatre plays in dialogue with feminisms that took place in Salvador between 2014 and 2018 is presented, willing to provide a documentation of the ongoing stage movement in the city, in debate with both feminist authors and studies in performing arts.
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7
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FÁBIO JOSÉ DE OLIVEIRA DOS SANTOS
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A study on active analysis and actor-creator training.
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Advisor : JOAO ALBERTO LIMA SANCHES
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COMMITTEE MEMBERS :
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CELSO DE ARAUJO OLIVEIRA JUNIOR
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JOAO ALBERTO LIMA SANCHES
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RAIMUNDO MATOS DE LEAO
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Data: Jul 29, 2019
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Show Abstract
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This work performs out an investigation about the active analysis and its potentialities of use by the actor-creator. In this sense, the research focuses on aspects such as the training of the actor and the possibilities of application of this method of work for theatrical creation. For this, a bibliographical review was carried out in order to collect data regarding the emergence and development of the active analysis, with a special focus on the work of Maria Knebel and some of her students. The intention was to identify the main potentialities of this method of theatrical creation in processes of actors and directors training, as well as for the organization of spectacles, and also to record the developments promoted in its forms of application by students and followers of Constantin Stanislávski. The same was done in which concerns national authors who studied the subject or who used the active analysis in the development of their artistic works. In this research, I sought to reflect on the application of analysis for action at the processes of scenic creation. The same was carried out on the importance of études in Stanislásvski’s pedagogic processes. Moreover, I describe series of experiences lived during my own training as actor and teacher, all of them have involved these forms of work.
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8
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MONIQUE MONTEIRO ALMEIDA
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VOCAL FLIGHTS: An investigation about the learning process of lyrical singing from the perspective of an actress-singer
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Advisor : MERAN MUNIZ DA COSTA VARGENS
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COMMITTEE MEMBERS :
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HEBE ALVES DA SILVA
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JOEL LUIS DA SILVA BARBOSA
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MERAN MUNIZ DA COSTA VARGENS
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MOACYR SILVA COSTA FILHO
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Data: Jul 29, 2019
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Show Abstract
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This dissertation focuses on the vocal technique learning process and development for lyric singing, based on a vocal training method that emphasyses the development of proprioception developed and taught by Professor Moacyr Silva Costa Filho (MSCF) and the creation and presentation of a musical-scenic performance experiment. This is an autoethnographic study that involves the analysis of records regarding vocal training and singing practical experience, in the context of singing lessons and of a an artistic presentation. The vocal practice was registered trhough audio recordings of MSCF’s lessons, embodied writing about these lessons and video recordings of the musical-scenic performance experiment. The written reports registered the researcher-student’s experience at the singing classes and the researcher insights about the practice. At the same time, a theoretical research was made regarding the following subjects: singing, giftedness, cognitive and construtivist theories of learning and Merleu-Ponty’s theory of perception. After that, the reports and registers about the practical experience were analyzed in the light of the researched literature. The dramaturgy of the musical-scenic performance experiment was based upon the learning process in vocal training and also based upon the researcher’s previous experiences as a singing student in classes and performances. The results of the analysis about the experienced vocal training and singing performance in the context of the musical-scenic experiment have showed technical improvements in breathing, fonation and articulation aspects, as well as improvement in the eficacy and confort in singing fonation and of the sound quality of the voice in singing. The study presented in this dissertation suggests that the vocal training method that emphasizes proprioception development is beneficial for learning and for vocal technique improvement for legit singing, given that it helps the development of the student’s perceptive capabilities about the functioning of his/her own body during singing activity, which leads him/her to identify excessive tension that are damaging for the voice and therefore facilitating the establishment and maintenance of a healthier fonation in singing.
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9
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JOSIANE ADRIANA ACOSTA DA ROSA
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Black Theater: An analysis of the creative processes of the Afrobrasileiro Theater Center of Alagoinhas and the Caixa-Preta Theater Group of Porto Alegre.
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Advisor : ELIENE BENICIO AMANCIO COSTA
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COMMITTEE MEMBERS :
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ELIENE BENICIO AMANCIO COSTA
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EVANI TAVARES LIMA
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INAICYRA FALCÃO DOS SANTOS
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Data: Sep 30, 2019
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Show Abstract
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This is a research in the line Aesthetic Matrices in the Contemporary Scene, with the objective of analyzing the creative process of two groups of Brazilian Black Theater of today that in their creative processes dialogue with elements present in the religious universe of African matrices. To introduce the theme I make a brief conceptual presentation on the words black and blackness through Kabenguele Munanga's work Negritude Usos e sentidos (1988). About the term black theater, the trajectory of Abdias Nascimento and the creation of TEATRO EXPERIMENTAL DO NEGRO (TEN) serve as a reference, as well as the studies of Evani Tavares Lima (2010) and Cristiane Sobral Correa Jesus (2016). To analyze the creative process of two black theater spectacles, one from Nucleo Afrobrasileiro de teatro de Alagoinhas (NATA) and another from Grupo de Teatro Caixa Preta in Porto Alegre, theorists such as Inaicyra Falcao dos Santos (2015), Cecilia Salles (1998) and Fayga Ostrower (1987) serve as the basis. Finally, from the concept of afrography of the researcher Leda Maria Martins (1997) I point out possible ways for those who seek to develop an afrographed scene.
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10
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EDUARDO SALES COUTINHO
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EPIC THEATRE IN CABARÉ DA RRRRRAÇA: CONNECTIONS BETWEEN BRECHT THEATER AND BANDO THEATER
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Advisor : LUIZ CESAR ALVES MARFUZ
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COMMITTEE MEMBERS :
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LUIZ CESAR ALVES MARFUZ
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NOELI TURLE DA SILVA
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PAULO HENRIQUE CORREIA ALCANTARA
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Data: Oct 4, 2019
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Show Abstract
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This present master’s thesis explores the connections between the epic theatre developed by the German playwright and theatre director Bertolt Brecht and the artistic making of the Bando de Teatro Olodum, looking especially into the company’s work called ‘Cabaré da RRRRRaça’. The first chapter is about the group’s history, including the concept of black theatre used by them, and also introduces the context in Germany by the first part of the 20th century when it was the beginning of the epic theatre, created by artists such as Bertolt Brecht and Erwin Piscator. The epic theatre has been looked at considering its multiple referentiality, highlighting the influences of the German cabaret, in the 20s, in Brecht's work, starting to make connections with the poetic of the Bando de Teatro Olodum. The second chapter dwells on what would be an epic acting, considering Brecht's writings about the actor/actress’ work and tackles the process of Bando’s artists, discussing concepts such as observation, contradiction, distancing effect (or alienation effect), historicization, gesture, and social gestus. The last chapter focuses on the play ‘Cabaré da RRRRRaça’, from staging to acting, making connections with brechtian concepts and analyzing how the epic features appear and disappear, interlacing themselves with contemporary poetics and collaborating for the consolidation of a political acting. It was possible to observe a resignification of the concept of epic theatre and, through its assimilation entangled with other poetics and the racial issue, to state that the Bando has created its own epic theatre. Besides the works of Bertolt Brecht, authors such as Walter Benjamin, Anatol Rosenfeld, Gerd Bornheim, John Willet, Luiz Marfuz, and Sergio de Carvalho were part of the debate on epic theatre. Researchers such as Leda Maria Martins and Evani Tavares Lima were helpful to think about black theatre, while Franz Fanon, Grada Kilomba and Djamila Ribeiro were the interlocutors to talk about racism, gender and representation. Stuart Hall and Nestor García Canclini brought up important insights on identity and identification, as Patrice Pavis, Raimundo Mattos Leão, Matteo Bonfitto, Jacyan Castilho, André Carreira and Jurij Alschitz had important contribution regarding theatrical genres and poetics. The research on the Bando de Teatro Olodum was based on the work of Marcos Uzel, as well as interviewing actors, actress, choreographer and the directors of the group, as much as the analysis of documentation and audiovisual material of different performances of the play ‘Cabaré da RRRRRaça’.
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11
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RENATA BERENSTEIN DE AZEVEDO
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“Os Insênicos”: an experience in theater and mental health.
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Advisor : HEBE ALVES DA SILVA
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COMMITTEE MEMBERS :
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HEBE ALVES DA SILVA
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DENISE MARIA BARRETO COUTINHO
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LUIZ CESAR ALVES MARFUZ
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MONICA DE OLIVEIRA NUNES DE TORRENTE
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Data: Oct 14, 2019
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Show Abstract
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This dissertation examines the experience developed by the theater group “Os Insênicos” from Salvador, BA, and is located at the interface between art and mental health. Composed by actors and actresses with a history of hospitalization and psychiatric care due psychic suffering, the group brings together a repertoire of four shows and numerous skits and theatrical interventions, from 2010 to 2018. Through the cartographic method, it is built a procedural and polyphonic narrative that seeks to share the germ chaos of creation, the ruptures, but also the productions and lines of forces that run through the aesthetic experience of this collective. The theatrical building serves as a metaphor in this trajectory as an area of revelation of the crossings from six different spaces: the entrance, the foyer, a rehearsal room, the stage, the backstage and the emergency exit. presentation of the landscape where the group emerges and an introduction to the socio-cultural dimension of the Antimanicomial Fight; the rehearsal room, bringing aspects of the methodological construction in the formation of these singular actors; behind the scenes, with statements and movements of desires and affections that approach but also repel; and the scene, the clipping of the visible that brings together the aesthetic and political dimension of the experience, reflecting on four shows of the group. This research considers theater as a political and aesthetic creation territory, which produces relationships, statements, subjectivities and new forms of existence, articulating art and mental health and emphasizing the implications of this relationship in the process of social transformation of people with psychological distress. Different knowledge make up the research that articulates thoughts from the field of philosophy, cultural psychology, performing arts and mental health. It is a collaborative process in which actors and actresses are knowledge builders and protagonists of experience.
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12
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VICTOR GARGIULO
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Playing over the Abyss: Brincar as Poetics for Digital Perfomance
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Advisor : CIANE FERNANDES
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COMMITTEE MEMBERS :
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CIANE FERNANDES
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ELOISA BRANTES BACELLAR MENDES
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LEONARDO JOSE SEBIANE SERRANO
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Data: Oct 24, 2019
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Show Abstract
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The present performative-reflexive research aims to investigate the epistemological and poetic implications of play as a concept for digital performance. The methodology of this work is based on the intertwining of the artistic practice with the academic thinking, in dialogue with the contemporary research of the field. The conceptual webbing of the theoretical argument is based upon the following concepts: invention state (Hélio Oiticica); performance studies (Richard Schechner and Bruce McConachie); digital performance (Steve Dixon); play (Victor Turner, Donald Winnicott and Miguel Sicart). The composition strategy in performance adopted is oriented by Eleonora Fabião’s aproach on performative program and Richard Schechner’s concept of restored behavior. In order to justify “brincar” as a broader translation to Portuguese of the play concept, the present investigation makes a comparative analysis of the selected bibliography on the vocable’s etymology and history. Finally, we aim to review the relationship between artist, art work, and audience as we understand play as being both episteme and praxis. The argument of this research understands the play concept as being at the same time aesthetic and poetic, which has as its key principles the opening of the work of art, the participative role of the audience and the centrality of action and body in the triggering (dclanchamento) of shared invention states.
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Thesis |
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1
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LUCAS VALENTIM ROCHA
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COLLABORATIVE PROCESSES IN DANCE AND THEATER: BETWEEN US AND THE RELATIONSHIPS OF POWER
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Advisor : GILSAMARA MOURA
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COMMITTEE MEMBERS :
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ANTONIO FLÁVIO ALVES RABELO
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DANIELA MARIA AMOROSO
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GILSAMARA MOURA
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IVANA BUYS MENNA BARRETO
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MARCIA VIRGINIA MIGNAC DA SILVA
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Data: Jan 7, 2019
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Show Abstract
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The work presented here is part of an artistic-teaching trajectory that intends the pleasures and difficulties of coexistence in group. The interest is to analyze power relations that permeate the collaborative environment in some artistic groups, cores and collectives of Dance and Theater in Brazil. In order to broaden the perspective of analysis, other artists with experience in processes of collaborative creations were invited to compose a kind of conversation wheel. Together, we discuss about encounter, dissent, autonomy, authorship, hierarchy, relations with foment institutions, among other subjects that permeate the daily work of the Dance and Theater artist. All of them are ex-members of groups, cores and collectives that no longer exist. They ended their works after receiving and executing some type of financed project for maintenance of the group. They are: Couve-flor minicomunidade artística mundial (PR), Núcleo VAGAPARA (BA), Grupo Dimenti (BA), Grupo Alvenaria de Teatro (BA) and Coletivo TeiaMUV (BA). Situated in the territory of collaborative artistic processes, the research configured here in this thesis, focuses on some nodes/problems – tension zones on collaborative network - that emerge from conflicts, discussions and agreements among the members. For the purpose to make the woven network more complex, authors from different areas of knowledge such as Arts, Communication, Philosophy and Political Sciences were put into dialogue. The network perspective is also evidenced in the methodological proposal by the interlacing procedures of different methodologies in a bricolage. The research presents data and questions predominantly qualitative and flirts with with characteristics of cartography and etnography. The thesis is composed of three interdependent chapters that talk about different tensions (question nodes) of political, economic, ethical and aesthetic order. Despite of the interdependence relationship, the chapters can be read separately or in a different order than the one arranged by the author, because the ideas in each of them are (in)concluded in the “between nodes” of the question. The first chapter intertwines Art, Politics and Philosophy and presents a conceptual perspective to think encounter and coexistence between artists as a political and poetic positioning; the coimplication between autonomy and collaboration in collaborative processes; and tension between ethics and aesthetics, in the sense of thinking how the relations between the members and the ways in which they produce their labors imply in the works that are created. It is not intended to analyze the works, but to maintain the focus on the production modes. The second chapter intertwines Art, Politics and Economics and proposes a specific look at hierarchy and authorship when considered in the context of collaborative processes. And the third chapter ties a node between artists, State and foment institutions. It talks about artists participation in the implementation of specific politcs for area; the fragility and instability of the area of Culture and its institutions; of how artists relate to the so-called “edital politics”; and the groups, copes and collectives instability in a context of economic underdevelopment and few investments in the area of Culture.
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2
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MARIA FERNANDA SARMIENTO BONILLA
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TEATRALIDADES DE(S)COLONIAIS: ENTRE A FORMAÇÃO, A CRIAÇÃO E A POLÍTICA NAS RUAS DE ABYA YALA.
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Advisor : GLAUCIO MACHADO SANTOS
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COMMITTEE MEMBERS :
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DANIELA MARIA AMOROSO
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GLAUCIO MACHADO SANTOS
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MARÍA THEREZA DE OLIVEIRA AZEVEDO
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RILMAR LOPES DA SILVA
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SONIA CASTILLO BALLÉN
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Data: Feb 22, 2019
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Show Abstract
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Esta investigación sugiere alternativas pedagógicas para las artes escénicas entrecruzando lo formativo con lo creativo y lo político, con una contundente perspectiva arraigada en los saberes, los sentires, las tradiciones y en la situación actual de América Latina, aquí denominada Abya Yala. Por lo anterior, la cuestión de(s)colonial y los espacios públicos de las ciudades de este continente, como lugares generadores de conocimientos/experiencias, son esenciales para el raciocinio de esta tesis. Para tal fin, se realizaron, como trabajo de campo, laboratorios teatrales con profesionales y estudiantes de cursos de pregrado de teatro, en las calles de once ciudades de Abya Yala, a saber; Salvador de Bahía y São Paulo en Brasil, Guadalajara en México, Bogotá en Colombia, Quito en Ecuador, Lima en Perú, La Paz en Bolivia, Santiago de Chile en Chile, Tandil y Buenos Aires en Argentina, e Montevideo en Uruguay. En ellas, además de realizar prácticas escénicas en los espacios públicos, se aplicaron entrevistas a profesores, directores y coordinadores de cursos universitarios de teatro con el fin de, por un lado, conocer/experimentar teatralmente las calles de las ciudades del continente y, por otro, levantar informaciones de los procedimientos y autores utilizados en la formación en teatro. Opté por estructurar las secciones de este trabajo en tres conjuntos que agrupan textos llamados enlaces. Como base conceptual de discusión recurro a un grupo de obras, entre las cuales destaco los textos de: Ileana Diéguez, Silvia Rivera Cusiquanqui, Catherine Walsh, Paola Berenstein, Ciane Fernandes, Yuderkis Espinosa, Enrique Dussel, Jorge Dubatti, Matteo Bonfitto y Milton Santos. Por último, evidencio que los procesos de aprendizaje de las artes escénicas en Abya Yala necesitan asumir su territorialidad, reconocer su pertenencia e incorporar tanto los universos cosmogónicos, filosóficos e epistemológicos, como toda una historia de luchas, resistencias, dolores, masacres, discriminaciones y silenciamientos que constituyen nuestro continente.
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3
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ANDERSON MARCOS DA SILVA
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Essays of a dance investigation
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Advisor : GILSAMARA MOURA
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COMMITTEE MEMBERS :
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ADRIANA BITTENCOURT MACHADO
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GILSAMARA MOURA
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IVANA BUYS MENNA BARRETO
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JUSSARA SOBREIRA SETENTA
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LEONARDO JOSE SEBIANE SERRANO
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Data: Mar 14, 2019
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Show Abstract
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This research could or should or would be asked if the maintenance of the pre-established models is a condition of existence or a validation of the creations in dance, even and especially because the own processes of creation enable the emergence of singular configurations and senses when they are understood as exercises of self-organization. This research could or should or would be inscribed in a context in which it is more fruitful to ask than to respond and to present dance as a complex system whose existence takes place in the articulations between bodies and environments far from equilibrium and in an irreversible time to create and disseminate knowledge to each event. This research assumes the semiotic premise that every sign coevolves with its object and acts in the generation of diverse interprets and it opens space for the experimentation and discussion about the self-referentiality of the artistic configurations and their possible complications with other epistemologies. This research is interested in the aesthetic and political reverberations in dance and, at the same time, it constitutes an exercise of experimentation of its linguistic configuration and evidence the flows between sign and object, configuration and meaning, theory and practice. This investigation constitutes a web that is full of openings or tears or deviations, that is made in surveys, reviews and critical analyzes of texts and artistic works, in theoretical and poetic connections about the processes of creation that abdicate certainties and models pre-established and it assumes the instability that constitutes the reality. This research could or ought either to open up to the unpredictable, to the creative accidents and to expose the dance and the writing as temporary arrangements and unpredictable things that happen in time, but limited in their configurations such everything that is alive. This research could or should or would need to (re) think dance-in-flux thoughts with body studies, arts theories, politics, etc. This research could or should or ought to be a dancer's theoretical poetic body wondering.
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4
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CLAUDINEI SEVEGNANI
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Temporary agreements: coexistences and coimplications in improvisation in dance.
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Advisor : GILSAMARA MOURA
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COMMITTEE MEMBERS :
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CELIDA SALUME MENDONCA
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FATIMA CAMPOS DALTRO DE CASTRO
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GEORGE MASCARENHAS DE OLIVEIRA
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GILSAMARA MOURA
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JANAINA TRASEL MARTINS
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Data: Mar 15, 2019
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Show Abstract
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Artistic practices are established as fields of relations in which processes of invisibility can be established in the attempts to homogenize singularities. The perspective of temporary agreements is presented as a possibility in improvisation in dance as a potency that sharpens the senses for differences, constituting visibilities. Softening discourses – such as absolutization and negation – restrict differences in the field of relationships. Combating totalizing and stereotyping discourses is a necessary act to point the way to a more contextualized and engaging art work with the present. It is necessary, therefore, that gaps be opened at this time, so that the dances that are made now can be expanded, so that the differences can be opened, so that the stories of oppression and colonization can be exposed, and that, from this unveiling, places of expansion of other stories and other dances can be constituted.
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5
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LINO DANIEL EVANGELISTA MOURA
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Transculturalized flamenco and tough guy: the dance as a mix of subjectivenesses
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Advisor : DANIELA MARIA AMOROSO
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COMMITTEE MEMBERS :
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CARLOS MAGNO CAMARGOS MENDONÇA
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DANIELA MARIA AMOROSO
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ELIANA RODRIGUES SILVA
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GILSAMARA MOURA
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PAULA ALICE BAPTISTA BORGES
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SUZANA MARIA COELHO MARTINS
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Data: Mar 15, 2019
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Show Abstract
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Based on a fable about how the events mix in the author’s head, the present research discusses the transculturalized body as a process of tensions between the masculinity imaginaries of the Brazilian northeastern tough guy and the flamenco dancer, approaching notions of gender in the construction of a performance entitled Protocol.doc. Common deck figures shape the author's thoughts by performing drags to construct the arguments that support the writing of this thesis. The reference bibliography transits among authors such as: ORTIZ (1983) and RAMA (2008) to deal with transculturation issues, and BUTLER (2003), as one of the main pillars in the construction of the performance, from the moment it offers a theoretical direction to rethink normative constructions so strongly delimited between genders. For this research, the transculturation is determinant in the construction of the thought that will revolve around what ALBUQUERQUE JUNIOR (2013) establishes regarding the imaginary of Brazilian northeastern masculinity and WASHABAUGH (2005), with the political argument of the flamenco dance. In this sense, these two transculturalized universes in the body of the researcher, will open space for some discussions about the notions of gender, performative writing and queer writing, in a dance performance that will build in the body the arguments of these universes, which, this way, feed the writing of this thesis.
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6
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ANA VALÉRIA RAMOS VICENTE
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ERRÂNCIA PASSISTA: somatic frequencies in the process of creation in dance with frevo
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Advisor : DANIELA MARIA AMOROSO
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COMMITTEE MEMBERS :
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CAROLINA DIAS LARANJEIRA
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CIANE FERNANDES
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DANIELA MARIA AMOROSO
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LEONARDO JOSE SEBIANE SERRANO
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MARIANNA FRANCISCA MARTINS MONTEIRO
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Data: Mar 18, 2019
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Show Abstract
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This thesis aims to approach the creative process in dance as the leading factor in the production of knowledge. I investigate the creation in dance having as starting point the creative immersion in the carnival, with Frevo. Brings to the discussion the technical, poetic, political, cultural and epistemological knowledge mobilized and constructed. In this way, the creation process is the object and methodology adopted, contributing to the consolidation of the area of Practice as Research and, within this area, of the Creation Process in dance as an academic research. The research Errância Passista developed from the construction of the immersion in the Passista (street frevo dancer) of Recife and Olinda as a triggering element of the creative process and resulted in the creation of the works Re-flexão, Saia da Toca, Re/in-flexion and Ebulição. Based on these creations the thesis approaches energy as the leading concept of this research reflecting on the possibility of energy renewal through the carnival with frevo. The understanding of human movement by its energetic aspect is also mobilized for the understanding of how involuntary movements can be aesthetically directed, giving rise to the proposition of the term Somatic Frequencies and to the understanding of the Tremor Frequency as the driving axis of the work Ebulição (boiling). The notion of Somatic Frequencies is related to different contemporary dance practices as a way of approaching from an experiential analysis (kinesthetic energy) different ways of how the question of involuntary movement goes through the production of artists throughout the twentieth century. The Creative Process of the work Ebulição is approached from its initial impulses that relate tremor and trauma due to the ethical - political process experienced in Brazil during the PhD period - the choices of procedures that place somatic research at the forefront; the implications between the different contexts and subjects of research with the dramaturgic choices. Analyzing the dramaturgic choices of Ebulição and Re-in-flexion as a decolonial intention, in the sense of working to overcome the existing colonial logics, and the somatic tuning as a research mode that places body experience in prominence, the thesis relates decoloniality and detensionality as an epistemological bias of research into dance.
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7
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LILIAN SEIXAS GRAÇA
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The kinesthetic perception in videodance: empathic reverberACTIONS between bodies of flesh and screen
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Advisor : IVANI LUCIA OLIVEIRA DE SANTANA
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COMMITTEE MEMBERS :
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ANDRÉ MASCIOLI CRAVO
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ELOISA LEITE DOMENICI
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IVANI LUCIA OLIVEIRA DE SANTANA
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LEONEL BORGES BRUM
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OSMAR GONÇALVES REIS FILHO
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Data: Apr 26, 2019
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Show Abstract
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This doctoral research entitled “The kinesthetic perception in videodance: empathic reverberACTIONS between bodies of flesh and screen” deals with the reflection on kinesthetic reactions or corporal movements of the videodance spectators in a theoretical-practical articulation, involving the creation of videodances. Thus, we point out our methodological intention of carrying on the discussion about kinesthetic perception, going through the operative modes of aesthetic construction over the moving image of the audiovisual to provide and intend the engagement of the spectator body. With the premise that the bodily reactions are not only responses to visual perception, but are part of the somatic engagement which is a perceptive complex and essential to the act of seeing moving images on the screen, we take the theoretical contribution of aesthetic empathy (Einfühlung) as a basis for guiding: discuss the role of body and movement in aesthetic experience (SCHMARSOW, 1894; WÖLFFLIN, 1886), in a parallel with the theory of embodied cognition (CLARK; CHALMERS, 1998; NOË; O’REGAN, 2001; VARELA; THOMPSON; ROSCH, 1991); discuss the actions of kinesthetic engagement from the somatic approaches of the film theories that think the body of the spectator as active, flexible, resonant and extended (CURTIS, 2016; FINGERHUT, 2017; HEIMANN 2017); discuss the twining and the interdependence of the ocular system with the other senses of the body - as suggested by emphatic theorists - under physiological research of haptic system (GIBSON, 1966) and the somatic approach of haptic visuality in film theory (BRUNO, 2010; MARKS, 2000); and, finally, building videodances from three subjects of experimentation, evoking ideas of kinesthetic reaction as a constitutive body engagement of perception. When presenting the field of videodance as a historical dialogical field between dance and audiovisual, its way of constructing actions and perceptive transformations and its elementary characteristic in using the superposition of movements, we conclude that this intermedial art has the potential to enhance kinesthetic reactions in the spectator body and can be configured as an articulator of the reflection on the complexity of the kinesthetic phenomenon in the corporal reactions within the audiovisual medium.
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8
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JOÃO MARCOS DADICO SOBRINHO
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The Roleplaying Game as way of dramaturgical writing
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Advisor : RAIMUNDO MATOS DE LEAO
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COMMITTEE MEMBERS :
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BRAZ PINTO JUNIOR
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CATARINA SANTANNA
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MARCO ANTONIO ALEXANDRE
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PAULO HENRIQUE CORREIA ALCANTARA
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RAIMUNDO MATOS DE LEAO
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Data: May 3, 2019
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Show Abstract
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Thiscollective artistic production experience researched the possibilities of appropriation of the tabletop Roleplaying Game (RPG) for a dramaturgical spectacular poetic. As part of an action research, 05 (five) participants, after 08 (eight) tabletop RPG sessions, put themselves in the situation of writing a theater play. The way the participants found to
perform the collective dramaturgical writing was the transcription of dialogues originating from processes similar to those of dramatic games and theater improvisation plays, including those associated with the process drama. The reading of some theorists, such as André Sarturi, Johan Huizinga, Roger Caillois, Beatriz Angela Cabral, Jean-Pierre Ryngaert, Luigi Pareyson, Martin Esslin, Patrice Pavis and Rafael Bienia, guided a qualitative analysis of the experience developed and the dramatic text and a possible identification of the similarities between the tabletop RPG and the drama, and consequently their appropriateness to the scene's poetic contexts. The record of this experience could determine some references to its applicability in these types of processes and also reveal some limits of appropriation of this type of game in those subversive processes of creation, that seek to dialogue against alienating discourses.
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9
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SAULO SILVA MOREIRA
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Maybe we'll see you there: studies and friendship practices.
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Advisor : EVELINA DE CARVALHO SA HOISEL
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COMMITTEE MEMBERS :
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DENISE CARRASCOSA FRANCA
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EVELINA DE CARVALHO SA HOISEL
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LAURA CASTRO DE ARAUJO
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PAULA ALICE BAPTISTA BORGES
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RITA FERREIRA DE AQUINO
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Data: Jul 4, 2019
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Show Abstract
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Gather friends to party, do a dance with a gift song, write letters, edit diaries, sew banal poems, drink tea, create wish-mutirão bids, be friends with plants, cats, fags, bugs and other planets, make a diving-house, saying yes and saying no, simulating friendship as an instant, testing friendship as a proposal for the millennium-now, hyphenating my gestures-words with words-gestures of the other, letting a tree make a forest of desire for friendship, walk along the path of Diadorim and Riobaldo, keep your heart in your hands, understand the policies of enmity, but do not forget the slots, talk to Roland Barthes, Michel Foucault, Espinoza, Angela, Dri, Denise Carrascosa, Caetano, Laura Castro , Derrida, Paula Lice, Deleuze, Rita Aquino, Suzane Lima, Evelina Hoisel, etc., test an ontology of friendship, sampling the crossings of the friends in everyday life. This thesis is a test of delicacy, a precarious desire for fortune. It was made to exist by disappearing. It is an inviting invitation to get to know each other.
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10
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FRIEDRICH WOLFGANG GUTMANN
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Behind the scene.
The special effects and their techniques applied in the theater.
Memorial (1969 - 2013).
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Advisor : EWALD HACKLER
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COMMITTEE MEMBERS :
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EWALD HACKLER
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LUIZ CLAUDIO CAJAIBA SOARES
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EDUARDO AUGUSTO DA SILVA TUDELLA
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MARIA DAS GRACAS REIS MARTINS
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JOSÉ DA SILVA DIAS
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Data: Jul 16, 2019
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Show Abstract
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The theme of this thesis is the vast and complex field of Special Effects and its applied techniques in the Theater. It is organized in the form of a Memorial around all the work that I have developed in theater, cinema, television and other events. The Memorial is detailed in Chapter 2 of the thesis, when I introduce the 130 works carried out in this area, from 1969 to 2013. In the accomplishment of this collection, the need arose to comment on the significant phases of the evolution of the "Special Effect" in the theater, which has been compiled in Chapter 1, and which has given rise to the happy encounter with the treatise Pratica di Fabricar Scene and Machine ne 'Teatri (nstructions for Making Scenarios and Machines of the Theater, Ravenna, Italy) written in 1638 by Nicola Sabbatini. The book is an Italian stage manual, compiled in the fusion of the late Renaissance period with the initial phase of the Baroque. Not finding any version in Portuguese, I ended up translating the Treaty, which are part of Chapters 3 and 4 accompanied by the technical sketches of the original edition in Italian, making the work accessible to our academic public.
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11
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VIVIAN VIEIRA PEÇANHA BARBOSA
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BETWEEN CULTIVATION AND WAITING: PATHWAYS FOR A POETICS OF PERMANENCE AND TRANSFORMATION IN DANCE
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Advisor : MARIA ALBERTINA SILVA GREBLER
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COMMITTEE MEMBERS :
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ALBA PEDREIRA VIEIRA
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CASSIANO SYDOW QUILICI
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Carla Andréa Silva Lima
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MARCUS VINICIUS MACHADO DE ALMEIDA
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MARIA ALBERTINA SILVA GREBLER
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Data: Jul 18, 2019
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Show Abstract
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This thesis is one of the outcomes of the artistic research accomplished in integration with the choreographic process of Reversa, a dance solo created and performed by Vivian Barbosa in Brazil and England during the years of 2016, 2017 and 2018. In the research, there is the conceptual, artistic and experimental inquiry about what Barbosa calls 'poetics of permanence and transformation', in dialogue with yoga breathing and meditation, with Rudolf Laban's Effort Theory and its related topics, as well as with the practice of vibration-containment-flow developed by Carla Normagna. Principles, practices, modes of preparation and choreographic creation experienced in Reversa are articulated and discussed through the creation of singular terminologies linked to artistic practice and several artistic and philosophical reference. This articulation is methodologically supported by the perspective of Practice as Research (PcP) and Creative Articulations Process (CAP) by Jane Bacon and Vida Midgelow and it aims to reflect three codependent questions: what happens between inner life, outer space and gesture while I dance? What do I glimpse into this relationship, into this “in-between”? How do I artistically weave this relationship?
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12
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YASMIN DE FREITAS NOGUEIRA
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Memories of a feminine black body: poetic narratives, ancestry and creative processes.
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Advisor : SUZANA MARIA COELHO MARTINS
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COMMITTEE MEMBERS :
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ALEXANDRA GOUVEA DUMAS
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DANIELA MARIA AMOROSO
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LUCIANY APARECIDA ALVES SANTOS
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MARILDA DE SANTANA SILVA
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SUZANA MARIA COELHO MARTINS
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Data: Jul 18, 2019
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Show Abstract
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Sustained in the poetic making through the language of performance, this research seeks to explore the subjectivities found in different narratives of the life experiences of black women in a Brazilian context, as well as in autobiographical fragments of the author. The result of the juxtaposition of these stories takes place in fiction, in which a plastic-textual production is built – written elaboration and artistic creation are blended – through a persona, in which the body makes sense of it, and also is a discursive and performative support. Past and present Stories are revisited to brake with excluding positions. This text seeks to apprehend and make visible the resistances processes and the struggle for the reexistence of Afro-diasporic populations, especially the black Brazilian woman. Reflects on the need to seek the voice of black women, considering beyond gender and race, matters such as sexuality, class and several other markers of difference that transit through the experience of the body, not dissociating the different axes of subordination and seeking representativeness, through artistic creation and its articulation with theoretical reflections. From a decolonial point of view, it is based on black feminist epistemology when valuing the lived experience and the knowledge and wisdom that comes from them, the importance of the dialogue, of the exchange, the responsibility for affirmations, the ethics of care, the value of singularity, the place of emotions and empathy, criteria used in the validation of feminine and black knowledge, since such operations are usually performed by subjects occupying seats of power and represents hegemonies. Life experiences are evoked in fragments of stories that act as triggers for artistic creation and opens a space for fantasy. This research aspires, beyond the resultant aesthetic, to understand the movements and meanings of its construction, seeks the creative process as production of scientific and sensitive knowledge, stressing the boundaries between reality-fiction/art-life.
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13
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FLÁVIA JANIASKI VALE
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HAVING A NEW POINT IN EACH STORY: POTENTIAL INSERTIONS OF THEATRE IN CHILDHOOD EDUCATION
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Advisor : CELIDA SALUME MENDONCA
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COMMITTEE MEMBERS :
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CELIDA SALUME MENDONCA
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CILENE NASCIMENTO CANDA
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GEORGE MASCARENHAS DE OLIVEIRA
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ISABEL MARIA GOLÇALVES BEZELGA
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WELLINGTON MENEGAZ DE PAULA
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Data: Jul 24, 2019
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Show Abstract
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This research aims to insert theatre in childhood education through storytelling having William Shakespeare’s The Tempest as the piece to think the space as an opportunity for experience in a scenic and audio environment. Childhood education as the first step of basic education is a moment of changes and discoveries for small children. As learning for small children is based on ludic experiences and playing – two issues in the theatre – the research aims to test storytelling as part of theatre in our times. Therefore, the research points out aspects of theatre and performance that permeate storytelling and present a proposal of theatre for small children. Childhood education approaches children from zero to five years of age and this research focused specifically on children from three to five years of age and on three axes: theatre with children, storytelling and scenic space. The method for this study is a qualitative and descriptive research focused on children as the primary subjects of a research. Methodology included literature review, documental analysis, and fieldwork. Theoretical background include Lev Vygotsky, Manuel Jacinto Sarmento, Peter Slade, Gaston Bachelard, John Dewey, Walter Benjamin, Harold Bloom, Vera Lúcia Bertoni dos Santos, Gilka Girandello, Luciana Hartmann, Loris Malaguzzi and Adriana Klisys.
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14
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EDILBERTO DA SILVA MENDES
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Stamina: drama and imaginary, Pygmalion and coaching in a TV series writing process
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Advisor : CATARINA SANTANNA
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COMMITTEE MEMBERS :
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ALEX BEIGUI DE PAIVA CAVALCANTE
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CATARINA SANTANNA
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EVELINA DE CARVALHO SA HOISEL
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MARCOS BARBOSA DE ALBUQUERQUE
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PAULO HENRIQUE CORREIA ALCANTARA
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Data: Aug 6, 2019
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Show Abstract
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This thesis analyses the myth of Pygmalion as a symbolic matrix of the contemporary cultural paradigm of self-concept based on the idea that success is as a result of the individual´s mindset and is associated with visibility, positivity and entrepreneurship. It examines literary and drama works to highlight the myth´s role in different times and cultural contexts, beggining with its origin as an oral narrative in the ancient Greco-Roman world, than its literalization in Ovid´s Metamorphoses (8 AD); Jean de Meun´s Roman de la Rose (1275-80); Jean-Jacques Rousseau´s Pygmalion: scène lyrique (1762); Bernard Shaw´s Pygmalion (1904); and several examples of television and screen drama. It discusses the myth´s relation with the imaginary of love, artistic creation and modern identity. Based on Goffman's (2014) framework to study social interactions and critical writings on coaching, it demonstrates that this s ocial practice is a contemporary form of the myth of Pygmalion. It discusses the definition of coaching and its current scenario as a professional field in the world and in Brazil. It highlights how coaching moves the imagery of entrepreneurship. It analyzes the techniques applied by coaches in mental reshaping. It applies Souriau's theory of dramatic functions (1993) to design a TV series entitled Stamina, focusing on a dialogical relationship between the myth and the coaching.
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15
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TÁSSIO FERREIRA SANTANA
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Pedagogy of Afrocene Circularity: methodological guidelines inspired by the teachings of the Candomblé Congo-Angola tradition
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Advisor : CELIDA SALUME MENDONCA
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COMMITTEE MEMBERS :
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ALEXANDRA GOUVEA DUMAS
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CELIDA SALUME MENDONCA
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DENISE CARRASCOSA FRANCA
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Leda Maria Martins
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ROSANGELA PEREIRA DE TUGNY
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Data: Sep 25, 2019
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Show Abstract
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The research reflects on the ways in which traditional Candomblé Congo- Angola and Bantu philosophy, from their social / political / philosophical / aesthetic / sacred structure, can poetically inspire teaching-learning processes of the Performing Arts in the academic context, considering circularity as a conceptual basis. From this investigation emerge five fundamentals of teaching (integral, circular, body, ancestral and mystical) which subsidize the teaching processes of the Terreiro and organize the methodological guidelines investigated here. The understanding of crossroads-research, a concept embedded in the epistemological framework aligned with the approach of the crossroads as a conceptual operator, coined by teacher Leda Maria Martins (1995), in dialogue with teacher Luiz Rufino's Crossroads Pedagogy (2018), organized the research modes, completely involving the researcher in the investigation, besides allowing conceptual operations of great complexity. As a starting point, I will discuss the teaching-learning process experienced by me and the members of Terreiro Unzó ia Kisimbi ria Maza Nzambi (based in the municipality of Simões Filho-Ba), through the testimonials of the initiated people. The experiences resulting from the circularity of the Terreiro led me to
the creation of the University Research and Extension Project at the Federal University of Southern Bahia, entitled Collective AFRO(en)CENA. In this project it was possible to conceptually experiment the Pedagogy of Afrocene Circularity as a proposal for the artistic formation of the scene, colliding actions at levels of: a) General Formation [in the artistic, cultural, historical and philosophical scope]; b) Scientific [five editions of Azuela: black poetics in circle]; c) Artistic [scenic experiment: Crossings - Transatlantic Cycles]. At the crossroads of the research, organized in cycles, I call for dialogue and debate intensification the following authors: Barbosa (2016), Cunha Junior (2002), Lima (2002, 2010, 2011), Machado (2002, 2010, 2017), Martins (1995, 1997), Munanga (2006), Oliveira (2007, 2011), Petit (2015), Rosa (2013), Sodré (2017), among others.
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16
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JOSÉ OLIVEIRA PARENTE
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Life brings us unexpected gifts. Object contribuitions in formative scenic processes and theatrical mise-em-scene.
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Advisor : SONIA LUCIA RANGEL
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COMMITTEE MEMBERS :
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SONIA LUCIA RANGEL
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RAIMUNDO MATOS DE LEAO
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GEORGE MASCARENHAS DE OLIVEIRA
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VALMOR NINI BELTRAME
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MARIANNE TEZZA CONSENTINO
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Data: Sep 26, 2019
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Show Abstract
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This performing arts research aims to investigate the possible contributions of the use of objects in the learning processes of the actor, the director and the drama teacher. From the basic assumption that the object may become a potent creative stimulus, it is attempted to research, experimente, and verify the feasibility of a series of exercises and games with objects, which were applied in classes and workshops given by the research to drama students and also in the staging of a solo show with objects “A Vida Nos Traz Presentes Inesperados” when and where the author acts as a reseacher-director. An analysis of the adopted procedures is presented with reflection on the achived results, limits and possibilities of this proposition. The research aggregates ideas, proposals and actions of the so-called object theater (a strand of contemporary animation theater) crossing them with some procedures from performance and visual arts, in order to contribute to the formulation of a possible artistic work metodology focused on the objects which may interest actors/actresses, teachers and staging artists at contemporay times.
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17
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NAYARA MACEDO BARBOSA DE BRITO
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From the fragmented character to a figural acting regime.
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Advisor : ANTONIA PEREIRA BEZERRA
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COMMITTEE MEMBERS :
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ANTONIA PEREIRA BEZERRA
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DIÓGENES ANDRÉ VIEIRA MACIEL
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DJALMA THÜRLER
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JOAO ALBERTO LIMA SANCHES
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PAULO HENRIQUE CORREIA ALCANTARA
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Data: Nov 18, 2019
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Show Abstract
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The theatre character, as constructed by the Aristotelean-Hegelean dramatic tradition, for a while now, has no longer being the only kind of fictional being found on the stage. Its unity ideal, as searched as equally frustrated along Western Theatre`s history, as Levy-Candeias (2012) shows us, this unity ideal is effectively condemned by the modern playwritters, therefore ending the character in both fictional and structural-dramaturgical plans. Although it can still manifest itself contemporaneously, the interventions on its traditional configuration unfolded along the 20th century and, under the isolation, deformation and dissipation’s Forces, resulted, in plays of authors such as Gertrude Stein, Peter Handke, Valère Novarina, Marcio Abreu e Grace Passô – object of our analysis in this theses – in the emergence of the Figures, in Lyotard’s (1979) e Deleuze’s (1981) terms. Faced with this absence of support that, in that tradition, ensured a semantic web in which the actresses (therefore, both actresses and actors) and the spectators could guide themselves – namely, the character as an absolute totality (HEGEL, 2004) and the dramatic action organized as a linear narrative –, what other acting basis are demanded by these Figures? What challenges they have brought or bring to the actresses’ craft? It is to this investigation, as well as to the analysis of the transition between the Aristotelean-Hegelean characters to the Figures, that this thesis engage. In the practical experiment that our research also covers, we confronted the text of Part IV. The question of identity. A play, by Gertrude Stein (2005), with a series of techniques stemming from poetics or thoughts on theatre that give to the body, in its physical materiality, an emphasis not seen in the acting conventions related to the tradition we collated with our object of study. The actress’ autonomy in relation to the text theses acting perspectives presuppose, as well as the idea of “states of being” or “energy qualities” that cross the discourses about the texts as much as the ones about the actorial labor, guide the reflection that we bring at the end.
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18
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JÚNIA CRISTINA PEREIRA
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Dramaturgies of Oneself and the Other: Identity Constructions
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Advisor : ANTONIA PEREIRA BEZERRA
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COMMITTEE MEMBERS :
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ANTONIA PEREIRA BEZERRA
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MARCO ANTONIO ALEXANDRE
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MERAN MUNIZ DA COSTA VARGENS
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NOELI TURLE DA SILVA
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SIMONE BECKER
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Data: Nov 23, 2019
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Show Abstract
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The present dissertation turns its gaze to the author’s dramaturgical production as production of herself, considering shared dramaturgical construction processes as interpellation scenes in which the actress/playwright needs to report on herself in the theatrical discourse, thus turning identity constructions visible. Taking as analysis material the author's dramaturgy production, between 2007 and 2015, in Belo Horizonte/MG, and between 2016 and 2019, in Dourados/MS, the work seeks to understand how gender (woman) and then race (karaí/non-indigenous or Brown) mark the author's identity in the construction of her pieces. Identity constructions are usually related to others and norms that establish what is (not) recognizable. The research focus special attention to the dramaturgy creation and presentation/performance Jaity Muro (Dourados, 2018) together with the Kaiowá artist Rossandra Cabreira, and the performance Parda (Salvador - Belo Horizonte - Dourados, 2018). The analysis of those pieces follows Judith Butler's thinking (2015a) on the relation identity and otherness in the dramaturgy authorship: the incomplete way we can perceive and report the place one speaks.
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19
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ANITA CIONE TAVARES FERREIRA DA SILVA
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FOR A TRANSFORMING UNIVERSITY EXTENSION: PATHWAYS TO A CRITICAL AND DIALOGICAL APPROACH IN THEATER ACTION MEDIATION
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Advisor : CELIDA SALUME MENDONCA
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COMMITTEE MEMBERS :
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CELIDA SALUME MENDONCA
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FABIO DAL GALLO
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CILENE NASCIMENTO CANDA
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MARINA HENRIQUES COUTINHO
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PEDRO RODOLPHO JUNGERS ABIB
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Data: Dec 3, 2019
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Show Abstract
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This doctoral thesis consists of a qualitative research, which has the theatrical action mediation as its object of research in university extension activities. This study comprises the fields of knowledge that show a correlation between the performing arts and education, relating to the object of study through a socio-political lens. It begins questioning what is the social responsibility of the public university, represented especially by the extension activities, that integrate the three axes of the university, together with teaching and research. The extension activities have criteria and guidelines indicated by official documents, developed over the years through the University Extension Activities ProRectors Forums, which established how these activities should operate, and what structuring principles they should follow, such as the one of dialogic interaction. With the purpose of researching a theatrical action mediation practice consistent with the indicated guidelines, it is questioned which theatrical pedagogical strategies can be deployed to develop transformative university extension activities. A dialogue is held with authors who have critical approaches such as Paulo Freire, Augusto Boal and Bertolt Brecht and an analysis is made of theater teaching practices capable to converge to university extension regulations. From this point onwards, it is problematized if these studied procedures are useful in a way to be systematized in order to generate principles of a theatrical pedagogy for the university extension, which led to the practical part of the research, through the creation of an extension course offered to adolescents from the municipality of Seabra, a town in the state of Bahia, Brazil. Thus, this doctoral thesis is essentially structured in three parts. In the first one, the research is about the social role of the public university and its form of knowledge production, where works, articles and academic works about the theme are examined, besides the official normative documents of the university extension activities. In the second part, the study of methods and tactics of theatrical action mediation is deepened from the perspective of a transformative education through an university extension activitiy, as Community Theatre. Dialogic theories of education and theater are explored, focusing on the attitude and conduct of the teacher. In the third one, the practical part of the research with the subject group is analyzed, generating principles for the teaching of theater in the university extension. The research results show that the theatrical critical pedagogies investigated and applied in practice can offer tools to approach teaching in critical and dialogic ways, becoming the guiding principles to the construction of a transformative pedagogy for theatrical action mediation as an university extension activity.
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20
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ANA CAROLINA FIALHO DE ABREU
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Hôxwa and Llamichu: comical-critical games for teaching theater, indigenous histories and cultures.
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Advisor : FABIO DAL GALLO
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COMMITTEE MEMBERS :
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FABIO DAL GALLO
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FRANCISCO EDVIGES ALBUQUERQUE
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MARIO FERNANDO BOLOGNESI
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Nicolás Javier Lynch Gamero
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Rodrigo Montoya Rojas
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Data: Dec 5, 2019
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Show Abstract
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In this research, I share the composition of comical-critical games for teaching theater and indigenous histories and cultures. I emphasize on 2 comical indigenous figures. First, the hôxwa, present in the amjĩkĩn ritual, Pàrti or Jàt jõ pĩ (Batata festivity) in the Krahô culture. Krahôs are located between the Manoel Alves Grande river and the Manoel Alves Pequeno river, in the state of Tocantins- Brazil. Second, the llamichu, present in the Sequia Tusuy (Water Festivity) in Quechua culture. Quechua population located in the district of Puquio, capital of Lucanas province, in the state of Ayacucho- Peru. The main purpose of this work is to problematize the absence of indigenous cultures in academic and artistic knowledge. I aim to stand out the presence of cultures and human beings that were and continue to be killed, denied, enslaved and subjugated. So we can all know and recognize them. Beginning with their collective memories, the laughter and their comical-ritual figures, we can approach to the knowledge understood in their imaginary and in their social struggles. The questions that leads this research are: What is the importance and the values of laughter between the Krahô and Quechua people? What can the hôxwa and the llamichu reveal about the current social struggle of their people? How to make a presence in schools, universities, federal institutes and creative processes, of indigenous stories and cultures, through ritual comedy? In reference to the theoretical-conceptual foundation, this thesis is based on a multi-referential horizon that involves concepts and theories from different disciplines and areas of knowledge. This horizon includes art, pedagogy, anthropology and sociology. I dialogue with the testimonies, interviews, articles and books by indigenous masters and teachers, such as Ismael Ahpracti, Roberto Cahxêt, Raquel Rõrcaxa, Maria Rosa Amxôkwỳj, Maria Helena Pokwỳj, Matilde Caxêkwỳj, Renato Yahé, Hilarión Garriazo, Miguel Rivera, Nemesia Licla Ramos, Rosalino Ramos Licla, Alejo Quispe, among others. Their points of view are a fundamental theoretical basis and walk alongside with other main authors: Silvia Rivera Cusicanqui, Paulo Freire, Rodrigo Montoya, Andres Del Bosque, Ana Gabriela Morim de Lima, Mario Fernando Bolognesi and Francisco Edviges Albuquerque. Methodologically, this work should be understood as a narrative and ethnographic research, inserted in the perspective of qualitative research. It is developed through / with experience and field research. It concludes that the body is the maximum expression channel of the hôxwa and llamichu. The body denounces, reveals and resists through laughter. And this is the starting point to encourage critical thinking, inventiveness and joy in schools and creative processes, based on comical-ritual practices, stories, struggles and indigenous cultures.
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21
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IGOR EMANUEL DE ALMEIDA SCHIAVO
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THE INCLUSION OF THE STREET THEATER IN HIGHER EDUCATION: A METHODOLOGICAL EXPERIENCE IN THE PERFORMING ARTS COURSE OF THE FEDERAL UNIVERSITY DA GRANDE DOURADOS
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Advisor : FABIO DAL GALLO
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COMMITTEE MEMBERS :
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DENISE MARIA BARRETO COUTINHO
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ELIENE BENICIO AMANCIO COSTA
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FABIO DAL GALLO
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MARGARIDA GANDARA RAUEN
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TONI EDSON COSTA SANTOS
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Data: Dec 10, 2019
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Show Abstract
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This thesis addresses the inclusion of the elective curriculum component Street Theater in the undergraduate course of Performing Arts, at the Federal University of Grande Dourados. The research objective was to carry out and analyze and experimental methodological proposal, which articulated three characteristics: relationship with the representation space, interaction with the audience, readiness state of actors and actresses. Such articulation allowed for the exercise of collectivity in theatrical practices and the connection of three dramaturgical axes related to the work with Street Theater in Brazil, used in the construction of scenes and in the understanding of various forms of doing theater in the street, namely : dramaturgies linked to the experiences of popular culture, theatre committed to social criticism and practices that use open space appropriation in creation. The research participants were 18 students who were enrolled in the elective curriculum component Street Theater, in the first semester of 2018 at UFGD. As object of studies, Street Theater. And experimental methodological proposal that involved historical, formal contextualization , performance for Street Theater and experiences of Street Theater in academic formation in Performing Arts. The meetings, which were divided into blocks of different dramaturgical aspects made possible the experience in different fields of Street Theater making, an important component in academic formation in Performing Arts. The process was carried out in 13 meetings, in a classroom and outside the University, with the maintenance of daily reflective debates and writings. The participants’ testimonials enabled me to analyze the semester’s process and to verify the efficacy of the work method.
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