The objective of this work is to share the paths taken to write a dramaturgy and its creation processes based on personal interactions with Vila das Mulheres Pedreiras, a pioneering experience of a group of women who built their own houses in the neighborhood of Peixinhos, in Olinda–PE. Having witnessed the day-to- day life of that village as a child, I was touched by feminist, political and social issues present in what, even today, can be seen as the appropriation of a predominantly male workspace. But before delving into this process between myself and the community, I take a look at playwrights who precede me and are contemporary, in Pernambuco. In six of these authors, I identified connections with feminist agendas and with my creative paths, selecting and analyzing a work by each of them: Josephina Álvares de Azevedo (O Voto Feminino, 1890), Luciana Lyra (Guerreiras, 2009) and those of the new generation, Janaina Gomes (Mi Madre, 2019), Natali Assunção (Ainda escrevo para elas, 2019), Agrinez Melo (Histórias Bordadas em Mim, 2016) and Andala Quituche (Sina, 2014). As for the methodological path, I used the performative writing of f(r)iction (Lyra, 2020) and the possibilities of contemplating artistic creation in the research process. I also relied on the artethnographic approach (Lyra, 2011) to begin the construction of a dramaturgy about the universe of Vila, the game between concreteness and subjectivity in the daily dynamics of those women, including manifestations of memory, the sensitive and the poetic. I called tramaturgia cotiDiana the text EU-Parto, still in the process of elaboration, through fictional writing, seeking to encompass the richness of the multiple and interactive character of these personal plots/dramas that move between past, present and future.

This research investigates a creative process and a theatrical pedagogical practice, taking as its object the experience carried out with the Creation Centre of Teatraria ao Cubo: the composition of the play Casa Cheia. As a central problem, I seek to understand how this artistic-pedagogical process took place and then discover how I was affected by this experience. Guided by participant research procedures, I retrace the path of the theatre pedagogical practice through reports on the process and with the aim of finding answers to the problems of this study. At the beginning of this journey, I expected to encounter difficulties, which was confirmed, since this experience stands out for being Teatraria ao Cubo's first creative process after a long period of social isolation due to the COVID-19 pandemic. In addition to the challenges expected due to this situation, there were the professional challenges of this being the first work guiding a creative process through a collaborative approach, with the production of a dramaturgy with shared authorship at the school where I work as a teacher and theatre director. In order to meet the demands of the research, it became necessary to look for theoretical and practical references for conducting the process, as well as procedures for creating the dramaturgy and the composition of the spectacle. Based on this research, training was used with the Six Viewpoints, a technique systematised by American artist Mary Overlie and later restructured as "Viewpoints" by directors of the same origin, Anne Bogart and Tina Landau. From this system, the "Composition" tool was the main instrument for activating the creative process. In dialogue with this proposal, I highlight the voices of Miriam Rinaldi, Maurice Halbwachs, Patricia Leonardelli, Renato Ferracini and Matteo Bonfitto. The findings of this research point to paths and indicators for conducting artistic-pedagogical processes in theatre, especially those aimed at creation through composition, collaborative practice and experimentation with a dramaturgy of shared authorship.

This research investigates principles of creative processes in art education that emerge in artistic-pedagogical practices with black dances at school, in their relationships between body-memory (Fonseca, 2020), body-territory (Miranda, 2022) and body-screen (Martins, 2022), along with the somatic-performative methodology (Fernandes, 2014). Carried out in a class of students in the 9th year of Elementary School at Escola Municipal Celestino Pimentel (Natal-RN), the research continued in the midst of a countercolonial process (Santos, 2023), leading to black dances as the main driver of a pedagogy centered on the body and in the immersion of their confluences, which reveal themselves as possible principles of creative processes in art education, and unfold in a reflection on the school as a place of expansion, inventiveness and counter-hegemonic possibilities, rediscussing mainly the anti-racist role of art education.

"Entremeios Poéticos" proposes an immersion into the poetic realm of the Boi and Jaraguá interludes present in Reisado São Francisco (led by Mestre Tico Barbosa) and the sword battles featured in Guerreiras Santa Lúcia (led by Mestra Lúcia Guerreira). To achieve this, an educational space was established, drawing on the poetic frameworks of the masters' transmission processes and the memories evoked by these processes. Utilizing the epistemological approach of Bahian Ethnocenology proposed by Armindo Jorge de Carvalho Bião (2009; 2011), the project engaged with concepts of aesthetic matrices and trajectories, considering the intersection of theater and the traditions of the Cariri region. Thus, through the teaching and learning processes in the playful terreiros of Mestra Lúcia Guerreira and Mestre Tico Barbosa, a theatrical experiment titled "Entremeios Poéticos" (2024) was developed.

The focus of this study is centered on exploring Teatro Sensorial, following an itinerary of experimentation and discoveries of theatrical practices with or without the leading of vision, culminating in the staging (2019) and remounting (2022) of the spectacle SonhAlice, inspired by the work of Lewis Carroll (1832-1898). We seek to analyze accessible multisensory tools related to the presence/absence of vision in the theatrical scene, as well as understand spectators' perceptions to improve the technique and contribute to studies in the area of theatrical accessibility. As a methodological foundation, we adopted Brand Hanseman's Performative Research (2015), which is guided-by-practice. The reflective path constructed is organized, taking as references the experiences built during the period of the degree in theater, at the Universidade Regional do Cariri (URCA) and in the Teatro e não Vidência Extension Project of the Universidade Federal do Rio Grande do Norte (UFRN), already in the context of the Pós-Graduação em Artes Cênicas (PPGARC). As a result, we implemented audio description in the context of Teatro Sensorial, which resulted in an improvement in the accessibility of cast preparation and stage reception.

Dance is a fundamental form of artistic expression in popular culture, playing a crucial role in social communication and the expression of collective meanings and senses. The primary objective of this work was to investigate some of the popular dances in the city of Cabedelo - PB, with the intent of contributing to cultural, historical, and academic production. The research aimed to document these manifestations in written, visual, and poetic forms, integrating accounts from masters and mistresses of the city and expanding the bibliographic collection on Cabedelo's culture, offering a unique perspective of the territory. There was direct contact with the masters in various areas of performance and involvement with popular dance in Cabedelo (PB), a city notably rich in cultural manifestations. The investigative process included visits and in-person interviews, which were fundamental in capturing the essence and evolution of local practices and traditions. The interviews with the masters allowed for the exploration of the origins, techniques, and meanings of popular dances, indicating how these traditions are transmitted and preserved across generations, as well as providing a detailed view of the dynamics and challenges faced by local groups. The study was divided into three distinct chapters. The first chapter addresses the history of Cabedelo, contextualizing the city and its cultural traditions. The second chapter explores dances and cultural resistance, focusing on Coco de Roda, Boi Formoso, and Lapinha, analyzing how these manifestations remain alive and face challenges. The third and final chapter examines the popular dances of Cabedelo from a broader perspective, discussing their role in the cultural identity of the region and the importance of their preservation. Discussing the Popular Dances of Cabedelo (PB) is a challenge that requires a comprehensive and enriching understanding of the city's cultural traditions. The study goes beyond a descriptive look at popular dances and also considers the perspective of those who preserve and transmit them. The various cultural manifestations in the region highlight the importance of popular dances as a vital component of the local cultural identity. This work represents a significant step towards the awareness and recognition of Cabedelo's cultural traditions, providing a foundation for future research and initiatives aimed at promoting and keeping these practices alive, which are essential to the identity and cultural legacy of the region.

The work reflects on the potential of the ara (body) of a black woman in representation for the creation of a path of protagonism and artistic autonomy based on ancestral recognition. Based on the need to find references to the representation of black women in academia and on stage, ancestry, candomblé and theater emerge as a source and means for creating a body dramaturgy centered on the energy of the Orixás and Encantados. These actions of power reflect in the construction of new narratives, evidenced through the theatrical shows: Ombela, Histórias Bordadas em Mim and a formative experience centered on the Matrix Poetics of the Orixás. The purpose of the writing is to create possibilities for dialogue between the appreciation of ancestry, of African origin and its influences on contemporary theater, linking physical and ritual theater in the scenic construction. Writing takes into account the learning paths through welcoming and respecting the African and indigenous origins. The writings contribute to point out ways of decolonization of the ara of a black woman in the theater.

To write about dance is to contribute to the construction of narratives about our history as artists and teachers. It is an unraveling of the crossings and affections that art proposes to us through reports of experiences. It is an unfolding that allows us to capture images of our memories. The present research is, above all, an invitation to the reader to reflect about the bridges that his body and his art can build through the dialogue between dances, and the potentialities that can arise through these relations, especially the construction of knowledge. The research aimed at understanding possible relationships between classical ballet and popular dances in the city of Cabedelo (PB). The investigation of this dialogical nature was done based in my lived world, in the performance Marbelo from the Balé Popular de Cabedelo collective, and through reports from interviewees. We used a phenomenological approach, based on Merleau-Ponty, Jorge Larrosa, André Lepecki, Laurence Loupper, Teodora Alves and Alysson Amâncio, to unveil the phenomenon and arrived at the following understanding: when relating different dance techniques, it is necessary to study and recognize these cultures, based on their historicities, reflecting to know which relationship is being built. Whether they are close or distinct, each culture having its histories preserved, thus reflecting if, in fact, a multicultural practice is taking place or if it is more a reproduction of a practice of knowledge appropriation. This reflection is a process of long-lasting and gradual construction, taking even generations to be built. This text is another seed that has been sown and an invitation to reflect on our practices as artists who seek diversity and hybridization of their bodies and movements.

This academic research is a case study and a perception about the show ESTESIA. The methodology starts from my perspective on the Performing Arts, culminating in the investigation of my participation as a light stage designer within the spetacle/show in which I was invited to be inside the scenic box, assuming a new place on stage. I illuminate the object in a qualitative approach in the field of Arts, where I reveal memories of my academic trajectory to the artistic and technical improvement within the ESTESIA phenomenon, explaining how and why it happens. The investigation permeates the group, its particularities and specific objectives by providing the experience of an immersive and sensorial show, re-signifying spaces, breaking the stage/audience barrier, creating affective memories and strong convivial relationships of presence.

Faced with the global context established by the Covid-19 pandemic, education had to adapt to other school spaces and other ways of presence and interaction were established, of teaching that was no longer physical, but virtual. The location of schools and universities was converted to the private environment of each citizen in their homes. Thus, the interaction between teachers and students took place through screens defined by digital technological devices such as computers, cell phones and tablets. The formal teaching space has been transformed into virtual learning environments in a new teaching perspective, and teaching methods have been established to make the so-called Emergency Remote Teaching (ERE) viable, determined by the federal government as a strategy for maintaining teaching activities. This research aimed to find out about the methodological tools and practices that were being developed at the Federal Institute of Education, Science and Technology - IFRN by teachers in the teaching of Art-Theatre and how they were being experienced by students. To this end, interviews were carried out with educators at the Institute, who shared their experiences in the context of remote teaching and to these was added a personal experience of mediation with the Technical High School of Informatics, thus enabling a perception of the teaching of Theater in the pandemic context and the application of a questionnaire with the students with whom I worked. The research adopted an ethnographic methodological approach, based on the author Marli Eliza André and brought perspectives and concepts about technologies and presence from the conceptions of authors of the arts of the scene Jorge Dubatti, Yara Rondon and education such as Araújo Vilaça. It also presented a historical perspective on the presence of technology in theater, with authors such as Margot Berthold and Cibele Forjaz Simões. Based on the information related to teaching practices, technological devices used and class mediations carried out, data was established on concrete possibilities for teaching theater practices, artistic processes, theatrical games, dramaturgy construction with the direct intervention of digital technologies, which met the purposes and needs of the period studied, and may, however, contribute to the methodological options of other teachers in their choices for teaching theater.

The research CALABASH BODY: DISCOVERING THE MATERNAL ANCESTRALITY IN VIDEO ART - “OPEN THE CALABASH! INSIDE THE CALABASH IS YOUR MOTHER AND MY STORY” proposes an experiment in video art that draws from studies on ancestry. Based on poetic writing, I analyze the works "OID’ÁGUA" and "CORPO – MÃE CORPO – CRIA", audiovisual productions resulting from my creative process as an artist and mother. The central concept of the research is the "calabash body", which acts as a metaphor, connecting my ancestral origins with the artistic creation and motherhood. Using an experimental methodology, I seek to investigate the myths and memories of my maternal lineage, using video art as a form of artistic expression. To this end, I propose a reflection on the encounter with "Pirigo", my great-great-grandmother, in "OID’ÁGUA", the first work analyzed. In the second work, "CORPO – MÃE CORPO – CRIA", I reveal the methodological aspects of the poetic creation of a “mother body” based on ancestral knowledge. Finally, the "calabash body", metaphor and materiality of this research, regenerates from the crossroads, allowing a poetic and imaginary restoration of a “mother body” that is expressed through visual writing.

"Black Jurema, you are the queen, you own the city, but the key is mine." What might have been erased in the past echoes in the body of those with Caboclo blood, trembling their skin, dropping the arrow in every sacred ground. The ancestral healing technology eluded its end, becoming a religious practice. The Sacred Jurema is a religion that remains from indigenous practices that have been and are intersected by Afro-Diasporic ancestry and Christianity (LIMA, 2019), resulting in a faith of crossroads where through rituals, signs, and trances, we find the way out of this time, strengthening ourselves in ancestral time. This dissertation is the result of a "catimbó" for the body to dance, a creative dance process called "BLACK JUREMA," born on the ground of the Ogum Beira-Mar Terreiro (Cabedelo - PB) and in the depths of my backyard. Among some motivations of this journey, I mention the mapping of bibliographies on the Sacred Jurema, the analysis of corporealities, patterns of movements, and symbols present in religious practice, understanding at each cycle of this process its poetic potential, the investigation of bodies present in "Catimbó," starting from personal and collective experiences in spirituality within and outside the terreiro location. Here, autoethnography (SANTOS, 2017) and liminality (SILVA, 2020) are some of the methodological paths I embrace to explore my curiosity about bodies on the margins. The body on the edge of the tide, of fishing, of the coconut grove, of the "gira," of the touch, of the blessing... Those that possess and are marked by the sway of stories and memories, especially those who still carry dance as a fundamental part of their healing processes and contact with their ancestral roots. This body is also mine. And I know.

This research stems from an investigation carried out by actor-researchers from Bimphadi, Center for Research in Performing Arts, based in Luanda, Angola, on Nyaneka dances and songs. The main objective of this study was to investigate the rites of passage Efiko and Ekwendje and verify if would possible to use them as a basis for the body- vocal preparation of the group's actors. Starting from an empirical methodology of an experimental nature, we propose the deconstruction of the forms of European theater, imposed on Angolan actors by the colonizer, and we seek our own path, based on our experiences and our culture. From the practical research carried out by the group, we discovered that the dance-songs, from Nyaneka cultural manifestations, bring with them spectacular elements that can be resignified in the process of creating in a theater play. Through ritualistic songs we access and traverse our ancestral culture to anchor the timelessness that intertwines the actor's corporeality and vocality in the present moment.

Based on the study of modern brazilian theater, this dissertation aims to show to what extent the show Um Jardim Chamado Getsêmani contributed to the modernization of theater in Natal. Written by Newton Navarro (1928-1992), the play premiered at the Teatro Alberto Maranhão, in 1964, directed by Wilson Maux (1937-2011). Intending to understand why it was considered, by Othon (1998) and Santos (1996), the milestone of modernity in Natal theater, the research addresses Navarro’s artistic training; the dialogue between him and Pernambuco theater; his first steps in the theater of Natal in the groups Os Farsantes (1949-1950) and Teatro Experimental de Arte (1951). The text Um Jardim Chamado Getsêmani is then analyzed, as well as the production of the 1964 play, highlighting the trajectory of director Wilson Maux. The sources consulted are Newton Navarro’s personal collection, the documentary collection of Teatro Alberto Maranhão and national periodicals between the years 1948 and 1964. In this way, this dissertation aims to contribute to the historiography of theater in Natal, presenting a Navarro until then superficially commented on in academia: the theater artist.

The experiences that percolate the body can be a vast scenic material. Before following directions from a choreographer by external orientations it is possible to acknowledge someone's own life’s experience as it’s dance motif. But it is important to consider what life is this: how to search, understand, register, organize this material. This study presents rapprochement between Angel Vianna Methodology  and Vipassana Meditation as foundations for dance creation. It registers the process of creation of the dance solo “Uirapuru, Tempo Brasil” sharing the experience of how the body through meditation and body awareness experiments a creative process in relation with the environment and the incidences that affect daily life. Angel Vianna Methodology and Vipassana Meditation are practices that promote self observation and silence. The combination of these two practices gives support to a creative process in face of challenges related to individual and collective experiences. The research has a phenomenological approach and part of the author's, dance artist’s, annotations on the experiences lived in the creation process of “Uirapuru, Tempo Brasil”, having the intent of phenomenological reduction and the processing of body phenomena on the relation of creation routine. Besides the Phenomenology of Perception work from Merleau-Ponty, which offers a theoretical-methodological  basis for research, other references are used, such as: Jorge de Alburquerque Vieira’s studies on dance, Umwelt and complexity; Karenine de Oliveira Porpino’s research on the relation between dance, focus and meditation practices; among others. The dance solo “Uirapuru, Tempo Brasil” has a legend about an amazonian bird in risk of extinction as it’s baseline and is related to recent deforestation, as well as the devaluation of indigenous culture as backbone of brazilian culture. This theme has occurred with continuous dwelling on Angel Vianna Methodology and practice of Vipassana Meditation, which evoke interrogations about the relation of the body with culture and nature. The scenic material was consolidated while bioculture events interfered with the author artist’s reality, having the body constantly sensibilized by the immersion provided by meditation and dance.

This dissertation proposes to investigate the relationship between discipline and training for self-discipline as a
process resulting from an immersion in hierarchical and monitored systems; subsidiary to this objective, we intend
to compare how this process of construction of the discipline takes place in two social systems, external to the
Performing Arts, very monitored and hierarchical, but perceived by society as quite different: Candomblé and
militarism; and, finally, to observe how the comparison takes place in these three scenarios between the
modeling/disciplinary formation of attitudes based on the discipline of the body in the Dance-Physical Education
Method. A qualitative investigation with a deductive bias having as documentary corpus the works: Humbê do
Babalorixá Caccioli de Ayrá (2020), Manual of the United Order of the Brazilian Army (BRAZIL, 2019), and the
Dance-Physical Education Method of Professor Dr. Edson Cesar Ferreira Sure (1995). Having as theoretical
reference Michel Foucault's post-structuralism. The work is divided into: Prologue, Acts and Epilogue.

The dissertation in question is a procession of maracatu in the walk that praises black culture, proposes laboratories called Maracatucar, in a perspective of "catucar" (catch attention) of the dancers of the contemporary dance class of the Escola de Balé Sonhos e você, caro reader and dear reader, on racial issues and provoke the strengthening of black cultures, thus generating a discussion around Maracatu as a black struggle movement, as an Afro-Brazilian popular dance, quite present, in fact, in our northeastern culture . The study aims to highlight the possibilities, existing in studies in the field of dance, (with regard to creation processes) in the search for a recognition of being a black body in society and how this reflects in the social context. In addition, we intend to study and show in this procession the elements of maracatu to understand and value its religiosity, its dance aesthetics and the identity of a black community that suffers daily discrimination. There is, therefore, the purpose of promoting a reflection on the Afro-Brazilian cultural identity. Regarding the methodology, the work is of a descriptive narrative nature with a qualitative approach. It is intended, therefore, to problematize racial issues, through experimentation and creation, leading to reflection on Maracatu, a cultural expression from Pernambuco, which echoes in itself the struggle of the black people.

In the present study of ritual theater, we understood that the theater since its beginnings had ritual (mystical) elements that were always distinguished by the characteristic of making other realities dream or bringing other perceptions to its participants. The experiences that bring the artist closer to altered states of consciousness have accompanied him since the beginning of artistic representations. The elements in the scene, the preparation of the actor, the architecture of new spaces, some themes, melodies and symbols, all these incredible elements generate a symbolic space, a place to dream and an atmosphere that brings the sacred essence that belongs to the ritual. The experiences that lead the artist to altered states of consciousness are “a new search for the sacred” of the religious. Ritual and theater maintain the collectivity and the symbolic images and forces that preserve the keys to open the door to the ancestor, the spiritual and the archetypal creative forces. It is in the ritual theater, where the ritual itself finds another place of action. Archetypes are studied in theater and ritual, comparing the researcher's personal experiences in the Wixarrikas rituals and in the Arkhétypos Theater Group. In this way, we seek to discover what happens in the actor after exciting his senses and being exposed to the ritual elements of this culture, hoping that they reveal to us the poietic nature of the harmonic geometric shapes hidden in each atom, thought, feeling or action. Like a spiral that in different dimensions always follows its path, its harmonic contour is the basis of the geometry and mathematics of nature. So, for example, the spiral is a universal archetype present in all expressions of life, hidden in it and born with life where the whole universe dances. Everything is formed in symbolic spaces, invisible universes (mundus imaginalis) that are manifested in the ritualistic act. Finally, the collective that is generated in ritual theater through instinctive or spiritual human emotions makes it perceived by some authors as a place and a way of taking the knowledge of being to the depths, including healing in this process, the decoloniality of the imaginary, exchange, cohesion and social transformation.

Moved by the issue of becoming as a multiple and creative power, and having cartography as a methodological orientation, this Project aims to map the alterity processes generated and coordinated in the pre-expressive practice of the Scenic Emergency Workshop, and its pedagogical developments. Connected to this, it is proposed to elaborate the shipwreck metaphor to characterize the pedagogy resulting from this psychophysical work, as well as to conceptually compose the “practice of the self” (practice of disposing and coordinating emergent alterities) in the context of the Workshop. As interlocutors of the study, we seek a dialogue between philosophy of difference, with Deleuze and Derrida, neurobiology, with Humberto Maturana and Francisco Varela, and body dramaturgy with Amílcar Borges de Barros, whose theorizations have allowed this Project to understand physicality in his relationships with the ways in which the body disposes of its adaptive abilities to the proposed psychophysical challenges. Extreme physicality launches the body into a place of unfolding that creates conditions to be aware of the simultaneity of different domains that engender becoming: physiological, conceptual, perceptive, narrative domain. Thus, the lines that are being built in this initial cartographic design dispose of the alterities emerging from the Workshop alongside imbalance, error, shipwreck, as a condition for the processes of self-creation in artistic work and in life.

This participatory-research of an experiential character is born from an artistic practice that has been developed for four years by a female artist-researcher who conceives scenic montages as a director-dramatist in a young theater group, transposing authorial literature to dramaturgy and this one to staging. This research used as a case study a clipping of the creative process MAURÍCIO, from Grupo Interferências de Teatro, being the material of analysis the Peça-Experimento Maurício (2018) and the first stage of the montage of the play Maurício, which unfolded in the creation of Maurício: Uma Cena Experimento Virtual (2020). The aim of this investigation is to understand what the role of a female director-dramatist is, what characterizes this role and what are the procedures used in the poetic creation of a female director-dramatist, being these aspects analyzed in a theater group context that crosses and is crossed by research. At the end of this research, there is a record of a work developed in a collaborative way by a female director-dramatist in a young and independent group from potiguar theater

This research identifies, analyzes and experiences the performative, ritualistic and symbolic aspects in (Sou)pa of stones as a strategy of political, social and cultural revindication through a poetic construction of the self. Based on the biographical experiences of my matriarchs that reverberate in my personal trajectory, as well as in the ancestral collective unconscious of each woman, I discuss social stoning. In a critical and reflexive way, I reconstitute an investigative timeline from a cartographic plan of memories to the survey of experiences that have as their basis the transmutation of the secular pain of the feminine soul and the myths that are repeated from them. In rescuing the sacred symbolisms of my ancestral femininity, I come across the pot, as a cauldron of feelings, dreams, and ideals interrupted and deprived because of the patriarchal northeastern supremacy in which the women in my family and I are inserted. From this perspective, this study establishes a territorial view on the resistance of existing. And, in order to reconstruct paths and possibilities, I find myself with another symbol of power that since our ancestors were used to mark "places of power": stones. The result is a great (Sou)pa of stones, a performative ritual, named thus to lighten the emergence of an artistic, spiritual and poetic food that has the intention to nourish and reestablish our relationship with the faces of the great Goddess. At the end of the work I write a letter to Maria Madalena and I meet the other side of the veil. To conclude, I appropriate the concept of photoperformance, and from it I can re-signify the ritual of (Sou)pa de Pedras. Thus, through this research I seek to rescue the perception, displacement and projection of consciousness at a deep and sensitive level, a level in which rituals are inserted.

The University Extension gives students the opportunity to put into practice the knowledge acquired during graduation, at the same time allowing them to acquire experiences in the chosen career, while providing a service to society, and thus becoming more prepared and more qualified professionals for the job market. job. In this perspective, the present work resorts to descriptive-analytical strategies of qualitative data referring to the process of initial formation of the author in the Degree in Theater of the Federal University of Rio Grande do Norte and in its intertwining with the university extension that occurred during this period, considering the practices developed through the Eureka Theater Group and the School Theater Circuit. Therefore, we carried out a reflective approach, in a qualitative investigative way, of the contributions of extension in the process of academic training in that course and the benefits arising from this relationship. It also intends to show that it is essential to discuss the concepts, possibilities, potentialities and difficulties in carrying out these aforementioned activities, so that it is possible to improve and expand them in order to increasingly achieve greater contributions and impacts on the training of graduates in Theater.

This work is formed by two layers, the first, destined to discursive and reflective processes on autofiction. The second, a poetic layer that crosses the first, reorganizing and shifting the eyes to the very act of my being/doing researcher/research. This research aims to investigate autofiction in theatre, perceiving its trajectory from literature, where the term was coined by Serge Doubrovysk in 1977, until reaching the field of the Performing Arts, with the perspective of identifying structures that facilitate the recognition of these productions. To make an analysis of this type of autoficcional production, two routes were created that form this experience of my navegancias to perceive the relationships of nominal referentiality, fictionalization as models of real events and a non-narcissistic approach of the self. The first route is associated with the origin of the term autofiction in the literature and, later, the use of the term in the theater. The second one turn to the case study of the show God make you happy, from the Aruã Theater Collective (PB), in order to perceive which elements between dramaturgy, space and staging can contribute to perceive self-fiction in the theatrical field, as well as what can be the elements of fictionalization of a work and its possible (re)elaborations of memory in this process.

This research refers to the process of continuous disassembly of the original work, created as an object of undergraduate research, taking into account the crossing that occurs before the personality that presents itself and that leads to subjectivity in performance. I'm interested in the question of how the performance prints a specific transgression in the face of reality, changing the perspective of space and time, so I look at the creation process using the metaphor of the different states of swallowing a beet, to experience the persona Aurita and its infinite forms. The general objective of the work aims to investigate the transformation process that persona Aurita goes through, in order to perceive the pains and affections that surround women, through a dynamic of family narratives linked to violence and trauma. And it shows the resistance against attitudes that discriminate or reject the idea of equal rights between men and women that prevails in society. I then take advantage of the scenic disassembly as an engine for the ceaseless creation multiplying possibilities, transforming the artistic process into a kind of “establishment”, that is, a creative state that remains in constant dismantling and expresses metamorphoses of the “persona”, which remains fluid, free and exposed to new possibilities of creation.

The main research of this research is the activities of Companhia Traquejo, a theater group based in the city of Exú, PE. It seeks to present the operation of the company itself and, with that, to highlight possibilities for the professionalization of the theater. The purpose of the investigation is to discuss and share the path of Cia Teatro e Dança Traquejo. It is important to note that the researcher is also a founding member of Traquejo and, because of this, the research methodology used makes reference to autobiographical studies and life stories. It is hoped that the research can be useful to those who want to choose the rewarding path of theatrical professionalization through management, as one of the main contributions of this research to the theatrical field is to help students in the area of Performing Arts to seek the possible and arduous construction and maintenance of a theater group, aligned with its social insertion reality. This expectation also aims to collaborate for the creation, discussion and sharing of possible sustainability strategies for artistic collectives in the Brazilian countryside.

The present work investigates the representation of cangaço’s women in dramatic texts. For that, the dramas: Lampião (1953) by Rachel de Queiroz and Cangaceiras (2018) by Maria Cristina Siqueira, are sudied. Both works presentes the cangaço as the central theme of their narratives. The texts are studied under three aspects: dramaturgical analysis, guiding references and representation of the cangaceiras’ characters. Finally, a comparative analysis between the works is carried out regarding these three aspects. The following author (s) are used as the theoretical framework: Jorge Dubatti (2016), Adriana Negreiros (2018), Durval Muniz de Albuquerque Júnior (2009; 2011),  Jean-Pierre Sarrazac (2017) and João Sanches (2016).

The reasearch aims discuss about the importance of touching in the context of dance teaching interacting with some body practical that use touch as reference as Steve Paxton Contact Improvisation and Gerdar Alexander Eutony. The methodological approach is based on Maurice Merleau-Ponty Phenomenology and part of lived experience by the researcher and her students from Escola de Arte e Cultura – PRO-ARTE in Guamare-RN Brazil. For the discussion comes closer to authors like: Ashley Montagu, Maturana e Varela, Jorge Larrosa, Karenine Porpino, Petrucia Nóbrega and others. The reflections target to the possibilities of dance teaching from sensations given by touching and consider that skin touch also cross invisible lines evoking individual consciousness to one’s dance. Although the touch sensory origin is realized on someone’s skin, its consequences goes beyond what Is felt by the touch sense and the visible field and promotes awereness of dance creation.

The master's research entitled OPEN THE CURTAINS: A theatrical montage as an inclusive pedagogical practice for Teaching Theater aims to analyze the process of mounting a theatrical play, through a pedagogical practice that considers the participation of children with and without disabilities in a school context. The montage was linked to the school's Literature and Art Project, which this year honored the writer Ariano Suassuna. Each class were responsible for one of his works. The choice was made by the Portuguese Language and Art teachers, and the 9th graders received the play A Pena e a Lei. This study takes place in the municipal school Benvinda Nunes Teixeira, in the municipality of Guamaré/RN, in three 9th grade classes (A, B, and C), in the afternoon shift, but this analysis focuses on the 9th grade A class, which had thirty-one students, including two students with disabilities. Through this work, we saw that it is possible to use theatrical production as a pedagogical practice, involving students with and without disabilities throughout the process.

The presented research addresses a theoretical-practical study based on discussions about the textures and creative poetic loads that the body is traversed in contemporaneity. Its objective is to reflect on a creative construction that puts in dialogue the fabric as a scenic element and the body of the performer in contemporary dance, based on an analogy, to the significance of the fabrics that involved the persona of Jesus Christ, for the process of creation in contemporary dance. The methodology of this work is based on the proposition of Ciane Fernandes (2018), Practice as Research, who thinks research in Art as a construct between theory and scenic practice. Thus, my creation practice feeds and is nourished by theoretical foundations that support and are supported by compositional research laboratories. The research has a qualitative approach and starts from the understanding that the body is my condition of existing, learning and knowing. The study dialogues with improvisation as a tool for scenic construction to foster the creative act that interweaves body-skin-fabrics. It was possible to see that Lugar Secreto is a dance in life/life. It's not just about me dancing my experiences, but also being able to reframe them. This research contributes to the area of Performing Arts, specifically for Dance, by showing the artistic event in the Christian liturgical space, with regard to this sacred body that it creates through improvisation techniques. Therefore, it is a work whose cultural transversality is present, as it is a research that brings science, religion and art to contemporary discussion.

The work aims to investigate the Afro-Brazilian myth Pomba-Gira from the perspective of guide-myth (LYRA, 2013), experienced bodily from the creation of a series of performances uncovered by Mitologia em Arte (LYRA, 2013). Mitodologia em Arte proposes a path of procedures in the restoration of image and myth as devices of self-recognition. In the experience of performing the Pomba-Gira, the derogatory term of mulata ends up being stretched, working on a broader scope of female figures that are sexually objectified and departing from a historical context of discrimination due to their African matrices. Being a black woman, the author-researcher of this project, who embodies the figure of the Pomba-Gira, I wish to raise questions on societal racism or structural racism in Brazil and on black feminism, seeking to elaborate these issues in the performing arts. In convergence with the material of Mitologia em Arte, (“Mythodology in Art”), by Lyra, this work also seeks to dialogue with the concepts of Encruzilhada (Crossroads), Pedagogia das Encruzilhadas (Pedagogy of the Crossroads), Luiz Rufino (2019), the myth of the Pomba-Gira, Andréa Lage (2004), Stefania Capone (2003), Reginaldo Prandi (1996), Racism, Grada Kilomba (2019), intersectionality, Angela Davis (1981) and of Performance Art, Renato Cohen (2002) to investigate the myth of the Pomba-Gira.

From afrocentric perspectives, this study investigates the notion of Black Poetics (Poéticas Pretas) as a possibility of self-power (autopotência) in the creation in Scenic Arts and as a destabilization of racial stereotypes in this scope, understanding such stereotypies as epistemicidal practices that need to be problematized and combated/opposed. Inspired by the story “A gente combinamos de não morrer” by Conceição Evaristo, the Dissertation presented here, which is entitled “A gente combinamos de escreviver” weaves relations between Black Poetics and the production of Black subjectivities, working with the matter of affection between ourselves (bell hooks) and the “uses of anger” (Audre Lorde), both needed for the maintenance and sustenance of our writings (escrevivências).  To do so, one begins with the concepts of “encruzilhada”, by Maria Leda Martins, as a methodological reversal; and “necropolitics”, by Mbembe, as politics of death, suppressor and maintainer of the hegemonic narratives on our bodies - this concept also inspired the necroperformance ¿Y si muero aquí?, performed in the cities of Oaxaca de Juárez and Mexico City / Mexico as part of this research. In the wake of this, this research crosses epistemes of authors and authors like Audre Lorde (1978, 2018), Abdias do Nascimento (1980), Sueli Carneiro (2003), Frantz Fanon (2008), Lélia Gonzalez (2018), Achille Mbembe (2018), bell hooks (1994), Maria Leda Martins (2003), Alice Walker (2018), Molefi Asante (2009), Alex Ratts (2007), among others. This research is filled with “projectiles” that acs on the responsibility with ourselves, to share and to spread languages and actions. We have a compromise in breaking the silence with its transformation into creative and artistic language. Thus, what matters in this “crossroads” research is overall the reverberation of the impression provoked by the Black Poetics. These are those that intend to go beyond the standards traditionally understood as “race”, making clearer the idea that there are many ways to enunciate these Black subjectivities from art and, also in life.

The voice of the persona Agah Precária resonates [here], as a necessity for existence, which uses the notions of precariousness (Butler, 2004) to destabilize the order of identity genres. It compose a universe and queering practice, as a place of speech. Agah can be a metaphor for the clothes we use to go out on the street, an attribute for the social and relational realm. It is a possible composition of being for the reflection offered by the mirror. Through drawings and the artistic repertoire in contemporary art, I present my work as an artist / researcher. Works that have performance art as the central axis of creation, a field in constant flux and that has the body as the place of the event. This body is positioned on a political ground in the face of an existing massive discourse, which makes us stand against each other, crossed by affections such as fear. Thus, we are individualized and we became prisoner in obtuse narratives of solitude, behind bars, security cameras, apartment complex. The practice of performance [here] can be an invitation to visit the world and reformulate speeches, to think about the ground we walk on and to look at the other. It says about affections as a social and political bond, like friendship. This work has three parts, also interrupted by textual interventions [textures]. The first part is the portfolio with 07 works as the result of the research: ID Entidade (ID Entity)  [three Parts] (2015-17); Transito-no-não-trânsito (Transit-In-Non-Transit) (2016); Enquanto me calei envelheceram meus ossos (While I stood quiet My Bones got old) [two Parts] (2017); Arremedos (Simulacrum) (2017);  Casamentos (Weddings) (2017-18); Guiado pela multidão (Guided by the Crowd) (2018) and Xifopagã Capilares (without translation)  [two Parts] (2018). In the second part, I present a perspective at the production of other artists: Francis Alys, Doris Salcedo, Tunga and Tehching Hsieh. The third part is a text that addresses topics related to the performances presented before. The topics are [Precarious, Other, Friendship, Precarious Body and Juggling of Signs]

This research aims to investigate ways of composition related to performance language. In order to draw a panorama of those ways that touch on the relational, political and / or social engagement, I appropriate the writings of artists as a methodological presupposition. As a form of direct approach to trigger the triggers of these performers, I seek to explore and analyze the production of Eleonora Fabião, Tania Alice and Beatriz de Medeiros, in addition to my experiences in performance. Among the main theorists used are Renato Cohen, Eleonora Fabião, Guillermo Gómez-Peña, Naira Ciotti, Jorge Glusberg, and Tania Alice.

The words that are now being read, presented as a performative dissertation, are placed here as an extension of a dancing body. They pose themselves as a performative tool that recalls / remembers / that brings up, once again, the artist's encounters, crossings and artistic crossings. Its general purpose is to insert the reader in the context of a continuous movement research, making him an experimenter and accomplice of that journey. It is the rhizomatic exacerbation of four creative processes originated by the confluence between the experiences of an artistic residency with the dialogue of this artist with the techniques of composition in real time in dance. These two concepts are presented as the conducting threads of this research, but at the same time they are related to other concepts equally relevant to the artist's production. To tackle these textual movements, the artist's performative writing is the guiding thread used by an independent artist with a transdisciplinary background in design, who uses black words, written under the yellow background, in a set of pages, written mostly in the Avenir Next font, size ten, sometimes justified.

This dissertation aims to democratize and share knowledge, through my trajectory, as a lyric/ opera singer, in the search not only for a body that sings, but for a body that counts, experiences itself, know itself, aware itself and it is available scenically, in order to resize the interpretation of the songs of the classical repertoire, especially the opera. The research is intended for all lyric singers, actresses and actors and anyone who is interested in the body-voice theme. These experiences will be reported through essay language, written in a structure that combines the academic text with the musical writing of the opera, in order to develop a polyphony between these languages and bring the reader closer to this art, that brings together musical and theatrical resources.

Composing an understanding of the practices of Grupo Ninho de Teatro, based on a certain understanding of experience (LARROSA AND BENJAMIN), and through my location as the subject and object of this research, which uses Oral History as methodology (PORTELLI), I elaborate a construction which articulates knowledge and doing in production and theatrical management, from the perspective of group theater practices in dialogue with the authors Flávia Janiaski, Rosyane Trotta, Samanta Cohen, Danilo Castro and others. Based on the twelve-year trajectory of the Ninho de Teatro Group and the Casa Ninho space, in the city of Crato / Ceará, Cariri region, I reflect on the tactical procedures (CERTEAU) that the group has been practicing to maintain their group's socio-political-aesthetic project. For that, the group's daily life is revealed, showing how the group finds ways to manage and produce the maintenance of its repertoire, projects and artistic headquarters in the field of group theater. In this field of studies, I approach the authors Romulo Avellar, Teixeira Coelho, Maria Helena Cunha. Therefore, the object of this research focuses on group theater based on the Ninho de Teatro Group and its way of producing and managing. The objective of this research is to contribute, from a given point of view, to the registration of methods and ways of producing and managing a group project considering its own tactics. I also seek to collaborate for contemporary studies of the history of theater in Ceará.

The present work seeks to immerse in the universe of Feminine Sacred Dance as a manifestation of the Dance in the Play of Poetic Construction. The texts address impressions lived by the artist and author of this dissertation about a trajectory of this dive that is no longer intimate in his body and his discoveries by proposing a return to inner temple, such as the variations of archives, a wild nature, to the heart. In its essences is a research of experiences that arise in dances, rites and rituals of women. Through practical laboratories with methodological procedures of personal poetics of the body, bring to life a process of ritualistic artistic creation immerserd in dances. A process of discovery and flowering. A taunt to impulses from within.

This work is set up as a journal about sharing disobedient performances with children from São Paulo (SP), Cunha (SP), Recife (PE), Natal (RN) and Nova Olinda (CE). For this, a language is used that seeks to share with the reader the process of creation with the children using the cartographic method (KASTRUP, 2015). The starting point for understanding children is connected to concepts from sociology (SARMENTO, 2002) and child anthropology (COHN, 2005), in which they are understood as protagonists of their cultural environment. The art process in constant transformation is based on the construction of thought the act of playing as a performance based on performance studies (SCHECHNER, 2003) and Work in Process (COHEN, 2004), seeking to reflect on the figure of the teacher-performer (CIOTTI, 2014) as a proposal triggering agent and performative scene. To discuss the sharing of actions, the research presents studies on Participatory Art and Pedagogical Turn in Art (BISHOP, 2012) and Transpedagogy and Engaged Social Art (HELGUERA, 2011). It was verified in this study that disobedient performances create spaces of free expression as a possibility of dialogue to rethink artistic and pedagogical processes, and to reflect on these issues, relates the studies of black feminists and researchers such as Riberiro (2017), Bert (2018), HOOKS (2013), studies on witch-hunts (FEDERICI, 2017), the perspective on childhood and sharing of the original peoples through KRENAK (2018), the idea of matrística culture (Verden-Zoller, Maturana, 2015) and contribution of thought on the deconstruction of coloniality (QUIJANO, 2009) so that we can review concepts about policies for childhood, from points of view that are close to the formation of Latin American culture.

The present work presents a reflection about the excitation of the sensitive body that was developed within the Arkhétypos Group and studied during my Work of Completion of Degree in Theater (2015) at the Federal University of Rio Grande do Norte. The sensible body, which I seek to conceptualize, is the one in which openness to exchange with the other becomes full, arousing affections and rekindling memories. This study is based on the concept proposed by Francisco Duarte Junior (2001) of the sensible, which refers to the feelings and emotions acquired in the course of our stories and encounters. The research also addresses the concept of Memory advocated by Bergson and affections and their interpersonality - affect and be affected - worked by Spinosa. The study of this excitement of this sensitive body is carried out through my work as an interpreter-creator within the process of creating the show Gosto de Flor, a scenic work that sits between Dance and Theater and that approaches the theme of love within the perspective of the masculine / homoaffective universe. The show was directed by Lara Machado and was developed in the year 2017 by the Arkhétypos Group. Analyzing the process of creation I could see that it awakened memories in my body and produced affections that made me resignify the pain and recognize it as a power for the scenic creation. In the course of the work I give myself, surrender and expose my memories from a discussion of gender resulting from the creative process, and finalizing the work concluding that the sensitive body also has a political dimension.

The anxiety of transforming myself and the desire to stimulate people so that they can discover their path of transformation was what moved me in this research. The theater shows itself to me as a propitious and fertile space that allows me to glimpse these possibilities, even in the face of a society that is experiencing an ethical crisis, not exercising human values and social isolation. The society that has thirst and need for creativity. Thus, this research proposes to identify the links between Education in Human Values (EVH) created by Sathya Sai Baba, and the Theater, from the Dramaturgy of Meetings (the self, the other, the audience) and the Poetics of the Elements , Earth, Water, Fire, Ether) developed by Robson Haderchpek, against the background of the complex thinking of Edgar Morin. All research has as its guiding principle the model of quantum creativity and part of the premise of consciousness proposed by Amit Goswani. In order to propose these methodological connections, it was necessary first to reflect and describe the feeling of the body and its implication in the creative process, which led me to the denomination and the perception that at every instant we deal with a corpus. In order to demystify, this research speaks of knowledge that accompanies us from ancestry to the present day, so we digress in different times, sew facts and dialogue knowledge of society that show some dimensions that contemplate and constitute in awakening in Human Values in each of we. As a practical result of this research we have the scenic experiment In Earth Being that is analyzed from the perspective of the Educare method and that parallels the processes of scenic creation and Education in Human Values.

This dissertation takes a look at the pedagogical and scenic aspects developed with the Coletivo de Teatro Bárbara Idade, a group of elderly students, here named senescente (in a state of aging), and formed from the theater courses for third age of SESC SANTO AMARO / PE. Based on research on the creation processes and the collective shows since 2005, we have approached the transits of the group regarding the hybridism of languages between theater, literature, visual arts and performance, especially the presence of personal stories in the scene , dialoguing with the creative ways of the artists-researchers: Luciana Lyra (2011, 2013, 2015), Emanuel de Jesus (2016) and Vivi Téllas (apud DOURADO, 2017). In this plot between the scene and creative pedagogies, we end up with a feminist approach to the stage intersecting with Márcia Tiburi (2018), Djamila Ribeiro (2017), Chimamanda Adíchie (2016) and Margaretn Rago (1998).

This dissertation seeks to analyze the scene and the gender relations of the Maracatu Rural, an artistic expression present mainly in the municipality of Nazaré da Mata - Pernambuco, with a focus on the women group, entitled Maracatu Coração Nazareno (2004). The dissertation brings to light the aspects of aesthetic dimensions (scene, characters / figures, costumes, masks, music, dance, textualities), which define the Maracatu Rural as 'Joke'. The work also covers the dimensions of the ritualistic aspects present in the Rural Maracatu, about the ritual and sacred elements in the performance scene. In the discussion of gender, it seeks to analyze and understand the places occupied by the women of the group and the consequential re-significances of the relationships involving gender and power, caused in particular by the performance of Cabocla de Lança, a retelling of the spear caboclo, a fundamental figure of the Toy, of masculine and patriarchal tradition. Through fieldwork, we sought to understand what spheres are reached by this transgression and resignification proposed by the taking and occupation of women in these new spaces and renewed positions within the tradition. The methodological path used in the field research was Artetnography, which suggests that the encounter between artists and contexts of alterity is configured as an intense and subjective contact, in order to reach the complexity of the structures and organizations of the symbols that inhabit relational social structures and their bodies.

The  reflexions  we make around a “painted face” dramaturgy take place within the Performing Arts field as a theatrical study which aligns with the perspective of a theatre that sees the image and the body beyond the understanding that we have until Modernity - in other words, we see the body as a perception and a purport and the image as a device and a presence. For such, we understand the perception in the phenomenology mold (Merleau-Ponty, 1996); of experience as a method of knowledge production (Larossa, 2002) and dramaturgy as a theatrical texture element (Pavis, 1999; 2003; 2017) from a semiology (Barthes, 1987; 2007) of a contemporary world since we recognize the “face paint” as a phenomenon that surpasses the understanding of stage makeup as a scenograohic technology or a visual apparatus or, even, as a characters’ plastic composition aesthetic technique. The present work considers “face paint” as one of the most significant moments of contemporary theatrical creation, placing it as a possible solution to the recurring problem of make up as a poetic of the scene. Our investigation starts at the act of self painting as one’s poetic as a means of discussing the importance of “face paint” as a civilizing element. In order to do so, we organized a brief cosmogony about the narratives built by individuals through their paintings to create meaning in the Society wherein they live, through a language system which is organized in the figure through the “face painting”. From there we seek: a) to investigate the experience of “face painting” and the aspects of its use in the theatrical scene as a dramaturgical phenomenon; b) to discuss the “face paint” (stage makeup in its broader sense) as a conceptual element of theatricality; c) to analyse the “face painting” composition phenomenon in the actants’ practices and d) to produce, as from the actants’ experience, a conceptual synthesis of the “face paint” as a poetic ritual for the scene.

não se aplica pois ja tem em frances

This research maps the theatrical groups of the Federal University of Rio Grande do Norte (UFRN) central campus of Natal-RN, in an attempt to understand aesthetics, their organizations and ways of working; besides the need to reflect their existence in the perspective of resistance. The intention of this mapping is, in a way, to inventory the active theatrical groups, as well as those that are inactive or that no longer exist, with a view to understanding how this group formation contributed to thetheater organization in UFRN, especially those created in the interior of the University's Department of Arts. In addition to the inventory, it is necessary to dialogue with members of these groups to understand these formations and how they develop within their processes of creation in the experience of group work. The groups mapped were theater groups: Arketypos, Grupo Cores, Eureka, Popular Group of Theater (GPT), Skin Group of Fulô, Cruor Arte Contemporânea that are in activity. Other groups formed by students or alumni of the undergraduate course in Theater succumbed after the departure of such students from said course it is mentioned Gabotun Theater Cia.Based on the proposed objectives, we asked: How did the formation of a theater group in UFRN take place, spreading in the city? From what do these groups seek to create, in a political and aesthetic sphere for their survival as a group? and how do the creation processes take place? For a methodological understanding, this dissertation is based on Descriptive Qualitative Research, having as biases the Content Analysis and the Interpretative Case Study. The investigation is based on the observation of the analysis and recording of the phenomena involving theater groups, emphasizing the importance ofan external look as a researcher without the introduction of pre-established contents. Through these constant analysis of observation it is necessary to understand how, when and why the phenomena present in the research in question occurred / occurred.

The dissertation focuses on an investigation of the processes of creation and execution of scenic lighting in the groups contemporary art Cruor, Arkhétypos Theater group and Gaya Cia of Dance. This research intends to understand how the process of creation in the groups and the participation of the students who integrate it relate their practices in the groups to the lighting disciplines they have attended; To understand that these Members are fundamental parts in the creation of the spectacles of these groups. We chose an artistic work of each group, namely: Carmim (Cruor), Holy Cross of don’t know (Arkhétypos) and Almar (Gaya) to analyze in a descriptive way the process of creating the light and how this process was given from a participative point of view. For this discussion we were based mainly on the texts of the following authors: Fayga Ostrower (2014), Ronaldo Costa (2009), Valmir Perez (2007). This study has a direct relationship with the author's work practice, if it is necessary an explanation about my training in the area for a better understanding of the desire for this object of study and the cut-off given. Therefore, we will introduce the research talking about the methodology used in the research and present the stage lighting Laboratory of the Department of Arts, after that we report on the student practice and will present the groups investigated and the creation process used by each one in the selected work, finally, we emphasize the importance of training students through their participation in the groups. Although the emphasis is on the process of creating light, the same goes for the other scenic elements, because the lack of professional training in these areas is still accentuated. We emphasize that the groups of academics at Deart are important spaces for complementary training of students of graduations.

The present work proposes to describe and discuss a process of creation, which is configured from the selection and investigation of documents about the life and death of a young adolescent. The documents were recorded in letters, journals, photographs and reports. The memories documented in these various archived materials and memories traversed by affections, are the dramaturgical basic of this composing. The creative process hybridizes the language of theater and dance, understanding the importance of thinking art in contemporary times. The theoretical reflection takes place through the result of the scenic practice and dialogues with authors who discuss about memory and creative processes in the scene arts such as: Salles (2006), Izquierdo (2012), Fabrini (2013) among others. We have been able to realize throughout the labs and textual writing that working with real history is not only an impulse, it becomes a necessity because to find in the other our history moves us as artists. The creative process raises questions and cope with choices, with diverse sensations between frustrations and pleasures, sums and losses, that intertwine our individual and collective worlds. The research becomes important for the area of art knowledge by highlighting the documenting on the scene as the propulsor of creation. It is hoped to contribute with a material for the formation of actors, directors and researchers interested in doing and thinking in the Performing Arts that does not dissociate the artistic construction of the socio-affective life of artist-researcher.

The research proposed by this dissertation is centered in the sense of understanding my role as a possible shaman-actor from a scenic-ritual instauration entitled "Y". The creative process put into practice and analyzed was inspired by the occult studies of Kabala, Hermetic Philosophy and Tarot. The theoretical thinking that guided this work is based on the works of Antonin Artaud, being a reference matrix for this investigation. The creative process has taken into account the concept of Scenic Insertion elaborated by Nara Salles (2004) that incorporates elements of the visual arts into the field of theater and performance and proposes residues to be left at the place of installation and as a creative procedure explores the memory and corporeal-vocal matrices of the scene settlers. My proposal for a work by the actor / actress as a shaman starts from the ideas presented and discussed by Antonin Artaud in his work, The Theater in its Double (1985) proposing this look to be added to the concept of Scenic Insertion being added to it. From this reference and from the scenic-dramaturgical elements developed in the scenic setting "Y" I describe the possibilities of relations between the mystical work of an actor / actress and a shaman, realizing how I appropriate the mystical stimuli used in creating a new procedure for the theater understood as ritual. The essay writing appears as a series of letters, these being directed to the Actor and director Antonin Artaud. The text sessions were ordered and structured based on the Rider's Kabbalistic Tarot (2009), so for each letter addressed to Artaud a tarot image was offered as an initial stimulus for the development of the theme.

In this dissertation I reveal experiences of the children’s playing bodies in kindergarten, stimulated by elements of African culture, through the universe of the gods orixás, with centrality in the Yoruba nation. The art creation processes in performing arts research developed at NEI / Cap / UFRN, involved a group of 5 and 6 year olds, the participation of the 2 teachers responsible for this class and other professionals of the institution. It was developed observations, interviews with adults, dialogues with children and artistic workshops with playful mediation: storytelling and body games, anchored in the languages of dance, theater and the use of elements of musicality. Children's drawings, photographs and video records enriched the narratives and a closer approximation of the phenomenon experienced. The author Merleau-Ponty and his phenomenological look on the body and childhood, as well as the proposition of the researcher Marina Machado, especially with the concept of child performer, among other authors, supported my theoretical and methodological path. Anchorages on Africanities, blackness, orishas, based on authors such as Kabengele Munanga, Clyde W. Ford, Teodora Alves, Sandra Petit, Kiusam de Oliveira, Reginaldo Prandi, and others, with their Afro-referenced approaches and concepts, subsidized a critical and reflective path in order to recognize and value the African descent riches in early childhood education. This academic, artistic and political course corroborates the applicability of Law No. 10,639 / 03, as art in everyday school has a relevant role in the dissemination of dialogues, knowledge and practices that favor more inclusive and democratic ethnic-racial relations. The richness, intensity, exchanges and learning with the children moved an Afro-poetic doing backed by an African ancestry, broadening and intensifying our playful experiences.

This research's goal is to unite traditional narratives from hunters with the rich narrative universe taking as inspiratoin the relations between men and beasts, as well as the political, social and cultural meaning of the stories that permeates such relationships. The field research was made in the city of São José do Espinharas/PB, a place that was referred by the cordel storyteller João Melquíades de Ataíde, in his booklet "Histórias de Cazuza Sátiro, o matador de onça". In this field study testimonies were registred from people who knew these hunt stories. The second part, in o practical manner, aimed to experiment the possibilities of the readiness state necessary to the actor's hability to achieve potential zones. There was research on the narrative construction, in which practical experimentations were made. Those practical experimentations confronted and concatened the theories used along the process. The third and last part consisted on a scenic creation of Suçuarana experiment, result of the experimentation process from myself as an actor and storyteller, using as groundwork the material collected in field research and found cordel. At the end of the process the research consolidates a unique experience of scenic composition through contact with hunters narrative which were incorporated to the theatrical text and enactment.

This research has a theoretical and practical feature with qualitative nature, presents an aesthetic and non-disciplinary discussion about the school´s routine. The research has been active in a public school in João Pessoa – PB with students between 11 and 60 years old, from middle school to youth and adult education. It were investigated underhand practices that point out emergencies produced by the interaction between teacher and student expressed in the professor-perfomer act (CIOTTI, 2014). Follows the indication of ordinary practitioners mentioned in Michel de Certeau (1998), to experience other ways to inhabit those areas. As a methodological procedure, I used the cartographic analysis (PASSOS; KASTRUP; ESCÓSSIA, 2015) which aim to follow the process while is happening. The field diary, that was proposed by the french René Loural (1993), helped me to reestablish themes that pulses during the research´s development, leading me to problematize some toughen truth about the school´s routine. In parallel, I conducted interviews with others professors-performes so I could clarify issues about their deviating practices, sharing clues and reflecting about them. Instead defining the professor-performe´s profile in a utilitarian way, i suggest clues that comes from the encounter with the power that creates and that it is present on the path´s displacement. I name those diversions as deserted places or forgotten places, what encourages me to learn from the “south” of the school, referenced from the post-colonial perspective presented by Boaventura Santos (2004). This dissertation work offers three essays to the readers. Is here attached: three interviews with the professors-performes - Antônio Wellington de Oliveira Júnior (UFCE), Denise Pereira Rachel (UNESP) e Naira Neide Ciotti (UFRN) and artistic-pedagogical materials (teaching annual plan, reflexive exercises, sections of my planning notebook and so on) that I developed during the research. I wrote this dissertation like an essays' format for its hybrid and procedural nature. The essay-like way, as a textual genre, philosophical and literary, (LARROSA, 2003) that values the researcher´s subjectivity, while highlighting the micro-relationships experienced on the daily routine of one public school.

The waters that move this research are born of the desire to reflect on the language of the clown. We focus on the comic body and seek to investigate it as a power for artistic creation highlighting the research of the collective of the 'Clownssicos of Company'. We aim with this study to point out creative possibilities of discovering this comic body searching for an organicity that evolves in a laughable state. For this, we navigate through the lands-dreams of a clown-researcher, protagonist of the spectacle of the fruit of this journey, stirring its memories-waters that have helped us to unravel the nature of the ancestral land that inhabits it, a land that transcends the sense of firmness and assumes a much more rapid quality. We believe that research on the universe of the clown in the academic world can bring about a rich exchange of experiences, as well as sharpen and encourage other artists to find their way of speaking and recording their artistic work process. Finally, we work from the perspective of theater as an encounter and study the affects that permeate the clown's liquid mask.

This work brings the unfolding of researches of a scene artist who looks over his own creation process, investigating it and analyzing it critically. Through the drag queen character Soraia Queimada, a queer-blackperipheral body, is created a caricature of aspects of Brazilian society of the second decade of the twenty-first century, deeply marked by violence. Soraia Queimada stars in a show theater, structured from some aspects present in the Theater of Magazine, by which the researcher investigates the creation of a decolonized body in a scene, that operates independently of the colonizing model of the male - white - cis sex - heterosexual body. This work is a sharing of reflections and unfolding of a laboratory research of construction of the scene.

The research that I introduce consists of an investigation of the body of the folk dancer and the maintenance of his tradition. The object of the research is the universe of the “Caboclos” from Major Sales/Rio Grande do Norte, active figures in the traditional "play" of the Burning of Judas. The investigated subjects in the research are the representative figures, master and players, responsible for the happening of the play. I will address the main impulse of the research, the issues that arose, how I treated them, and the methodological course I adopted. I also dedicate myself to the encounter with the object of research using an ethnographic approach, seeking to understand the senses that motivate the play, and how these senses constitute a significant link for their interaction with society. I also deal with the reflection on the issues of space-time, scenic and corporal itineraries, thinking about the scene historically, socially and culturally constructed by these bodies, so that the investigative focus will not be directed to the realization of synchronized movements, but rather the expressions of corporeality traditionally lived by these playing bodies, and the way they relate to the world.

The following research is based on the foundations of Theater and Education and seeks to contribute to the study processes of the large areas, as well as to point out new possibilities for the teaching of Theater in Basic Education. One of the focuses of the research is the figure of the Artist-Teacher who in this work is understood as a maker of the art that teaches, creating an approximation with the concepts Professor-Artist (STRAZZACAPPA, 2006), Professor-Performer (ICLE, 2013) and Director-Pedagogue (HADERCHPEK, 2009). Therefore, the Artist-Teacher, takes on a mediating function between the student and the theatrical practice, conducting it through Lessons-Encounters. This concept is explored throughout the process and is based on the idea of the Art of Encounter of Grotowski (2011), which contributes directly to the methodological thinking of the work that seeks to expand the understanding of lessons through an invitation from the teacher to the student; all of which is proposed in an essayist writing about Education, Theater and Experience.

The research sought to point out ways that can be used to develop comedy in actors and actresses through the use of the voice body, so that they constitute references and strategies that can contribute to the work of actors in research related to the theme. With a descriptive and exploratory character, and with an essentially qualitative approach, the research has as object of study a group of students of Campus Natal Central of the Federal Institute of Education, Science and Technology of Rio Grande do Norte - CNAT / IFRN.

This dissertation project has as study subject the role of scenography teaching in the formation of the Theatre teacher. In this sense, seeks to present an analysis of the training proposal in scenography offered by Scenographic Studies and Scene Technologies Laboratory - CENOTEC to the students of bachelor's degree in Theatre of the Federal University of Rio Grande do Norte – UFRN. This is a qualitative research, using the methods and techniques of the case study as participant observation, interviews, questionnaires and analysis of documents and records (photographic and cinematographic), that aims to reflect how this laboratory contributes to the formation of Theatre teacher at this university, which educational activities develops and what challenges facing. For the construction of this analysis, the research dialogues with authors like Pamela Howard (2009) and Mickinney and Butterworth (2009), about the discussion of scenography and its transformations in the twentieth and twenty-first centuries, and Araújo (2005) and Freire (2005), in the debate about scenography teaching and teachers training. Therefore, through this research, we seek to spread and expand discussions on the pedagogical aspects of scenography teaching beyond the technical aspects in the field of Theatre Pedagogy.

This work is an investigation in Scenic Arts that had as motto some personal concerns of the author when acting as a clown in hospitals of São Paulo and Natal. From this professional experience, it has been identified that there are peculiarities in the work of actress and clown in different spaces of the society. In the context researched here, it is emphasized the need for the clowns to have to engender an opening in which they can relate to beings and to the events of space and hospital time. Therefore, it is asked: what are the main peculiarities of the hospital compared to the other areas of palhaceous activity? Based on the experience of professional clowns who work in hospital settings, what are the main aspects to be considered in acting in these spaces? In order to answer these questions, the objective is to investigate the performance of clowns in hospitals, contextualizing, for this, such action within the framework of scenic practices. In addition, from the description of experiences in the hospital fields, we intend to identify the main aspects that configure these artistic experiences in contact with the daily life of the hospital. Based on a phenomenological methodology based on Merleau-Ponty (2006, 2007, 2011), we sought to dialogue with hospital clownings experiences through interviews with seven members of the Non-Governmental Organization (NGOs) Doutores da Alegria, as well as the clown Ésio Magalhães, who was part of the NGO's cast until the year 2003.  As a result of this research, we propose to discuss the scenic play based on the mixture of personal training techniques and the sensibilities of each artist, as well as the performance of clown in the hospital as experiences of theatrical meetings. In order to do so, the theoretical reference covers the Merleau-Ponty Phenomenology (2006, 2007, 2011), the play concept posed by Huizinga (2014) and the Brazilian studies on laughter, comics and palhacaria, such as Burnier 2001), Viveiros de Castro (2005), Bolognesi (2006), Kásper (2004), Wuo (1999; 2011) and Sacchet (2009).

This research is focused in the analysis of the micro-relations of power consisted between characters in the play Eles Não Usam Black-Tie, written by Gianfrancesco Guarnieri, in 1955.  In this context, we will present a scenic experiment which represents the micro-power inside the scene. The methodology used in this study was based on the reading of the Guarnieri’s play and making observations about the inter-relationship between the characters. This observation is made from the perspective of power. To support our analyses, we used the set of placements showed by the French writer Michel Foucault, especially in his work Microfisica do Poder which presents the influences of the power. We used the reflexions obtained by Sábato Magaldi, Décio de Almeida Prado, Edelcio Mostaço and Anatol Rosenfeld to understand the dramatic aspects and the macro-political structure of the time where the play was written. Thus, this research aims to make an easier understanding of the perception of micro-relations present in Eles Não Usam Black-Tie and show a possible visualization of these elements inside the scene. In this respect, we used the reflexions obtained in works from authors as: Patrice Pavis, Josette Féral, Naira Ciotti, Ana Alvarado, Roberto Machado e Gilles Deleuze.    

This dissertation, entitled Thérèse, ecstasy of an offered body: the mythodological journey of a f(r)iction artist, travels over the grounds of art and holiness, discussed here by means of a practical/theoretical research embraced by the artist-researcher Karla Martins about her guide-myth: Saint Therese of the Child Jesus. The French saint, also known as the Holy Face, manifests itself in this investigation through the scope of the artist-researcher’s personal mythology and unveils herself through a performative experience. In order to carry such experience on, the research was based on the Mythodology in Art and the Artethnography, practices/concepts upheld by Prof. Ph.D. Luciana Lyra (UERJ), which, in turn, are connected to the fields of Anthropology of Experience (Anthropology of Performance), led by anthropologist Victor Turner, and Anthropology of the Imaginary, led by sociologist Gilbert Durand, which by their turn involve rites of passage, image, myth and ritual. The application of these mythodological procedures cause the most intimate of the artist-researcher’s pulsions to erupt and pervade her writing, as well as the creation of the performance Thérèse itself. 

Between the desire of tell the history of her ancestors and her mother through the dance and the theater, Janaína Gomes got pregnant of Lótus, her son. During the same time/space, two other artists - Ana Luiza Bione and Íris Campos, also pregnants, were invited by Janaina to join in the process and together they founded the theatrical group call “Coletivo Cênico Tenda Vermelha”, in the City of Recife- PE, in the year of 2012. The search for a self-writing based on the maternal experience of each artist-creator of this group made the encounter with the “Mitodologia em Arte” a 'path of the creation process', a way of transport to the scene the experiences lived by the artists and also the contact with other group (collective) of mothers. The “Mitodologia em Arte” was created by the PhD. Professor Luciana Lyra from her studies on “Antropologia do Imaginário” by Gilbert Durand (2012) and the “Antropologia da Experiência” captained by Victor Turner (1986), it’s a complex of scenic creation that deals with personal forces that moves the actor in relation to himself and the sense of otherness, in constant feedback (2010). The present dissertation aims to unveil the investigative plot undertaken by Janaína Gomes and the “Coletivo Cênico Tenda Vermelha” through the ‘mitodologia” path, which ended up in the performance “Cara da Mãe” (2015) directed by Lyra. Written in an autobiographical (JOSSO, 2009), and performatic (LYRA, 2010), this dissertation still takes the hero's journey (CAMPBELL, 2007).

The text presented here is the result of the theoretical-practical research of a master's thesis with the title Sentiment-Emotional Mapping of the Ashes to the Ground work: warps of a creation in dance. From the recurrent discussion of the performance of the emotions and their expressions in the Western scene, especially in contemporary times, it brings to light concepts derived from the cognitive sciences about emotion, feeling, and emotional feelings, addressed by scholars such as Antonio Damásio (2011) and Paul Ekman (2011). The purpose is to point out how the understanding proposed by these authors can configure the construction of contemporary dance works and discuss possible tools for the recovery of emotional states for the performance of the work investigated through mapping the feelings of emotions. This research has as methodology the qualitative and procedural analysis of the creation of Ashes to the Ground, a solo work presented by the author. The text is arranged as follows: a first introductory chapter to the theme of emotions and feelings treated in the arts of the scene, more specifically in dance, from the looks thrown to the own emotions and feelings by researchers of the sciences of the mind. Then the research object is presented: The investigation into the way the emotions and not only their expressions operated in a process of creation in dance. Therefore, the methodological path that we go through throughout the writing is exposed so that the concepts of emotions and feelings can be announced in a more detailed way already in operation in chapter II. In the last chapter it is described how the game of the emotions occurred during the creation of the Ashes to the Ground work, which comprises the moments of Respite, that are the final instants in which there are the public presentations of the work under study. Finally, we bring the final considerations, woven together with the reflection generated by the totality of the artistic-academic research experience. Our desire is that this written path can contribute to the work and reflection of other artists, since we try, during the entire investigative course, to shed light on some of the aspects that we consider most important in the making of the scenic dance: emotions and feelings. For surely, the more consciousness of the functioning of these mechanisms present in the body, the better we can sail in the endless landscapes of creation.

The corporal south is a metaphor that seeks to think the epistemologies of the south as a point of convergence with the theatrical practice. Being the practice a compass in this investigation, it was sought to embody this metaphor from the creation of a corporal practice that takes concepts from the epistemologies of the south to the practice and embraces the proposal of  interculturality to dynamize principles of the ritual dance of the capoeira and the ritual dance of the Mayan worldview, two philosophies of the south. As final poetry of the dissertation, the spectacle Amareelos was created from the symbolic universe of Quetzalcoatl – Kukulkán, mythical Mesoamerican figure. We represent the empirical character as a methodological guideline of this investigation through a mandala, showing the dynamics that surrounds this process “to the south” in its theoretical-practical textures.

The objective of this research was to investigate the aesthetic experience in Contemporary Dance from works built with non-representative movements, considering that its dramaturgy is nonlinear, and its construction takes place through the materiality of movement and body, through its investigation. Like this, we discussed about how happen the aesthetic experiences starting from interviews with connoisseurs of the choreographic works chosen to compose the research, beyond the theoretical reference about Contemporary Dance and its dramaturgy with authors like Laurence Louppe, Patrícia Leal, Rosa Hercoles, Paulo Caldas, Ana Carolina Mundim, among others. The research was conducted by the qualitative methodology, of participant character, and was characterized still in a case study, having as a guiding object the aesthetic experience of the spectacle “Ego” (2015) of the Grupo de Dança da UFRN, and of the spectacle “ESCrito Absurdo” (2016) of the creators Vladimir Rodriguez (Colombia) and Omar Carrum (Mexico). We also sought information with Diana Fontes, general coordinator of the Encontro de Dança de Natal/RN, as it is an event that deals directly with presentations and, therefore, with aesthetic experiences in Contemporary Dance from various perspectives. Like this, we collected bibliographical material in field research, produced through interviews with the artists and connoisseur of the two spectacles above mentioned. Beyond the testimonials collected from the connoisseur of the choreographic work “Nuance”, which was built for to experience the construction of dramaturgy with only the non-representative movement and the possibility of a choreographic work as an activity of mediation of itself, as well as to be activity of formation of public. The relevance of the research is given by the contribution to the discussions about audiences and aesthetic experience in Contemporary Dance, because still there are few studies registered in Brazil, and more specifically in Natal/RN about this subject.

This research deals with an investigation about the creation process in developing scenic costumes in the Cruor Arte Contemporânea—a contemporary art coalition in Natal, RN, Brazil. In order to do so, this study dialogues with the Alison Gwilt’s concept of Upcycling, whose technique has been adopted as a creative perspective mainly to fashion, and that I apply when developing costumes, having as main aesthetic reference guiding the crossing between life and work of the Mexican plastic artist Frida Kahlo, the Spanish filmmaker Pedro Almodóvar, the French artist Antonin Artaud and the Brazilian artist Artur Bispo do Rosario investigating how these references dialogue with fashion and the construction of costumes for scenes. Being a study that involves my own practice as an artist-costume designer, I bring action research as the methodological base, especially from David Tripp, focusing on the interaction between the subject and his research object, in view of this relationship, considering my action as an artist-researcher and adopting as methods the research journal, photographic and video recording, and typical techniques of the fashion area and the creation of costumes such as moulage and sketch. This study starts with an introduction on my approach with my object of study linked to the dialogue between fashion and costumes under the perspectives of Fayga Ostrower, Adriana Leite and Lisette Guerra, in addition to Stanislavski and Lipovetsky. Following comes the research object that is developed in the coalition entitled Cruor Arte Contemporânea presenting the methodological paths that were taken. Finally, the issues related to the scope of the costume creation process in the Laboratory of Creation, Execution and Maintenance of Costumes for the Scene are described, as well as the Upcycling concept as a creative and methodological practice in the costume designer's practice.

This research seeks to investigate the memories of the bodies intertwined with the places of memories lived by the players of Ponta Negra - Natal / RN. For the development and understanding of the research, we rely on Merleau-Ponty's Phenomenology, which is capable of revealing the theme, that is, showing what is shown and not what it seems to be, and for this we consider the phenomenological With emphasis on the Congos de Calçolas Group, which, by incorporating, constructing and rebuilding their bodies and daily actions, strive for the recognition and reaffirmation of their culture. We traveled in the Village from the experience as a researcher on the phenomenon since Graduation in Dance, and visited places of memory that, are configured as the result of the constructions of social groups that determine What is memorable and the places where this memory becomes preserved.

The research considered the school space as a lived experience of artistic activities related to the art of theater based on the artistic appreciation of the Project "Encounter with the Artist", especially at IFRN Campus Macau. The purpose of this dissertative research was to understand and reflect on the process of theater teaching through the appreciation of theatrical performances through the "Meeting with the Artist" Program, held at the Federal Institute of Rio Grande do Norte - IFRN, Macao Campus. The years 2015 and 2016, for the classes of the second grade of High School that attend the curricular component Arte / teatro.
From the proposed objective, the question was asked: How can high school students learn about theater through the appreciation of theatrical performances? How can these students understand the theatrical language through debates and mediation processes? How to increase access to the art of theater within the school and the critical reflection for the construction of a spectator subject? The methodological contribution was based on the Qualitative research taking as an approach the Participant-Action. In adopting such a methodological approach, the insertion of the researcher in the researched environment was considered, the effective participation of the population researched in the research, and the transformation of reality. The research was also based on the studies and reflections of Barbosa (1991), especially in his Triangular Approach, by Desgranges (2010) when he discusses Pedagogy of the Spectator, by Pavis (2003) when analyzing the spectacle, by Freire (1996) when Considers education as autonomy and de Araújo (2012) and its interrelations between technology, spectator and scene. It was considered that this artistic-pedagogical experience called Meeting with artist, presented a character of extreme importance in what concerns the field of art education developed at the Federal Campus Macau Institute

This work aims to discuss some psychoanalyze concepts and their relationship with “absent object”, mainly Jacques Lacan (1995), as well as, reflect about Roland Barthes  (2003) romance discuss related to the piece Senhora dos Afogados written by Nelson Rodrigues (2004). In this sense, it focus on the character Moema and her actions as a link to the theoretical-practical propose. This research intends to explore the Brook (2011) idea of “empty space” to the scenic creation and concerns about the Lacan (1995) conception of “lack” related to the Nelson Rodrigues theatrical writings.  It comprehend the actions of this main character in two stands: the loving subject while anguish filling of the absent object; and, the creative process while a scenic propose. This investigation consider the drive study, according to Freud (1972), related to the actuation way of the character, as well as concepts of appropriation (BEIGUI, 2006), alterity (BEZERRA, 2007), memory (BEZERRA, 2007; IZQUIERDO, 2010) and autobiography (BEZERRA, 2007; MONTEIRO, 2011).

This research describes the course the creation of seven performances made using the methodology inspired from the "Seven Easy Pieces" series by Marina Abomovic. The performances cite works by Pina Bausch and Abromovic’s as "1980" and "Art Must Be Beautiful" and it was made from laboratories and researches developed with artists and researchers from the region of Natal, Rio Grande do Norte and Bogota, Colombia. To accomplish this, we conducted a preliminary study by visiting Marina Abramovic’s exhibition at SESC Pompeia-SP, then it was made a literature review in order to contemplate the concept of performance and it was finished with an emotional map of the history of performance in Natal from 2007 to 2016.

This thesis focuses on a research proposal, with a research-action methodology, on the so-called be crazy, its corporeality and interpersonal relations established by these bodies and that are revealed in everyday scene of a psychiatric institution, when in direct contact with artistic processes of the instauration of scenes; always remembering that these bodies under the sign of madness deal with stigma. It is about finding the way of being bodily predominant by restrictions and disruption in the relationship that these people create with one another, with time and space. With that in mind, it is observed how these bodies are structured and how they move in social spaces that appear to be impregnated by an ideology of values, beliefs and prejudices acquired in the socio-historical process.

The treatment of the insane is historically defined by a practice of exclusion and difference that makes the crazy a being destitute of reason and conscience, amoral and harmful, and thus discrimination is effected by control through the enclosure and/or exacerbated medication; The cruel marks of this oppressive ideology that characterizes the history of madness, where the crazy still occupies the place of the oppressed, are still visible in this research and perceived in gestures and oral and body expressions; the history of these bodies is personalized in narrated dramas and by the emotional charge impregnated in gestures, the tone of voice in speeches, songs and screams that are revealed in the everyday scene. Thus, this work proposes a link between madness and art and for this, we try to find connections between concepts and issues that permeate the theme of madness and creation processes, emphasizing the importance of the contact and of the human experience with the language of art through the contact with the residents of the Psychiatric Hospital Dr. João Machado, working together with Cruor Arte Contemporânea, a permanent group of art and culture,  from the DEART/UFRN (Art Department), a dramaturgy group from the Núcleo Transdisciplinar de Pesquisa em Artes Cênicas e Espetaculares (Interdisciplinary Center for Research on Performing and Spectacular Arts). Articulating art and madness in this study is linked to the experience obtained in the interaction of these bodies in the meetings. This is the relationship of these labeled and institutionalized bodies appointed as mentally ill, for having a record of enclosure in hospital stays, places termed madhouse, which contains a coercive social control culture. We investigate the encounter of the bodies of artists who bring in themselves the experience of art and, from there, we consider the possibility of an existential aesthetic of the relationship between body, space, time and movement in totalitarian institutions and in a wider sense, in conditions historically determined for the crazy, marked by abandonment and absence of this body, as well as the temporal and spatial disorientation. In order to study this scenario, we took advantage of the contribution of the Body Psychology added to an existential phenomenological reading and of the Analytical Psychology, by studying the meaning of the symbols in the relationship of the human with themselves and the environment. These theoretical perspectives presented were chosen for bringing contributions to the study of the human being in its symbolic, bodily and existential aspects, from the perspective of art. Such studies are essential to the construction of the phenomenological experience of the subject as a way of life in their relationship with themselves and the other through the experience of madness with the presence of art.

During this investigative process, we understood that studying the current everyday scenes enthralled in the hospital Dr. João Machado by considering differentiated subjectivities as mentally disabled or people in psychological distress pervades the understanding that in today's society there are new forms of production of madness, e.g., new ways to be crazy, and therefore reaffirming that the manufacture of these emerging subjective ways of being crazy is social and historical and the art can show a way for this understanding. Then, it is possible to allow the plasticity and aesthetics to other forms of experiences, and "be" with openness to dare, create and reflect their issues, their strangeness, their adopted positions and places undertaken in the community. In this sense, by the art, in a space of health and science to produce knowledge about the real and the lived, with the artistic language of the performing arts, as this makes the human being being able to express and perceive the world in a more intense way. It was in sight to consider experiential and body pedagogies to handle the scenes and the bodies that circulate and are present in that institutionalized reality, and it was created, with some patients, the scenic instauration (Lou)Cure-se! [(Un)Heal Yourself!], presented to the public in July and August 2016, on the premises of the psychiatric hospital Dr. João Machado.

This research seeks to reflect on the coral motion proposed by a student of Rudolf von Laban. The discussion focuses on the possibility of working this proposition in schools in an experiment developed in a public school with a group of children in pedagogical project. It is thus a qualitative study that combines the narrative of teaching history, literature and the case study. The aim was to analyze the artistic-aesthetic-pedagogical aspects of dance Coral proposition, showing elements of his poetry and compose a reflection from the relationship between the concepts studied and shared experiences with students in the sensitization process and composition in dance in school. The links created in the reflections that the poetics of Coral Dance learning provides a focal sharpening process dance perceptions, process activated by the playfulness, the improvisation directed by interbody dialogue, contributing to an initial awareness of memory in dance, considering the challenges the school context in its dynamism, expanding perceptions and repertoires of participants in an educational, artistic and aesthetic process, involving the individual and social dimensions in the writing of learning.

Essa pesquisa trata das relações possíveis entre o corpo e a vestimenta nos estados cênicos performáticos cruzando a cena contemporânea, a filosofia da moda e os argumentos filosóficos de profanação e dos dispositivos. Entre as obras observadas e citadas nesta dissertação, realizei entrevistas estruturadas com oito artistas da performance, como estratégia metodológica que pudesse trazer dados sobre as experiências dos corpos vestidos e despidos em cena, para além da pesquisa bibliográfica e revelando a ação da vestimenta sobre o corpo, assim como sua influência nas subjetividades do performador e do público. Essas relações podem ser experienciadas no processo de criação de figurinos na cena contemporânea nomeando a possibilidade da existência de modos do corpo, como maneiras que emergem e que se constituem como possibilidades estéticas, criativas e discursivas.

Esta pesquisa visa investigar a atuação feminina no teatro pernambucano durante a ditadura militar brasileira na década de 1970, analisando os trabalhos de quatro atrizes dos grupos Teatro Hermilo Borba Filho, Vivencial e Expressão, que atuaram no período. Lança-se um olhar sobre o corpo feminino no teatro a partir de uma transgressão cênica corporal: a consciência de uma insubordinação corpórea em resposta a um determinado contexto. No entanto, antes delineou-se um panorama sobre a posição artística e sociocultural da mulher no teatro, nos períodos que antecedem a ditadura no Brasil e em Pernambuco, abrangendo referências teatrais e históricas, com o objetivo de refletir sobre como estas colocações interferiram na imagem social da atriz no contexto ditatorial. Em paralelo, desenvolve-se uma reflexão sobre o corpo cênico que se opunha à ditadura, um corpo que viola as normas estabelecidas, o Corpo Transgressor. Partindo de análises feitas com as entrevistas realizadas com as atrizes, o estudo é desenvolvido construindo-se conexões entre as falas das artistas e os pressupostos filosóficos de Henri Bergson. É também elaborada uma reflexão sobre as mudanças do corpo feminino no teatro na História, em consonância com o conceito também filosófico do Devir Mulher de Felix Guattari.

Este trabalho investigou o processo de preparação corporal\vocal\energético do ator para a rua, desenvolvido no Grupo de Teatro Quem Tem Boca é Pra Gritar. Nossa principal busca foi entender os processos que o ator percorre para desenvolver uma energia para cena na rua. Que energia é esta que se estabelece e se relaciona com os transeuntes\espectadores? O que será que chama atenção do transeunte\espectador? Será a história? A indumentária ou será uma expressividade potencializada? Será uma energia presente no corpo do ator que se relaciona com o transeunte? Como o ator se relaciona com o espaço urbano? Na tentativa de responder tais questionamentos, utilizamos alguns princípios da Física Moderna, como: Teoria Quântica e Princípio da Incerteza, além da Teoria do Caos. O teatro realizado nas ruas, em sua maioria, passa por longos processos de construção cênica, contudo, quando levado ao público, é tomado por outras causalidades, pois estando na rua o ator se torna sujeito daquele espaço, não podendo negar a eventualidade dos fatos que ali podem ocorrer. Segundo a física quântica a energia se propaga em um espaço vazio, a quantidade de energia física sendo trocada no espaço da rua, resulta no mágico momento em que os corpos dos atores, em constantes trocas com os espectadores, permitem acontecer o salto quântico[1]: o espetáculo teatral de rua. 

This research aimed to discuss inherent aspects of the act of conduction a creative process in theater from the idea that the director, once introduced in the design scene, conceives a particular method called poetic crossing, and create in your instinct what Gaston Bachelard calls “poetic intentionality” and “symbolic imagination”. This study also analized the strategies adopted by the director in the creation of the theater play “Memórias de Quintal”, correlating the concepts focused in the practice of the theater directing and the writing of the notebooks of the theatral directing.

Neste trabalho abordamos o cenário da Dança no Rio Grande do Norte, a partir da investigação de Grupos evidentes nas mesorregiões do Leste Potiguar, Agreste Potiguar, Central Potiguar e Oeste Potiguar, e mais especificamente nos municípios Major Sales, Jardim do Seridó, Pedro Velho e Passa e Fica. Com isso objetivamos compreender, do ponto de vista fenomenológico, os sentidos e os significados que motivam os sujeitos das danças lá situadas, a serem agentes fazedores-transformadores da dança no Rio Grande do Norte. Para tanto, elegemos as seguintes questões de estudo que nortearam o desenvolvimento dessa investigação: 1. Que motivações impulsionam os sujeitos fazedores da dança a contribuírem para mantê-la viva-pulsante e/ou resistirem às dificuldades cotidianas? 2. Que dificuldades estão presentes nesse cenário da dança no RN e como são enfrentadas?  3. Como vem se configurando o cenário da dança no RN? Dessa forma foi possível, nesse contexto de sentidos e significados, desvelar motivações, dificuldades e configurações das danças nesses municípios representativos do RN; isto é, percebermos as identidades e identificações desses brincantes com a dança enquanto manifestação cultural simbólica, cidadã e política; a presença/ausência de políticas públicas voltadas a essas expressões artísticas e o impacto decorrente do envolvimento das comunidades para que esse cenário cultural se propague pelas novas gerações.

O presente trabalho possui como objetivo, a partir da troca e do diálogo com os agentes envolvidos nesse processo de pesquisa participante, problematizar o planejamento pedagógico dialógico do Ensino de Teatro desenvolvido sob a ótica do Diálogo em Paulo Freire, a fim de perceber como esse conceito é compreendido, e como isso influencia e reverbera na estruturação desse planejamento pedagógico e sua execução em salas de aula do Ensino Fundamental I, onde os integrantes do Programa Institucional de Bolsas de Iniciação à Docência subprojeto Teatro da UFRN (PIBID-Teatro/UFRN) atuam. Por meio da observação participante é que se tem trilhado e construído o caminho dessa pesquisa, vivenciando e questionando essa experiência inspirada na proposta pedagógica freireana. A investigação desenvolve um trabalho conjunto com os envolvidos contando com a “dialogicidade” e a “abordagem problematizadora” como fundamentos metodológicos mobilizadores para a construção de conhecimentos, tanto no grupo do PIBID-Teatro/UFRN, quanto no grupo atendido pelos bolsistas desse programa. Desse modo, os referenciais teóricos desta dissertação situam-se nos trabalhos de Paulo Freire no que se refere principalmente ao diálogo, nas sistematizações pedagógicas do Grupo de Estudos e Práticas Educativas em Movimento (GEPEM/UFRN), e nas produções do Laboratório de Estudos Cenográficos e Tecnologias da Cena (CENOTEC/UFRN), no que diz respeito à construção de um processo educativo dialógico que considera as realidades dos sujeitos, estabelecendo relações entre essas realidades e os conhecimentos específicos da área ensinada, relações entre a área específica e outras áreas do conhecimento, e reconhecendo a escola como espaço de diálogo.

Tanto no contexto acadêmico quanto no artístico e mercadológico, é crescente a discussão sobre o espaço de conceituação da dança contemporânea e suas fissuras, que deixam de abarcar esta ou aquela manifestação artística ou mesmo acaba por abarcar aquelas manifestações que não se encaixam em outros espaços de conceituação. No presente trabalho objetivamos a investigar, a Dança na Contemporaneidade, para além do que se entende por dança contemporânea, em sua capacidade de atravessar os espaços de conceituação já estabelecidos, para implicar em uma pluralidade de fazeres. Objetivamos também pensar a potência que a Dança imprime no corpo do artista criador, pensando também como este se comporta no espaço de “entre linguagens”. A dissertação que aqui se apresenta encontrou enquanto estratégia metodológica o recurso da metáfora, partindo das ideias de travessia, cartografia e cidades invisíveis para a construção do pensamento sobre o corpo do artista e suas relações com as diferentes linguagens artísticas, tomando por base uma retomada das experiências estéticas e artísticas de sua proponente. Dialogando experiências práticas e referenciais teóricos, inicialmente tratamos da dança contemporânea em seus problemas de classificação que apontam para a necessidade de um pensamento contemporâneo em dança, que pense as manifestações artísticas em seus pontos convergentes, e não nos divergentes que as situam sob diversas nomenclaturas. No capítulo seguinte discutimos a possibilidade de contaminação entre as linguagens artísticas a partir do próprio corpo-artista. Discorremos também sobre a dança enquanto agenciamento e resposta aos impulsos resultantes da relação com o espaço e outros corpos, pensando como o corpo do vivente se organiza nesta relação de compartilhamento de experiências. Mostrando uma potência do corpo artista criador que se dedica à transvaloração das fronteiras entre as linguagens para a organização do seu fazer. Por fim, apontamos para a diversidade na metodologia de processos de criação que variam de acordo com as possibilidades técnicas e necessidades estéticas de cada artista criador.

Abstract: The discussion about the conceptualization of Contemporary Dance is a growing field in our time and its fissures in the academic, artistic and market context, fail to embrace this or that artistic expression or, even eventually, encompass those events that do not fit in other spaces conceptualization. In this study we aimed to investigate the Contemporary Dance, in addition to what is meant by Contemporary Dance, in its ability to cross the spaces of concepts already established, to imply a plurality of doings. We aim also to think the power that the Dance prints in the body of the artist creator, also thinking about how it behaves in the space “between-languages”. The dissertation presented has found as its methodological strategy the concept of metaphor, based in ideas like crossing, cartography and invisible cities to build the thought about the artist's body and its relations with the different artistic languages, based on a resumption of aesthetic and artistic experiences of this dissertation author. Putting in dialog practical and theoretical experiences, we initially treat Contemporary Dance in its classification problems that point to the need of contemporary thought in dance, which think artistic expressions in its points of convergence, and not of divergence, which place them under various nomenclatures. In the next chapter we discuss the possibility of contamination between artistic languages from the own body-artist. We also talk about dance as agency and impulse resulting from the relations between space and other bodies, thinking how the living body organizes himself in this relation of sharing of experiences. Pointing to a power of the creative artists’ body dedicated to the transvaluation of the boundaries between languages for the organization of his doing. Finally, we discuss the diversity of creation methodologies processes that vary according to the technical and aesthetic needs of the artist creator.

A pesquisa investiga a relação estética / política, processo dramatúrgico / imaginário, na reescrita do fato histórico da seca no Nordeste. Recupera a emergência, a partir do final do século XIX, de um mundo figurativo sobre o sofrimento da seca, centrado na figura do retirante, que agencia a sensibilidade em torno dessa questão social, com o intuito de apontar para uma consciência política das fronteiras entre o lugar da arte e sua dimensão social. Realiza um experimento de criação dramatúrgica que retoma a figura do retirante, reposicionando-a conforme a problematização acerca da fronteira arte e sociedade. 

Esta dissertação tem como tema de estudo, o ensino de teatro e suas implicações na vida dos adolescentes no mundo contemporâneo. Analisa um projeto extracurricular intitulado “A arte dramática na construção da cidadania”, que foi desenvolvido na Escola Estadual Berilo Wanderley, Natal/RN, entre os anos de 1999 e 2005, com estudantes adolescentes do Ensino Médio. Trata-se de um Estudo de Caso cujo objetivo é compreender “como” e “por que”, eles/elas optaram pelo fazer teatral desvinculado da grade curricular e ao concluírem o ensino básico, alguns deles/delas continuaram desenvolvendo a prática artística naquela escola e passaram a participar ativamente do contexto cultural da cidade de Natal, tanto no aspecto da fruição como na atuação artística, política, social e pedagógica.

Abstract:

This masters thesis discusses the studying and the teaching of drama and its implications among teenagers of the contemporary world. This paper also analyses an extracurricular project entitled “Drama in the development of citizenship”, which was carried out in the public state school Berilo Wanderley in Natal/RN, between 1999 and 2005 with high school students. It comprises a case study that aimed at understanding “how” and “why” they chose to take drama classes outside of the school curriculum and even after they graduated, some of them never left the school project and even started participating in the cultural and artistic context of the city of Natal quite actively, both as part of an audience as well as on artistic, political, social and pedagogical performance.

RESUMO: Essa dissertação se deu a partir de uma investigação sobre a aplicação da Técnica da Mímesis Corpórea, sistematizada pelo Lume, Núcleo Interdisciplinar de Pesquisas Teatrais da Unicamp, associada à matriz do Maracatu Rural, especificamente do grupo Cambinda Brasileira (Nazaré da Mata – PE), a fim de fomentar o treinamento e o trabalho de composição do ator. A partir de uma metodologia empírica, que se utilizou da análise de experiências práticas – processo de aplicação da Mimese Corpórea e montagem de espetáculo teatral – associada à pesquisa bibliográfica, pude investigar caminhos de possível resignificação desta Técnica, utilizando elementos referentes ao ritual e ao jogo presentes na manifestação popular em questão e experimentar através da concepção do espetáculo Cravo do Canavial tais caminhos.

ABSTRACT: The present dissertation has begun with an investigation about the application of the Technique of the Corporeal Mimesis, systematized by the Lume, Interdisciplinary Center for Theatrical Research of Unicamp, associated with the matrix of Rural Maracatu, specifically of the group Cambinda Brasileira (Nazaré da Mata – PE), with the purpose of promote the training and the composition work of the actor. Starting from an empirical methodology, which used the analysis of practical experiences – the application process of the Corporeal Mimesis and the construction of a theater play – associated with bibliographical research, I could investigate possible ways of re-signification of this technique, using components related to the ritual and the game present in the popular event in question, and experience such paths through the conception of the play Cravo do Canavial.

ABSTRACT: This master thesis aims to investigate the improvisation – as it is realized as the context of Contemporary Dance - as a possibility of body preparation of the scenic artist. It proposes to realize a reflection on the process of body preparation, proposed by me through the experiment procedures the observation with Grupo de Pesquisa Corpo-devir, specially formed in this research. This group studied and lived the improvisation in dance and also presented reports and reflections of the participants about their experience, giving special emphasis in the possible contribution for the formation of artists of the scene. In this way it is justified that the scenic artist enjoys the knowledge through the practice of the dance and realizes as being the creator of this own artistic formation. Also, the artist realizes that this practice may contribute with the artistic-pedagogic perspectives of the scenic group, of the scene and the creative processes in the scenic arts. The work has a qualitative approach, with descriptive treatment of observations, and it is based in bibliographical, video graphic and somatic of the improvisation procedures in contemporary dance. The main theoretical-practical interlocutors of this dissertation are Gilles Deleuze, Félix Guattari, Maurice Merleau-Ponty, Jorge Larrosa, João Francisco Duarte Jr., Rudolf Laban and Klauss Vianna, being the last two and the collective Judson Dance Theater, still contribute with methodological concepts used in the workshops.

Partindo do pressuposto de que as artes no ocidente sempre dispuseram de recursos, suportes e dispositivos pertencentes ao seu contexto de época, pretende-se uma reflexão acerca de composições cênicas mediadas por tecnologias digitais. Tecnologias essas, que estão inseridas no cotidiano, passando também a compor experimentos artísticos, assumindo dessa forma um papel dialógico por meio da intersecção arte/tecnologia. Propõe-se assim investigar quais as relações que se estabelecem na cena teatral contemporânea a partir do contágio pelas tecnologias digitais, procurando traçar esse paralelo através do diálogo com autores que tratam do assunto, como também, valendo-se de práticas de grupos que tem no uso de recursos tecnológicos fator determinante em suas encenações. Além disso, se realiza uma reflexão sobre a cena que incorpora ou se perfaz em eventos intermidiáticos, analisando de que forma as tecnologias digitais (re)configuram os processos composicionais das encenações do GAG Phila7, da cidade de São Paulo/SP. Para tanto, a dissertação encontra-se organizada em três capítulos que contemplam quatro momentos, a saber: breve panorama do campo, contextualização, análise e síntese poética. Utiliza-se como proposta metodológica os métodos qualitativos: entrevista semi-estruturada, tomada de notas e documentos (programa, site, caderno de encenação, material de divulgação para texto publicitário, fotografias e vídeo de registro). Dentro do universo da pesquisa qualitativa, trabalha-se com a perspectiva epistemológica da hermenêutica filosófica gadameriana. As possibilidades abertas pelo duplo virtual (internet/web) gerou um tipo de teatro com outra base material e novas formas de organização e estruturação, sendo possível perceber que tais avanços tecnológicos e as artes se contaminam mutuamente, gerando um deslocamento na lógica da composição teatral, movimento iniciado com as vanguardas artísticas, que vem se intensificando gradativamente, abrindo possibilidades de construções e hibridizações das mais diversas possíveis. É nessa perspectiva que se encontra inserido o experimento Profanações _superfícies de eventos de construção coletiva, idealizado pelo Phila7. Alvo das discussões da referida pesquisa, o experimento trabalha com poéticas possíveis surgidas da intersecção com as tecnologias digitais, buscando apontar e problematizar os desafios advindos da evolução e expansão tecnológica em um contexto cênico.

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TENTAMOS NOS RELACIONAR NESSA PESQUISA COM OUTRA LÓGICA, DESCOBRIR UM CAMINHO DE ABORDAGEM PRÁTICA PARA NOS APROXIMARMOS DE UMA CRIAÇÃO COMPOSTA DE FRAGMENTOS E UMA BUSCA DE PARÂMETROS PARA A ESTÉTICA DA APROPRIAÇÃO. NESSE SENTIDO, ENCONTRAMOS RELAÇÃO COM O TEATRO COMPOSTO POR FRAGMENTOS, ONDE DIFERENTES ESTÉTICAS TEATRAIS SÃO APROPRIADAS E OS ESTILOS DE REPRESENTAÇÃO SÃO MESCLADOS UNS COM OS OUTROS. DISCORREREMOS NO PRIMEIRO CAPÍTULO SOBRE O TEATRO COMPOSTO DE FRAGMENTOS, E PERCORREREMOS PISTAS ATRAVÉS DE ALGUNS ENCENADORES NOS COMUNHOS DA CENA CONTEMPORÂNEA. NO SEGUNDO CAPÍTULO BUSCAMOS PROCEDIMENTOS E CONCEITOS DE ATMOSFERA DE MIKHAIL TCHEKOV (CHEKHOV, 1996), E A  TRANSIÇÃO DE ASPECTO-A-ASPECTO DE SOCTT McCLOUD (2005). NA TERCEIRA PARTE DESCREVEMOS A OBSERVAÇÃO DO EXPERIMENTO REALIZADO COM OS ALUNOS DO CURSO DE LICENCIATURA EM TEATRO NA UNIVERSIDADE REGIONAL DO CARIRI, JUAZEIRO, CEARÁ, NO ANO DE 2010. UTILIZANDO A METODOLOGIA DA PESQUISA-AÇÃO, OBSERVAMOS QUE A ESCRITA CÊNICA FINAL DO EXPERIMENTO, DENOMINADO "TOQUE-ME", E A APRESENTAÇÃO NAS CIDADES DO CRATO E BARBALHA, NO MÊS DE AGOSTO DE 2010, CONTINHAM ELEMENTOS DAS ESTRATÉGIAS DO TEATRO DE FRAGMENTOS E OS CONTEÚDOS CONCEITUAIS DO TEATRO CONTEMPORÂNEO.

Resumo: Esta dissertação de mestrado é fruto de uma inquietação pessoal sobre os “rumos” e a “forma” do teatro na contemporaneidade e a sua relação com as mídias na formação de organismos híbridos em termos gerais, e mais especificamente sobre como se organizam e se apresentam as possíveis ligações, e os diferentes níveis de contato existentes entre elas na construção da cena. O objetivo da pesquisa é estudar as ligações entre cena e mídia (projeção de imagens) na formação de organismos híbridos como sendo uma das características estéticas da condição pós-dramática do teatro contemporâneo no Brasil. Como estudo de caso, propõe-se investigar o conceito de paisagens visuais no contexto da obra do encenador brasileiro Gerald Sievers Thomas, mais especificamente suas encenações realizadas no Brasil no período que compreende a primeira década do século XXI, sendo Rainha Mentira (2007) o objeto empírico de análise, aplicação e discussão dos conceitos desenvolvidos no corpo do texto.

Abstract: This work is the result of a personal uneasy about the form and development taken by contemporaneous theater concerning its relationship with other media to create new hybrid organisms and organizing itself through new possibilities, connections, as well as with different levels of arrangements in the construction of the scene. The purpose of this research is to study the connections between the scene and the media within the context of the formation of hybrid organism which is the key element. That stands for an aesthetic characteristic of the post-dramatic condition of contemporary theatre in Brazil. Thus, this work will investigate the concept of visual landscapes within the context of Gerald Sievers Thomas’ work in Brazil in the period of the first decade of twenty-first century having the play Rainha Mentira (2007) (Queen Liar, 2007) as the main empirical object of analysis, discussion and application of the theoretical framework developed in the text.

Resumo: O termo corpo sem órgãos está presente em um poema do escritor, ator e encenador francês Antonin Artaud, escrito em 1947 e intitulado: Para Acabar com o Julgamento de Deus. Busco, nesta dissertação, a partir do que chamamos escrita cênico- investigativa, problematizar este termo e suas relações possíveis com o teatro e também com alguns aspectos da mítica hindu. Uno à idéia do corpo sem órgãos  o corpo em transe  presente nas histórias de um mestre indiano chamado Caitanya Mahaprabhu. Estas idéias, juntamente com o desenvolvimento de práticas que partem de alguns princípios da Antropologia Teatral, são estímulos para um processo de criação que destaca o trabalho de preparação e criação corporal do ator. A articulação entre os conceitos e a prática suscitam discussões onde me coloco como ator-pesquisador em processo.

 Abstract: The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process.

RESUMO: Este trabalho pretende analisar o surgimento da ópera de Richard Wagner enquanto antítese do modelo operístico predominante no século XIX, modelo tal que existe desde o final do século XVI, quando a ópera nasceu na Itália. Richard Wagner baseou a sua estética no entendimento, bastante íntimo e pessoal, da era trágica grega, de forma que pretendia, com seu teatro, o mesmo impacto social que a tragédia grega tinha com os antigos povos áticos. Minha análise é fundamentada tanto na obra teatral quanto na obra teórica de Richard Wagner. Sendo assim, também faço uso de textos de filósofos que Wagner leu ou que foram amigos íntimos do compositor, como Schopenhauer e Nietzsche respectivamente. As mudanças na forma musical e mesmo na capacidade de ouvir música, bem como o pensamento wagneriano expresso através de seus personagens dramáticos também são enfatizados nessa análise. É válido observar que Wagner não almeja emular a Grécia Antiga, como pretendia a Camarata Fiorentina. O que ele deseja é elevar o status da arte na vida moderna, dotando a arte do mesmo respeito sagrado que os antigos gregos tinham com relação a tragédia.   

ABSTRACT: This study aims to examine the emergence of the opera by Richard Wagner as the antithesis of the model prevalent in the nineteenth century opera, such model that has existed since the late sixteenth century, when the opera was born in Italy. Richard Wagner based his aesthetic on the understanding, very intimate and personal, of the Greek tragic era, so wished, with its theater, the same social impact that Greek tragedy had with the ancient peoples attics. My analysis is grounded in both the theatrical work and in the theoretical work of Richard Wagner. Therefore, I also use texts of philosophers who Wagner have read or were close friends of the composer, as Schopenhauer and Nietzsche, respectively. The changes in musical form and even the ability to hear music, and the thought expressed through its Wagnerian dramatic characters are also emphasized in this analysis. It is worth noting that Wagner does not aspire to emulate ancient Greece, as desired by the Camarata Fiorentina. What he wants is to elevate the status of art in modern life, providing the same about the sacred art of the ancient Greeks had about the tragedy.

RESUMO: A pesquisa que ora apresentamos é resultado da análise da montagem do espetáculo teatral de rua intitulado A Árvore dos Mamulengos, decorrente da apropriação do texto dramatúrgico de autoria de Vital Santos, mantido em temporada durante os anos de 1989 e 2001, pela Companhia Escarcéu de Teatro, na cidade de Mossoró/RN. Mapeamos a partir das vozes e memórias dos atores e atrizes que vivenciaram a experiência da encenação, os desdobramentos e conquistas decorrentes dos doze anos da temporada. Em nosso estudo consideramos a importância da opção pelo espaço aberto de ruas e praças, local da representação do espetáculo, como fator catalisador das escolhas estéticas do grupo, e a adoção do processo colaborativo como metodologia de trabalho pelos realizadores da encenação, bem como, os determinantes sócios culturais locais em que o espetáculo foi realizado.

ABSTRACT: This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, and that lead been in season from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses experiences, the developments and achievements witch resulted from the twelve years season. In this study we leave taken under consideration the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging interpreters, as well as the cultural determinants that were taking place deeming the realization of the spectacle.

RESUMO

O presente trabalho analisa os desdobramentos, deslocamentos e apropriações do grupo de extermínio “Mão Branca” como um fenômeno possibilitador de tópicos caros à abordagem adotada, como o mito e a criação dramatúrgica.  Dentro da proposta teórico-prática, as reflexões, no âmbito teórico, e a intervenção artística no morro-palco de Mãe Luíza, buscou-se verificar, apropriar e transpor para o processo da oficina teatral no morro os tópicos levantados, devidamente manuseados e contaminados a partir do mito “Mão Branca” em uma leitura barthesiana. Desde o início da pesquisa, com a metáfora da “mão”, são encarados os personagens trabalhados, como “Mão Branca”, Prometeu Acorrentado, os guerreiros do sol, Exu, e tantos outros caros à literatura, na perspectiva de grandes monstros transgressores, em uma verdadeira genealogia foucaultiana do “anormal”. Desse modo, a partir do percurso realizado e do processo desenvolvido, pretende-se contribuir para as discussões sobre uma dramaturgia calcada em novos princípios, localizada em uma encruzilhada criativa, em um território de fronteiras, ou - para utilizar as palavras de Rubens Rewald - em uma “dramaturgia do caos”.

ABSTRACT

The present work analyses ramifications, shifts and embezzlements of the extermination group known as “Mão Branca” as an enabling phenomenon of subjects relative to our approach, such as the myth and the dramatic art’s creation. In the context of the theoretical and practical proposal – molded at the artistic intervention and at the theoretical reflexes established at the “shantytown-stage” named “Mãe Luiza” – verifying, appropriating and jumping the aforementioned proposal over to the theatrical worshops’ process at the shantytown were objectives that have been looked forward to, being the scheme duly handled and stricken whereof we may call the “Myth of Mão Branca”, in a Barthesian perusal. Since the very first moment of our research, taking into consideration the metaphor of the “Mão” (The metaphor mentioned above shall be understood taking into account the fact that “Mão” in Portuguese means “Hand”. In this manner, the extermination group known named “Mão Branca” may be translated to English as “White Hand”), we faced characters such as “Mão Branca” (White Hand), “Prometeu Acorrentado” (Chained Prometheus), “Guerreiros do Sol” (Warriors of the Sun), “Exu” (an orisha, an African deity), and so many others who concern to literature, each and every one taken into the perspective of great transgressive monsters, in a truly foucauldian genealogy of abnormal. In this sense, through our path and process, we aim to offer our contribution to the evocation of discussions about a dramatic art based on new principles, located at a creative crossroad (Crossroad - encruzilhada, in Portuguese - is also the place where one may leave offerings to African deities), in a territory of boundaries or, paraphrasing Rubens Rewald, in a “dramatic art of chaos”.

Resumo: O presente trabalho propõe refletir sobre a polifonia como possibilidade metodológica para o ator desenvolver um treinamento pessoal e levanta a hipótese de que as artes, em suas especificidades, possuem princípios análogos que, trabalhados em um processo criativo centrado no corpo, desencadeia qualidades específicas da presença cênica. Para isso, alguns procedimentos do processo criativo do espetáculo solo “Medéia em Juízo” foram evidenciados na perspectiva de compreender algumas interações possíveis entre o corpo cênico e os saberes polifônicos, o que nos permitiu chegar a um treinamento pessoal a partir das possibilidades do corpo cênico trabalhado à luz da polifonia e desvelar as seguintes qualidades da presença cênica: a dilatação corpórea, a plasticidade do movimento, a precisão na execução dos movimentos, o senso rítmico e a coloração vocal. Desse modo, com base no processo epistemológico aqui construído e na própria vivência com diferentes territórios artísticos, foi possível compreender que a experiência polifônica cria memórias corporais que incorporam essas qualidades no corpo cênico e o permite ser-estar em cena de forma mais conectada com a sua história incorporada, fazendo dela uma possibilidade para novos trânsitos, novos diálogos, novos aprendizados.

Abstract: This paper proposes a reflection on the polyphony as methodological possibility for the actor to develop a personal training and hypothesizes that the arts in their specificities, which have similar principles, worked in a creative process focused on the body, triggering specific qualities of presence scenic. Thus, some procedures of the creative process of solo play Medea em Juízo were highlighted in order to understand some possible interactions between the scenic body ringtones and knowledge, enabling us to reach a personal training from the scenic possibilities of the body working to light of polyphony and reveal the following qualities of stage presence: the expansion body, the plasticity of movement, precision in execution of movements, rhythmic sense and vocal color. Thus, based on the epistemological process built here and in our experience with different artistic territories, reveals that the experience creates polyphonic body memories that embody these qualities in the body can be scenic and being on stage in a more connected with their corporate history, making her a chance for new transit, new dialogues, new experiences.

RESUMO: Esta dissertação de mestrado é produto de uma reflexão teórica sobre o trabalho do encenador russo Vsévolod Meyerhold e os modos pelos quais as suas experiências iniciais foram determinantes não apenas para construção de uma identidade no seu trabalho como diretor, mas também para as diferentes formas de concepção e construção do espaço cênico que surgem no contexto do teatro moderno. São de interesse particular para este trabalho as mudanças inovadoras ocorridas no espaço e na arquitetura cênica introduzidas por Meyerhold no sentido de entender as formas pelas quais essas mudanças influenciaram o surgimento de novas dimensões estruturais e funcionais da cena no período e também um novo posicionamento dos encenadores no que diz respeito à relação cena / platéia. É de particular interesse para este trabalho os elementos que constituem o Teatro da Convenção Consciente, proposto por Meyerhold em 1905, e de que forma seus princípios geram, integram e influenciam o surgimento de uma nova tipologia de espaço e arquitetura cênica. Para tanto, serão examinadas e discutidas, a partir de registros fotográficos, algumas encenações de Meyerhold, sendo que ao espetáculo O Corno Magnífico (1922) será dedicada especial atenção.

ABSTRAC: This dissertation is a result of a theoretical reflection about the work of Russian theatre director Vsévolod Meyerhold and the ways in which his initial experiments were crucial not only on what concerns the building of his own work identity, but also the construction of the various forms of conception and creation of scenic space and the way they have influenced modern theatre. This dissertation has a particular interest in the newly changes on the scenic space and architecture introduced by Meyerhold in order to understand the ways in which these changes have paved the way for the emergence of new structural and functional dimensions of the scene in the period and have also permitted a new position from the part of other theatre directors towards the actual importance and play taken by the public (the spectators). The constitutive elements of the Theatre of Conscious Convention, proposed by Meyerhold in 1905, and how its principles have delivered, integrated and influenced the emergence of new typologies of space and architecture is also of particular interest here. For this purpose, some of Meyerhold’s work will be discussed; though to The Magnanimous Cuckold (1922) will be given special attention.

O trabalho investiga o processo de criação da coreografia “A Partida”, realizado no período de 2006 a 2007, na Gaya Dança Contemporânea, projeto de extensão do Departamento de Artes da Universidade Federal do Rio Grande do Norte. O Objetivo é descrever esse processo de criação, considerando os elementos cênicos significativos para seus criadores, bem como discutir tais significados como ponto de referência de reflexões sobre o corpo no campo da dança. O percurso metodológico tem na experiência dos participantes do processo sua principal referência. Como meio de aproximação dessas experiências, foram realizadas entrevistas individuais como os sete sujeitos envolvidos: cinco bailarinos, um ator e uma diretora. O uso de imagens também foi significativo por permitir uma aproximação entre processo e produto coreográfico, dando um teor estético às falas dos sujeitos. Para análise das entrevistas foi utilizada a análise temática de conteúdos proposta por Bardin (1977). A análise dos dados considera que o processo de criação de “A Partida” significou para os artistas envolvidos compreender a criação artística a partir de um corpo cultural e social, simultaneamente individual e coletivo. Representou criar formas expressivas na dança mediante experiências particulares para o alcance do coletivo e intensificar as razões que os impulsionaram a criar artisticamente, através da produção e articulação de elementos cênicos, da expressão de variadas linguagens artísticas e da construção de uma dramaturgia individual e coletiva fundada no corpo. Significou também viver uma experiência inédita de construção coletiva e refletir sobre a técnica e a estética do corpo que evoca a dança contemporânea. Acreditamos que alguns apontamentos sobre as escolhas artísticas e estéticas do grupo e o seu fazer coletivo, no momento enfocado por esta pesquisa, podem ampliar a discussão sobre o corpo no contexto da arte e o papel do bailarino em um processo de criação em dança.

RESUMO: A pesquisa tem por objetivo o estudo da arte do ator-dançarino, delimitando seu campo em torno da energia cênica do artista, acreditando que o trabalho sobre tal elemento nos leva à criação de uma arte mais fértil e orgânica, ou seja, mais próxima da vida, como nos falava Antonin Artaud. Nosso intuito é ampliar o seu entendimento no contexto do teatro, partindo do terreno da Antropologia Teatral, desenvolvida por Eugênio Barba, tecendo relações com a Bioenergética, de Alexander Lowen, enfatizando a ideia de um corpo energeticamente vibrante. No que diz respeito à metodologia, no decorrer do seu processo, a pesquisa adquiriu uma natureza prioritariamente teórica e qualitativa. O espaço processual em que é possível experienciar o trabalho de preparação do ator e os seus significados para o atuar cênico foi onde nos debruçamos neste estudo, o que ratifica o caráter qualitativo da nossa investigação. Ao analisar o potencial de energia do artista cênico como algo perceptível e presente no corpo, possibilitamos a realização de um trabalho inserido em uma tendência contemporânea de valorização do sujeito sensível, atuante e inteiro, permitindo a busca de caminhos que levem ao reencontro com uma arte mais próxima do ritual. Acredito e busco, em meu treinamento de atriz, a realização de um teatro que se aproxime da atmosfera ritualística, mais especificamente no que tange às percepções no momento criativo aqui denominado de dança fluida, que ocorre durante um estado de dilatação corporal, em que se percebe a energia do corpo fluindo na realização de movimentos liberados, extracotidianos. Surgem daí algumas questões. São elas: Como a energia se desenvolve no corpo humano? Como podemos pensar criticamente sobre o trabalho de dinamização das energias do artista cênico? Que elementos presentes nesta dinamização das energias do artista cênico possibilitam uma atuação cênica em nível mais orgânico? É possível compreender aspectos espirituais e ritualísticos da existência corporal desse artista cênico como parte integrante de sua atuação orgânica? Norteamos estas questões estabelecendo um diálogo com autores que de algum modo tangenciam uma discussão em torno da preparação do ator na cena contemporânea como Eugênio Barba, Luiz Otávio Burnier, Alexander Lowen e Johan Huizinga. Este último, através das idéias que apresenta em torno do jogo, nos permitiu transitar de modo mais consistente entre os nossos principais campos de estudos, a Antropologia Teatral e a Bioenergética. Por fim, podemos afirmar que este é um estudo que nos permite, sobretudo, constatar a importância da realização de trabalhos corporais voltados para a dinamização de suas energias, seja através de um método psico-corporal, como a Bioenergética, ou por meio de determinados procedimentos técnicos já identificados e discutidos no campo do Teatro. Uma prática sobre as energias ocasiona uma renovação do fluxo da vida do corpo, e, nesse sentido, acreditamos que isto pode favorecer a qualidade do trabalho artístico do ator no que se refere à sua presença em cena, ampliando sua disponibilidade corporal, aguçando seus sentidos, bem como despertando o seu potencial criativo.

ABSTRACT: The research aims to study the art of the actor-dancer, defining their energy field around the scenic artist, believing that the work on this element leads to the creation of an art more fertile and organic, that is, closer to life, as we talked Antonin Artaud. Our purpose is to broaden their understanding in the context of the theater, leaving the land of Theatre Anthropology, developed by Eugenio Barba, weaving relationships Bioenergetics, Alexander Lowen, emphasizing the idea of a vibrant body energetically. With respect to methodology, in the course of its process, the research took a nature primarily theoretical and qualitative. The procedural area where you can experience the preparation work of the actor and their meanings for the scenic work is where we focus in this study, which confirms the qualitative character of our investigation. When analyzing the potential energy of the performing arts as something tangible and present in the body, make possible the realization of a work entered into a contemporary trend of appreciation of the sensitive subject, an active and wide, enabling the search for paths that lead to a reunion with Art closer to the ritual. I believe and I seek in my training as an actress, performing in a theater that approaches the ritualistic atmosphere, specifically in regard to perceptions in the creative moment here called dance fluid, which occurs during a state of expansion body, which perceives the body's energy flowing in performing movements released, not daily. There arise some questions. They are: How energy develops in the human body? How do we think critically about the work of boosting the energies of the performing arts? What elements present in this dynamic energies of the scenic artist scenic allow a performance in a more organic? You can understand spiritual and ritualistic aspects of the existence of this body performing arts as integral parts of their performance organic? Guided these issues by establishing a dialogue with the authors that somehow touch on a discussion on preparation of the actor in the contemporary scene as Eugenio Barba, Luiz Otávio Burnier, Alexander Lowen and Johan Huizinga. The latter, through the ideas that presents around the game, allowed us to pass more consistently among our main fields of studies, Theatre Anthropology and Bioenergetics. Finally, we can say that this is a study that allows us, especially noting the importance of carrying out bodywork geared to boosting your energy, either through a method psycho-corporal, as bioenergetics, or through certain technical procedures have been identified and discussed in the field of Theatre. A practice on the energy flow causes a renewal of the life of the body, and in that sense, we believe that this can promote the quality of the artwork of the actor with regard to their stage presence, broadening its availability body, sharpening your senses and awakening their creative potential.