This is a theoretical-practical research whose objective is to investigate the creative possibilities in the conception and production biases in video dance. The study explores through its laboratories the possibility of creation in dance through improvisation composition techniques linked to ways of perceiving, capturing and conceiving video dance as a process of idealizing an artistic work. For the methodological paths, references from dance improvisation, video dance creation and ways of living in the city were used. This articulation is methodologically supportedMainly from the perspective of Practice as Research and Artistic Practice as Research, various types of procedures were carried out for this: bibliographical research, field research and analysis of video dance composition performing an artistic, procedural and questioning path. The research allowed the performer to experience different forms of composition united movement and camera in one body, awakening different experiences for the conception of video dances.

This work is the result of research developed in the field of performing arts, profoundly influenced by Afro-diasporic motor religiosity (Ligiéro, 2011). The study was conducted at the Candomblé Ilê Olorum, a house of Afro-Indigenous culture and religiosity, between 2022 and 2024. The research is structured around the dimension of belonging, as the researcher is a son of this house of Axé. The investigation aimed to understand, through the technique of “participant observation” (Minayo, 2001; Demo, 2014; Severino, 2017), the meanings and perceptions emerging from the dance of the orixás, performed during the ritual and celebratory ceremony of the Candomblé xirê at this terreiro. From this understanding, the research sought to develop a choreographic composition through bodily experimentation. The poetic proposal, titled Xirê Odara, focuses on the acceptance of black bodies in Candomblé as manifestations of dance, quilombola resistance, beauty, art, culture, pedagogy, and politics. The Candomblé xirê, as an ancestral power of black people, became the research’s primary achievement. In proposing an artistic production in dance, it was necessary to embrace and celebrate black bodies (Sodré, 1999; 2019), rewrite narratives and myths (Medeiros, 2021), reconstitute the spectacular and imagistic meanings of Africanness (Moreira, 2022), and affirm the body as power (Silva, 2022). What was constructed on this journey was power. A black body, when it finds and recognizes itself as quilombola, is nothing other than power. Thus, describing the dance in the xirê, recreating it in poetic composition, and making it signify the affirmation of African ancestry goes beyond viewing it merely as the heritage of people who were enslaved and freed themselves through continuous resistance struggles. Rather, it asserts a stance in the ongoing fight against colonization, from its origins to the present day. With this research (and its poetic derivation), we propose to discuss the meanings that can emerge from a contemporary choreographic composition based on the motives of the orixá dance in Candomblé. At the same time, we reaffirm our social identity through the construction of belonging and the representation of dancing black bodies. To do so, we were compelled to engage in a profound reflection on who we are and on how Brazilian society has historically constructed the image of people of African descent, shaping it within an imaginary and through various institutionalized forms of racism (colonial, religious, structural, etc.). Creating a dance composition based on the observation of orixá dances as they occur in a Candomblé terreiro was an act of becoming black, embracing the symbolic inheritance of ancestral meaning, and celebrating the quilombola essence of black bodies in Xirê Odara, which emerges from the sacred dance of the orixás.

Starting off from animals considered gross or repulsive, i seek to investigate the possibilities of costume creation related to the aesthetics of the grotesque. For such, i develop the project “Garatujas animalescas”: a series of experimentations on the field of costume, in which each week i make a characterization inspired on a gross animal. During the creation of each piece, i record my process on a research log, where i track the work done and reflections about my artistic making. From the recorded experiences, i intend to comprehend the possibilities of creation in the field of theatre costume in relation to the aesthetics of the grotesque. Besides, i elaborate a reflection about the grotesque as an aesthetics category, its origins and its relation with themes that are pertinente to the theatrical art. I understand that not everything that comes up on the workshop will be perfectly explained by the ideas of the theorists. I seek then to propel a movement to understand where the ideas of the authors influence me and guide me and where i deviate to a particular conception of the grotesque aesthetics, with no intention to settle this category in a definitive way.

This paper analyzes the current theatrical scene in Macau based on a case study of the theatrical show Canto para Macau. Produced by Macau City Hall, in Rio Grande do Norte brazilian state, the third edition of the show tells us the story of the city. The stage production reflects on its historical and cultural importance for the municipality, since it puts on stage some of the main popular manifestations such as the fandango (dance originated in Spain), the coco de roda dance, the pastoral (folkloric religious dance) and the street carnival groups. To understand how these manifestations are transformed on stage, the paper is based on a literature review on these popular manifestations, analyzing what remains and what changes, using Getúlio Moura (2003), Aparício Fernandes (1984) and Amaury de Medeiros Bezerra (2011) as references. Regarding a theory for brazilian popular theater, it seeks to converge with Larissa Neves' (2022) concept of Theatre Sheet.

This study sought to raise reflections on the game developed in body preparation workshops aimed at members of the Arkhétypos Group. The workshops were entitled “Body-Capoeira” and used capoeira as the poetics and foundation of all the work. The aim was to investigate capoeira with all its symbolic, technical and poetic material, seeking elements that could add malevolence to the body work of the actor and actress, thinking about the scene from this language. In this sense, this research united two distinct languages that converse with each other: capoeira and ritual theater, with the play being the common point that makes the languages intersect. The passage through the groups Cordão de Ouro and Capoeira Brasil was taken as a reference for the study because it establishes connections with the philosophy and practice of the fundamentals of regional, Angola and contemporary capoeira. The workshop developed for the Arkhétypos Theater Group of UFRN constituted the basis of the case study that underpins the methodological outline of the research. To carry out these workshops, elements of capoeira were considered, such as ginga, movements that explore the balance and imbalance of the participants, and the action of buying into the other's play, with the aim of assessing what can be added and changed in the physical state of the actor and actress in their creative processes.

The work investigates new approaches and creative strategies for the development of aesthetic signatures based on Breaking and personal experiences. The research aims to explore how different ways of expressing the same technique can be applied to create visual identities that stand out and connect meaningfully with the Breaker and /or Performer. Through both theoretical and practical analysis, we seek to examine the importance of innovation in Breaking, reflecting on creative possibilities for building aesthetic authenticity that not only captures the essence of the craft but also challenges dancers to constantly reframe themselves whenever possible. The dissertation integrates an approach from ethnographic studies alongside practical experiments, offering a critical perspective on the possibilities for disrupting traditional practices. In conclusion, the study proposes a set of guidelines aimed at prompting the reader to reflect on technique, aesthetics, experimentation and creation, exploring creative possibilities for emerging the authentic self within each of us. 

“Conjuring corpus, sentencing delusions: an elliptical view on scenic contours not viewed from the perspective of whiteness” reflects on contours and axial notions for the performing arts, such as time, space, body, memory and Art. Based on the observation that contemporary artists and thinkers of the Arts, such as Denise Ferreira da Silva, have been developing artistic and philosophical works that completely or partially abandon Eurocentric points of view on the words cited above, this research incorporates Afromatized and indigenous epistemic perspectives to formulate the reflective position of this dissertative text. From this critical review, a poetic and political position is developed and the importance of reactivating the conjuration contour is emphasized. To construct these hypotheses, a critical revisitation of the work of the writer Renato Cohen (2013) and his effort to write performance as language was elaborated. This dissertation will analyze the dramaturgies of Frantz Fanon (1925-1961) and will also reference the productions of contemporary non-white artists and authors who contributed to the Performing Arts and who tension the colonial linguistic and semantic parameters. Furthermore, the gestures that centrally support this research are the works “Esfriamento” and “Refluxo”, both of my authorship, carried out in 2023, in the transit between Natal/RN and Recife/PE. The methodological attitudes used in this dissertation are “Imaginative-cartography” and “Neuromuscular flow”, both in continuous elaboration that postulate the non-binarity and non-separation between theory and practice or ethics, aesthetics, politics and poetics in the doings of life and in its cultivation. Therefore, we announce that the first chapter of this dissertation takes place in the format of an “imaginative-cartography” and we emphasize that the “Neuromuscular flow” will be reflected in the second moment of this dissertation as an essayistic-performative-conjurative proposal, in order to investigate the possibility of presenting a theoretical text that proposes itself, tactically and simultaneously, as a work of Art.

This dissertation is the result of autobiographical research. The main objective of the investigation was to recall the experiences of the artist-researcher which, in some way, had an impact on his theatrical work. In this sense, the focus of the investigation is a set of memories of theatrical learning that took place from childhood to the present day. The study addresses concepts such as the playing body, group theater pedagogy and the social role of the theatrical phenomenon and the artist, illuminating the intersections between tradition, memory and artistic creation. The organization of memories, due to the fluidity that this concept intrinsically carries, was done in fragments of fabrication, as a reinvention of lived experiences. The dissertation is not read chronologically and each fragment can be read in the order of the reader's choice.

Taking as a starting point my experience as a theatrical producer of Shakespeare's Clowns Theater Group, my research proposes to investigate the particularities that characterize the work of a theatrical production professional, acting in the "Group Theater" modality, in a collaborative perspective, whose operational dimension and artistic dimensions intertwine to the point of becoming indistinguishable. In this sense, this work proposes to cover three as- pects: Survey of the theoretical and methodological foundations that support processes of act- ing and formation of theatrical production in Brazil, an autoethnography about this author's formative journey as a theater producer, within the scope of Group Theatre, reflecting on the similarities and distances between the producer's work and the artistic dimension of what he produces and how these reflections can serve as a basis for training proposals in Theater Pro- duction, focused on Group Theatre. In this perspective, I propose to produce reflections and syntheses that dialogue with different methodological and pedagogical aspects in the training of cultural production professionals, directing the efforts of this work to contexts of Theatrical Production in Group Theater, starting from questions such as: what are the main characteristics that differentiate Theatrical Production in Group Theater from other forms of Theatrical Pro- duction? How can training processes in cultural production stimulate the perception that this work is also an artistic work? What contributions can improving training in cultural produc- tion, more specifically in the field of theater production, offer to the economic and artistic sustainability of theater groups?

I ask for sacred permission to open the way and bring the figure of Malandra to the fore, revealing her origins, traces, and permanence in history. Between faith, struggle, body, and sound, she reveals herself not only as a character, but as an entity, archetype, and living symbol, who moves between times, spaces, and dimensions. In the rhythm of samba and life, she gracefully challenges the world that tries to imprison her, for under her skirt she keeps a razor: an emblem of power, protection, and rebellion. In the Afro-Brazilian worldview, this woman is Maria Navalha, an entity of strength, mystery, and sacred malice. This research focuses on her, with the aim of investigating the figure of the malandra, represented by Maria Navalha, as an artistic and symbolic expression of female resistance through the performing arts, recounting in an expressionist way her historical, social, and spiritual meanings, giving body and voice to a pedagogy of freedom and female ancestry. From listening, experiences, and encounters, the Samborê methodology emerges—an approach with the scent of the street, the sound of drums, and the memory of a crossroads. More than a method, Samborê is a philosophy of body, life, and scene, which unites ritual and artistic creation. It constitutes a teaching and learning practice that breaks rigid molds and recognizes the body as a territory of knowledge and experiences. As a result, three artistic creations emerge: a short film, a stage show, and a book, all aimed at valuing Afro-Brazilian expressions and breaking social, cultural, and religious paradigms. Between sambas, alleys, and terreiros, Maria Navalha teaches that resistance is also dancing. The body, traversed by axé and ancestry, becomes an instrument of liberation. Thus, Samborê asserts itself as a practice and philosophy where ritual meets art, and the malandra—master and guide—leads our steps between the sacred and the scenic.

This master’s research in the arts, written in the first person, emerges from the sharing of knowledge among artists, researchers, and the community of benzedeiras and benzedores (traditional healers) of Rio Grande do Norte, with whom I have lived since childhood up to the present day. Throughout this poetic writing, I propose dialogues with authors such as Eduardo Oliveira, whose studies address ancestry, the body, and poetics; Fátima Freire Dowbor, whose work inspires my actions as an educator; Bianca Bazzo Rodrigues, through her performance studies inspired by the benzedeiras; Lara Rodrigues Machado, who proposes the ‘Poetic Construction Game’ as a methodological approach grounding the scenic dimension of this research; Roberta Barbosa, whose doctoral research offers the Seridoense body-territory as a foundation for artistic inquiry; and Sebastião de Sales Silva, who develops studies on memory and the crossings of dance within pedagogies and bodily creative practices rooted in play. In this way, the master’s dissertation describes experiences in body arts, in the art of educating, in performing arts, and in audiovisual practices—poetic, political, and pedagogical languages of the artistic scene. ‘A casa da Benzedeira’, the artistic work resulting from this research, is a scene stitched together through the memories and embodied textures of the character Dona Romã, who shares wisdoms, tells stories, and invites us to gather among conversations, prayers, and coffee. This research is also, and ‘above all,’ an invitation to arrive with care and a request for permission to immerse ourselves in the mysterious landscape of benzeções (healing blessings).

This dissertation aims to present, analyze and reflect on the process of creating the show Abrazo (2014), by the Clowns de Shakespeare Theater Group, of which I was a member from 2009 to 2022. As a methodology I will rely on the case study, to develop this investigation, and for this I revisited materials that were used during the assembly rehearsals. The theoretical reflection is accompanied by some researchers and artists who think about and are part of theatrical collectives, namely André Carreira (2012), Eduardo Moreira (2010), Nitza Tenemblat (2015) and the author's practical investigation and interviews with actors and actresses, members and former members of the company. I hope that this research will contribute with elements for a reflection on the formation of an actress/actor within a process of collective creation. Dialogue with authors such as Antônio Silva, Rosyane Trotta and Miguel Zapata.

The first-person dissertation assumes the characteristics of a f(r)ictional performative writing (Lyra, 2020), enabling the exercise of crossroads (MARTINS, 1997) between: the cycle of domestic violence that occurred in my family life; The performative soil entitled Revenue (SANTOS, 2010), which addresses the vulnerable situation of a black woman in a state of revolt against structural machismo and aspects of the  Purple Hibiscus (Adichie, 2011). The      f(r)iction (Lyra, 2011; 2015) between the life that experienced violence and the works that portray violence, combined with spiral time (Martins, 2021), brings these strands closer to mirroring that create the atmosphere of the experience of the past , present and future simultaneously, while also sustaining our stories for ourselves, as in an Aquilombamento (Nascimento, 1985) and (Dias, 2022). Methodologically, the research will start from reflections on black theater (Lima, 2011), (Barbosa, 2021) and black feminisms (hooks, 2013), (Gonzalez, 1979; 1984; 2018}, (Collins, 2017 ), (CARNEIRO, 2003) As well as, by way of practice, will articulate presentations of the show A Receita in the composition of the Performic Research (Fernandes, 2014), with the workshop entitled by Pisando o Alho for black women from the Recife Metropolitan Region. These articulated actions aim to open paths for the reflections on how black theater based on a body poetics and ancestry (Santos, 2015) can counteract violence by providing stimulation of the social healing of black women.

This research approaches the buffoon state in the poetics of the stage, tracing my experience with Teatro Bissexto (Recife-PE) in the process of building the buffoons and buffonas for the production of the play Ubu Rei ou a revolta dos coadjuvantes (2018-2022). It starts from reflections about the place of the buffoon in society, from the meaning of the term, on ethics in buffa performance, as well as on the problematizations currently raised about the techniques developed by Jacques Lecoq and Philippe Gaulier. Considering the implications of these techniques in our creative process, we have tried to dimension the buffoon state and perceive its comic, playful and grotesque aspects in the buffa corporeality. This work is a cartographic journey, a composite of crossings and exchanges of affections, which establishes dialogues with other artists, researchers, and relies on the theoretical work of Bakhtin (2010), Bergson (2018), Kayser (2013), Lopes (2005; 2017), Minois (2003), the aforementioned French pedagogues, among others.

Being an art educator who was never satisfied with the school reality made me analyze my school and academic trajectory, and from my experiences, I realized that we are living in a rigid, square school “verse” that does not welcome artistic and the subjectivities of the parties involved in the education process. The objective of this paper is to map poetic-displacements provoked in a school environment through performative practices that subvert the spaces and meanings of school, class, student and teacher. Performative experiments were developed with a 1st year high school class integrated with the Construction Technician at IFRN - Mossoró Campus. Cartography as a research method was a highlight important points of this pedagogical path, and from it with discussions about subversion (Teixeira, 2019), poetic-displacement, transpedagogy (Helguera, 2011), teacher-performer (Ciotti, 2014), class in flow (Oliveira Junior, 2013), emancipatory orientation (Ranciére, 2002), skholé (Masschelein; Simons, 2014), errantry (Kohan, 2016) performance-class and performative program (Fabião, 2013). The study of this theoretical contribution and the investigation through experience, leads me to defend the idea that the performance- class creates poetic displacements that allow the subverse of the school to emerge.

This master's thesis studies the interfaces between the Performing Arts and Bipolar Affective Disorder through the analysis of the creative process “Espectro”, developed by the author of this dissertation while going through his first manic episode. Using Practice as Research as the main methodology, the study seeks to map the scenic poetics of a bipolar actor-creator, the practical developments and the particularities of the process. In a performative writing, the reflection is organized in two moments: autobiographical testimonies of the author juxtaposed with the autobiography of psychiatrist Kay Redfield Jamison (1996), reporting passages of his life with bipolarity; and the description of the practical laboratories, experiences and studies, analyzing the construction of the creative process “Espectro” in Theater, Performance and in life. This research envisages the possibility of drawing connections between creativity in bipolarity and also in the Performing Arts, becoming a reference for bipolar artists in the contemporary scene, in addition to being a unique example of how art and life can be interconnected and blur their boundaries in creative processes. Through self-knowledge and the blurring of the boundaries between art-life in contemporary times, a new look is proposed, from a neurodivergent perspective, for artistic-academic research, which invites us to transform limitations into strengths in relation to BAD.

The records shared document the artistic and educational processes involved in the creation of a HOMOSERIDOENSE body-territory. These writings emerge from a female, sertanejo, restless and exploratory body, which is transformed into art through the landscapes and experiences of the Sertão do Seridó Potiguar, a region located in the interior of Rio Grande do Norte. The study is inspired by the immersion and sharing of autobiographical feelings, with the aim of radiating the knowledge and traditions of my community, especially to students who, like me, have migrated from the countryside to the capital in search of better opportunities.

As an artist from the city of Acari, I immerse myself deeply in the cultural, historical, ancestral, political and social dynamics of the region, keeping myself open to new learning about local histories and manifestations. This development process is shaped by encounters, interactions and experiences, reflecting the struggles and nuances of Seridó women's lives and poetics..

The dissertation, entitled “Gorete do Cacete and the creation of the artistic scene: the giras and the performing body in the backlands ground”, reflects on the process of scenic creation developed by the author of the text, based on the investigations of personal and artistic memorial around traditional and ancestral knowledge, from different communities with which she lived during a long journey, which also precedes the path of this master’s degree. The methodological proposal “Jogo da Construção Poética” (Poetic Construction Play), conceived by this work’s supervisor, grounded the research process, inspiring the author to create the character “Gorete do Cacete”. This proposal allowed for the expansion of rigid and technical concepts, reaching the sensitive field, and thus, from the game of capoeira, dances of life were born, through their own cultural references afro-pindoramicas and their corporal knowledge. In dialogue with other authorships, it salutes the ancestry of a people that came before us and that has its life stories based on the embodied and grounded doing in the sertão of the Seridó in Rio Grande do Norte. In this way, through the stories of the past, bodily discoveries written in the present, and the projections of this embodied knowledge as continuity of the giras lived, this writing is poetic, aiming to reverberate in he time and space of several people forming what the author calls “research continuity”. The communities that supported the development of this research were the communities of Povos de Terreiro (Terreiro people), Ilê Axé Afinká - Macaíba/RN, Ilê Axé Odé Layó - Açu/RN, Casa de Jurema Maria Bigode - Macaíba/RN, and communities in research fields in the lands of Bahia, Sergipe, Rio Grande do Norte and the academic communities of UFRN and UFSB.

I start from the intersection of the Myth of Lilith and the Myth of the Great Mother, narratives that combined draw my personal mythology (FEINSTEIN; KRIPPNER, 1992). I f(r)iction (LYRA, 2011ab, 2014, 2015, 2019, 2021) these mythologies in a scenic proposition, raising questions about how women have been historically. I propose reflections from the feminist movement, which has caused changes in the (re)existence of us women and has been actively present in the most diverse areas of society, including the arts. I fecund my research in Mythodology in Art (2011), a path of artistic creation, coined by Professor Luciana Lyra, bringing out discoveries about myself in the relationship with the Artethnographed environment (LYRA, 2011), based on my own experiences, in a unveiling of events that, during the process of scenic creation, we will been giving signify or resignifying. And so, as a result of the plot of the two myths, from the creative process is born the Wild Mother, an artistic, political and subversive parturition.

Dans un monde ravi par la mondialisation/l'universalisme, en tant que discours, niant ainsi les
particularités/diversités des lieux et des personnes, ce travail soutient la nécessité de regarder
les singularités. La plupart des études culturelles, en termes d'identité, se concentrent sur
l'hybridation des cultures, considérant l'identité comme simplement situationnelle. Ce
positionnement affecte également le regard porté sur les identités ethniques, entendues comme de simples identifications. Par conséquent, à partir du récit de la trajectoire personnelle et de la formation du concept de corporéité maternelle, je propose une identité non seulement politique/situationnelle, mais comme une réalité incorporée qui doit être considerée dans les processus d'enseignement des arts de la scène à l'école - le lieu d'où je pars − surtout. La réflexion est menée de manière indisciplinaire, les murs habituels ont été abattus, entre le politique, l'ethnique et/ou le culturel/artistique, le géographique, l'économique, l'historique, etc. La réflexion, outre le parti pris théorique, a une part de pratique théâtrale basée sur les œuvres de Bimphadi (Núcleo de Pesquisa em Artes da Cena, Angola) que j'intègre en tant qu'acteur-chercheur.

This dissertation propose a historical reflective cultural and pedagogical analisys about one of the largest brazilian northeast popular manifestations. I introduce several contents that are within the concept of popular culture about tradition and modernity, the concept of festivity, the dance and its features and how the Quadrilha Junina may be inserted as programmatic content at the art education, specifically on teaching of dramatics. The work is characterized on a medotological approach of qualitative nature and autobiographical disposition about my experience with the Folguedo and its outspreads over my academic trajectory. And how the Folguedo can concur in the subjects students and teachers tuition-learning process at the educational envirioment.

The aim of this research is to investigate my professional career as a theater actress in the city of João Pessoa. Adopting autobiographical studies and life stories as theoretical-methodological inspiration, I seek to investigate how my experiences as a person born and raised on the outskirts of the capital of Paraíba constituted me until [ABISMO], a creative process that I consider to be the most impactful in my career. In terms of research, I present my path up to the process of putting on the show [ABISMO]. This decision is due to the problematic that guides the investigation and has to do with trying to explain the concerns that arose from the poetic-aesthetic experience that, for me, became abysmal in the sense that the process [ABISMO] has played a central role in my way of being a theater artist ever since. As this is a research project in which the personal narrative is also the main object of investigation, it can serve as a contribution to the reflection of artists in their adventures on the theater scene.

The present research come from an investigation carried out by actors-researchers from Bimphadi, Núcleo de Pesquisa em Artes da Cena, based in Luanda, Angola, on the group's scenic creation practices. This participatory research of an experiential nature was born from the desire to develop a body training for the Bimphadi actor, developed from Muntu and from a delve into the knowledge of Angolan cultural manifestations. ritualistic elements of the ethnic groups to which the Bimphadi actors belong and based on them a process of recreation was carried out. Through this research, we seek to reflect on the actor's corporal preparation in the "apprenticeship" of dance and/or scenic movement using as a starting point the ritual dances and songs of Angolan culture. In order to refocus on scenic creation, Bimphadi actors propose a reunion with Muntu, a term of Bantu origin that deals with the connection of the being with itself (person/Total Being).

The present work has as its main theme the cultural manifestation tambor de creole, having it as a driving element to think about a re-elaboration of this tradition of origin in contemporary society (SANTOS, 2019). The writing is based on the methodological proposal of the body and ancestry, by Professor Dr. Inaicyra Falcao. Thus, the text is being composed from elements of the dance itself, as well as the relationship between the interpreter's body and her ancestry. We propose to think of a creative process in dance that walks through the crossroads (RUFNO, 2016), in the encounters between knowledge and popular practices with different perspectives for the configuration of new possible ways to create in dance.

This Master's study in Performing Arts is based on two general assumptions: the body is also constructed by the rituals in which it participates; rituals can provide material for local art, including teaching it. Based on this, this research project aims to investigate the ethnoteatrological elements of the death ritual of the Bakongo people, understood as an important cultural manifestation of Angola, whose valorization in the field of arts may question the imposition of European theater, in search of an Angolan art that is produced with ritualistic knowledge. Through the experimental method of ethnographic inspiration, the study reached some results, highlighting six para-theatrical elements identified in the funeral ritual and that can be pointed out as its ethnoteatrological aspects, namely: mpovi and makonzo, palm branches, moan, songs, dances and representations. The verification of these elements indicates the possibility of them functioning as a source of rescues and recreations that can nourish and enrich the Angolan actor. For that, it would not be enough to be only in the assembly of a theatrical work, but also to be associated with a pedagogy of the performing arts. That is why, in the development of the research, the identification of the ethnoteatrological elements of the ritual led this study to point out the effects of these elements both in the educational field, understanding the ritual as a teaching principle, and in the artistic field, especially from of the work carried out by the Bimphadi Center for Research in Arts of the Scene, based in Luanda, Angola.

This dissertation deals with the documentary collection of the Teatro Alberto Maranhão (TAM), a building opened in 1904, in Natal, Rio Grande do Norte. Seeking to measure the relevance of this documentary mass for the memory and history of Brazilian theater, this study presents the notion of sources, documents and theatrical collections, contextualizing the initial years of the Teatro Alberto Maranhão and the constitution of its documentary collection. Next, documents from this collection relating to the period between 1926-1937 are specifically analyzed. For this, the works of Carrijo (2020), Azevedo (2021) and Fontana (2021) are used as theoretical and methodological references. Finally, the Potiguar theater is located in the panorama of Brazilian theater during the 1920s and 1930s, addressing the political, economic, social and cultural situation in which the scenic productions presented at TAM were inserted, mentioning theatrical genres and dynamics of circulation of professional and amateur groups of the time, establishing connections with the theatrical scene observed in other Northeastern States (Silva, 2014), (Ferraz, 2018) and (Faria, 2020). With the aim of providing subsidies for new research on the History of Brazilian Theater, this work contributed especially by investigating the History of Theater in Rio Grande do Norte.

A partir de la pandemia de COVID-19, el trabajo de Artistas del Teatro de Mamulengo se restringió a la tecnología
de la comunicación, es decir, al tecnovívio - concepto desarrollado por el filósofo Jorge Dubatti (2016). Aunque la
convivencia es la base del trabajo de mamulengueiros, las redes sociales, en este momento, se han convertido en la
única opción de intercambio entre artistas y público. El presente estudio, anclado en la investigación-acción,
reflexiona sobre algunas estrategias adoptadas por la comunidad mamulengueira debido a las tensiones en el
formato remoto, y desde una experiencia práctica propone diálogos y acciones formativas con el fin de contribuir a
la realización de artistas mamulengueiros en el proceso de inclusión digital.

This dissertation aims to reflect on the process of creating a dance collection at the Federal University of Rio Grande do Norte (UFRN), from the vast understanding that dance is an area of knowledge inserted in the University, we propose the beginning of a memory for the dance. It presents the choreographic works of the Dance Group of the Federal University of Rio Grande do Norte (GDUFRN) as artistic dance works resulting from body research, laboratories and body studies, carried out by its components. It understands the GDUFRN shows as artistic and cultural heritage worthy of preservation and dissemination, over thirty years of existence, via a university extension project. Part of the most recent work by GDUFRN – “(Des)Caminhos” – as a potential show to be studied and made available in UFRN's Acervus system. It discusses the philosophy and memory of dance, highlighting their understandings and differences to highlight what is possible to keep from this ephemeral art. It considers the historical concern of preserving the artistic performances of the performing arts in contrast to what is possible to archive in dance. It highlights the urgency of building a dance collection based on national and institutional cultural policies. Through the reports of the dancers-performers-creators of GDUFRN and other materials linked to the event, using Merleau-Ponty's phenomenological-existentialist methodology as a guideline, for understanding the body as a carrier of knowledge and dance as a phenomenon intertwined with experience. of the subject in its time, in which we are also objects. As a result, the access points and specific characteristics are highlighted for dance to occupy the collections, concluding that there is a possible path to the beginning of the memory of dance at UFRN, through a live and interconnected archive, linked to the University.

This thesis is motivated by the study of Theater Scenography in Brazil, with emphasis on the importance of creating a culture of collection, documentation, and other records of the Costume Designer profession. Some aspects such as the origins of the artist and the references that marked his productions are addressed here, with the goal being to gather necessary knowledge that intersect and reflect on the creative process, inspiration and production in the clothes of João Marcelino, an artist who has been contributing to this area, since the early 80s, and has developed a signature style throughout this period. This thesis will highlight how imagery and practical influences, as well as training courses, can transform an individual's perception. In his art, some of the more prominent elements include modeling, textile articles and the study of ergonomics and anthropometry. While these are normally used in fashion, they manifest themselves in an organic way in Marcelino’s work. From this thesis, it is also possible to understand how the clothes themselves assume a language and a discourse.

This dissertation intends to analyze and reflect on the poetics and narratives of resistance inscribed in dissident bodies, which present themselves as discursive instances in contemporary dance. Dance is understood as an enunciative power that materializes in the danced speeches, as a representation of mobilizations, projected on the scene as political acts of confrontation with certain standards and micropolitics that emerge from the subject-body that dances and (d) enunciates. Thus, it proposes to discuss how such configurations are constructed and presented in dance, starting from the analysis of the creative processes of the Potiguar companies Gira Dança and CIDA (Coletivo Independente Dependente de Artistas). It is presented, methodologically, as a Case Study (YIN, 2001). It is intended to demonstrate how the discursive power of dance starts from the engaged and collective action of groups and subjects that launch themselves into a network of projection of meanings, images and dissent.

Starting from the practice of writing/living (EVARISTO, 2006), in conjunction with the proposal of an performative academic writing, a f(r)ictional writing (LYRA, 2020), this first-person dissertation seeks to arrange an encounter between me and the Brazilian writer Carolina Maria de Jesus (2014) for a conversation about our diaries written at different times, in order to foster a dramaturgical construction, that have as themes: childhood and non-representation in the media, adolescence and loneliness of the black female artist nowadays. Carolina and I, black women living such similar realities, engage in a dialogue between times where situations of racism, misogyny, objectification of the black female body, class struggle inside and outside the real and fictional scene are exposed, based on reflection, introductory studies of black feminisms (RIBEIRO, 2018), (hooks, 2019), defending the idea of a skin-memory experience.

This study corresponds to a trajectory of research in dance that started during the graduation
period and ended up in this master's thesis. Anchored in the methodologies: Autoetinography
(SANTOS, 2017) and “Game of Poetic Construction” (MACHADO, 2020), the research is
developed from the understanding of the body that inhabits the boundaries between the Oral
Tradition and the Performing Arts, and that when move tells stories and announces ancestry,
which we call here “Corpo Griot”. The term Griot, in the West African region, refers to the
figure of a guardian and orator of the cultural knowledge of his community whose function is to
pass on knowledge from generation to generation, based on orality (BÂ, 1982). In investigating
this body, we are interested in understanding how it organizes itself and creates strategies when
in the process of creation or scenic situation. From narratives of ancestral memories, both from
my maternal family and from Capoeira Angola, a web of personal and political questions about
the body and its history is formed in the web of this study, reflecting ethnic-racial issues in life
and in performing arts, linked to my trajectory. This plot, turning to research into dance,
engenders an internal dramaturgy, the Tramaturgy, a methodological process that has been developed during this research, the way in which it woven meanings between: memories, narratives, writings and the creation of the soil “Urucum'go”.

This Master's research aims to investigate pedagogical elements of the "Ritual Body" workshop of Grupo Totem, understood as conditions of possibility for the emergence of the performance “Their Pains”, related to situations of obstetric violence. Having the pedagogy of Grupo Totem as the main pillar of the research, this work describes and analyzes how the "Ritual Body" workshop allowed the creation process of the referred performance, which scenically composes questions such as: the need for humanization in childbirth care, the mortality motherhood, the role of the doula, the woman's right to choose normal or cesarean delivery, and institutional racism against black pregnant women. The analysis of the performance is based on a dialogue with theoretical references on this theme, emphasizing the importance of scenic works of a political-social nature (artivism) engaged with female empowerment.

This research aims to investigate the body-mask through the identification of three characteristics: Artificiality, Perception and State. Based on the proposal of creation networks, by Cecilia Salles, I present a processual methodology, which is woven from the interactions and affections that happen during the course. Thus, aiming to open dialogues, I originate the text in the format of letters. As a case study, I analyze some creative processes in which I participated, in the light of reflections about the body-mask proposed by some researchers, such as Felisberto Sabino da Costa, Rudson Duarte and Andréa Stelzer.

This research aims to track the potential of imagination into the actresses and actors work. In this sense, this theoretical-practical investigation starts with some of my work diaries from the creative process of “Retalhos”, a monologue inspired by my grandmother’s life and private universe, which has changed in the past few years due to her memory loss. Theoretical reflection is based on some principles of Somatics and the interpretative methods developed by the Russian actors and stage pedagogues, Constantin Stanislavsky and Michael Chekhov.

This research is a choreographic result of images that move choreoediting and its poetics in dialogue with dance and cinema, which are revealed in the editing and mounting processes: frames, schemes and techniques that make themselves present in the gesture of the kinesthetic body for the production of digital images interactively in the construction of videodance. Fits into a qualitative methodology, aiming to expand research in dance and technology through practical and theoretical production, articulating knowledge about cinema techniques, based on the authors Sergei Eisenstein (2002) and Andrei Tarkovsky (1998), such as the dialectic of montage of the Soviet cinema, the sequence-shot, and the poetics of the elements expressed in the film scene and how they can be used in choreoediting. To this end, this research also seeks to reflect on the contributions of filmmaker Maya Deren (1960) through choreocinema, also seeking to reflect on the choreographic processes through the body and the moving image, dialoguing with the filming resources. It is also relevant the dialogue with two authors who consider editing a form of choreography: Gretchen Schiller (2003) and Karen Pearlman (2009). It is also intended to look at the development of videodance in Brazil, whose perspective has been expanded in the last two years due to the social isolation of Covid-19, bringing together several dance artists and expanding the creation of this language in the country. Furthermore, it presents an artistic-teaching course through videodance creation and a methodological description of the orientation process of the artistic residency Coreoedição: fluxo criativo na videodança developed by CenaUniversidade (UFPE) as well as videodances coreoedited by artists from Recife/PE and Natal/RN. Finally, points out videodance and choreoediting as a possibility for the body and the choreoeditor to express themselves through the technological resources of filming and editing, sharing poetics.

This master's degree dissertation, intend to reflect a concept about the scenic creation process developed by the author based on investigation of personal files and at the ancient and traditional knowledge, experienced with the communities wich the author got along trhow the study process. The methodologic propose of 'Game of the Poetic Construction' born of Lara Rodrigues Machado, was source to the study and creation process of 'Ia Ticum' scene. The communities that sustained this concept were Communitie of Capoeira Angola the settlement of the Communitie of Nova Suiça  and the academic communitie as UFRN itself among others.

This research aims to reflect on the gender performativity existing in my scenic practice as a drag queen performer teacher. In this sense, as a methodological strategy I report my training in creation as a queer person in my personal process of disidentification. Thus, on the one hand, I used the classroom as a place for a performance laboratory, in order to understand the corporeality present in the queen state, and, on the other, from experiences, I seek to dialogue with people marked by a narrative of resistance in queer performance. The spaces covered in this dissertation are territories of power that are reconfigured through the wanderings of a dissident body, clamoring against normativity and compulsory order. The result of this dissertation is an account, in the form of text-performance, of a body in transit migrating along wandering paths that contaminate itself across borders to reveal its performance practices and the creation of a drag laboratory.

This research addresses the construction of an artistic narrative that encompasses cinema, photography, theatre and writing in the thinking about documentary. It is proposed its own methodology a reflection on the construction of a single documentary narrative about freedom and imprisonment in women’s daily life from 11 real statements, of women from diferente cultural sócioeconomic realities, in dialogue with a fictional text by the writer Mia Couto. The work starts from a performative writing and thinks about the documentary theater, its characteristics, possibilities and feasibility in the scene in dialogue with the narrative construction, still working the photographic language through an essay and the audiovisual through a video documentary using these constructions as steps for the scene.

AGAINST INDICATIONS This work reads AIDS as a metaphor and defends the use of metaphor based on the construction by the author Susan Sontag (2007). Here I present some provocations in the shape of a drop, a reactive drop of the research fluids in which we discuss the poetic representations of AIDS in the performing arts and how they interact with elements intrinsic to a culture characterized by the male domain, by the social disparities between the borders of gender, class and race. This dose that I present to you is a compilation of writings in the form of essays, shell, pulp and lump from the research on the notion of “post cocktail” elaborated by Alexandre Nunes (2015). In this writing I make a reflective report and dialogue in first person about the field experiences that were carried out between 2018 and 2020 and its reverberations for this research in the practical and theoretical field. When taking these doses, I see very questionable demarcations of territories about the lack of protagonism of HIV-positive artists talking about the theme of "AID$" and how the notion of post-cocktail can be read as a possible representation for the discursive examination at epidemy in the arts of scene in Brazil. This representation dialogues with the idea of a “discursive epidemic” reflected by Marcelo Secron Bessa (1997) and both appear in the literary field, being contaminated here in a context in which the epidemic occurs within the national scope of the performing arts. I try to take a post-cocktail look at the performing arts, and I exemplify how this notion influences the reading of creative processes and in my case in a dialectic between the erotic and the political. I conclude our rehearsed conversation in the description of Contaminated Practices, a topic that brings together activities still in data analysis, which exposes the artistic, pedagogical and informative practices of the research in progress, which will continue in motion even after his post graduate defense. Finally, I discuss the idea of Side Affection, whose main reverberation is the performance Agora Chupa Essa Manga.

The present work investigates the process of appropriating the art of the Traditional Circus Clown carried out by Cia. 2 em Cena from 2007 to 2017, taking as object of study three shows of the referred collective. Through a Case Study, the clown / clown elements present in the shows are analyzed: Clowns - History of a circus without canvas, Reprilhadas and Entralhofas - A concert to end sadness and From Dress to Nose. Among the elements analyzed are: the exploration of the antagonism of the traditional comic duo, the appropriation of classical circus dramaturgy, circus musicality and the role of the clown woman in contemporary circus. Cia. 2 em Teatro de Teatro, Circo e Dança is a center for research and cultural production, based in Recife / PE, formed by Clowns, musicians, actors and dancers who perform studies on Circus and Traditional Circus Clown, as well as about the theater for children.

This dissertation mapped performances as experiences of creation by a narractress, gathering for its composition the discussion of narrative body, art performance, and narrative performance (storytelling). By choosing different educational spots as performance locus, going through the concepts of artist/teacher formulated by Isabel Marques (2011; 2014) and professor-performer by Naira Ciotti (2014), I understood the hybrid narractress as providing body-word to an artist/teacher who mobilizes issues bodily anyplace she wants to. The investigation happened through the experience of three art performances provoked by the questions that the universe of oral narration brought to my existence, sewed to the memories of my personal path as a storyteller, and to the researches made by Brazilian storytellers on oral narration in the contemporary world. It was through those weavings that I highlighted three of many sewing threads present in the composition with/from the hybrid narractress, in dialogue with the discussions on body and performance: the theorists as Eleonora Fabião (2008), Luciana Hartmann (2015), Paul Zumthor (2014), and Suely Rolnik (2016), as the concept of performance developed by Jorge Larrosa (2014; 2018), and the relationship between performance and education brought by the voices of Gilberto Icle (2017) and Mônica Bonatto (2017).

Considering performance art as an action-thought form, this dissertation raises a discussion on of a series of performances of disbelief. In a dynamic that involves the prosthetic body and the self-reflective processes of gender inscription, this research aims to trace an aesthetical and political understanding on the effects of a metalinguistic appearance of the prosthesis on the scene. Privileging the dialogue between performance studies and concepts from queer theory, each chapter organizes an analysis of works that propose, with particular intensity, a critique of gender as a mechanism imposed in a complex network of economic, political and social relations. Highlighting the metaprosthetic gesture as a metacritic procedure of the prosthesis on itself, it is argued that the prosthetic body, on the verge of becoming another, not only experiences the genre as a machine, but unfolds itself as an agent of disbelief zones in relation to a texture of knowledge that produces identities, significant practices and enunciation positions from genitality (cisnormativity).

This research is about a makeup study as an artistic and learning experience in a secondary school. Its main objective is discussing the makeup knowledge from an idea of appearance. At the same time, it provides reflections about the concept of the image and how it interferes with social life and with character design. With the development of drama education and methodologic strategies, the work done with the students aims to assist them in the construction process of makeup knowledge, and its perception as an essential element on stage art. The dialogues are built based on the action research process. Moreover, they take into account the students' experiences and bring a thoughtful perspective about the students' lives.  That way, starting from the ideas of Bourdieu and Landowski, I discuss appearance and the factors that influence the personal image. Magalhães, Souza, and Ramos contribute with their perspective about the understanding of makeup as a stage art technology, which is an element that impacts the looks of those who wear it. In order to discuss education, based on Freire's ideas, who understands the dialogic importance between the teacher and the student in the learning process. As a result, this research strives to disseminate drama education with makeup experience, both enhancing and provoking discussions on drama pedagogy. 

This text deals with an investigation and a thought about the group theater movement in inland cities of the state of Ceará and in particular, the artistic and training activities of “Cia Ortaet de Teatro”, a collective based in the city of Iguatu/CE, in the Center-South from Ceará of which I am one of the founders. The group's experience presents some interesting triggers to think about how formation and artistic creation take place, as well as the organization and maintenance of a group outside the major economic centers of the country. The research is anchored in my practical experience within the “Companhia Ortaet de Teatro” and in the reports of several artists and theoretical researchers from the state of Ceará.

This dissertation aims to research in a transdisciplinary approach how dance and circus change when they work together, using a circus device called the cyr wheel. The circus emerges as popular culture, a repository of beliefs, myths, representations considered, until then, grotesque and spontaneous languages, without the necessary rigor to reach the artistic standard, still far from the perfection of the Beautiful, an ideal predicted by classical culture. Circus art and artists are recognized for their miscegenation with several other artistic languages, including dance, which in turn is used as an element of cohesion and entertainment in the construction of circus shows and numbers. It can be said that there are creative processes, in contemporary circus shows, that intertwine circus and dance, thus emerging a possible new language. The two arts have the body and movement as essential elements in common. From reflecting on the role of the body in the processes hybridized by the two areas and thinking about the possibilities of movement with the device used, it is possible to expand the horizon of theoretical and methodological reflections present in the interface of scenic making with other artistic languages. With a qualitative character, from an experience report and in addition to bibliographic research, the following actions are being used as sources of data collection: documentary research and semi-structured interviews, with a semi-defined script, relating to my artistic experience.

This work is a qualitative research whose objectives were: to reflect on the practice of dance-game as a possibility of teaching dance; how to take a dance class in which students are motivated to participate and investigate other possibilities of dance teaching. The research covers classes with students of the fifth grade of the Deputado Erivan França Public School, students in the class “Poetics and Decolonial Aesthetics of the Graduate Program in Performing Arts at the Federal University of Rio Grande do Norte (UFRN) and Dance undergraduate students in the class "Dance and Education". For this, the researches of some authors in the field of dance education are brought with the intention of reflection, such as Carolina Andrade and Kathya Godoy (2018), Teodora Alves (2019), Márcia Strazzacappa (2001), Karenine Porpino (2006) and Lara Machado (2017). It was noticed that the students of the Public School actively participated in the games proposed in the classroom that involved body movement, but did not dance. In this sense, this study developed the term dance-game in order to transform the game into a dance proposal. It is necessary to consider that this research leaves open the possibility of new developments of this term through new experiments in its various spaces, such as the classroom, sports court, creative laboratories, squares, streets and where else it can be done.

This house-research has The Yellow House, by Vincent Van Gogh, as poetic reference, and it is a writing exercise in residence. We are located in the field of Performance to pursue an experience report about the displacement São Paulo / SP - Natal / RN. In the first part - House-research, we approach the notion of house in an extended perspective, making visible the subjectivities in the process of dwelling, as well as its relations with the art creative process. In the second part - Analytical Tactics, we revisit the boxes of objects and the experiences of past addresses. We visited the residences, the old works, exhibitions and projects of which I participated. In the third part, Invisible Performances, we evoke the archives by doing curative exercises, dealing with the processes of Expulsion and Erasure, and also some different views of the concept of Affection. Some creative processes and aesthetic products were produced throughout the research. As an artistic product we present the performing installation LABPerformance UFRN / DEART.

This research is an experimental study on the art of magicians. We analyze and discuss some of the creative processes triggered by these artists as technical elements that promote the illusion, ways of doing and acting and the subjective universe of the artist. We established relationships with the performing arts, reference books and magician lecture notes, diluting epistemic boundaries. Three elements punctuate this investigation: the body of the performer, the performativity and the nature of its art. Interviews and reports of experiences were analyzed in this research, also considering the artist's own artistic process. The theoretical discussion proposes dialogues with authors of the performing arts, theatrical and performative performance, addressing the practical and theoretical aspects related to the formation of magicians.

While several researches around the world were seeking answers to the phenomena that occur in outer universe, the swiss psychologist Carl Gustav Jung (1984a, 2000c, 2012, 2013d) was conducting a research towards the opposite direction, rising questions about the phenomena in our inner self. Jung, who dedicated part of his life to this research, concluded that in the inner masculine subject there is a feminine dimension that remains in a continuous feedback. This feminine dimension was named Anima, a term of latin origin that means Soul. According to Jung, besides the religious connotation of the word, anima/soul also represents the archetypal images of the eternal feminine dimension, both in the unconscious and conscious mind of all men. Following this Jungian proposition and recognizing and valuing my femininity, as a researcher, since 2013 I have started searching for creative processes in performing arts that have as motto the provocation of the soul dimension in me, in order to release the feminine figures that are in my inner self. Over several processes of corporal investigation in the course of three years, during my graduation in performing arts at UFRN, I have reached to the figure of my maternal grandmother, Bibiana Maria da Conceição, known as Bia Mulato. In this regard, this study was conducted through the figure of cabocla Bia, whose history of struggle and resistance recreates significant rites of passage (GENNEP, 2011) in episodes of violence, prostitution and the search for freedom. During a series of ritualistic and mythical creation procedures that were fostered in laboratories of creation through Mythodology in arts (2011a; 2014b; 2015c) and developed by Profa. Dr. Luciana Lyra, I have entered into corporal experiences that have been unraveling my soul's impulses, which brought me closer to the figure of my grandmother, in pursuit of a space for hearing between generations, which, at the same time, leads to the speech through the scene.

This research aims the self-direction in a solo work. The study had parted of creative processes that investigates ways to direct, the work of acting and directing and the dynamics of those who create occupying the places of actor and director at the same time. In addition, the work also examines the performer's position on his creative autonomy, the theater groups and the creative process of the clown. It was interviewed four actors-directors who have been through the experience of self-directing recently: Georgette Fadel (SP), Nena Inoue (PR), Matteo Bonfitto (SP) and Michel Melamed (RJ). The interviews were used for the analysis of the forms of self-direction and, from them, it was extracted points of discussion of the subject. The work of Anne Bogart (2011), Peter Brook (2002), Antônio Araújo (2011) e David Mamet (2014), Matteo Bonfitto (2002 e 2013), Cassiano Sidow Quilici (2015), Sophie Proust (2006), Fayga Ostrower (2014) and many others, serves as a theoretical basis for the work. This research also uses the cartographic method - because the intervention of the researcher in the process and this researcher investigate the selfdirection in a creation experiment - and the writting in the form of esays.

The present research starts from the need to problematize a pedagogical plan for Theater Teaching, from a dialogical perspective, based on an idea of expanding the contents and practices of this teaching, and investigating the insertion in this field of Autobiographical Narratives as a form of to rethink their own course, to establish relationships between this personal and family journey and wider social, economic, political and cultural issues, to bring to the fore the importance of memory. The research design that presents itself from the Qualitative research led us to think a methodological approach that not only exposed the Freirean dialogue and its relation with Theater Teaching through the Autobiographical Narratives as basis for the realization of the research. In this way, it was necessary to understand the reality of the student, to elaborate the lesson plans that would provide the construction of knowledge and broaden the vision and the theater; which would not only describe a practice, to study a case, but to dialogue with the subjects and build the research along with them through action research.In this sense, seeking to focus on the specific situations in the daily life of the Escola Estadual em Tempo Integral Ambulatório Cardeal Câmara, located in the city of Mossoró, RN,during the classes of Arts in the classes of the 4th and 5th years, from a dive on the project " My Narratives ".The research is outlined detailing a description of the locus associating with the Freirean principles during the pedagogical proposal, discussing what is autobiography and describing its methodological proposal; besides the presentation of the project execution through a dialogical construction of Theater teaching, using the body preparation for initiation of the autobiographical narratives and Games for the scenic construction of the spectacle. In addition to analyzing the difficulties, facilities, and what has changed in relation to teaching and learning in Theater.

The view of the great majority of people in the face of nudity is guided by imposed social standards, but we can understand it by artistic bias because it can give us a different look. The naked body is subject to the judgment of appearances and the inevitable associations to original sin, in the present world where religions permeate many daily actions of the population, thus, it is treated as offensive, even within the artistic field, and the works that use the skin as costumes tend to carry the weight of such associations made through existing social paradigms. Works of art, which use nudity as an aesthetic and poetic element, can provide a differentiated perception of this naked body in the scene. In the search for a differentiated look, the hypothesis proposed here proposes that this nudity be understood not as absence of costume or intimate exhibition of the body, but by the skin as clothes, by which, the artist can resignify the use of the naked body in scene.

The objective of this research is to capture the meanings produced by the relations between the artistic universe and the political universe, through its artistic-political expressions in Brazilian reality. For that, I am actually moving through three phenomena: on the one hand, expressions of permanent confrontation, located here by artistic activism; on the other, the insurgent and temporally located confrontation, represented here by the #OcupaMinc Movement; finally, the censorship efforts that certain groups / individuals of the Brazilian political scene conducted in relation to artistic works in the year 2017, specifically the exhibition QueerMuseu and the performance La Bête by Wagner Schwartz. Understanding culture and, by extension, art as possible counter-hegemonic, based on the Gramscian concept of hegemony, I articulate bibliographies, news stories and contents - images, videos and texts published on the internet, seeking to construct a panorama the object of study. I find in this way a complex, mobile and fruitful scenario in the relation between art and politics, of different works and sayings, in which art, undergoing refutations and tensions of politics, also produces them, creating spaces that enhance its counterhegemonic nature.

The present text is the presentation of a research that is underway and investigates to what extent the making of expressive theatrical masks can contribute, positively or negatively in the creation work of the actor, considering that they were elaborated from their proposals of corporeal creation as a materialization of "character-type". The research also seeks to reflect on the development of a feedback process so that both spheres of creation, both actor and worker, can be mutually reinforcing. In this way the main axis of the investigation is in the analysis of the object as stimulus and potentiator of the work of the actor.

This work approaches the subject of the body that errs by improvised dance as a possibility of aesthetics update of space in Natal - Rio Grande do Norte/Brazil. It considers the practices of self attention for scenic investigation in public spaces and the creation of improvised movement and has as motto the feeling of the city by walking. It starts from the following guiding questions: what meanings are created or updated after using improvised movements in city spaces by erring? How the city affects the dance and the dance affects the city? That said, the work has the objective of investigating the existing relations between the improvisation of the danced gesture and erring through Natal city as well as understanding the meanings update by the relation between the spaces and places of the city, realizing how the aesthetics experience of creation in dance on the streets in real time, reflecting on possibilities of poetic experience of the spaces and places in the city of Natal. It uses the description, reduction and reflection as methodological procedures in the Fenomenology context for interpretation of the reports obtained as a result of erring practices through the city and also appropriate the erring in dissertation text construction by poetic unpredictabilities for academic-artistic writing. The text is in the field of Scenic Arts and contributes to the area by reflecting and presenting possibilities of researching the articulation between the body, the dance and the spaces of the city in order to produce an error aesthetics and to update meantings constantly.  As results, the work responds to the questions by relating them to the reflections about the described experiences that got divided during the third chapter in the topics About the permissiveness of feeling and being: the meanings created that treats the dance in its ontology and discusses the updates of meanings as what is felt and is expressed in the body by dance; and About the updates of the dance and of the city: affections, energies and suspensions, that reflect about the aesthetic updates of the danced erring and discourse about the space that affects the dance and the dance that affects the space as the person dances what is felt in the city and give it back its new meanings.

This research aims to investigate the dynamics arising from the intertwining of artistic languages imbricated in intertextual creative processes. It is a qualitative approach that involves the paradoxes of contemporary artistic creation with its simultaneous events in a practical and theoretical way, intensively permeating the ambiguities and imbrications of art / life. The Scenic Instaurations created by CRUOR Contemporary Art in Artistic Residence at the Dr. João Machado Psychiatric Hospital are objects of study and analysis of creation in the field of Scenic Arts. I introduce the writing of this dissertation narrating sections of my life, which constitute me as an artist and researcher. In which I mention important productions of the Transdisciplinary Nucleus of Research in Scenic and Spectacular Arts / NACE and its group of scene practices: CRUOR Contemporary Art. I explain the concept of "Scenic Instauration" used as a creative methodological procedure to perform the scene practices of this research, a term created by Profa. Dr. Nara Salles in his doctoral thesis entitled "Senses: a scenic instauration - Creative processes from the poetics of Antonin Artaud" in the year 2004. In the first chapter I approach themes of art and the contemporary scene in a mental asylum. The second chapter reports on the creative process of the Scenic Instaurations: DESAMPARO, Birthday and WATER. I conclude the text proposing in the Aspects (in) Conclusive developments for this research when reflecting the resemantization of corporal writing by the vestimentary and skin processes.

This research aims to reflect on elements of contemporary dramaturgy, starting from a theoretical study and the production of a dramaturgical experiment. The study used different technical and sensitive references, mainly a theoretical survey about the work of Jean-Pierre Sarrazac. Then a dramaturgical experiment was produced (The Nature of the Red Onion [A natureza da cebola roxa]) as a writing exercise for a contemporary drama. Finally, the reflections of this research are presented: an analysis of the writing process; an observation of the work in its convergences and divergences with the presented theorists; and some notes about the research construction process and its likely referrals. Finally, a formulation of possible metaphors about contemporary dramaturgy in general, bringing traditional northeastern dishes, buchada and marrow, closer to the dramatic text.

The present research aims to investigate, perceptually and sensibly, the sensations, feelings and emotions (DAMÁSIO, 2011; LABAN, 1978; LEAL, 2012) as potent means for the creation in dance considering the historical, cultural and personal process of the individual. Therefore, the participatory research, (BORGES; BRANDÃO, 2007) has laboratory investigations carried out in a group with participation of five artists called  conversational, searching for body dialogues based on sensitivity that trigger in dramaturgical constructions involved by memories, affections and perceptions. The daily writing (OLIVEIRA, 2015) appears as a record of experiences connected to the intimate, personal, affective,  that presents itself informally,  intrinsically,  linked to a writing  that may be closer to the dance. Being the laboratory that propels the research we take as  reference  the affection of Antonin Artaud  (CAETANO, 2012; QUILICI, 2002, 2012)  with his transforming power amidst relationships and chance (OSTROWER, 2013; SALLES, 2008) as a creative possibility capable of awakening the unprecedented. The meditative practice as focus and concentration dance improvisation considered as techniques from the concepts of Mara Guerrero (2008) and Patrícia Leal (2012a), providing freedom to the exploration of movements, finding significant characteristics such as fluency supported in the studies of fluency of Rudolf Laban (1978)  by Ciane Fernandes (2001, 2006, 2007), Lenira Rengel (2001) and Patrícia Leal (2012a) associated with the Liquidity of Zygmunt Bauman (2001) fluids. Searching for the importance of a dance that part of itself without denying or separating one's own feelings contributes to the construction of an art that expresses the human, investigating the destructuring of crystallized paradigms of thinking the dance existing even today.

This research investigates the possibility of a tragic experience of a spectator in contemporary theater. The objective is to question the possibility of the concentration of tragic, for example, in a performance gesture. Hans-Thies Lehmann, in his book 'Tragödie und dramatisches Theater' (2014), reflects on the tragic experience, which involves several aspects, such as the aestheticization of a tragic event, the breakup of this aesthetization and a reflection. Multiple re-writings, experiments and fragments were collected and researched organized under the name of 'Estrada V', based mainly on Heiner Müller's 'The Road of Volokolamsk' and the experiences of the present author. The focus was on reflections and practices of the relationship between stage and the public and the possibility of a tragic experience to occur. It has been found that in the modern world, the mystique of excess need not be grand, but an increased attention to the common is demanded. The theater of contemporary tragedy is a place of intense awareness of loss, where the subject is confronted with the inevitable dissolution of being and with an experience of one's own finitude. In this context, the tragic in contemporary theater investigates the fragmented subject of the present world, touching on the old and always renewed experience of excess. The fundamental destiny of the tragic character is its desire to investigate for a greater truth in a world where there are no certainties and irrefutable postulates. It was verified that in performance art the creation of the tragic arises from affection, establishing a specific connection between the performer and the receiver, allowing the emergence of a tragic

In the master's research that gave rise to this dissertation, the authoress investigated the performance of the directress in multiple functions and the interferences that this form of action provokes in the others involved in the theatrical creation, what was identified as the formation of a polyphonic discourse. Polyphonic performance is understood as the possibility of artist developing his or her scenic object in a relation of appropriation of the other discourses coming from the artists that make up the theatrical creation. To discuss this issue, the authoress presents as a case study the artists who work in the region of Cariri, in the south of Ceará: Cecília Raiffer, who is the directoress and playwright of Cia Engenharia Cênica; Carla Hemanuela, who is the stage directoress and costume designer of the theater group Troupe of the thinkers; and her own acting as a directoress, enlightener and choreographer in the Collective Acting in Scene. Based on the research recorded here, the authoress considers that the researched works have been constructing their poetics in a dialogical and horizontal relation with the other envolved. In this sense, the research contributed to a study about the practice of theatrical creation in a way that is due to the bias of the exchange between the knowledge of the involved ones, which facilitates the practice of autonomy in the theatrical scene and fortifies the group work.

This master's research deals with a reflection on improvisation and composition as dance contents and possible strategies for it's teaching in dance classes on basic education. We aim to discuss concepts of dance improvisation and composition and probable relationships between these concepts and ways of thinking about it in contemporary dance. We also aim to investigate teaching strategies on these contents in dance classes based on interviewees’ dialogues and specialised literature. The work is characterised by a methodological approach of a qualitative and theoretical nature and has as interlocutors trained teachers in the fields of Dance, Performing Arts and related areas that work on public services as dance teacher in Rio Grande do Norte cities ,Natal municipalities and authors that cope with this field such as Ostrower (2013, 2014), Muniz (2015), Alvarenga (2015), Almeida (2015), Salles (2013, 2015), Lobo e Navas , Louppe (2012), Rocha (2016) and others.As Dance an area of knowledge, our study traces the paths faced by teachers to perform the work with composition and improvisation with their students in formal education and some ways of developing these contents from the pedagogical practice of these teachers. It was possible to understand that improvisation in dance and choreographic composition are contents that contribute to motor and artistic development, besides forming more autonomous, creative, critical, flexible, tolerant and more confident students from an aesthetic reference of the dance used as an indicative in the teachers' strategies

The Artistic / Pedagogical procedure of Scenic Disassembly (CABALLERO, 2009), is inserted in the context of the expanded scene, for practices that developed the "Poetics of Experience" in the middle of the 19th and 20th centuries in Latin America. On theatricality, this procedure (disassembly) announced to the artists, groups and collectives the possibility of a performative way of acting through different practices in situ, expressed in dialogue with the historical processes of their countries, and in scenic revelations that cast another glance at the theater they experienced. From the point of view of the spectator, the theatricality is re-dimensioned and gained body, mainly for the miscegenation of procedures. Mestizaje in the dimension of gaze points to a policy, present in the shared constructs through the scenic practices, that find in the disassembly a possibility to carry out a didactic process, and this helped us in the Scenic Assembly of a pedagogical experiment. We outline our study with the Performer Theater and a teacher-performer orchestrated by the hybrid procedure (CIOTTI, 2014); we worked with the idea of political actions (BHABHA, 2007), and we approached the pedagogical performances that developed our proximity and interest in working with performative theater. The teacher-performer, too, is a spectator and themes emerge as a bodily memory, and a fragmented deconstruction unfolds.

Before presenting the current configurations, Gaya Dança Contemporânea, an extension project that existed at the Federal University of Rio Grande do Norte - UFRN, underwent several significant transformations from its inception in 1990 to the present day. As the Greek goddess and personification of the planet, Gaia also responds in different ways to the situations it undergoes and reinvents itself as a new Earth. In the same way, this dance group has been behaving during its existence and, with each situation that it is put to experience, its ways of understanding the body that dance are being altered and they reconfigure themselves showing other different faces. In order to understand these modes of understanding, we will use Phenomenology as a methodological tool to propose cross-cutting and discussions based on concepts inherent to dance: dance and education, dance and performance, dance and creation. The results point to three distinct faces presented by the group in its timeline and that will delimit the text's chapters: the first face focusing on the artistic-pedagogical character; the second evidencing a search for an aesthetic standard of high technical and artistic performance and the third one for collectivities. From this panorama, we see the body dancing in the Gaya as a hybrid of itself, affected by its historicity, and by the range of references reflected in its faces from its emergence to the present day.

The research deals with aspects of body preparation of actors from the experience with the cast of the Extension Project WHAT THE EYES DO NOT SEE, linked to the Education Center and Department of Educational Practices and Curricula of the Federal University of Rio Grande do Norte, about the coordination of Prof. Dr. Jefferson Fernandes Alves. It is investigated how the absence of the sense of sight influences the body practices with the actors, as this situation reverberates in their bodies for the scene and in the perception of itself. As a focus of research, the reports of extension project members are analyzed through Bardin's Thematic Content Analysis. Reference is made to the provocations of the philosopher Evegen Bavcar on other dimensions of the eye that are beyond the eyes, as well as the poetic idea of Manoel de Barros on the act of transver. They compose the investigation of non-visual as a possible tool in the bodywork of actors, along with studies on the attention of Virginia Kastrup and the concepts of body and Heterotopia by Michel Foucault. As results we discuss topics such as: the tactile dimension of the look, see as something relational, the reversal of the state of attention, attention to self, body preparation as a no place, creation of a utopian body and alterity between actors and spectators

This dissertation was based on the experience of the body mimesis technique, systematized by LUME - UNICAMP 's Interdisciplinary Center for Theater Research, based on the memories of a group of elderly participants in the Life with Maturity Project, developed by the COAPS - Coordination of Psychosocial Support, an integral part of the Department of Health Care of the Server - DAS / UFRN. As a means to instigate these memories, some provocative elements were used in a process of remembering; thus, the reports of memories were transcribed and transformed into text and through bodily mimesis, these texts became memory in / of the body. In order to promote the training and the work of scenic composition, the researcher participated in the practical laboratories for research and creation of the Voice and Theater Project, conducted by the teacher and coordinator Mayra Montenegro - UFRN, among others. a series of theoretical-practical studies on the bodily mimesis. As a result of these experiences, it is intended to share these memories through a scenic exercise titled "The Body of Memory"

The buffoon has a strong social representation. His image may provoke repudiation and strangeness, but also his gesture and verbal freedom can produce admiration, since he demonstrates desires and instincts that the common man possesses, but which seeks to hide from himself and society, due to the standards and taboos Imposed by it. Nowadays, when working with the buffoon idea from the physical deformation, the costumes are extremely important; But the corporeality constructed through training with this technique is fundamental so that we do not have only a superficial image of the buffoonery. We believe that for the constitution of such a figure the actor must seek a body that seems true, for the quality of its characterization and, mainly, for its work of creation. The research had as objectives to understand how the construction of the buffoon body and how this one is configured in the transformation of the body of the actor, as well as inquerir how is constructed such body from the workshops and spectacles of the GrupoBufões de Olavo. To do so, we started with such questions: How can the buffoon technique be potent in the training of the actor / actress? How is the ethical / aesthetic buffoonish body configured in contemporaneity and how can such a buffoon technique be used in the processes of contemporary actor / actress formation? The methodological proposition used was participant observation as a methodology that is not used as a direct interference agent, but which is completely involved, requiring a detailed recording, which can be done in audiovisual material, so that the researcher can observe even the Itself, within the process of building the work done. Through the assembly of the show "Wanderer - The Kingdom of the Blind", we investigated the exercises within the buffoon technique, experimented and discussed. We realize how much we mature and how important it has been to work with this aesthetic, developing our discourse as artists, people, producers of art. We developed workshops and performances, which gave us the opportunity to observe the reverberation of this work in other people, being able to perceive the power of this research in the contribution of our work and other artists that we could have contact with.

The main goal from this research is to reflect about the art with life and journey from the afghan artist Lida Abdul (1973), analysing and reviewing three of  her works: “In Transit” (2008), “Military / Body” (2004) and “Global Porn” (2002). She rises questions concerning artistic interventions at conflict areas, the relationship between body and violence, and reflections about the dialectic between the capitalism system and political performances, respectively. Also, as a part of her work, it will be discussed the concept of desterritorialization and  reterritorialization, mobil identities, porous borders, between artistic languages, where  the Performance Art becomes a straight object for its dialogue.

The present study aims to develop reflections in the arts field about the theater possibilities beyond the classic text (Aristotle) and homogeneous separation of the artistic languages taking into consideration two productions of the Belgian artist Jan Fabre. Understanding that Performative Theater would be this place between the theater and the performance, where one realizes on the other the germination ability. It’s the intention to introduce this artist and use as a basis of study his works The Power of Theatrical Madness (1984 – 2012), and Mount Olympus (a twenty four-hours performance – 2015) and also his head office, the Troubleyn / Laboratorium. From the title of this work, I walk into the dossier idea as a kind of documents collection or a short file, that carries some subject for analysis. This way, I intend to dismember the features of Jan Fabre’s artwork. However these are specifics works, its critical analysis turns out to reveal Fabre’s modus operandi as a whole.  Here is an attempt to translate Fabre and his works, not only with regard to the language, but to translate what comes from pictures, videos and searches. It´s a translation of information I receive and interviews I´ve done throughout my journey. It´s also a translation of what I feel, I realize and assimilate through these constant dialogues with Troubleyn.

This research has as its central study the creative process and the ritual scenic experiences built between the participants linked to the Grupo Maré de Artes – Programa Mais Cultura Nas Escolas, of the Escola Municipal Edinor Avelino – Macau/RN, where the researcher worked as a Theatre teacher, between the years 2014 and 2016. This creative process was instigated from educational paths that were experienced and that focus on the principles and ritualistic procedures of the scene and the game. From the experience with Bando La Trupe, developing public art experiences; through Arkhétypos Grupo de Teatro and the proposition of the art of the encounter; getting to Unaluna and the concepts/practices of the Mithodology in Art and Artetnography, the researcher points out the student-active as a subject of f(r)iction (LYRA, 2014), which rubs his real and fictional stories, strolling between the real and the imaginary, in a constant f(r)iction from him with himself, with each other and with the community he is inserted. 

The present research of master "Iansan elements like possibility to scenic creation", under the guidance of Professor Teodora de Araújo Alves aims to understand the traffic Iansan dance and its mythical elements between Candomblé, Afoxé, the lab and the theatre, in order to elaborate a methodological proposal for expansion of the body of repertoire interpreters-creators. Because it is a study that involves subjectivity of individuals, the related to this research, the same looks at the basis of Phenomenology by Merleau-Ponty to treat the body as a way of being in the world. To reflect on the fields of Performance that makes up this investigation, seek dialogue with the anthropology of Performance based on studies of Richard Schechner and Victor Turner, the Theatrical Anthropology proposed by Eugenio Barba and the studies in afro-amerindians Performances developed by Zeca Ligiéro. This investigation developed by the Afoxé Oju Omim Omorewá (Maceió/AL), noting the saída-de-orixá of Ialorixá Nany Moreno – Coordinator of Afoxé – and practical-creative experiments by the Coletivo Cores (Natal/RN).

This research analyzes how the collaborative processes, widespread in contemporary theater practices and in expansion in Brazil's cinema of the last decade, can be applied to television production. Thus, aims to deepen the studies about the actor's creative process in the fiction for television context, this popularly known language, but still poorly studied under the actor´s point of view. This investigation parts from the author´s experience as director of  teledramaturgy at the Ciência Aberta show, produced by TV UFPB. This show approaches the relationship between scientific and popular knowledge using journalistic and teledramaturgic language respectively, in an aesthetic that reveals actor´s creative process through metalanguage. Therefore, it aims at the dialogue with the theoretical studies in the fields of cinema, theatre, and television, attempting to enlighten their frontiers of relation and contamination, specifically, in the actor's preparation technique.  This also performs an interlocution that attends interviews with television´s actors and directors as well as experiences reports to search an understanding about the relationship between actor\camera and its developments in television artistic creation. The practical stage of the research is to carrie out a workshop held with actors and students enrolled in theatre course of UFPB, resulting in the construction of the Ciência Aberta show's first episode of the second season,which seeks to radicalize what has been proposed in the first season of the show: the deepening and explanation of the creative process of the actor, modes of audiovisual production, methodologies and support concepts of creation. Guiding this work, the authors Arlindo Machado, who explains the world of the audiovisual, Jackeline Nacache, that focuses on the film actor Constantin Stanislavski, whose studies on the actor are the basis for various techniques of acting in the theater and cinema and Walmeri Ribeiro , addresses the co-creation relationship of the actor in the audiovisual. With this research, we intend to contribute to the reflection and discussion about actor´s formation and the production modes in Brazilian contemporary television, particularly in the context of acting for the camera.

With psychiatric reform around the world, the madness begins to review changes in its historical context. In a critical scenario is based on a new idea madness and its new psychosocial structure from CAPS. Psychosocial Care Centers, CAPS, are therapeutic spaces aimed at the progressive substitution of asylums. With a differentiated approach to assisted CAPS, differ from psychiatric hospitals for their psychosocial line and reintegration against society. The survey monitors and discusses the creative process of Breaking Walls performance, conducted with beneficiaries of the Center for Psychosocial Care - CAPS III Walk in the city of João Pessoa. From the monitoring and observations of assisted in the creation and presentations are qualitatively addressed the phenomena arising from this study descriptive and inductively, whose procedures are rooted and in line with the performance and madness, discussed by Renato Cohen (2011) Jorge Glusberg (2009) and Michel Foucault (2014). In our study, we emphasize the qualitative research, because this is a tool very important to the social process of assisted in CAPS III - Walk. Seeking view the context in which they are inserted, and from there we will have a greater integration of this object of study involving better understanding of the phenomenon.

The present work deals with the theatrical spectacle "O que os olhos não veem", that supported by the universe of blindness, has the non-visible scene as prerogative of appreciation and proposes a discussion in the field of theatrical reception, on the view of the spectator in the context of a proposal supported by non-vision. The research aims to investigate how the non-visible characteristic of said scenic proposal allows the viewer's perception emerged from the body-space relationship; and to understand how the possibility of non-visibility of the scene enhances the capacity of appreciation of the spectator. Thereunto the following questions are posed: is it possible to appreciate a theatrical spectacle without the agency of vision? How does the body watch a theatrical spectacle that dispenses the resort of sight? How does one look from an experience in which the non-vision is a prerogative of appreciation? The locus of the research is the extension project "O que os olhos não veem o coração (não) sente", linked to the Education Center and Department of Educational Practices and Curricula of the Federal University of Rio Grande do Norte. The research focuses on the field of theatrical reception and has the phenomenology as a methodological contribution to understand the experience of appreciation of the viewer interdicted of the ocular vision. The accounts of the spectators are recorded, transcribed and organized into three topics of discussion: the space of the scene and the space of the body; the reversibility of the senses in the scene; and the emancipation of the look. The text is driven by the thoughts of Maurice Merleau-Ponty, and its interlocutors, drawing networks of communication with the studies of Flávio Desgranges, in the brazilian field of theatrical reception, and Jacques Rancière, regarding the emancipation of the spectator’s look. The theatrical experience in the context of the discussion understands the spectator as coauthor of the scene. The interdiction of the ocular vision makes the bodies smoke in the scenic space and forms a labyrinth of paths to be explored by the spectator, who in light of the non-vision perceives other ways of appreciating the scene, reorganizing their experience to see with the entire body, such as Argos Panoptes. This situation permits to unveil an emancipation of the look within the theatrical scene.

This research intends to reflect on the teaching / learning process in Scenic Lighting. In view of the breadth of curriculum offered by the subject of illumination, it is sought to reflect on which contents are relevant to a theater actor in order to familiarize oneself with this specific area, especially in order to perceive and take into account lighting as an element of Composition of your artistic practice. To elaborate a pedagogical proposal of this relation is the object of research of this dissertation. To begin with it, the author evaluates her process of learning in lighting within the undergraduate course in Theater of the Federal University of Uberlândia (UFU). The intuitive form with which she developed the work as director of lighting within the University is subsequently considered in this analysis and causes the author to reflect her practice and to constitute actions potentially capable of collaborating with the process of formation of Theater students of that University. In order to do so, the research is based on a construction of knowledge thought by Paulo Freire, which considers that the subject is in constant dialogue to elaborate his knowledge that either develops its own autonomy during the process as considers the pedagogical experience capable of resulting in a critical / reflexive practice. Therefore, the pedagogical proposal to be constructed in this work will start from the perception that the subject makes about light so that he is able to make it necessary during the composition of his own work.

This work is the result of an interventional research by the Graduate Program of Performing Arts / UFRN. It has a qualitative nature. It presents a possibility of a dramaturgical proposal for researchers interested in working with non-theatrical texts. More specifically, cordel literature, used as a creative matrix for the construction of the theatrical scene. The source of this research is the popular poetry of the cordel writer and historian Antônio Francisco from the city of Mossoro. It was explored during the process of adapting cordel leaflets in plays. Our attempt to contribute here may be found in the procedural dialogues, in the details reported, in the experiences acquired through the public presentations with the adapted of the play, as well as in the results and renewing that we arrived throughout the process and conclusions of the presentations. We understand that each creative process has its own individuality. The tools and strategies are similar, but not identical. As an object of practical investigation, we will base ourselves on the assembly of the plays ‘Dois Cabras em um Cordel Só ', 2010, and 'Oscabra ', 2017, made by Cia margem de Teatro, in which we use the Cordel from the book written by the poet Antonio Francisco: ‘Ten Cordéis In a Cordel Só ', 2002.

This study aims to understand the continuities and discontinuities in the historical representation of the monstrous / alien bodies in the dialogue among the television, theatrical and cinematic language, seeking thus the between-place distance that goes along the body in a transversal direction in the spaces between these languages based on the Star Trek television series of the 1960s, the street theater project "Trek In The Park" (2009-2013), and the eponymous to the show, the film of (2009). These three artistic-media objects have been a change in the perception of the monstrous body. Down through history, this body was seen in various artistic productions as representing the ugly and producer of fear of felt, embarrassment and laughter. The analysis corpus presupposes a change to look at these bodies in contemporary times, because it is a period in which we are witnessing a major role of minorities, such as gays, blacks and women, and greater visibility of the monstrous body - now a generator of positive identification - in the areas of performance and the overall scene. Therefore, the specific objectives are: to go historically through the monstrous body of conceptions, to relate the concepts of body in contemporary times, and to analyze the production of senses and political investment in alien bodies. Thus, the theoretical and methodological path is constituted through intericonic movement proposed by Courtine (2013), which refers to images that are linked to the internal memory (memories) and external (various images viewed). As the concept of device, of Foucault (1979), understood as the network that interconnects speeches, institutions, philosophical or moral propositions, scientific statements, etc. As well as the expanded and updated concept by Agamben (2009). Thus, I analyze, two episodes of Star Trek also staged by the Theatre Company "Trek in the Park: Amok Time" and "Journey to Babel", looking in depth to debate about the body of Vulcan and his gestual. Finally, I conclude the character Spock as controversial and with anti-hero characteristics.

The present research aims firstly at investigating slowness as a means of understanding the body as creative power for dance. It comprises slowness as qualitative power, providing reflections on the dancing body. The process of body acceleration of contemporaneity has opened powerful investigating fields in this research, such as the reflection about the deceleration process of the dancing body, culminating in a reflection on pauses in dance, the investigation of how the process of understanding the qualitative aspect of the danced movement occurs within the flavor of slowness, in its artistic-creative and pedagogical practice, the proposition of dance as a power, providing its understanding as a knowledge field and of increased awareness by means of lived experiences. Memories from childhood, from the beginning of the artistic career, from the practical use of the research carried out at the Theater Alberto Maranhão Dance School, from the scenic design Amiúde (2015) and from the practice as an artist and teacher, all these have made reflection possible on dance potential, proposing slowness as dance language gradually and deeply built, causing wider self and world awareness. Slowness in this research is the objective of the main investigation and the methodology of a dance language. The study of Eukinétic of Laban, "Dance by the senses: choreographic composition" and "improvisation by the senses" of Leal (2012) let us realize that the studies on the expressive qualities of the danced movement and the study of methodological proposals in contemporary dance, based on the senses, have culminated in the understanding of movement, pause and dance as qualitative power which amplifies body consciousness, understanding it entirely.

I approach this practical-theoretical research from the concept of performative theater by Josette Feral (2008) from the creation of staging "It may be..." based on the work "It may be only the milkman out there" (1974) writing by the brazilian Caio Fernando Abreu (1948-1996). Therefore, I seek to combine the concepts proposed by the authors Jean Baudrillard (1990) and Jean-Francois Lyotard (2013) to do a comparative study on the creation of procedures based on the directors Renato Cohen (2006), Tadeusz Kantor (2008), Antonio Araújo (2011) and Robert Wilson (2011) grounded by the discussion proposed by Feral (2015) about the boundaries between theory and practice in theater do. In order to tighten the relationship between practice and theory, on this dissertation, I present in the introduction the concepts that have worked both in writing and in staging, developing research on the montage of a performative theatre in a single chapter dedicated to describing the creation process of play "It may be ...", articulating my voice as a director with the voices of the artists who participated in this project.

               This research proposes a reflection on the contribution of dance and literature in the educational context. For this purpose, it dialogues the strand of contemporary dance with elements of the poetic text, emphasizing the figures of speech. It brings as theoretical support the Reception Method, developed by Vera Teixeira de Aguiar and Maria da Glória Bordini (1993), from the Reception Aesthetics, proposal by Hans Robert Jauss (2002). The survey counted on a practical application performed with high school students from a public school school, located in Natal/RN. The data was collected with questionnaires, Logbooks and a photographic record and video. The aim was to think dance and literature as possible areas to connect and awaken adolescents in their creative potential, being able to perceive the various levels of relationships that are established around them, to interact with each other in a more mature way, paying attention to the importance of making them active and conscious in the dynamics of our society.

Corpo-diário: da escrita de si à escrita da cena

Ao longo de nossa trajetória como ator, encenador e docente, pudemos apreciar espetáculos cômicos que se propunham a um diálogo com o público por meio da linguagem corporal dos artistas, cujas encenações abdicavam do uso da fala dos atores. Esta forma de representar, no silêncio do palco, nos chamou a atenção e provocou a nossa curiosidade científica sobre o assunto, que está diretamente relacionado com as construções poéticas do corpo em cena. Diante de leituras iniciais sobre o assunto, começamos a compreender que durante muito tempo na história da humanidade, sobretudo no ocidente, o entendimento de Corpo foi construído a partir de vários olhares epistemológicos que desconsideravam o corpo como uma unidade, uma encarnação do sujeito numa totalidade. Esse tipo de pensamento, reflexo da filosofia da modernidade, reverberou enfaticamente sobre as questões estéticas do fazer artístico, aqui, especificamente, no Teatro. Por vários séculos o fazer teatral se moldava a partir de vários elementos estéticos, mas desconsiderando os potenciais da corporeidade do artista, isto é, o texto teatral, por exemplo, foi considerado, por muito tempo, como o elemento principal da cena e se dava pouca ênfase para uma dramaturgia elaborada do corpo.  Com o surgimento das reflexões acerca do assunto, instauradas, sobretudo, a partir do início do século XX, a percepção do corpo como elemento criativo e criador, também passou a ganhar espaço. Ao longo do tempo as práticas artísticas começaram a vislumbrar as possibilidades criativas do corpo, repensando inclusive a sua relação com o texto escrito, com a palavra falada. E como parte dessas novas reflexões acerca do corpo em processo de criação, propusemos a presente pesquisa, que intitulamos de “A poética do corpo não-verbal: um olhar para a comicidade em cena”. Nosso principal objetivo nessa pesquisa é estudar a poética do corpo cômico do ator, na perspectiva de uma linguagem não-verbal. Em nossa investigação sobre este assunto, buscaremos também compreender como a corporeidade do ator poderá nos dar pistas para percebermos/construirmos o corpo não-verbal e cômico em cena. Dentro desta perspectiva poderemos analisar como se daria a construção de uma dramaturgia cômica e não-verbal a partir da fenomenologia do riso. E com esse olhar, pretendemos apontar alguns aspectos e procedimentos, advindos das reflexões acerca da corporeidade e da comicidade, que configurem, entre outras possíveis, uma metodologia de construção cênica não-verbal.

Esta dissertação apresentada tem como investigação o trabalho do ator na construção das ações físicas, conforme a metodologia desenvolvida por Constantin Stanislavski em sua análise da ação dramática, denominada “método da ação física”, aplicada às questões da representação cênica do marginal brasileiro, segundo o olhar “cruel” e realista/naturalista do dramaturgo Plínio Marcos. Partindo das circunstâncias dadas pelo universo Pliniano, a intenção é contribuir para a reflexão sobre o trabalho do ator na cena com os personagens marginais de “Navalha na carne”, destacando alguns aspectos importantes, que auxiliem na construção deste mundo ficcional. Deseja-se criar condições para a formação de um ator que potencialize na cena as contradições e conflitos desta obra. A investigação pretende partir do estudo teórico-prático como hipótese metodológica, produzindo reflexão crítica a partir do processo criativo do ator com a realização de um experimento cênico centrado na técnica psicofísica deste pedagogo russo. Assim, pretende-se lançar um olhar sobre o “método das ações físicas” com foco na sua última grande contribuição para a atuação, notadamente o procedimento da análise ativa, ao fazer uma leitura a partir de “Navalha na carne” por meio deste exercício cênico criativo, ampliando os estudos que se ocupam da arte do ator. Esta pesquisa faz uma explanação geral sobre a trajetória de Stanislavski até seu encontro com a ação física, ao mesmo tempo que, destaca os desencontros de entendimento do seu trabalho pelo mundo. Stanislavski desenvolveu inicialmente o “método” tendo como pano de fundo, a estética realista - uma relação de diálogo entre realidade e a cena – através de uma estilização que cria uma realidade teatral, e consequentemente, artística, e não de forma literalmente naturalista através de um mimetismo integral. Ou seja, o trabalho de representação na estética realista do teatro deve ser elaborado a fim de criar uma realidade teatralizada. Stanislavski entende que teatro é convenção, já que o trabalho do ator sobre si próprio deve estimular essa segunda natureza, a cênica. 

Memórias de Quintal: A arte do Encontro com a Criança Interior e os Afetos de Infância

A pesquisa que resultou no trabalho “As personagens negras de Capitães da Areia em cena” analisou parte do rico universo de um dos principais autores nacionais e a sua relação com o cinema. Jorge Amado tem uma relação intrínseca com a Indústria Cultural. Desde a década de 1940, o escritor, de alguma forma, tem emprestado suas obras para o cinema. Dentre elas, escolhemos como objeto de estudo, o livro Capitães da Areia, romance lançado na década de 30. O romance relata a história de um grupo de meninos abandonados e que moram em um trapiche à beira mar, em Salvador. O romance foi traduzido em 2011 para o cinema, cuja direção ficou por conta de Cecília Amado, neta de Jorge Amado. O elenco principal é composto por adolescentes, não atores, afrodescendentes, que foram selecionados para os papéis, indicando que a diretora tinha um desejo de realismo em sua obra. O trabalho teve como objetivo geral a representação das personagens negras no filme Capitães da Areia, trazendo o debate dos arquétipos e estereótipos do negro no cinema. Consideramos que o objetivo geral tenha sido atingido, pois através da análise comparativa texto-fonte e filme, pudemos compreender a construção das personagens baseadas no paradigma da fidelidade fílmica.

O presente trabalho é uma pesquisa que versa sobre a linguagem dos corpos brincantes da Ciranda – especificamente de Lia de Itamaracá. Interessa-nos observar como esse corpo dança, comunica-se, escreve-se no tempo e no espaço, estabelece relações que o complementam e o ajudam a permanecer em construção. Assim, de maneira circular e em uma energia que é transmitida no contato com as mãos, na força da canção, em uma roda que pode ser vista de vários lugares, mas por ângulos diferentes, cabendo aí as particularidades dos seus sujeitos brincantes/dançadores/observadores, é que nos propomos a pensar: quem são esses corpos brincantes e como eles constituem as rodas de Ciranda? Para tanto, durante o caminho da pesquisa, fomos conduzidos pelo método fenomenológico e, dele, utilizamos as categorias de descrição, mundo vivido e sensível. Interessa-nos, ainda, nessa manifestação, o corpo que dança e se insere na expressão artística, que significa e se abre ao conhecimento pela via da experiência. Assumimos, portanto, uma concepção de corpo que se referencia na abordagem fenomenológica merleaupontyana, assim como, na sua criticidade em relação ao corpo como um ser fragmentado, tal qual aponta a teoria Cartesiana. Nessa perspectiva, entendemos o corpo na sua relação com os fazeres culturais, sociais, econômicos e artísticos que integram a formação dele. Ou seja, nas relações que nos ajudaram a compreender melhor o corpo que se é. Dessa maneira, a pesquisa tem como objetivo fundante apresentar reflexões sobre os corpos brincantes da Ciranda, especificamente, de Lia de Itamaracá e como esse corpo dança, se comunica, se escreve no tempo e no espaço, estabelece relações que o complementam e o ajudam a permanecer em construção. Tal afirmação nos leva, neste trabalho, a questionar, por exemplo: o que mobiliza esses sujeitos nessa dança? Por fim, asseveramos que essa investigação vem à tona em razão da dimensão que as rodas de Ciranda vêm alcançando no país, em especial no Nordeste brasileiro, assim como a existência de pouca referência e registro da manifestação pesquisada nas esferas acadêmicas. É possível verificar, com a pesquisa, que, em razão dessa disseminação, as nuances da movimentação dos brincantes está cada vez mais diversificada e que a ausência de vivências na Ilha de Itamaracá-PE, seu berço, tem distanciado o caráter genuíno e comunitário, tornando-se, cada vez mais, uma dança de outros palcos e praças.

RESUMO:

Em trabalhos desenvolvidos com “alunos-atores” idosos, o texto ainda tem certa preponderância, parte-se do pressuposto histórico de que estes alunos carregam em si a arte teatral. Neste sentido, o presente trabalho pretende expor uma experiência artístico-pedagógica através de um laboratório desenvolvido com alunos-atores senescentes a partir de seus arquivos de memória. Diferentemente de outros trabalhos desenvolvidos com alunos da terceira idade, fazemos uso dos arquivos da memória, onde a dramaturgia se dá a partir das improvisações desenvolvidas das lembranças, ou seja, o texto é construído e não apenas rememorado pelos alunos. Nosso trabalho, todavia, se constrói por um olhar de fora. As memórias afetivas narradas pelos alunos servem de motor para construção do texto e do espetáculo intitulado Vamos falar de Amor. Nesta experiência a professora-encenadora se transforma também em dramaturgista e faz uso de sua imaginação, que de certa forma, também vem revestida de suas próprias memórias, a fim de preencher os vazios deixados pela narrativa, num processo híbrido onde a memória coletiva se mistura a memória individual, metamorfoseando o épico em dramático. Apresentamos o percurso desenvolvido para chegarmos até a construção do texto e partimos do texto para a segunda escritura, o espetáculo. Queremos mostrar que a velhice é composta por diversos matizes, e que esta fase do desenvolvimento humano traz aspectos que se diferenciam de idoso para idoso, e que a educação e o teatro podem representar uma retomada do papel social do idoso no ambiente contemporâneo. Assim sendo, a dramaturgia de memória cria a dramaturgia de pertencimento facilitando em muitos aspectos o Jogo Cênico com esses idosos.

ABSTRACT: In work done with student-actors elderly, the text still has certain preponderance, is part of the historical assumption that these students carry with them of theatrical art. In this sense, the present work is to present an experience artistic and pedagogical means of a laboratory-developed with senescent students from their memory files. Unlike other works developed with students of the third age, we make use of the archives of memory, where the drama takes from improvisations developed memories, in other words, the text is built not just recollected by students. Our work, however, is built by a look from the outside. The affective memories narrated by students serve as an engine for text construction and spectacle titled Vamos Falar de Amor. In this experiment the teacher-director also becomes an dramaturgista, and uses her imagination, that  also comes filled with her own memories, in order to complete the gaps of the narrative, in a hybrid process in which the collective memory interlace the individual memory, transforming epic into dramatic. Here the route designed to get to the construction of the text and left the text for the second scripture, the spectacle. We want to show that old age is comprised of various hues, and that this phase of human development brings aspects that differ from old to old, and that education and theater can be a resumption of the social role of the elderly in contemporary surroundings. Therefore, the dramaturgy of memory creates the dramaturgy of belonging, facilitating in many aspects the Scenic Play with the elderly ones.

Esta pesquisa visa investigar o espetáculo de dança Caldo da Cana que estreou em João Pessoa-PB, em setembro de 1984. Problematiza de modo teórico-prático o fazer história da dança, investigando essa possibilidade através da própria dança. Surge a partir da constatação de que a dança possui especificidades que não podem ser negligenciadas pelo relato histórico. Neste sentido iniciou-se o levantamento de um referencial teórico que dialoga com as questões apontadas e se desdobra por meio de uma pesquisa de campo, que incluiu coletar testemunhos de pessoas que participaram do espetáculo; uma pesquisa documental, reunindo vestígios materiais e finalmente é composta de uma parte prática com uma cena criada  ao transpor o conhecimento histórico elaborado para o corpo, através de um processo criativo, tendo como resultado, para este momento, a construção de um solo de dança.

Abstract: This research aims to investigate the dance piece Caldo da Cana which premiered in João Pessoa-PB, in September 1984. It problematizes theoretical and practical way to make dance history, investigating this possibility through the dance itself. Arises from the fact that the dance has specific characteristics that can not be neglected by the historical account. In this sense, it was initiated by the raising of a theoretical framework that speaks to the indicated issues and unfolds through a field study, which includes collecting testimonies from people who participated in the show, documentary research, gathering material traces and finally consists a practical part with experimental research, by transposing elaborated historical knowledge into the body through a creative process, resulting in the construction of a solo dance.

RESUMO: O presente trabalho tem como foco discutir o processo artístico de uma artista-pesquisadora que parte da pesquisa de campo realizada com benzedeiras e benzedores do estado do Rio Grande do Norte. O objetivo é investigar o universo cultural popular da benzeção como elemento propulsor de poéticas para o fazer artístico em dança. Para discutir as diferentes etapas da pesquisa e as relações que se estabelecem entre a artista-pesquisadora, as benzedeiras e benzedores e a criação/composição cênica, toma-se como referência a metáfora metodológica da relação triangular criada pelo antropólogo Claude Lévi-Strauss, em sua discussão sobre a eficácia dos símbolos, adaptada ao contexto da benzeção. Para o diálogo entre os saberes populares da cura, da tradição, os saberes científicos e artísticos aborda-se como referencial de análise a metáfora criativa do tipo rizoma proposta por Deleuze e Guatarri, entendendo-a como um modelo epistemológico que procura formar uma rede de relações, nos platôs de intensidade da pesquisa. No universo da benzeção, benzedeiras e benzedores carregam um poder simbólico que emitido em orações sussurradas, em gestos peculiares que formam cruzes no espaço, curam aqueles que procuram suas rezas para aliviar seus desconfortos físicos e emocionais. Da mistura do saber popular, do saber artístico e científico, e entre ramos, santos, velas e conversas, que nasce um trabalho cênico, do processo artístico no contexto das Artes Cênicas, mais especificamente da dança, que possibilitou outros olhares poéticos e estéticos para nossa cultura popular, (re)afirmando seus valores culturais e humanos através da arte.

ABSTRACT: This work is a discussion of the artistic process of an artist-researcher made from field research with ‘benzedeiras’ and ‘benzedores’ the state of Rio Grande do Norte. This is an investigation on the cultural universe of the popular ‘benzeção’ as poetic element to the artistic dance. To discuss the different stages of the research and the relationships between the artist-researcher, the ‘benzedeiras/benzedores’ and the creation/composition scenic, the work takes as reference the metaphor of methodological triangular relationship created by anthropologist Claude Lévi-Strauss, in his discussion on the effectiveness of symbols, adapted to the context of ‘benzeção’.For dialogue between popular knowledge of healing, tradition, scientific knowledge and artistic this work  approaches as analytical reference the creative type rhizome metaphor proposed by Deleuze and Guattari, understanding it as an epistemological model that seeks to form a network of relations, in the plateaus of intensity the research. In the universe of ‘benzeção’, ‘benzedeiras’ and ‘benzedores’ carry a symbolic power that issued in whispered prayers, in peculiar gestures that form crosses in space, heal those who seek their prayers to relieve their physical and emotional discomforts. The mixture of popular knowledge, artistic and scientific knowledge, and between branches, saints, candles and conversations, born an artistic scenic of artistic process in the context of  Performing Arts, more specifically dance, with other looks for poetic and aesthetic our popular culture, (re)asserting their cultural and human values through the art.

Resumo: Este trabalho tem por finalidade investigar as relações existentes entre o Teatro Bunraku e o filme Dolls (2002) do diretor japonês Takeshi Kitano. Para isso, foi feito inicialmente um estudo teórico desse teatro, elencando seus principais elementos, permitindo então, uma análise direta do filme, buscando revelar suas conexões com o Bunraku. O sangyo faz referência à presença simultânea de três artes no teatro Bunraku: a narrativa, a música e a manipulação de bonecos. Em Dolls, o diretor Takeshi Kitano apresenta uma narrativa por meio de três histórias distintas, todas elas construídas com referências ao Bunraku. Assim como nesse teatro três artes distintas se harmonizam no palco, em Dolls três histórias independentes vão se apresentar em harmonia no filme. Ao confrontar os dados do teatro Bunraku com os dados do filme Dolls, o objetivo é estabelecer as conexões entre a linguagem cênica do Bunraku, a dramaturgia de Monzaemon Chikamatsu e o cinema de Takeshi Kitano. Estas conexões permitem compreender como características de uma arte secular, regida por fortes regras e convenções, podem ser reapresentadas através de outra linguagem, no caso a linguagem cinematográfica.

Abstract: This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, initially a theoretical study of this theater was done, detailing its key elements, and thus allowing a direct analysis of the film. The main objective was to reveal its connections with the Bunraku. The Sangyo refers to the simultaneous presence of three arts in the Bunraku theater: the narrative, the music and the manipulation of puppets. In Dolls, the director Takeshi Kitano presents a narrative through three different stories, all built with references to the Bunraku. As in the theater the three distinct arts harmonize on stage, in Dolls three separate stories will perform in harmony within the film. By confronting the Bunraku Theater with the film Dolls, the intention is to establish the connections between the scenic language of the Bunraku, the dramaturgy of Chikamatsu and the cinema of Kitano. These connections allow to understand how characteristics of a secular art, governed by strong rules and conventions, can be presented again through another language: cinematic language.

RESUMO: Desde a década de 1970, o mundo observa a fragmentação, o hibridismo, a pluralidade e a miscigenação que vêm tomando conta das artes da cena. A poesia contemporânea sente-se livre das regras clássicas; o teatro já não mais obedece às prescrições dos “manuais” poéticos; desaparecem as fronteiras rígidas entre os gêneros; os artistas deixam de representar para o público para dialogar com ele. Como consequência dessa evolução das artes cênicas, emerge nas últimas décadas do século XX e início do século XXI na cena brasileira o fenômeno derrisível objeto de estudo dessa pesquisa, o One-man Show.             Trata-se de um formato teatral que despontou no cenário brasileiro arrebatando a atenção do público em espaços alternativos, teatros e, como não poderia deixar de ser, também na internet, sendo muitas vezes confundido com o Stand-up Comedy. Uma pesquisa que delimite e busque identificar as características fundamentais do One-man Show brasileiro, faz-se necessária não somente pela ausência de estudos sobre o referido assunto, mas também para se compreender alguns aspectos da cena brasileira e da situação do riso e do cômico dentro dela. No primeiro capítulo, apresenta-se uma discussão sobre a comédia e o riso na antiguidade clássica, tomando os escritos de Platão e Aristóteles como ponto de partida; no segundo, são analisadas algumas das principais teorias clássicas do riso procurando identificar características gerais que permitam entender também a construção da comicidade; no terceiro, aborda-se de um modo geral o momento da cena teatral brasileira em que emerge o One-man Show e, no quarto capítulo, há a explanação acerca de tal fenômeno.

ABSTRACT: Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century                and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One-Man Show, not only by the absence of theoretical references  concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon.

Resumo: Esse trabalho propõe pensar a ideia de uma escrita da performance associada à operação desconstrucionista a partir dos vetores de problematização com que são tratados determinados assuntos na performance Biokhraphia de Lina Saneh e RabihMroué.Com esse propósito procuramos localizar a performance num “outro lugar” que, funcionando como espaço de indeterminação nos possibilitou ressaltar a processualidade e a alteridade aporética como vetores de problematização da escritura. Nesse sentido, associaremos o conceito de escrita de si a um movimento de auto ficcionalização que, aqui, chamamos de autoperformance no qual o desejo de apropriação do diferente associado ao desejo de manutenção da alteridade enquanto inacessibilidade do outro caracterizam a disjunção própria da atitude desestabilizadora e desestabilizante da performance. Procuraremos, ainda, apontar o caráter emergente dessa escritura, de modo a configurá-la como um sistema de múltiplos textos interconectados que se auto organizam, prescindindo de referencial modelar, por meio de um processo contínuo de negociações entre o “eu” e o “outro”

Resumo: Inserida no contexto das ações educativas da Casa Renascer, entidade não-governamental, situada na cidade de Natal/RN, que tem como finalidade principal o acolhimento de crianças e adolescentes do sexo feminino em situação de vulnerabilidade, esta investigação centra-se na descrição e análise do processo criativo, no movimento entre tema e encenação, desenvolvido pela AsMarias Cia de Teatro ao longo de dez anos, que desencadeou a montagem do texto dramático, Mateus e Mateusa, de Qorpo Santo. A seleção de documentos em formatos de textos escritos, fotográficos e fílmicos para a reconstrução do processo criativo, está sendo orientada por uma metodologia de pesquisa baseada na arqueologia teatral, no paradigma indiciário e nas experiências narradas segundo as abordagens de Pavis (2005), Ginzburg (1989), e Benjamin (1985). Entrevistas com as atrizes da Cia de Teatro norteiam a sistematização dos jogos teatrais livres e temáticos, assim como, as escolhas dos objetos e figuras cênicas descritas e analisadas. No momento, percebe-se que o contexto em que o processo criativo foi realizado, e, os procedimentos na elaboração e no trabalho com o texto dramático associados ao caráter educativo institucional e suas opções metodológicas do ensino do teatro, inserem-se na abordagem da pedagogia do teatro.

Abstract: Set in the context of the educational initiatives of the Casa Renascer, a non-governmental organization, located in Natal RN, which has as its primary purpose the care of children and adolescent girls in vulnerable situations, this research focuses on describing and analysis of the creative process in motion between theme and Regie (staging), developed by Asmarias Cia de Teatro over ten years, which triggered the assembly of the dramatic text, Mateus e Mateusa of Qorpo Santo. The selection of documents in formats of written texts, photographic and filmic for reconstruction of the creative process is being guided by a research methodology based on theatrical archeology, the evidential paradigm (The “indiciário” method or paradigm) and the experiences recounted according to the approaches of Pavis (2005), Ginzburg (1989) and Benjamin (1985). Interviews with the actresses of the Theatre Company guide the systematization of theater games and free themes, as well as the choices of objects and pictures and described and analyzed scenes.At the moment, we realize that the context in which the creative process was conducted, and procedures in preparing and working with the dramatic text associated with the educational institution and their methodological choices in teaching theater, fall into the approach of Pedagogy of the theater. 

Resumo: Embora a pesquisa no âmbito das artes cênicas tenha se desenvolvido substancialmente no último século, o ator, de modo geral, ainda hoje, carece de um repertório de referenciais específicos para apoiar ou orientar sua prática. Mas como o ator deve trabalhar a base material da sua arte, ou seja, seu próprio corpo? Partindo da prerrogativa de uma idiossincrasia presente no fazer teatral, este estudo pretende, a partir da descrição e reflexão acerca de uma vivência corporal com o Tai Chi, tecer relações entre essa experiência e os possíveis desdobramentos com relação à preparação do ator. A pesquisa tem por intuito também destacar os elementos de aproximação entre os princípios que regem a prática do Tai Chi e o corpo sem órgãos, idealizado por Artaud, na perspectiva de apontar possíveis contribuições no que diz respeito ao trabalho do ator. O trabalho aqui apresentado refere-se a um estudo de natureza qualitativa que considera a experiência do corpo na prática do Tai Chi como uma referência para dialogar e refletir acerca da preparação do ator. No teatro, o processo de preparação do ator pressupõe um constante refazimento do corpo através de determinadas práticas. A minha experiência no Tai Chi no âmbito dessa pesquisa me permitiu verificar que o trabalho a partir de técnicas corporais pré-estabelecidas pode ser uma forma de preparo técnico para o ator. À medida que amplia a consciência corporal, o Tai Chi promove uma maior liberdade de criação e expressão e proporciona ao ator a possibilidade de experienciar o corpo sem órgãos, o equivalente artístico do corpo cotidiano, a experiência do corpo presente, consciente, a base orgânica das emoções, através do qual é possível a materialidade das idéias.

Abstract: Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors’ work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas.         

RESUMO: Essa pesquisa visa percorrer experiências práticas e teóricas que possibilitem levantar possibilidades para a criação e a recriação da vida cênica do ator, tendo em mente a necessidade do jogo teatral envolvendo a não-mecanização de concepções preestabelecidas, durante uma temporada longa ou em apresentações que ocorram em grandes períodos temporais. Nosso enfoque levará em consideração o ponto de vista do trabalho do ator e variadas outras instâncias (a repetição, o público, o parceiro de cena, a direção, as novas descobertas, a interioridade e exterioridade).

ABSTRACT: The research objective go through practical and theoretical experiences that make possible to the creation and the re-creation of the actor´s scenic life, focusing the necessity of the play theatrical wrapping to non-mechanization of prearranged conceptions, during a long season or in presentations that happens in great periods. Our approach will take into account the point of view of the actor´s work and others various faces (the repetition, the public, the partner, the direction, the new discoveries, the inside and outside).

Proponho nesta dissertação refletir sobre as experiências contidas na criação dos corpos-em-arte (FERRACINI, 2006a, b) que originaram o espetáculo rosmaninhos.... Este processo foi desenvolvido junto ao coletivo UZUME teatro de João Pessoa – PB, por meio de recriações e resignificações das corporeidades e fisicidades contidas nos passos, loas, aboios, cantos e evoluções observados nos modos como Mestre Zequinha brinca em seu grupo de Cavalo Marinho residente na cidade de Bayeux – PB, e a partir da apropriação do texto Hamlet de William Shakespeare. O corpo-em-arte é entendido neste trabalho como um corpo vetorial que dilata sua funcionalidade cotidiana, reconhecendo uma zona potencial de aprendizado capaz de gerar linhas de fuga criativas que desestabilizem o “sujeito centrado em uma individualidade e identidade” (FOUCAULT apud FERRACINI, 2006b, p.14), abrindo-o a diferenciação de si mesmo, indicando a possibilidade de existência de um si-outro e do espaço de troca-em-arte. Este processo de construção do corpo-em-arte a partir das formas de Mestre Zequinha brincar o Cavalo Marinho, foi orientado metodologicamente pela apropriação do coletivo UZUME teatro das etapas de Observação, Codificação e Teatralização contidas na técnica de mimeses corpórea proposta pelo LUME Teatro (Campinas – SP). Esse uso resultou em duas fases: Observação Ativa e Composição do corpo-em-arte. Através da repetição destas matrizes estéticas do Cavalo Marinho, os atores descobriram ações que codificadas e organizadas configuram seus corpos-em-arte, os quais, por sua vez, deram origem a um espaço de troca-em-arte vetorial ao encontrado no folguedo do Cavalo Marinho. Esta procura propôs os meios de potencializar o trabalho dos atores no que diz respeito a uma preparação que permitisse dilatar a presença cênica e estimulasse a produção de ações, as quais culminaram na montagem do espetáculo rosmaninhos...

ABSTRACT: I propose with this paper a reflection on the experiences contained in the creation of the body-in-art (FERRACINI, 2006a, b) that originated the show rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa – PB, through recreations and  resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and evolutions observed in the manners that Master Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other  and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha’s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when codified and organized can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho folguedo (party). This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show rosmaninhos... 

RESUMO: Esta pesquisa tem como estudo de caso o Grupo Parafolclórico da UFRN cuja conformação estética é analisada, principalmente nas suas duas últimas produções, intituladas Flor do Lírio (2004) e Debaixo do Barro do Chão (2008). Temos como objetivos: refletir sobre a concepção estética que vem configurando as produções coreográficas do Grupo Parafolclórico da UFRN; discutir como se estabelece o diálogo entre os elementos da cultura popular com diversas linguagens artísticas no processo de composição das coreografias; identificar a conformação estética que atravessa o compor das coreógrafas dos dois últimos espetáculos produzidos, bem como as características dessas produções, as convergências e idiossincrasias que marcaram esses trabalhos. A partir do recurso metodológico da Análise de Conteúdo (BARDIN, 2006), foram realizadas entrevistas com as coreógrafas dos espetáculos mencionados e com o elenco participante dessas montagens, o que propiciou uma leitura flutuante das respostas e elaboração de eixos temáticos que foram discutidos no texto. No primeiro capítulo evidenciamos os trajetos motivacionais como a memória, as experiências pessoais, a pesquisa bibliográfica, a pesquisa in loco enquanto propulsores dos trabalhos de criação. Evidenciamos um posicionamento sobre cultura popular como um processo dinâmico que consegue dialogar com os acontecimentos do tempo presente promovendo, dessa forma, sua continuidade. No capítulo seguinte adentramos na conformação estética e nos elementos cênicos (figurino, iluminação, cenário, maquiagem) que integram os espetáculos estudados e comunicam a dança popular de maneiras diversas. Para embasar nossas ponderações em relação aos discursos dos sujeitos entrevistados, nos fundamentamos em autores como Robatto (1994); Lobo; Navas (2008), Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), entre outros. Esses autores nos deram um aporte teórico imprescindível que, juntamente com os depoimentos dos entrevistados, nos possibilitaram identificar que a concepção estética que vem se configurando no Grupo tende a estabelecer contatos com linguagens artísticas e com técnicas diversas de movimento. Essa realidade nos mostra que os trajetos cênicos realizados pelo Grupo Parafolclórico da UFRN apontam para uma concepção estética que não se fixa apenas na cultura popular, sobretudo suas danças, mas que pode interagir com outros meios para comunicar sua arte. Tal situação nos apresentou duas constatações interessantes em que, primeiramente, os intercâmbios realizados reafirmam o caráter dinâmico da cultura popular que, ao estabelecer contatos com outras realidades absorve influências, possibilitando sua própria continuidade. Outra constatação é que o contexto contemporâneo das artes também promove intercâmbios diversos, permitindo, dessa maneira, outras possibilidades de produções artísticas. Nesse sentido, o Grupo Parafolclórico da UFRN se insere na cena contemporânea por possibilitar novas leituras sobre as danças populares enquanto material criativo ao colocá-las em contato com outras formatações técnicas, estéticas, artísticas e culturais.

ABSTRACT: This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects’ discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group’s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group’s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group’s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations.

RESUMO: O referido estudo tem como objetivo investigar de que maneira a dança circular contribui para ampliação do movimento de pessoas com deficiência visual no contexto em que se inserem e, portanto, aprendem a lidar com o movimento intenso de relação, de consciência, de apropriação e comunhão com o mundo. Na dança circular, metáfora cósmica, está presente o movimento do mundo que conta e transforma, de forma amorosa, a história da humanidade. Em Paulo Freire e Maurice Merleau-Ponty encontra-se o suporte necessário para discutir, tanto quanto possível, movimento e existência. A pesquisa-ação é assumida como enfoque metodológico, tendo como campo empírico o Instituto de Educação e Reabilitação de Cegos de Natal, envolvendo, diretamente, oito pessoas com deficiência visual. Os resultados da pesquisa mostram que a prática da dança circular tem influência na ampliação do movimento dos sujeitos da pesquisa, no desenvolvimento de uma melhor percepção de si, e das suas capacidades, nas relações Eu/Outro, Eu/Mundo, as quais se dão num contexto de diferenças. A pesquisa também constata que a prática da dança é fomentadora do encontro que possibilita a compreensão das limitações e superações como uma questão humana e, neste encontro da dança, a descoberta do próprio corpo e do corpo do outro, como fonte de ensinamentos e representação de si mesmo e do mundo.  Demonstra também desenvolvimento de um novo modo de pensar e agir sobre o quadro discriminatório que a pessoa com deficiência visual vive. No movimento, na dança circular, o divisor existente entre a deficiência visual e vidência perde a força.  

ABSTRACT: This paper aims at studying how circular dance can afford to sight-disabled peoples’ movement and how they can learn to cope with the deep movement of relation, consciousness, appropriation and communion with the world. Inside circular dance, a cosmic metaphor, is inscribed the movement of the world, which tells and changes amorously the human history. In the works of Paulo Freire and Maurice Merleau-Ponty one can find the necessary support to discuss, as long as possible, movement and existence. Research-action is used as a methodological approach whose empirical center is placed on the Institute of Education and Rehabilitation of Blind, in Natal, which shelters eight sight-disabled adults. The research’s data reveal that the practice of circular dance concurs to enlarge the movement of the research’s subjects, to develop a more accurate perception of their selves and of their own capacities, as well as improve the relations Me/Others, Me/World, which require a context of differences. The study has revealed that the practice of dance develops a better perception of the limits and surpasses as a human condition and, in consequence, the discovery of one’s own body and the other’s body as a resource of lessons and representations of the self and of the world. It lets out the development of a new way of thinking and coping with discrimination surrounding the disabled persons. In movement, in circular dance, the barrier between sight disablement and vision loses force.

RESUMO: A pesquisa que ora apresentamos tem como objeto de estudo a relação entre processo de criação, dança e morte, pensada a partir da construção da composição coreográfica Nós, Sós, que se insere na configuração estética da dança contemporânea, tendo como referência principal as experiências vividas com a morte por suas dançarinas-criadoras. Objetivamos refletir sobre as possíveis relações entre morte e dança tendo como foco um processo de composição coreográfica; discutir um processo de criação coreográfica coletivo tecido a partir das experiências vividas com a morte por parte das dançarinas-criadoras; apontar trajetos de composição trilhados nesse processo de criação no que se refere à organização coreográfica, às escolhas das cenas e dos elementos cênicos a serem utilizados, ao pensar de cada dançarina-criadora e como estes pensares (idéias e partituras motoras) se entrelaçam para a tessitura da composição coreográfica; e refletir sobre o modo como o dançarino-criador organiza, atualiza e articula as possibilidades gestuais do seu criar-interpretar e seu significado para pensar a dança na contemporaneidade. As questões de estudo que mobilizaram nosso interrogar foram: Como o tema da morte pode desencadear um processo de criação coreográfica coletivo? Quais as contribuições do estudo para pensar a criação em dança na cena contemporânea? Quais os caminhos trilhados pelas dançarinas-criadoras quando da realização de Nós, Sós, no que diz respeito à elaboração e organização coreográfica e cênica? Trata-se de uma pesquisa fenomenológica que busca compreender os encaminhamentos que as experiências vividas com a morte promovem dentro de um processo de criação. Em todo o percurso realizamos leituras, diálogos com pesquisadores, artistas e estudiosos que se apresentaram como nossos interlocutores, investigamos procedimentos de levantamento, colheita e registros do material coreográfico, bem como a configuração e arquitetura coreográfica/dramatúrgica de Nós, Sós. Acreditamos que para empreender esta aventura o dançarino-criador e pesquisador se reinventa a cada projeto; ao mesmo tempo em que se reinventa abre vias que atualizam a linguagem da dança, na perspectiva de uma expressividade mais acentuada de artistas e/ou pesquisadores produzindo obras, artigos, livros, discutindo temas e assuntos pertinentes ao universo desta arte. As perspectivas de aprofundamento desta temática são vistas como bem-vindas e pertinentes no sentido de que possam atravessar regiões até então alheias e silenciosas à percepção do olhar que atualmente nos faz.

ABSTRACT: The object of this study is the relationship between the creation process, dance, and death, under the construction of the choreographic composition "Nós, Sós" (We, Alone) within the aesthetic configuration of Contemporary Dance and presenting as its main reference the death experiences lived by its dancers-creators. Our purpose is to reflect about the possible relations between death and dance focusing the choreographic composition process led by the dancers-creators' experience with death; to point down ways of composition path used in this creation process in terms of choreographic organization, choices of scenes, and scenic elements to be used when which dancer-creator thinks about motor ideas and scores interwoven to compose a choreography; to reflect about the way the dancer-creator organizes, updates and articulates the gesture possibilities of his/her creation-interpretation and related meaning of dance in contemporaneity. The study questions were: how the theme of death may trigger collective choreographic creation process? Which are the contributions of this study to the thinking of dance creation in contemporaneous scene? Which were the ways followed by the dancers-creators of "Nós, Sós" regarding the construction and the choreographic and scenic organization? It is a phenomenological study that tries to understand the influence of death experience in a creation process. During the whole work we performed readings, dialogues with researchers, artists and authors; survey procedures, collection of choreographic data as well as the choreographic/ dramaturgic architecture of "Nós, Sós". To accomplish this adventure, the dancer-creator-researcher reinvents him/herself in each project; at the same time he/she opens ways to update the language of dance, in the perspective of the deeper expressivity of artists and/or researchers producing articles, books, discussing themes and issues related to the universe of this art. The deepening of this issue is welcome and appropriated in the sense that it will go through regions that were alien and silent until now.

Resumo: O presente trabalho possui como objeto de estudo uma oficina básica de iluminação cênica direcionada a agentes cênicos a fim de instrumentalizá-los para alguns aspectos relacionados à iluminação. Buscamos, portanto, o desenvolvimento de estratégicas pedagógicas para a construção dos conhecimentos específicos sobre iluminação cênica, objetivando a mudança de uma práxis, tanto para seu desenvolvimento estético, como para seu ensino. A investigação, caracterizada metodologicamente como uma Pesquisa-ação, tenta despertar a criticidade nos sujeitos em relação à criação da luz de maneira mais compartilhada, e conta com a “dialogicidade” e a “abordagem problematizadora” como fundamentos metodológicos mobilizadores para a construção dos conhecimentos. Desta forma, os referenciais teóricos desta dissertação situam-se nos trabalhos de Paulo Freire no que se refere principalmente ao pensamento dialógico, nas sistematizações pedagógicas do Grupo de Estudos de 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 uma prática educativa desenvolvida coletivamente, levando em conta a realidade dos sujeitos, estabelecendo relações entre os conhecimentos específicos da área ensinada e outras áreas do conhecimento, e, principalmente, que possa ser dinâmica e transformadora. 

Abstract: The present work has as its object of study a basic stage lighting workshop targeted to scenic agents to enabling them into some aspects related to lighting. We seeked, therefore, the development of pedagogical strategies for the construction of specific knowledge of stage lighting, aiming to change a practice, both for their aesthetic development, as for their teaching. The research, characterized as a methodological action research attempts to arouse criticism in the subjects in relation to the creation of light in a more shared and has the "dialogue" and "problematizing approach" as mobilizers methodological foundations for the construction of knowledge. Thus, the theoretical framework of this thesis lie in the work of Paulo Freire with regard to thinking mainly of dialogue, the pedagogical systematization of the Group for the Study of Educational Practices in Motion (GEPEM/ UFRN) and in the productions of the Laboratory for Scenary and Scene Technology (CENOTEC/ UFRN), regarding the construction of an educational practice developed collectively, taking into account the reality of the subjects in connecting the expertise of the area taught and other areas of knowledge, and especially a practice thar can be dynamic and transforming.

RESUMO: Esta pesquisa traz a seguinte questão: Quais os elementos teatrais, presentes na mística que fazem interseção com o teatro? Realizada com militantes do MST, Inicialmente no Município Nova Cruz, junto ao curso de Pedagogia na terra, turma Bernardo Marim. Em segundo momento no centro de formação do MST Patativa do Assaré, na cidade de Ceará Mirim-RN. Tivemos como interlocutores militantes do MST. A pesquisa foi realizada sob uma perspectiva analítico-crítca com ênfase nos elementos teatrais eleitos por nós (ator, texto, espaço, espectador), através de entrevistas gravadas com os militantes.  Na primeira parte desta dissertação tratamos da prática da mística no MST, observando seu formato, sua estrutura e sua dinâmica de funcionamento, depois relatamos uma breve história do surgimento do MST. No segundo capitulo discutiremos os elementos estruturantes do fazer teatral, eleitos por nós (ator, texto, espaço, espectador) e suas interseções com o teatro. No terceiro capitulo analisaremos cada elemento (ator, espaço, texto, expectador/platéia) considerando a sua especificidade-interseção na mística e no fazer teatral separadamente. Por fim na conclusão apontamos os caminhos que essa pesquisa nos abre para futuros aprofundamentos de estudos.

ABSTRACT: This research begs the question: What are the theatrical elements present in the mystique that intersect with the theater? Performed with MST activists, initially in the City New Cross, next to the pedagogy course on earth, class Bernardo Marim. Second time in the training center of the MST Patativa Assaré in the city of Ceará Mirim-RN. We as interlocutors MST. The research was conducted under an analytical-crítca with emphasis on theatrical elements chosen by us (actor, text, space, spectator), through interviews with the militants. In the first part of this thesis dealt with the mystical practice of the MST, noting its shape, its structure and its dynamics of operation, then report a brief history of the emergence of the MST. In the second chapter we discuss the structural elements of doing theater, elected by us (actor, text, space, spectator) and their intersection with the theater. In the third chapter will analyze each element (actor, space, text, viewer / audience) considering its specificity-intersection in the mystical and theatrical make separately. Finally in conclusion we point out the ways that this research opens us to insights into future studies.

Esta pesquisa tem como objeto de estudo a relação entre corpo, técnica e dança na experiência de bailarinos/professores natalenses. Propomos como objetivos do trabalho: investigar os significados do corpo na vivência dos mesmos, bem como a relação dessas concepções com suas formações e discutir sobre a formação corporal do bailarino na contemporaneidade com enfoque na relação entre corpo e técnica. Dialogamos com autores de referência nos estudos do corpo, da dança e da técnica, dentre os quais destacamos: Foucault (2007), Porpino (2006), Mauss (1974), Barba (1995) e Serres (2003). Para o desenvolvimento da pesquisa, formulamos as seguintes questões: quais as de corpo de bailarinos que tiveram experiências com múltiplas técnicas e hoje concepções atuam na formação de outros bailarinos? Qual a relação entre essas concepções e a formação técnica vivenciada por essas pessoas? A pesquisa teve orientação na Análise de Conteúdo de Laurence Bardin, aplicada a depoimentos dos bailarinos sobre suas experiências com a dança. Foram investigados seis bailarinas e dois bailarinos, grupo delimitado a partir de alguns critérios: ter experiência em diversas técnicas de dança, ter no mínimo dez anos de experiência sistemática com essa linguagem, ter formação de nível superior e atuarem como professores de dança. No primeiro capítulo consideramos, para a análise, dois temas principais: formas de perceber o corpo e como o corpo é construído pela técnica, a partir dos seguintes eixos de discussão: a disciplina, os limites do corpo e a multiplicidade. No segundo capítulo, discutimos o contexto atual da dança, o treinamento e as técnicas de dança como desdobramentos do capítulo anterior. Com base nos discursos dos bailarinos e bailarinas entrevistados, foi possível perceber diversas concepções de corpo advindas de suas experiências de vida com a dança, as quais estão relacionadas à vivência de algumas técnicas de dança e outras práticas corporais que os fizeram pensar e compreender a dança de formas diversas.  A discussão em torno da relação entre concepções de corpo e técnica, na experiência dos bailarinos entrevistados, permitiu-nos a organização de três apontamentos que são apresentados como elementos de reflexão em torno da formação do bailarino na atualidade. Nesse sentido, apresentação dos apontamentos para a formação do bailarino, no segundo capítulo, pretende contribuir para um fazer artístico em dança que amplie o olhar do bailarino em relação às pluralidades de técnicas corporais, que possibilite à criação de uma dramaturgia corporal, que possa dialogar com as referências diversas da dança, ampliando as antigas e atuais, de forma contextualizada. Essa investigação nos revelou que o corpo, na dança, está constantemente em construção, entrelaçando-se com diversos saberes, construindo e ressignificando seu movimento na experiência do dançar. É um corpo com identidades múltiplas, que está marcado pela diversidade, incerteza, multiplicidade e diálogo.