Disertación/Tesis

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2024
Disertaciones
1
  • MÔNICA MARIA DA SILVA
  • Women Quarries and their construction sites Construction of a tramaturgia based on personal memories and female narratives from the Community of Peixinhos – PE.

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • ROBSON CARLOS HADERCHPEK
  • VALÉRIA ANDRADE
  • Data: 22-feb-2024


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

2
  • NAZARÉ SODRÉ DA SILVA
  • A RECEITA: STEPPING GARLIC IN THE BLACK THEATER WITH BLACK WOMEN

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • KARYNE DIAS COUTINHO
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • Luciene de Oliveira Dias
  • Data: 29-feb-2024


  • Resumen Espectáculo
  • 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.

3
  • MARCO AURELIO PLA GIL
  • Notes on an experience with the Creation Centre of Teatraria ao Cubo: the composition of the spectacle Casa Cheia (Full House)

  • Líder : ADRIANO MORAES DE OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • KARYNE DIAS COUTINHO
  • STELA REGINA FISCHER
  • Data: 19-mar-2024


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

4
  • ANDRÉ DE PAIVA CAVALCANTI ALENCAR
  • BUFFOON STATE: A TRANSGRESSIVE, FESTIVE AND PLAYFUL BODY

  • Líder : ANA CALDAS LEWINSOHN
  • MIEMBROS DE LA BANCA :
  • ANA CALDAS LEWINSOHN
  • MELISSA DOS SANTOS LOPES
  • MARIA BEATRIZ MENDONÇA
  • Data: 05-abr-2024


  • Resumen Espectáculo
  • 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.

2023
Disertaciones
1
  • VERÔNICA EULÁLIA DE MEDEIROS
  • The Gorete do Cacete creation: the giras and the performing body of the Seridó ground

  • Líder : LARA RODRIGUES MACHADO
  • MIEMBROS DE LA BANCA :
  • LARA RODRIGUES MACHADO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • SEBASTIÃO DE SALES SILVA
  • Data: 03-abr-2023


  • Resumen Espectáculo
  • 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.

2
  • AGRINEZ DIANA DE MELO
  • THE MATRICIAL POETICS OF THE ORIXÁS AND ENCANTADOS: THE ARA RITUAL BLACK WOMAN IN THE ANCESTRAL THEATER

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • FERNANDA JÚLIA BARBOSA
  • LARA RODRIGUES MACHADO
  • ROBSON CARLOS HADERCHPEK
  • Data: 05-abr-2023


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

3
  • RAQUEL GUEDES DE MEDEIROS
  • WILD MOTHER: PLOT BETWEEN THE MYTH OF LILITH AND THE MYTH OF THE GREAT MOTHER, IN A FEMINIST SCENE

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MARIA BRÍGIDA DE MIRANDA
  • ROBSON CARLOS HADERCHPEK
  • Data: 29-may-2023


  • Resumen Espectáculo
  • 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.

4
  • ERIKA RAYANE SILVA DE LIMA
  • DIALOGUE BETWEEN DANCES: living body, lives body

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • ALYSSON AMANCIO DE SOUZA
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • TEODORA DE ARAUJO ALVES
  • Data: 09-jun-2023


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

5
  • PAULINO TCHILOIA BIMBA LUNONO
  • Corporalité maternelle : un récit de trajectoire personnelle et de réflexions sur le corps dans l'art

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • JOSÉ KATITO
  • KARYNE DIAS COUTINHO
  • TEODORA DE ARAUJO ALVES
  • Data: 26-jun-2023


  • Resumen Espectáculo
  • 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.

6
  • CLEISON RAMOS BELO DA SILVA
  • ESTESIA: CASE STUDY AND PERCEPTION OF THE SHOW

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • MONIZE OLIVEIRA MOURA
  • LUIZ RENATO GOMES MOURA
  • Data: 26-ago-2023


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

7
  • CARLOS HENRIQUE DOS SANTOS
  • From the streets to the scenes: pedagogical possibilities based on Folk June’s dances

  • Líder : ANDRE CARRICO
  • MIEMBROS DE LA BANCA :
  • ALDA FÁTIMA DE SOUZA
  • ANDRE CARRICO
  • TEODORA DE ARAUJO ALVES
  • Data: 25-oct-2023


  • Resumen Espectáculo
  • 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.

8
  • JOÃO FRANCISCO DE AZEVEDO NETO
  • TECHNOLOGIES IN THEATER TEACHING IN A PANDEMIC CONTEXT: METHODOLOGICAL PRACTICES AT IFRN

  • Líder : MÔNICA VIANNA DE MELLO
  • MIEMBROS DE LA BANCA :
  • JEFFERSON FERNANDES ALVES
  • MÔNICA VIANNA DE MELLO
  • THARYN STAZAK
  • Data: 23-nov-2023


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

9
  • ANA PAULA VALENTIM DE OLIVEIRA
  • AFTER THE [ABISM]: an autobiographical narrative of a theater artist from João Pessoa-PB

  • Líder : ADRIANO MORAES DE OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • DUILIO PEREIRA DA CUNHA LIMA
  • MELISSA DOS SANTOS LOPES
  • Data: 27-nov-2023


  • Resumen Espectáculo
  • 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.

10
  • WISLAYNE PONTES DE SOUZA FERREIRA
  • CALABASH BODY: DISCOVERING THE MATERNAL ANCESTRALITY IN VIDEO ART - “OPEN THE CALABASH! INSIDE THE CALABASH IS YOUR MOTHER AND MY STORY”

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • LUIZ DAVI VIEIRA GONÇALVES
  • ROBSON CARLOS HADERCHPEK
  • Data: 28-nov-2023


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

11
  • MANUEL FRANCISCO JOÃO DA COSTA
  • THE SEARCH OF THE MUNTU: THE BODY TRAINING OF THE BIMPHADI ACTOR

  • Líder : LEONIDAS DE OLIVEIRA NETO
  • MIEMBROS DE LA BANCA :
  • LEONIDAS DE OLIVEIRA NETO
  • ROBSON CARLOS HADERCHPEK
  • SEBASTIÃO DE SALES SILVA
  • Data: 29-nov-2023


  • Resumen Espectáculo
  • 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).

12
  • EWELLYN ELENN DE OLIVEIRA LIMA
  • Tap-dancing of Macumba Zé: Catimbó Dances, Crossroads Dances.

  • Líder : MARCILIO DE SOUZA VIEIRA
  • MIEMBROS DE LA BANCA :
  • KATYA SOUZA GUALTER
  • MARCILIO DE SOUZA VIEIRA
  • VICTOR HUGO NEVES DE OLIVEIRA
  • Data: 29-nov-2023


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

13
  • CLEUMA ALEXSANDRA SOUSA MORAIS
  • Creole drum: from the womb of my ancestors

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • ANA CALDAS LEWINSOHN
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • SEBASTIÃO DE SALES SILVA
  • Data: 29-nov-2023


  • Resumen Espectáculo
  • 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 Falcão. 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.

14
  • NELSON SAMPAIO MÁQUINA
  • DANCE-SONG: THE RITUAL SONGS OF THE NYANEKA PEOPLE IN BIMPHADI RECREATIONS

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • AGNELA DA CRUZ HENRIQUES DE BARROS WILPER
  • LEONIDAS DE OLIVEIRA NETO
  • ROBSON CARLOS HADERCHPEK
  • Data: 30-nov-2023


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

15
  • MBANDU LUVUMBO NSINGUI
  • ETHNOTHEATROLOGICAL ELEMENTS OF CULTURAL MANIFESTATIONS IN ANGOLA: ARTISTIC AND EDUCATIONAL EFFECTS OF THE BAKONGO DEATH RITUAL

  • Líder : KARYNE DIAS COUTINHO
  • MIEMBROS DE LA BANCA :
  • KARYNE DIAS COUTINHO
  • ROBSON CARLOS HADERCHPEK
  • AGNELA DA CRUZ HENRIQUES DE BARROS WILPER
  • Data: 07-dic-2023


  • Resumen Espectáculo
  • 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.

16
  • GABRIELA FERNANDES CARVALHO
  • UM JARDIM CHAMADO GETSÊMANI: A CONTRIBUTION BY NEWTON NAVARRO TO THE THEATER MODERNIZATION PROCESS IN NATAL

  • Líder : MONIZE OLIVEIRA MOURA
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • DIÓGENES ANDRÉ VIEIRA MACIEL
  • MONIZE OLIVEIRA MOURA
  • Data: 13-dic-2023


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

17
  • GLÁUCIA CÍCERA DE SOUZA ANDRADE
  • TEATRO ALBERTO MARANHÃO (TAM): reflections based on the memory-history of its documentary collection

  • Líder : MONIZE OLIVEIRA MOURA
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • MONIZE OLIVEIRA MOURA
  • REGINALDO CARVALHO DA SILVA
  • Data: 19-dic-2023


  • Resumen Espectáculo
  • 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.

2022
Disertaciones
1
  • JAN MACEDO JAEDSON SOUZA
  • DANCE AND MEDITATION: ANGEL VIANNA METHODOLOGY AND VIPASSANA MEDITATION A RAPPROCHEMENT FOR DANCE CREATION

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • DANIEL REIS PLÁ
  • KARENINE DE OLIVEIRA PORPINO
  • ROBSON CARLOS HADERCHPEK
  • Data: 21-feb-2022


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

2
  • EDUARDO AUGUSTO MARTINS DE MELO
  • LA TEXTURA DE UN MAESTRO-ARTISTA CAMARENSE: LA BIOGRAFIZACIÓN COMO CONOCIMIENTO DEL PROYECTO DEL YO

     
  • Líder : ADRIANO MORAES DE OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • KARENINE DE OLIVEIRA PORPINO
  • LÚCIA MARIA VAZ PEREZ
  • Data: 24-feb-2022


  • Resumen Espectáculo
  • Esta investigación pretende realizar la biografía de mi trayectoria como artistadocente. Biografiar, según Delory-Momberger, "es el proceso según el cual los individuos construyen la figura narrativa de su existencia" (2014, p. 81) para socializar una trayectoria individual y, así, insertarse en términos formativos en un contexto colectivo. Por lo tanto, en la investigación adopté el procedimiento metodológico "biografízación", desde el campo de las (auto)biografías y las historias de vida, como una forma de entender cómo me convertí en artista-docente con las singularidades y pluralidades que me componen. Con la biografía de mi trayectoria formativa como profesor del área de Artes del Municipio de João Câmara, busqué contribuir con investigaciones en el ámbito de la pedagogía del teatro y la enseñanza del arte en la educación básica, particularmente, la del interior de Brasil. Los estudios de las autoras Christine Delory-Momberger y Marie-Christine Josso conforman las principales referencias de la presente investigación. Como base epistemológica, a partir de sus abordajes en la investigación (auto)biográfica y las historias de vida como espacio de formación humana y profesional, trazo un camino que tiene como foco principal el yo docente-artista actual, mirando una trayectoria de formación que es singular, porque me pertenece, pero que también tiene pluralidades, porque pertenece al amplio universo de un docente-artista que se forma y trabaja en el interior de Brasil. Es a través de la comprensión de los significados de mi existencia singular-plural, como sujeto en las esferas artística y pedagógica, que presento mi biografía como una de las muchas posibilidades de formación de la formatividad o, en palabras de Josso, de un individuo que sabe que "la invención del yo [por la narrativa] requiere no sólo un discurso sobre el yo, sino proyectos del yo" (2008, p.43).

3
  • GLEYDSON RODRIGUES DANTAS
  • STAGE -TEMPLE –QUARTEL: paths of self-discipline of being an artist

  • Líder : ANA CALDAS LEWINSOHN
  • MIEMBROS DE LA BANCA :
  • ANA CALDAS LEWINSOHN
  • ANDERSON DANTAS DA SILVA BRITO
  • ANDRE CARRICO
  • Data: 18-mar-2022


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

4
  • ALEX APOLONIO SOARES
  • Mamulengo en Tecnovívio: nudos, quiprocós y folganças en el camino hacia la inclusión digital del teatro de títeres popular de Pernambuco.

  • Líder : ANDRE CARRICO
  • MIEMBROS DE LA BANCA :
  • ADRIANA SCHNEIDER ALCURE
  • ANDRE CARRICO
  • TEODORA DE ARAUJO ALVES
  • Data: 28-mar-2022


  • Resumen Espectáculo
  • 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.

5
  • AMANDA DE SOUZA NOGUEIRA
  • MARA(CATUCANDO) RACIAL QUESTIONS: A COURTAGE IN HONOR TO BLACK CULTURE

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • VICTOR HUGO NEVES DE OLIVEIRA
  • Data: 31-mar-2022


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

6
  • ANA LUISA LINCKA DE SOUSA
  • Body library: beginning movements and possible horizons for the inclusion of dance works in institutional collections

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • TEODORA DE ARAUJO ALVES
  • VALÉRIA MARIA CHAVES DE FIGUEIREDO
  • Data: 11-may-2022


  • Resumen Espectáculo
  • 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.

7
  • EDUARDO VALENCIA ARMIENTA
  • COLLECTIVE MEMORY AND ANCESTRAL IMAGES: A PARALLEL BETWEEN THE PERFORMING ARTS AND RITUAL EXPERIENCES

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • KARYNE DIAS COUTINHO
  • ROBSON CARLOS HADERCHPEK
  • VERÔNICA FABRINI MACHADO DE ALMEIDA
  • Data: 30-may-2022


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

8
  • PIERRE KEYTH RODRIGUES FERREIRA
  • JOÃO MARCELINO: Between plots, volumes and textures of

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JEFFERSON FERNANDES ALVES
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • ROSANE MUNIZ ROCHA
  • Data: 13-jun-2022


  • Resumen Espectáculo
  • 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.

9
  • JAVIER IGNACIO DÍAZ DALANNAIS
  • WE THE CASTAWAYS: CONSCIENCE DERIVES AS PRACTICES FOR THE SCENE

  • Líder : KARYNE DIAS COUTINHO
  • MIEMBROS DE LA BANCA :
  • KARYNE DIAS COUTINHO
  • OSCAR ANDRES GONZÁLEZ BOSQUE
  • ROBSON CARLOS HADERCHPEK
  • Data: 19-jul-2022


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

10
  • TALLES ATYHE CARDOSO DE LIMA
  • DANCE AND SPEECH: POETICS AND NARRATIVES OF RESISTANCE INSCRIBED IN DISSIDENT BODIES

  • Líder : MARCILIO DE SOUZA VIEIRA
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • LUCAS VALENTIM ROCHA
  • MARCILIO DE SOUZA VIEIRA
  • TATIANA WONSIK RECOMPENZA JOSEPH
  • Data: 23-ago-2022


  • Resumen Espectáculo
  • 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.

11
  • THAYANNE PERCILLA SANTOS DE AZEVEDO
  • Paths of the poetic creation of a female director-dramatist: investigations based on the creative process MAURÍCIO

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • MONIZE OLIVEIRA MOURA
  • REBEKA CAROÇA SEIXAS
  • ROBSON CARLOS HADERCHPEK
  • Data: 29-ago-2022


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

12
  • GLÊNIA MARIA DA SILVA FREITAS
  • Three diaries to Carolina: Memory skin writings of a black artist-researcher in the scene.

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • DENISE ESPÍRITO SANTO DA SILVA
  • KARYNE DIAS COUTINHO
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • Data: 29-ago-2022


  • Resumen Espectáculo
  • 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.

13
  • LILIANE DA SILVA BEZERRA
  • (SOU)PA OF STONES : THE PERFORMATIC RITUAL AND ANCESTRAL SYMBOLISM FROM THE POETICS OF THE ITSELF

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • JOICE AGLAE BRONDANI
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • ROBSON CARLOS HADERCHPEK
  • Data: 30-ago-2022


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

14
  • JÉSSICA DE LIMA TORREÃO CEREJEIRA
  • HISTORICAL RESEARCH ABOUT CABARETS SCENE COSTUMES AND THE COSTUME OF
    THE LEGENDARY MARIA BOA

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • NARA GRACA SALLES
  • TEODORA DE ARAUJO ALVES
  • URÂNIA AUXILIADORA SANTOS MAIA DE OLIVEIRA
  • Data: 31-ago-2022


  • Resumen Espectáculo
  • This research began from the experience that preceded the development of the fashion collection made by the
    author, entitled "Habite-me" (2015), during her participation in the Reallity Show Desafio Brasil Fashion, which had as central reference the story of Maria Boa, an iconic figure of Rio Grande do Norte. The overall goal of the research is to document the history of costumes used by women in cabarets throughout history, especially the costumes used by the legendary Maria Boa, given that there are not so many photographic records of the time, so that this study can serve as an iconographic reference for professionals linked to the area of costume design and fashion, as well as for the making of a costume of Maria Boa, outlining the expository part of this research. Among the authors worked on this research, we emphasize the studies of Prof. Dr. Fausto Viana (ECA/USP), gathered in the book "O Traje de Cena como Documento", which deals with the concept of documentary costume. This is a qualitative and documental research, in which a historical panorama of the cabaret evolution and its costumes throughout history is traced, until it reaches the Brazilian Northeast, where we come across the story of the legendary Maria Boa, whose
    costume, one of the few recorded, was reproduced and documented, and may later be used as costumes for
    audiovisual productions and/or theater. In this sense, the project will subsidize the scientific knowledge of the
    costume research work, as a document and its intrinsic importance for scenic production.

     
     
15
  • DENILSON DAVID OLIVEIRA SILVA
  • The impact of university extension on initial training in theA meeting with university extension in theater degree: concerns, crossings and transformations performing arts

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • IRENE DE ARAUJO VAN DEN BERG
  • JEFFERSON FERNANDES ALVES
  • TEODORA DE ARAUJO ALVES
  • Data: 05-sep-2022


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

16
  • MARIANA DOS SANTOS FERNANDES
  • Tramaturgia do Corpo Griot

  • Líder : LARA RODRIGUES MACHADO
  • MIEMBROS DE LA BANCA :
  • LARA RODRIGUES MACHADO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • CINÉZIO FELICIANO PEÇANHA
  • Data: 20-oct-2022


  • Resumen Espectáculo
  • 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”.

17
  • MIGUEL EUGENIO BARBOSA SEGUNDO
  • NAVEGANCIAS AUTOFICCIONALS: ROUTES TO AN APPROCHE BETWEEN THE REAL AND THE FICCIONAL ON THE SCENE

  • Líder : MELISSA DOS SANTOS LOPES
  • MIEMBROS DE LA BANCA :
  • MÁRCIA CHIAMULERA
  • ADRIANO MORAES DE OLIVEIRA
  • MELISSA DOS SANTOS LOPES
  • Data: 31-oct-2022


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

18
  • SIMONE MARIA DOS SANTOS
  • IN ME, "THEIR PAINS": PEDAGOGIC ELEMENTS OF THE WORKSHOP "RITUAL BODY" OF THE TOTEM GROUP

  • Líder : KARYNE DIAS COUTINHO
  • MIEMBROS DE LA BANCA :
  • KARYNE DIAS COUTINHO
  • ROBSON CARLOS HADERCHPEK
  • ALEXANDRE SILVA NUNES
  • Data: 21-dic-2022


  • Resumen Espectáculo
  • 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.

2021
Disertaciones
1
  • PAMELA DUTRA DANTAS
  • Aurita: a persona in continuous disassembly

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • KARYNE DIAS COUTINHO
  • MARA LUCIA LEAL
  • NAIRA NEIDE CIOTTI
  • Data: 26-feb-2021


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

2
  • ALLEFF EMANUELL ARAUJO LIMA
  • Diverses Letters: An Investigation of the Body-Mask through artificiality, perception and state

  • Líder : ANA CALDAS LEWINSOHN
  • MIEMBROS DE LA BANCA :
  • ANA CALDAS LEWINSOHN
  • MELISSA DOS SANTOS LOPES
  • ROBSON CARLOS HADERCHPEK
  • Rogério Lopes da Silva Paulino
  • Data: 25-mar-2021


  • Resumen Espectáculo
  • 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.

3
  • JOÃO LUCAS SILVA BENTO
  • THE TRAQUEJO COMPANY AND THE THEATER IN SERTÃO OF ARARIPE

  • Líder : ADRIANO MORAES DE OLIVEIRA
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • MELISSA DOS SANTOS LOPES
  • NERINA RAQUEL DIP
  • Data: 27-mar-2021


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

4
  • BÁRBARA ARAÚJO GOMES E SOUZA
  • Imagination and (re)creation of memories in the creative process of actresses and actors

  • Líder : MELISSA DOS SANTOS LOPES
  • MIEMBROS DE LA BANCA :
  • ANA CALDAS LEWINSOHN
  • MELISSA DOS SANTOS LOPES
  • VERÔNICA FABRINI MACHADO DE ALMEIDA
  • Data: 29-mar-2021


  • Resumen Espectáculo
  • 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.

5
  • CLARA OLIVEIRA DE MEDEIROS
  • The representation of cangaço’s women in the theater: a study on the texts Lampião, by Rachel de Queiroz and Cangaceiras, by Cristina Siqueira

  • Líder : ANDRE CARRICO
  • MIEMBROS DE LA BANCA :
  • ANA CALDAS LEWINSOHN
  • ANDRE CARRICO
  • ELEN DE MEDEIROS
  • MELISSA DOS SANTOS LOPES
  • Data: 30-mar-2021


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

6
  • ADRIANO ANDRÉ ROSA DA SILVA
  • Choreediting: creative flow in videodanc

  • Líder : PATRICIA GARCIA LEAL
  • MIEMBROS DE LA BANCA :
  • GUILHERME BARBOSA SCHULZE
  • KARENINE DE OLIVEIRA PORPINO
  • PATRICIA GARCIA LEAL
  • Data: 05-jul-2021


  • Resumen Espectáculo
  • 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.

7
  • PRICILA MORAIS DE FREITAS
  • TOUCHED BY DANCE, DANCING BY TOUCH: EXPERIENCES IN THE CONTEXT OF THE PRO-ART SCHOOL OF ART AND CULTURE –GUAMARÉ-RN

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • CAROLINA ROMANO DE ANDRADE
  • KARENINE DE OLIVEIRA PORPINO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • Data: 30-ago-2021


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

8
  • CLAREANA NUNES GRAEBNER
  • Ia ticum- The delve experience between field and dance

  • Líder : LARA RODRIGUES MACHADO
  • MIEMBROS DE LA BANCA :
  • CARLA CRISTINA OLIVEIRA DE ÁVILA
  • LARA RODRIGUES MACHADO
  • ROBSON CARLOS HADERCHPEK
  • Data: 30-ago-2021


  • Resumen Espectáculo
  • 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.

9
  • THÂMARA MONIQUE CUNHA
  • OPEN THE CURTAINS: A theatrical montage as an inclusive pedagogical practice for Theater Teaching

  • Líder : JEFFERSON FERNANDES ALVES
  • MIEMBROS DE LA BANCA :
  • JEFFERSON FERNANDES ALVES
  • KARYNE DIAS COUTINHO
  • RUMMENIGGE MEDEIROS DE ARAÚJO
  • Data: 30-ago-2021


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

10
  • RENAN CARLOS MEDEIROS DA SILVA
  • PERFORMATIVE SCRIPT: CIRCUIT OF PEDAGOGICAL ACTIONS IN PERFORMANCE IN THE PRACTICE OF THE TEACHER-PERFORMER

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • KARYNE DIAS COUTINHO
  • BETTINA RUPP
  • REBEKA CAROÇA SEIXAS
  • Data: 30-ago-2021


  • Resumen Espectáculo
  • These research-intervention dialogues with the hybrid teacher-performer in the process of creating a practice called performative script. Carried out with elementary and high school classes at the Desembargador Floriano Cavalcanti State School (Natal – RN), the interventions in the school body were presented in the journey Cloud of Shares – The Floor We Step (2019), held at the school by LABPerformance (Laboratory of Performance and Performative Theater - UFRN). Structured in the format of educational material, it presents four dissertation notebooks composed of the performative scriptss of the pedagogical actions present in the event's catalogue; collages and photographs; media and written texts during its realization. In the School Boards notebook: thinking in art in the practice of the teacher-performer, there is a dialogue about the path of composition of performance projects and how they departed from the art content taught in the classroom to the set of performative scripts created in this research. In a second moment, the Cartographies notebook: configurations for the bodily elements of performance, exposes the interventions that emerged in these experiences between the teacher-performer and the student body through visualizations of maps, languages and affection. The third notebook, Performative Scriptt: pedagogical laboratories in work in progress practices, aims to understand how the teacher-performer operates the collective creation of a performative script, it consists of a reflection of the performative triggers of the body immersed in work in progress laboratories and which elements compose the writing. There is the Performative Script: circuit of pedagogical actions in performance, where the 30 practices created in this research are published. It can be consulted at any time during the reading and is an invitation to the reader to activate them through experience. Therefore, by fomenting private poetics in the public school space intimately connected to their personal path outside it, the performative script is constituted as an expression of the questions that teachers and students bring to their training. The different forms of anchoring desire in the subjective processes of the different identities of the school body produced the exercise of artistic language to embody the generated impulses, in accordance with the values expressed in human rights.

11
  • NELITA CASTRO ANDRADE
  • THE SECRET PLACE: CREATIVE STRUCTURES BETWEEN TISSUES AND BODIES

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • ISABEL CRISTINA VIEIRA COIMBRA DINIZ
  • KARENINE DE OLIVEIRA PORPINO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • Data: 31-ago-2021


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

12
  • NICHOLAS GOMES VIANA DE OLIVEIRA
  • GENDER DESIDENTIFICATION: QUEER EXPERIENCE IN DRAG QUEEN’S PERFORMATIVITY

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • REBEKA CAROÇA SEIXAS
  • ROBSON CARLOS HADERCHPEK
  • Data: 31-ago-2021


  • Resumen Espectáculo
  • 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.

13
  • BIANCA ADELTRUDES DE VASCONCELOS
  • RESEARCHER OF THE SELF: INDIVIDUATION AND RITUALISTIC CREATION IN THE PERFORMING ARTS

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • ROBSON CARLOS HADERCHPEK
  • LARA RODRIGUES MACHADO
  • JOICE AGLAE BRONDANI
  • Data: 31-ago-2021


  • Resumen Espectáculo
  • The research entitled Researcher of the Self: Individuation and Ritualistic Creation in the Performing Arts walks through life and art, through ancestry and culture, carried by the author. The main objective of this study is to verify how research about oneself can contribute to the creative processes in the performing arts. In the search for paths that lead to a ritualistic scene, the creative artist weaves accounts of her own experiences (LARROSA, 2014) in the field of arts, using as her main source of inspiration the ancestry lived in the family setting. In this plot, the author sews real life, the processes of creation and the individuation process (JUNG, 1991) bringing to light the crossings caused on her life in a predominantly patriarchal universe. These accounts allow a rescue of the feminine and promote the researcher's encounter with herself in her body-house-memory that is supported by the mythology of the Triple Goddess and her faces. In order to create a dialogue between doing and thinking, the researcher weaves relationships with Ritual Theater (HADERCHPEK, 2020), with the work Mulheres que Correm com os Lobos (ÉSTES, 2014), and with A Jornada da Heroína (MURDOCK, 1990). From the tensions arising from the encounter of the body with the current structures and the everyday situations that make up being a woman, artist and teacher, a continuous reflection of the researcher on her own being emerges. This reflection allows the researcher to understand the plots that make up her life and evidence the dialogue with the collective and the practices that go through her.

2020
Disertaciones
1
  • NATALI FERREIRA ASSUNÇÃO
  • Narratives of a flaming memory: na experience in documentary theatre

     

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MARCOS MARCELO SOLER
  • Data: 10-feb-2020


  • Resumen Espectáculo
  • 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.

2
  • ELZE MARIA DE OLIVEIRA BARROSO
  • A Galloping Body

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • ANA VALÉRIA RAMOS VICENTE
  • KARYNE DIAS COUTINHO
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • ROBSON CARLOS HADERCHPEK
  • Data: 10-feb-2020


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

3
  • FRANCO WILLAMY LIMA DA FONSECA
  • NOW SUCK THIS MANGO - THE POST COCKTAIL SCENE: AIDS INTERFACES IN THE PERFORMING ARTS

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • JOSE DUARTE BARBOSA JUNIOR
  • KARYNE DIAS COUTINHO
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • ROBSON CARLOS HADERCHPEK
  • Data: 27-feb-2020


  • Resumen Espectáculo
  • 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.

4
  • NAARA OLIVEIRA MARTINS
  • A gente combinamos de escreviver: Black Poetics and ways of self-power int he creation of Performing Arts

  • Líder : KARYNE DIAS COUTINHO
  • MIEMBROS DE LA BANCA :
  • DENISE CARVALHO DOS SANTOS RODRIGUES
  • KARYNE DIAS COUTINHO
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • SARA ELTON PANAMBY
  • Data: 02-mar-2020


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

5
  • FRANCISCO ALEXSANDRO DA SILVA
  • From Stage to Picadeiro - Circus and Traditional Clowning at the Work of Company 2 in Scene.

  • Líder : ANDRE CARRICO
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • DANIELE PIMENTA
  • MELISSA DOS SANTOS LOPES
  • Data: 03-mar-2020


  • Resumen Espectáculo
  • 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.

6
  • NATÃ BORGES FERREIRA
  • Expanded Portfolio: [Performance] Agah Precária [Affected]

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • MARCILIO DE SOUZA VIEIRA
  • REGINA HELENA PEREIRA JOHAS
  • ANTONIO WELLINGTON DE OLIVEIRA JUNIOR
  • Data: 03-mar-2020


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

7
  • FERNANDA DA SILVA ARAÚJO MÉLO
  • CARTOGRAPHSEAMS OF NARRACTRESS: performances among storytelling, theater, and education

  • Líder : KARYNE DIAS COUTINHO
  • MIEMBROS DE LA BANCA :
  • ANA PAULA ABRAHAMIAN DE SOUZA
  • KARYNE DIAS COUTINHO
  • LUCIANA HARTMANN
  • NAIRA NEIDE CIOTTI
  • Data: 04-mar-2020


  • Resumen Espectáculo
  • 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).

8
  • PABLO ROBERTO VIEIRA FERREIRA
  • PERFORMANCE COMPOSITION WAYS

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • MARCELO EDUARDO ROCCO DE GASPERI
  • NAIRA NEIDE CIOTTI
  • PATRICIA GARCIA LEAL
  • Data: 11-mar-2020


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

9
  • RONILDO JÚNIOR FERREIRA NÓBREGA
  • Performing prosthesis: prosthetic bodies and performances of disbelief

     

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • ANA CALDAS LEWINSOHN
  • ANTONIO WELLINGTON DE OLIVEIRA JUNIOR
  • NAIRA NEIDE CIOTTI
  • Data: 12-mar-2020


  • Resumen Espectáculo
  •  

    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).

10
  • RENÊ LUIZ JÚNIOR
  • DANCE, ARTISTIC RESIDENCES AND REAL TIME COMPOSITION

  • Líder : PATRICIA GARCIA LEAL
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • PATRICIA GARCIA LEAL
  • ROSA CRISTINA PRIMO GADELHA
  • Data: 26-jun-2020


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

     

11
  • JOSEANE MARIA DA SILVA
  • Makeup as an Artistic and Learning Experience

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • KARENINE DE OLIVEIRA PORPINO
  • MÔNICA FERREIRA MAGALHÃES
  • Data: 04-jul-2020


  • Resumen Espectáculo
  • 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. 

12
  • DALIANA MEDEIROS CAVALCANTI
  • A Lyrical Singer’s Education Paths in Natal, Rio Grande do Norte

  • Líder : MELISSA DOS SANTOS LOPES
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • BARBARA BISCARO
  • MELISSA DOS SANTOS LOPES
  • Data: 10-ago-2020


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

13
  • JOSÉ BRITO DA SILVA FILHO
  • The experience of "Cia. Ortaet de Teatro" in the southern center of Ceará: pedagogical background and creative processes.

  • Líder : MELISSA DOS SANTOS LOPES
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • MARIA ALICE POSSANI
  • MELISSA DOS SANTOS LOPES
  • Data: 17-ago-2020


  • Resumen Espectáculo
  • 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.

14
  • EDCEU BARBOZA DE SOUZA
  • NINHO DE TEATRO GROUP, EXPERIENCE AND TACTICAL USES IN PRODUCTION AND MANAGEMENT IN GROUP THEATER IN CARIRI CEARENSE

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • LUIZ RENATO GOMES MOURA
  • MELISSA DOS SANTOS LOPES
  • Data: 27-ago-2020


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

15
  • MARCIO FIGUEIREDO DE SÁ LEITÃO
  • CIRCUS-DANCE: A VIEW ON HYBRIDISM BETWEEN THE CIRCUS AND DANCE FROM THE CYR WHEEL EXPERIENCE

  • Líder : MARCILIO DE SOUZA VIEIRA
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • LETÍCIA DAMASCENO BARRETO
  • MARCILIO DE SOUZA VIEIRA
  • Data: 16-dic-2020


  • Resumen Espectáculo
  • 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.

16
  • LEILA BEZERRA DE OLIVEIRA
  • Gira Coral: The Feminine Sacred Dance as a manifestation of the Dance in the Play of Poetic Construction.

  • Líder : LARA RODRIGUES MACHADO
  • MIEMBROS DE LA BANCA :
  • LARA RODRIGUES MACHADO
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MARIA ELEONORA MONTENEGRO DE SOUZA
  • Data: 16-dic-2020


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

17
  • LÍVIA CAMILLE MACIEL DE OLIVEIRA
  • THE DANCE-GAME AS A POSSIBILITY IN DANCE TEACHING

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • CAROLINA ROMANO DE ANDRADE
  • KARENINE DE OLIVEIRA PORPINO
  • TEODORA DE ARAUJO ALVES
  • Data: 18-dic-2020


  • Resumen Espectáculo
  • 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.

2019
Disertaciones
1
  • RITA TATIANA GUALBERTO DE ALMEIDA
  • Disobedient Performances Shared With Children:  Diary of the Professor-Performer

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • KARYNE DIAS COUTINHO
  • GLÁUCIO MACHADO SANTOS
  • Data: 14-feb-2019


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

2
  • VICENTE MARTOS MOREIRA
  • The House-Research: analytic tactics on invisible performances

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • PATRICIA GARCIA LEAL
  • ANTONIO WELLINGTON DE OLIVEIRA JUNIOR
  • Data: 21-feb-2019


  • Resumen Espectáculo
  • 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.

3
  • ALLAN PHYLLIPE GOMES CASSEMIRO DE ARAÚJO
  • Between pain and love: The excitation of the sensitive body, the memories and the affects in the scientific creation processes.

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • LARA RODRIGUES MACHADO
  • LÍGIA LOSADA TOURINHO
  • ROBSON CARLOS HADERCHPEK
  • Data: 25-feb-2019


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

4
  • HIKEL BRAUWN RIBEIRO DE MORAIS
  • THE ART OF MAGICIANS: BODY, PERFORMATIVITY AND DECEPTION

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • JOSÉ AMÂNCIO TONEZZI RODRIGUES PEREIRA
  • NAIRA NEIDE CIOTTI
  • ROBSON CARLOS HADERCHPEK
  • Data: 27-feb-2019


  • Resumen Espectáculo
  • 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.

5
  • NADJA ROSSANA LOPES DE SOUSA
  • A.M.E. - Art, Method and Spirituality: Processes of Scenic Creation Inspired by Education in Human Values

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • ESTHER FRAGOSO FERNÁNDEZ
  • KARYNE DIAS COUTINHO
  • ROBSON CARLOS HADERCHPEK
  • Data: 28-feb-2019


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

6
  • JOÃO VITOR FERREIRA NUNES
  • The Female Strength and Rainfall in a Manly Hinterland: performance immersion in the rites of passage of Bia Mulato through the Mythodology in arts 

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MARIA BRÍGIDA DE MIRANDA
  • MELISSA DOS SANTOS LOPES
  • VERÔNICA FABRINI MACHADO DE ALMEIDA
  • Data: 01-mar-2019


  • Resumen Espectáculo
  • 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.

7
  • RODRIGO CUNHA SANTOS
  • Coletivo de Teatro Bárbara Idade: feminist engenderings in the scene of the senescente woman.
  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MARIA BRÍGIDA DE MIRANDA
  • MELISSA DOS SANTOS LOPES
  • RENATA PIMENTEL TEIXEIRA
  • Data: 01-mar-2019


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

8
  • GEORGE ROCHA HOLANDA
  • Self-direction as the actor’s creative experience

  • Líder : ANA CALDAS LEWINSOHN
  • MIEMBROS DE LA BANCA :
  • ANA CALDAS LEWINSOHN
  • ADRIANO MORAES DE OLIVEIRA
  • VERÔNICA FABRINI MACHADO DE ALMEIDA
  • Data: 01-mar-2019


  • Resumen Espectáculo
  • 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.

9
  • MONIQUE LUCA MARITAN
  • Caboclas of spear and flower in the mouth - Artetnográfica experience in the scene of the women of Maracatu Coração Nazareno-PE

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • CAROLINA DIAS LARANJEIRA
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MARIA BRÍGIDA DE MIRANDA
  • TEODORA DE ARAUJO ALVES
  • Data: 01-mar-2019


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

10
  • MATHEUS GIANNINI CALDAS DANTAS
  • AUTOBIOGRAPHICAL NARRATIVES: A DIALOGICAL PROPOSAL FOR THE TEACHING OF THEATER

  • Líder : MARCILIO DE SOUZA VIEIRA
  • MIEMBROS DE LA BANCA :
  • CHARLITON JOSE DOS SANTOS MACHADO
  • MARCILIO DE SOUZA VIEIRA
  • ROBSON CARLOS HADERCHPEK
  • Data: 07-mar-2019


  • Resumen Espectáculo
  • 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.

11
  • STEPHANE LOUISE DE VASCONCELOS DAMACENA
  • REFLECTIONS ABOUT PAINTED FACE DRAMATURGY

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • JEFFERSON FERNANDES ALVES
  • ADRIANA VAZ RAMOS
  • Data: 22-mar-2019


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

     

12
  • TIAGO HERCULANO DA SILVA
  • A re-signification of the naked body on the scene
  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • LARA RODRIGUES MACHADO
  • NARA GRACA SALLES
  • URÂNIA AUXILIADORA SANTOS MAIA DE OLIVEIRA
  • Data: 30-abr-2019


  • Resumen Espectáculo
  • 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.

13
  • FERNANDA CUNHA NASCIMENTO
  • não se aplica pois ja tem em frances

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • LARA RODRIGUES MACHADO
  • NARA GRACA SALLES
  • URÂNIA AUXILIADORA SANTOS MAIA DE OLIVEIRA
  • Data: 07-may-2019


  • Resumen Espectáculo
  • não se aplica pois ja tem em frances

14
  • ROBERTA PEDRONI
  • THE RELATIONSHIP BETWEEN ART AND POLITICS: possible expressions of confrontation and counter-hegemony

  • Líder : MARCILIO DE SOUZA VIEIRA
  • MIEMBROS DE LA BANCA :
  • MARCILIO DE SOUZA VIEIRA
  • KARENINE DE OLIVEIRA PORPINO
  • CHRISTINA GONTIJO FORNACIARI
  • Data: 09-may-2019


  • Resumen Espectáculo
  • 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.

15
  • OCENI DA SILVA MARTINS
  • THE TEATRAIS GROUPS OF UFRN AND ITS RESISTANCE

  • Líder : MARCILIO DE SOUZA VIEIRA
  • MIEMBROS DE LA BANCA :
  • MARCILIO DE SOUZA VIEIRA
  • ANA CALDAS LEWINSOHN
  • MARINEIDE FURTADO CAMPOS
  • Data: 16-may-2019


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

16
  • ANDRÉ MARCELINO DA SILVA
  • MASQUARRIAGE: PERFORMANCE AND CLOTHING IN THE INTEGRATED CREATION PROCESS

  • Líder : MELISSA DOS SANTOS LOPES
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • IVANILDO LUBARINO PICCOLI SANTOS
  • MELISSA DOS SANTOS LOPES
  • Data: 30-jun-2019


  • Resumen Espectáculo
  • 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.

17
  • ADRIANO MARINHO DOS SANTOS
  • Investigation about creation and execution process of lighting in DEART: the academic experience as formation of a illuminator-theater teacher

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • NARA GRACA SALLES
  • URÂNIA AUXILIADORA SANTOS MAIA DE OLIVEIRA
  • Data: 26-jul-2019


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

18
  • JANINE LEAL ARAÚJO
  • Updates Through The Error: the dance made on the streets

     

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • AVELINO ALDO DE LIMA NETO
  • GUILHERME BARBOSA SCHULZE
  • KARENINE DE OLIVEIRA PORPINO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • NAIRA NEIDE CIOTTI
  • Data: 26-jul-2019


  • Resumen Espectáculo
  • 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.

19
  • HYAGO PINHEIRO DA SILVA SOUSA
  • A DOCUMENT AT ARTWORK: MEMORIES OF AN AFFECTION

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • FERNANDO ANTÔNIO ABATH LUNA
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • Data: 30-jul-2019


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

20
  • EWERTON EMANOEL FERNANDES DE MEDEIROS
  • LAYERS: CREATIVE PROCESSES IN THE SCENIC INSTAURATIONS PROCEDURES

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • NARA GRACA SALLES
  • URÂNIA AUXILIADORA SANTOS MAIA DE OLIVEIRA
  • Data: 30-jul-2019


  • Resumen Espectáculo
  • 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.

21
  • JOSÉ NILTON DOS SANTOS SILVA
  • My Role of Shaman-Actor in the Ritual Scenic Instauration

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • NARA GRACA SALLES
  • URÂNIA AUXILIADORA SANTOS MAIA DE OLIVEIRA
  • Data: 31-jul-2019


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

22
  • RAILSON GOMES ALMEIDA
  • The buchada of dramaturge and the marrow of scenic scripture: production of a dramaturgy and its different engenderments

  • Líder : ANDRE CARRICO
  • MIEMBROS DE LA BANCA :
  • ADRIANO MORAES DE OLIVEIRA
  • ANDRE CARRICO
  • JOÃO ALBERTO LIMA SANCHES
  • Data: 13-dic-2019


  • Resumen Espectáculo
  • 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.

23
  • LIA FRANCO BRAGA
  • PLAYFUL BODIES PERFORMANCES: AFRICAN CULTURE AND PERFORMING ARTS IN CHILD EDUCATION

     

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • TEODORA DE ARAUJO ALVES
  • KARENINE DE OLIVEIRA PORPINO
  • KIUSAM REGINA DE OLIVEIRA
  • Data: 18-dic-2019


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

2018
Disertaciones
1
  • GABRIELA GORGES
  • Fluent feelings: Compositional investigations talking between bodies

  • Líder : PATRICIA GARCIA LEAL
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • PATRICIA GARCIA LEAL
  • ROSA CRISTINA PRIMO GADELHA
  • Data: 28-feb-2018


  • Resumen Espectáculo
  • 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.

2
  • THARDELLY PEREIRA LIMA
  • Hunt and Hunter: The Actor-Accountant and Oz stories from the countryside of Paraíba

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • ANA CRISTINA MARINHO LUCIO
  • MELISSA DOS SANTOS LOPES
  • ROBSON CARLOS HADERCHPEK
  • Data: 28-feb-2018


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

3
  • FRANK DUESBERG
  • Tragic experience: from the concept to the experiment.

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • LARA RODRIGUES MACHADO
  • HÉLIO JUNIOR ROCHA DE LIMA
  • Data: 22-mar-2018


  • Resumen Espectáculo
  • 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

4
  • MAURÍCIO BARBOSA DE LIMA
  • ESSAYS ON THE DEVIANT PRACTICE OF THE PROFESSOR-PERFORMER IN SCHOOL'S ROTINE

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • ANTONIO WELLINGTON DE OLIVEIRA JUNIOR
  • KARYNE DIAS COUTINHO
  • NAIRA NEIDE CIOTTI
  • Data: 27-mar-2018


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

5
  • MARIA LUCIVÂNIA DE LIMA BARBOSA
  • PRACTICE OF DIRECTORS IN MULTIPLE FUNCTIONS- possible paths for polyphonic

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • ROBSON CARLOS HADERCHPEK
  • ERNANI DE CASTRO MALETTA
  • Data: 28-mar-2018


  • Resumen Espectáculo
  • 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.

     

6
  • DIOCÉLIO BATISTA BARBOSA
  • The Comic Body: a dip in the clown's rite

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • RENATO FERRACINI
  • ROBSON CARLOS HADERCHPEK
  • Data: 29-mar-2018


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

7
  • IANE LICURGO GURGEL FERNANDES
  • Improvise and composing dance at school: Paths under construction

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • MARCILIO DE SOUZA VIEIRA
  • MÁRCIA MARIA STRAZZACAPPA HERNANDEZ
  • Data: 25-abr-2018


  • Resumen Espectáculo
  • 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

8
  • LEONARDO PALMA DE SANT' ANNA DA SILVA
  • SORAIA QUEIMADA, DAUGHTER OF VIOLENCE: THE DESCOLONIZED BODY AT THE
    DRAG QUEEN THEATER SHOW

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • NAIRA NEIDE CIOTTI
  • ANTONIO WELLINGTON DE OLIVEIRA JUNIOR
  • Data: 02-jul-2018


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

9
  • GLEISON AMORIM DA SILVA
  • Expanded Theatricality: The teacher-performer and the pedagogical view as a policy of scenic assembly and disassembly

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • FABIO GUILHERME SALVATTI
  • MARCILIO DE SOUZA VIEIRA
  • NAIRA NEIDE CIOTTI
  • Data: 06-ago-2018


  • Resumen Espectáculo
  • 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.

10
  • CÉSAR FERRARIO LEITE NETO
  • POINT OF ARRIVAL, THE PROSTITUTES AND THE MEANING OF LOVE –

    The Journey of a Playwright Going Through the Formation Process.

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • ROBSON CARLOS HADERCHPEK
  • JEFFERSON FERNANDES ALVES
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MARIA BRÍGIDA DE MIRANDA
  • Data: 28-ago-2018


  • Resumen Espectáculo
  • The present research consists of a seaward journey into the search for a poetics that translates through dramatic writing. From the drafting of the play "Invisible Women", for the group Estandarte de Teatro, based in Natal, Rio Grande do Norte, the research reviews a set of previous experiences of this author, in an attempt to find understandings and ways for a better resolution of its object. And in this revolving of the past, by organizing the old notebooks of other processes, besides trying to solve the present challenge, the author also tries to promote a set of reflections on the craft of dramatic writing. The work also carries with it the responsibility to constitute some exercise and procedures, which will be applied to the Group, in the test room, with the aim of collectivizing the referential knowledge approached, establishing approximations of the whole scenic body with the dramaturgy that articulates . The research methodology, in response to this act of recollecting, is outlined metaphorically, inviting the reader to decipher their nautical charts, evidencing the paths developed throughout the process, such as a rose of the winds that points in several directions or as a butterfly flying over a map, drawing paths. The theme, as it is called, deals with a veridical episode, in approximations with the documentary theater, when five women who are credited with the trade of prostitutes were brutally murdered.

11
  • FRANCISCO DE ASSIS DE LIMA JÚNIOR
  • The faces of Gaia: the ways of understanding the body in the Gaya Dança Contemporânea
  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • TEREZINHA PETRUCIA DA NOBREGA
  • GUILHERME BARBOSA SCHULZE
  • Data: 29-ago-2018


  • Resumen Espectáculo
  • 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.

12
  • HILCA MARIA HONORATO DOS SANTOS
  • IN THE FOOTSTEPS OF THE CABOCLOS: scenic and corporal itineraries

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • JONAS DE LIMA SALES
  • TEODORA DE ARAUJO ALVES
  • Data: 29-ago-2018


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

13
  • HIANNA CAMILLA GOMES DE OLIVEIRA
  •  

     ACT OF TRANSVER: BODY PREPARATION OF ACTORS FOR A NON-VISUAL SPECTACLE

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • JEFFERSON FERNANDES ALVES
  • KARENINE DE OLIVEIRA PORPINO
  • MÁRCIA MARIA STRAZZACAPPA HERNANDEZ
  • Data: 30-ago-2018


  • Resumen Espectáculo
  • 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

14
  • PAUL MAILLIW DE MORAES PONTES
  • PATH ON THE BRIDGE WE CONSTRUCT:

    REFLECTIONS ABOUT THE EXPERIENCES OF AN ARTIST-TEACHER AND HIS LESSON-ENCOUNTERS

     

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • KARYNE DIAS COUTINHO
  • MÁRCIA MARIA STRAZZACAPPA HERNANDEZ
  • ROBSON CARLOS HADERCHPEK
  • Data: 22-oct-2018


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

15
  • MILENA LENORE DE OLIVEIRA
  • MEMORY OF THE BODY AND THE BODY OF MEMORY: LIVING WITH BODY MINIMIZATION
  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • MARCILIO DE SOUZA VIEIRA
  • CARMELA CORRÊA SOARES
  • Data: 26-oct-2018


  • Resumen Espectáculo
  • 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"

16
  • RAIANA DE FREITAS PALUDO
  • Tracing the treasures map: comicity from the body and voice

  • Líder : ANDRE CARRICO
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • BARBARA BISCARO
  • ELANE FÁTIMA SIMÕES
  • MELISSA DOS SANTOS LOPES
  • Data: 03-dic-2018


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

2017
Disertaciones
1
  • SEBASTIÃO DE SALES SILVA
  • “Saudades Z(é): metaphorizing the construction of the body brincante.”

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • ROBSON CARLOS HADERCHPEK
  • TEODORA DE ARAUJO ALVES
  • LARA RODRIGUES MACHADO
  • Data: 06-ene-2017


  • Resumen Espectáculo
  • This paper aims to present a study entitled “Saudades Z(é): metaphorizing the construction of the body brincante.” The research makes reference to the memoirs of the author-researcher, Sebastião Silva, about the game Boi de Reis in the community Sítio de Santa Cruz, in Vera Cruz city/RN. The metaphor of the construction of the scenic body is already poetry, an art exercise. It is from that perspective that occurs the metaphor of the construction of the body brincante “Zé de Moura” as pedagogy of the scene. It was chosen a snip about the body of brincante that assumed for many years the character Mateus in the game Boi de Reis. The research passes through the memoirs of a people, brincantes of the Boi de Reis and the researcher as the one that infected themselves with the magic of the game. It is anchored in the ritual process (TURNER, 1974), from the concepts of beginning time, structure and anti-structure and precisely in the memoir as recreation of the lived (LEONARDELLI, 2008).

2
  • ANA LUIZA PALHANO CAMPOS SILVA
  • The CENOTEC/UFRN: study about a proposal Scenography teaching on Theatre Degree.
  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • MELISSA DOS SANTOS LOPES
  • FÁTIMA COSTA DE LIMA
  • Data: 30-ene-2017


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

3
  • CLARA TALHA MELO DE SOUSA
  • THE OWNER´S VOICE AND THE VOICE OF THE OWNER: proprioception in the vocal preparation of the actor

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • ERNANI DE CASTRO MALETTA
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • Data: 30-ene-2017


  • Resumen Espectáculo
  • This dissertation is the record of a theoretical and practical research on vocal preparation strategies that enhance the vocal abilities of theater actors, in order to contribute to the development of their vocal identities, personal techniques and warm-up routines and vocal slowdown, with based on the concept of proprioception, as Damasio (2011) ascertained the relevance of utterance work with techniques such as Belting Contemporary method, in order to expand the vocal image, breathing and perception of voice and its resources in a fifteen group teenage actors. As a culmination of the experimental sessions and to enrich our critical reflection, we made the monitoring and documentation of a scenic experimentation with It group” Cabe na Sacola”, formed by students of IFPB - "Federal Institute of Science Education and Technology of Paraíba", the results were evaluated at the Clinical School of Speech, Federal University of Paraíba UFPB-and showed respiratory and phonation improvements.

4
  • DAIANI CEZIMBRA SEVERO ROSSINI BRUM
  • The act of clowns: the hospital as a meeting place

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • MÁRCIA MARIA STRAZZACAPPA HERNANDEZ
  • ROBSON CARLOS HADERCHPEK
  • Data: 10-feb-2017


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

5
  • NYKAELLE APARECIDA PEREIRA DE BARROS
  • Buffon technique: Theoretical-practical possibilities for the contemporary actor

  • Líder : MARCILIO DE SOUZA VIEIRA
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • JOSÉ AMÂNCIO TONEZZI RODRIGUES PEREIRA
  • MARCILIO DE SOUZA VIEIRA
  • Data: 15-feb-2017


  • Resumen Espectáculo
  • 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.

6
  • ANA RACHEL DA SILVA CAVALCANTE
  • ELES NÃO USAM BLACK-TIE: A READING OF THE MICRO-RELATIONS OF POWER

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • TEODORA DE ARAUJO ALVES
  • SANDRA AMÉLIA LUNA CIRNE DE AZEVEDO
  • Data: 17-feb-2017


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

7
  • CAMILA SILVEIRA DUARTE
  • AFFECTS AND LANDSCAPES IN TRANSIT: Processes of  Deterritorialization / Reterritorialization and Poetic Shifts in the Afghan Artist Lida Abdul

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MARIA BRÍGIDA DE MIRANDA
  • ROBSON CARLOS HADERCHPEK
  • Data: 22-feb-2017


  • Resumen Espectáculo
  • 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.

8
  • KARLA LIDIANE COSTA MARTINS SILVA
  • Thérèse, ecstasy of an offered body: the mythodological journey of a f(r)iction artist.

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • JOHN COWART DAWSEY
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • ROBSON CARLOS HADERCHPEK
  • Data: 22-feb-2017


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

9
  • WALLACE JOSÉ DE OLIVEIRA FREITAS
  • DOSSIER JAN FABRE: DIALOGS AND GERMINATIONS

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • MARA LUCIA LEAL
  • Data: 22-feb-2017


  • Resumen Espectáculo
  • 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.

10
  • JANAINA GOMES DA SILVA
  • Cara da Mãe: a journey of creation through Mitodologia em Arte

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • ROBSON CARLOS HADERCHPEK
  • MÁRCIA VIRGINIA BEZERRA DE ARAUJO
  • Data: 22-feb-2017


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

11
  • TATIANE CUNHA DE SOUZA
  • THE GRUPO MARÉ DE ARTES AND THE RITUAL COMMUNION: A GAME BETWEEN SUBJECTS OF F(R)ICTION

  • Líder : LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MIEMBROS DE LA BANCA :
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • MELISSA DOS SANTOS LOPES
  • ROBSON CARLOS HADERCHPEK
  • VERÔNICA FABRINI MACHADO DE ALMEIDA
  • Data: 23-feb-2017


  • Resumen Espectáculo
  • 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. 

12
  • ALEXANDRE ARAÚJO DE OLIVEIRA
  • Sentiment-Emotional Mapping of the Ashes to the Ground work: warps of a creation in dance.

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • LAIS GUARALDO
  • LARA RODRIGUES MACHADO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • Data: 23-feb-2017


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

13
  • DANIELA BENY POLITO MORAES
  • Iansan elements like possibility to scenic creation

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • JOSÉ LUIZ LIGIÉRO COELHO
  • MELISSA DOS SANTOS LOPES
  • TEODORA DE ARAUJO ALVES
  • Data: 23-feb-2017


  • Resumen Espectáculo
  • 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).

14
  • ROCIO DEL CARMEN TISNADO VARGAS
  • The Corporal South: Intercultural Theatrical Practices for the Descolonization of the Imaginary

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • ROBSON CARLOS HADERCHPEK
  • VERÔNICA FABRINI MACHADO DE ALMEIDA
  • Data: 23-feb-2017


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

15
  • KÁTIA CELYANE FARIAS SCHMITT
  • Scenic Creation Experiences with actors on television: TV UFPB’s Ciência Aberta show.

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • WALMERI KELLEN RIBEIRO
  • Data: 08-mar-2017


  • Resumen Espectáculo
  • 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.

16
  • ARIANE DO NASCIMENTO MENDES
  • AESTHETIC EXPERIENCE AND DRAMATURGY IN CONTEMPORARY DANCE: a case study from choreographic works “Ego” (2015), “ESCrito Absurdo” (2016) and “Nuance” (2016)

  • Líder : PATRICIA GARCIA LEAL
  • MIEMBROS DE LA BANCA :
  • CAROLINA DIAS LARANJEIRA
  • PATRICIA GARCIA LEAL
  • TEODORA DE ARAUJO ALVES
  • Data: 18-abr-2017


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

17
  • JOSÉ CLEBER BARBOSA DE LIMA
  • LIFE IN TRACE: MADNESS AND CREATIVE PROCESSES
  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • NARA GRACA SALLES
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • URÂNIA AUXILIADORA SANTOS MAIA DE OLIVEIRA
  • Data: 24-jul-2017


  • Resumen Espectáculo
  • 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.

18
  • SURAMA SULAMITA RODRIGUES DE LEMOS
  • UPCYCLING AS A CREATIVE PERSPECTIVE IN CRUOR ARTE CONTEMPORÂNEA SCENE COSTUME

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • FAUSTO ROBERTO POÇO VIANA
  • KARENINE DE OLIVEIRA PORPINO
  • NARA GRACA SALLES
  • Data: 28-jul-2017


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

19
  • Everson Oliveira da Cruz
  • What the eyes do not see: the non-visible as a form of the theatrical appreciation

     

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • ARÃO NOGUEIRA PARANAGUÁ DE SANTANA
  • JEFFERSON FERNANDES ALVES
  • KARENINE DE OLIVEIRA PORPINO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • Data: 28-jul-2017


  • Resumen Espectáculo
  • 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.

20
  • ILANA SUELY DOS SANTOS
  • Memories in the bodies and places of memories: the cultural settings of the Ponta Negra Village under a look at the Calçola Congos dance.
     
  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • TEODORA DE ARAUJO ALVES
  • MARCILIO DE SOUZA VIEIRA
  • JONAS DE LIMA SALES
  • Data: 31-jul-2017


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

21
  • CAMILA BARBOSA TIAGO
  • Reflections on pedagogical possibilities in scenic lighting

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • EDUARDO TUDELLA
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • MELISSA DOS SANTOS LOPES
  • Data: 31-jul-2017


  • Resumen Espectáculo
  • 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.

22
  • ABRAÃO LINCOLN ROSENDO FRAZÃO
  • Spectator Training: An Experience with the Artist Meeting with the Artist / IFRN-Campus Macau

     

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • MARCILIO DE SOUZA VIEIRA
  • RUMMENIGGE MEDEIROS DE ARAÚJO
  • Data: 31-ago-2017


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

23
  • LUCIANO INÁCIO DA SILVA SALES
  • THE  MORE  LOCAL  I  AM,  THE  MORE UNIVERSAL  I  BECOME- Cordel from Antônio Francisco as an creative  matrix for building a scene

  • Líder : ANDRE CARRICO
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • LARISSA DE OLIVEIRA NEVES CATALÃO
  • Data: 30-nov-2017


  • Resumen Espectáculo
  • 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.
2016
Disertaciones
1
  • ANDRÉ MANUEL DE OLIVEIRA SALVADOR
  • FENDA: 

    Temporary Trading Zones : The frictions between Registration and No - Description featuring a Portuguese subject in Metamorphoses Imperial Theatre
  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • ANTONIO WELLINGTON DE OLIVEIRA JUNIOR
  • Data: 16-feb-2016


  • Resumen Espectáculo
  • The purpose of this dissertation was to establish a dialog between art and politics, through performance studies (COHEN, 1989), (FÉRAL, 2014), (SCHECHNER, 2007), (ZUMTHOR, 2007), (PHELAN, 1992). Assuming as a hypothesis that the frictions between inscription (GIL, 2004, 2009, 2014) and non-inscription that characterize the Portuguese individual make my artistic course in the theatre of imperial metamorphosis (SLOTERDIJK, 2002). Meaning, where my body emerges as a space of inscription it was built a set for a performance of metamorphosis. For such, I’ve developed autobiographical texts that translate the metamorphosis lived both in Portugal as in Brazil. Focusing mostly in the period of Portugal’s adhesion to the Euro Zone and the manifestations occurred in Brazil during my stay. Through consulted literature, this context of crisis was designated as theatre of imperial metamorphosis creating a con(text) for the performance FENDA – Zonas de Negociação Temporárias, that translates in two processes of creation that I’ve developed throughout the research and in the artistic, social and cultural experiences that I lived in Brazilian soil. Professor Bhabha, amongst others, helped me anthropologically to think in modes of space organization in colonized and colonizing countries. Therefore in the performative game I have created, I sought mechanisms to negotiate the difference (BHABHA, 2000) and create the relations of alterity and the knowledge I intend to politicize.

2
  • RAFAEL LEITE FREIRE
  • THE ALIEN BODY IN BETWEEN-PLACE OF MEDIA AND ARTS: AN ANALYSIS OF THE CHARACTERS IN STAR TREK

  • Líder : ADRIANO CHARLES DA SILVA CRUZ
  • MIEMBROS DE LA BANCA :
  • ADRIANO CHARLES DA SILVA CRUZ
  • KARENINE DE OLIVEIRA PORPINO
  • JOÃO DE LIMA GOMES
  • Data: 28-mar-2016


  • Resumen Espectáculo
  • 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.

3
  • ALDAIR RODRIGUES DA SILVA
  • The offending object in Moema Nelson Rodrigues : the character to the creative process
  • Líder : ALEX BEIGUI DE PAIVA CAVALCANTE
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • ADRIANO CHARLES DA SILVA CRUZ
  • DENISE PEREIRA DO REGO
  • ANTONIA PEREIRA BEZERRA
  • Data: 28-mar-2016


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

4
  • JUAREZ ZACARIAS NETO
  • The artist-teacher: the slowness as a procedural choice in dance

  • Líder : PATRICIA GARCIA LEAL
  • MIEMBROS DE LA BANCA :
  • PATRICIA GARCIA LEAL
  • KARENINE DE OLIVEIRA PORPINO
  • ANA CAROLINA DA ROCHA MUNDIM
  • Data: 05-abr-2016


  • Resumen Espectáculo
  • 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.

5
  • ERICKALINE BEZERRA DE LIMA
  • Censored files of Nelson Rodrigues : a critical reading on the creation of networks
  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • LAIS GUARALDO
  • ELAINE DA GRAÇA DE PAULA CARAMELLA
  • Data: 22-abr-2016


  • Resumen Espectáculo
  • Nelson Rodrigues (1912-1980) author who introduced the scenic modernity in Brazil, also became known for portraying in his works, an obscure world taken by obsessive and disturbed characters, such characteristics were decisive for the censorship of Rio de Janeiro and Sao Paulo accompany him throughout his artistic career. In this thesis, we bring to light cases of censorship São Paulo, of the 40 to 60, referring to the three theatrical works: Lady of the Drowned, Forgive me for me and betray Golden Mouth; which were provided by Miroel Silveira Archive - AMS School of Communication and Arts ECA-University of São Paulo USP. Through the process called Critical approach (SALLES, 2008a), as an extension of Genetic Critic, problematize some factors that have gone through the creative process of theatrical works of the playwright. For this explanation, we were guided by the concept of Creation Network, which was proposed the construction of a Rodriguean creation, which in our reading includes: the philosophical term deformation (DIDI-HUBERMAN, 2010); self-criticism; and censorship. We propose a reading of 17 theatrical playwright parts and, in particular files on censorship, because they indicate a specific time of the construction work to contain documents that were kept out of reach of the author. In comparison process documents versus work published several modifications were mapped. Built, so this complex network bounded by our critical reading, however, able to bring us closer to the playwright that marked an era and continues the contemporary to unsettle us with their unpleasant Theatre.

6
  • FELIPE CABRAL DE ARAÚJO FAGUNDES
  • MONTAGE AND PERFORMATIVE THEATER: IT MAY BE CAIO FERNANDO ABREU

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • MARCOS AURELIO BULHOES MARTINS
  • NAIRA NEIDE CIOTTI
  • PATRICIA GARCIA LEAL
  • Data: 31-may-2016


  • Resumen Espectáculo
  • 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.

7
  • MARIA CAROLINA DE HOLLANDA CAVALCANTI PIÑEIRO
  • Performance Studies: Practice records of Pina, Marina in Carolina.

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • LUCIO JOSÉ DE SÁ LEITÃO AGRA
  • MARCOS AURELIO BULHOES MARTINS
  • NAIRA NEIDE CIOTTI
  • Data: 15-jul-2016


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

8
  • ANA RUTH ROCHA MACIEL
  • DUETO DE SENTIDOS: figuras de linguagem e dança contemporânea compondo poéticas no corpo adolescente.

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • CAROLINA DIAS LARANJEIRA
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • PATRICIA GARCIA LEAL
  • Data: 18-ago-2016


  • Resumen Espectáculo
  •                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.

9
  • JOSADAQUE ALBUQUERQUE DA SILVA PIRES
  • (LOU)CURE-SE!: CORPOS VIVIDOS EM INSTAURAÇÕES CÊNICAS NO HOSPITAL DR. JOÃO MACHADO

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • NARA GRACA SALLES
  • TEODORA DE ARAUJO ALVES
  • URÂNIA AUXILIADORA SANTOS MAIA DE OLIVEIRA
  • Data: 27-ago-2016


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

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

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

10
  • JOANA VIEIRA VIANA
  • Puppet Theater on Classroom: experiences on Undergraduate and Elementary School

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • ANDRE CARRICO
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • PAULO CÉZAR BALARDIM BORGES
  • Data: 31-ago-2016


  • Resumen Espectáculo
  • This study aims investigate the utilization of Puppet Theater techniques as language in the drama teacher formation and in the elementary classroom activities. For this purpose, two experiences are taken as references. The first one is based in the internship as teacher assistant in the Dr. Savio Araujo’s classes of Theatre of Animated Forms in the first semester of 2014 in the Federal University of Rio Grande do Norte. The second is derivate of the researcher's work as teacher of arts in the Municipal School José Peregrino de Carvalho of elementary level, in the city João Pessoa, PB, during the years of 2015 and 2016. In the both cases, as for undergraduate students as elementary school children, it is observed that there are challenges related to the planning and selection of contents, to the strategies to motivate the classes and the best way to make the students have autonomy and discretion to develop their artistic and personal potential. Regarding the formation of the teacher, the way to go through the vast universe of animation theatre is lineated by the conceptual definitions and terminological and methodological choices related of the assumed meaning for animation theatre, animator actor, object, give life, and mainly from the relationship of the dialogue established between the actor, the animator and the object. They are highlighted reflections about the artistic creation as fundamental part in the teaching-apprenticeship process and its relationship with the improvement by the students. Similarly, in relation to work in primary school 1, scenes creation is configured as a powerful methodological strategy in the construction of knowledge, although a number of challenges are faced daily in the school locus.

11
  • JEFFERSON MELO DE ARAÚJO
  • REFLECTIONS ON THE DANCE CORAL IN SCHOOL EDUCATION: TOWARDS A SHARED TO COMPOSITION

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • MARCILIO DE SOUZA VIEIRA
  • ROSIE MARIE NASCIMENTO DE MEDEIROS
  • MARIA ISABEL DANTAS
  • Data: 14-oct-2016


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

2015
Disertaciones
1
  • LUANA MENEZES DE OLIVEIRA
  • Corpo-diário: da escrita de si à escrita da cena

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • PATRICIA GARCIA LEAL
  • NARCISO LARANGEIRA TELLES DA SILVA
  • Data: 02-mar-2015


  • Resumen Espectáculo
  • Corpo-diário: da escrita de si à escrita da cena

2
  • HELOISA HELENA PACHECO DE SOUSA
  • Vestimentas em Performance – Composições em Modos do Corpo

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • AMABILIS DE JESUS DA SILVA
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • NAIRA NEIDE CIOTTI
  • Data: 05-mar-2015


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

3
  • HERÁCLITO CARDOSO DE OLIVEIRA
  • A poética do corpo não-verbal: um olhar para a comicidade em cena

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • TEODORA DE ARAUJO ALVES
  • ROBSON CARLOS HADERCHPEK
  • JOSÉ AMÂNCIO TONEZZI RODRIGUES PEREIRA
  • Data: 06-mar-2015


  • Resumen Espectáculo
  • 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.

4
  • GIRLANE CRISTINA SIQUEIRA DA SILVA
  • Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

  • Líder : RUBEN FIGAREDO FERNANDEZ
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • RUBEN FIGAREDO FERNANDEZ
  • ÉRICO JOSÉ SOUZA DE OLIVEIRA
  • Data: 10-mar-2015


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

5
  • BERTTONY DA SILVA NINO
  • Um retrato do marginal brasileiro mediante o trabalho do ator com as personagens de Plínio Marcos em “Navalha na carne"

  • Líder : RUBEN FIGAREDO FERNANDEZ
  • MIEMBROS DE LA BANCA :
  • PAULA ALVES BARBOSA COELHO
  • ROBSON CARLOS HADERCHPEK
  • RUBEN FIGAREDO FERNANDEZ
  • Data: 13-mar-2015


  • Resumen Espectáculo
  • 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. 

6
  • MIRTTHYA MARK LUCENA GUIMARÃES
  • O Ator na rua: uma expressividade caótica

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • ROBSON CARLOS HADERCHPEK
  • TEODORA DE ARAUJO ALVES
  • ALEXANDRE SILVA NUNES
  • Data: 19-mar-2015


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



    [1] Utilizo este termo aqui como uma metáfora, no qual salto quântico diz respeito ao elétron que recebe uma grande quantidade de energia e salta para os níveis mais afastados do núcleo.

7
  • LUIZ FELIPE FERREIRA DA ROCHA
  • Dançando a carne: uma poética do corpo no mito adâmico

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • GUILHERME BARBOSA SCHULZE
  • KARENINE DE OLIVEIRA PORPINO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • Data: 20-mar-2015


  • Resumen Espectáculo
  •  Neste estudo dissertativo refletimos sobre a dimensão sensível do corpo, que nos possibilita participar do espaço mítico e constituí-lo como espaço potencial para a criação artística em dança, experiência atribuidora de sentidos ao mundo, à vida, à existência. Trata-se de um escrito que debulha algumas reflexões acerca da condição humana a partir de um olhar lançado sobre o mito de Adão, excitando-nos a pensar sobre as possíveis relações entre a arte e o mito na contemporaneidade, como campos do saber abertos à criação, como espaços semânticos capazes de atribuir novos sentidos ao vivido por meio das pulsações de um corpo que é mito e que é dança. Esse estudo tem dentre seus objetivos a intenção de aventurar um olhar sobre o referido mito, possibilitando-nos novas leituras, significados, e compreensões do mesmo a partir da experiência e vivência num processo de criação em dança contemporânea. Para tanto, referencia-se metodologicamente na Fenomenologia, ou melhor, na atitude fenomenológica proposta por Merleau-Ponty (1994), que considera a experiência vivida do corpo como fonte primordial de conhecimento. Debruçamo-nos assim sobre esse processo de criação em dança contemporânea, que veio a originar uma obra artístico-coreográfica, à qual intitulamos de “A Carne que Sou”, e nos colocando em contemplação dessa dança que ecoa do mistério, que emerge das profundezas do corpo, e que traz à superfície o humano e o seu mundo, suas relações. Compreendemos aqui, portanto, a dança como nossa sensível guia e orientadora de reflexões de ordem ontológica e epistemológica, capaz de validar e perpetuar o mito enquanto herança de sabedoria ancestral.

8
  • ALGONIZ ALEX CORDEIRO DINIZ
  • Poetic of Crossing: The topography of the director of water reflected in the process  "Memórias de Quintal"

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • ROBSON CARLOS HADERCHPEK
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • VERÔNICA FABRINI MACHADO DE ALMEIDA
  • Data: 30-mar-2015


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

9
  • PAULA LAÍS ARAÚJO DE MEDEIROS
  • Memórias de Quintal: A arte do Encontro com a Criança Interior e os Afetos de Infância

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • ROBSON CARLOS HADERCHPEK
  • LUCIANA DE FÁTIMA ROCHA PEREIRA DE LYRA
  • VERÔNICA FABRINI MACHADO DE ALMEIDA
  • Data: 30-mar-2015


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

10
  • JORDANA LUCENA DE SOUZA
  • DANÇAS NO RN: Motivações, Dificuldades e Configurações

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • CAROLINA DIAS LARANJEIRA
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • TEODORA DE ARAUJO ALVES
  • Data: 15-abr-2015


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

     

11
  • PEDRO HENRIQUE DA SILVA FILGUEIRA
  • As personagens negras de Capitães da Areia em cena

  • Líder : ADRIANO CHARLES DA SILVA CRUZ
  • MIEMBROS DE LA BANCA :
  • ADRIANO CHARLES DA SILVA CRUZ
  • TEODORA DE ARAUJO ALVES
  • RONALDO LAURENTINO DE SALES JUNIOR
  • Data: 27-ago-2015


  • Resumen Espectáculo
  • 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.

12
  • ALYSSON AMANCIO DE SOUZA
  • E...5,6,7,8: Reflexões sobre processos formativos em dança na contemporaneidade

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • GILSAMARA MOURA
  • KARENINE DE OLIVEIRA PORPINO
  • TEODORA DE ARAUJO ALVES
  • Data: 24-sep-2015


  • Resumen Espectáculo
  • A presente pesquisa tem como objetivo principal refletir sobre os processos não formais desenvolvidos em dança na contemporaneidade. Os cursos livres, escolas, academias, ONGs e associações ainda são as instituições que mais formam bailarinos no Brasil (STRAZZACAPPA, 2012), nesse sentido julgamos necessário contínuas pesquisas que possam discutir e contribuir para a potencialização destes espaços. Por conseguinte, este trabalho é fundamentado metodologicamente na abordagem fenomenológica e mais especificamente na análise do fenômeno situado, tendo como campo constitutivo de estudo uma instituição de ensino não formal do interior do Ceará, a Associação Dança Cariri (ADC), existente desde 2007, a qual vem fomentando diversas atividades culturais na região do Cariri, sul deste estado. A partir desse contexto, a presente pesquisa aborda uma reflexão sobre como a formação de ensino híbrida, proposta pela ADC, vem influenciando os artistas locais e modificando os corpos sujeitos e o ambiente da dança do Cariri, através de composições coreográficas, aumento de eventos de dança, implementação de novos espaços e pesquisas em dança, traduzindo-se, portanto, em um campo constitutivo voltado à formação, a difusão e ao desenvolvimento da dança na contemporaneidade.  

     

13
  • RENATA CELINA DE MORAIS OTELO
  • CORPOS DA CIRANDA: ANÁLISE ARTÍSTICO/ESTÉTICA DA CIRANDA DE LIA DE ITAMARACÁ

  • Líder : MARCILIO DE SOUZA VIEIRA
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • MARCILIO DE SOUZA VIEIRA
  • MARIA DE LOURDES MACENA DE SOUZA
  • Data: 14-dic-2015


  • Resumen Espectáculo
  • 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.

     

14
  • ILDISNEI MEDEIROS DA SILVA
  • Ensino de Teatro e Diálogo Freireano: Uma experiência junto ao PIBID-Teatro/UFRN.

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • CAROLINA VIEIRA SILVA
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • KARENINE DE OLIVEIRA PORPINO
  • Data: 21-dic-2015


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

2014
Disertaciones
1
  • ISABELLE INGRID FREITAS RODRIGUES
  • Criação em processo no espetáculo Ethnotron-Ghetto Experiment

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • NARA GRACA SALLES
  • TEODORA DE ARAUJO ALVES
  • GUILHERME BARBOSA SCHULZE
  • Data: 07-feb-2014


  • Resumen Espectáculo
  • Este trabalho tem como objetivo investigar o processo criativo do espetáculo Ethnotron-Ghetto Experiment, do coletivo paraibano Tribo Éthnos, fundado na década de 1990 e ainda em atividade. A estratégia metodológica se dá através de estudos descritivos, valendo-se da teoria e prática de diversas linguagens artísticas presentes na obra apontada: artes visuais, performance, literatura e histórias em quadrinho; em ações realizadas pelo coletivo ao longo dos anos, objetivado descrever e analisar o processo de criação do como já apontado do espetáculo de dança Ethnotron-Ghetto Experiment, através da minuciosa coleta de dados por meio entrevistas abertas e semiestruturadas e da pesquisa e também da captação de materiais audiovisuais. A Tribo Éthnos destaca-se na cena local na cidade de João Pessoa e estadual, na Paraíba, visto que, nesse longo percurso de existência do coletivo, além da preocupação em fundir muitas formas artísticas bem como os artistas da Paraíba, aglutina pessoas que fazem arte em outros países e faz das danças urbanas algo instigante. A Tribo ainda preocupa-se com a troca de saberes através de palestras, oficinas, cursos e intercâmbios. A dissertação investiga o processo de criação dos artistas e, especificamente, dos dançarinos utilizando-se principalmente do conceito work in progress, proposto por Renato Cohen, e aplicado ao espetáculo estudado. Apresentam-se descrições dos movimentos coreográficos, do espetáculo de dança paraibano Ethnotron-Ghetto Experiment, de dança de rua da Era Funky, especificamente, com estilos como popping, waving, animation, strobing, floatine/ slidini, tiokine, trebing, breaking, waving, sliding, entre outros; porque estes são parte integrante do processo de criação. Tais estilos remetem ao ilusionismo ou mimetismo, sugerindo em seus movimentos truques, câmeras lentas, flutuações com os pés, entre outros. O coletivo, através do espetáculo, busca a integração dos corpos, procura uma libertação individual e sugere uma sensação de querer voar nas coreografias/cenas. Abordam-se os aspectos do processo criativo: o espaço cênico, o trabalho corporal, a sonoplastia e a roupa/indumentária. Trabalha-se o conceito do corpo virtual de José Gil no aspecto do corpo cênico.

    Abstract: This work aims to investigate the creative process of the show Ethnotron-Ghetto Experiment of the collectiveTribo Éthnos“, from Paraíba, founded in 1990 and is still active. The methodological strategy takes place through descriptive studies, drawing on the theory and practice of various artistic languages present in the pointed work: visual arts, performance, literature and comic books; on actions taken by the collective over the years, aiming to describe and analyze the process of creating the aforementioned dance show Ethnotron-Ghetto Experiment, through a careful collection of data through open and semi-structured interviews and research and also through uptake of audiovisual materials. The "Tribo Ethnos" stands out in the local scene in the city of João Pessoa and in the State of Paraiba, since, in this long path of the collective existence, beyond the concern for merging many art forms and artists from Paraíba, binds people who make art in other countries and do something exciting through urban dances. The "Tribo" is also concerned with the exchange of knowledge through lectures, workshops, courses and exchanges. This dissertation investigates the creative process of artists, specifically dancers, using mostly the work in progress-concept, proposed by Renato Cohen, studied and applied to the spectacle. We present descriptions of choreographic movements of the dance show Ethnotron-Ghetto Experiment, specifically street dance from the „Funky Era“ with styles such as popping, waving, animation, strobing, floatine / slidini, tiokine, trebing, breaking, waving , sliding, among others, because they are an integral part of the creation process. These styles  refer to illusionist mimicry, suggesting tricks in his movements, slow motion, fluctuations with the feet, among others. The collective, through this spectacle, aims to integrate the body, seeks an individual liberation and suggests a feeling of wanting to fly in its choreography / scenes. It addresses aspects of the creative process: the scenic area, the body work, the sound, the design and the clothing / costumes. This work also analyses the José Gil's concept of the virtual body  into the aspect of the scenic body.

2
  • LUIZ RENATO GOMES MOURA
  • A Iluminação Cênica no Trabalho do Ator de Teatro

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • EDUARDO TUDELLA
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • ROBSON CARLOS HADERCHPEK
  • Data: 24-feb-2014


  • Resumen Espectáculo
  • A presente pesquisa tem como foco principal, investigar como a iluminação cênica pode ser articulada no processo de criação do ator de teatro. Para chegarmos a essa reflexão, se faz necessário compreendermos o espaço da sala de ensaio, no qual o ator trabalha, como um lugar em que sua função recebe influências dos demais artistas que estão também criando o espetáculo. São analisados três processos colaborativos da Cia. de Teatro Engenharia Cênica: “Irremediável”, “Doralinas e Marias” e “O Menino Fotógrafo”, com a finalidade de compreendermos que, o teatro colaborativo potencializa o cruzamento e a troca de experiências na sala de ensaio, colaborando ativamente para a formação dos sujeitos envolvidos na criação. A pesquisa propõe uma investigação de como o processo criativo da iluminação cênica ganhou espaço na encenação teatral e evidencia principalmente como se dá sua criação “co-evolutiva” com o processo criativo do ator. 

     Abstract:This research aims to investigate how the stage lighting can be articulated in the creation of theater actor process. To we reach this reflection, it is necessary to understand the space of the rehearsal room, where the actor works as a place where their function receives influences of other artists who are creating the spectacle.Collaborative processes are analyzed three Cia de Teatro Engenharia Cênica: “Irremediável”,   “Doralinas e Marias” e “O Menino Fotógrafo”, aiming to understand the collaborative theater potentializes, the intersection and the exchange of experiences in the rehearsal room, collaborating actively for the training of persons involved in creating the show. The research proposes an investigation of how the creative process of stage lighting is gaining ground in the rehearsal room in the language of theater directing, showing mainly how is your "co-evolutionary" creation with the creative process of the actor.

3
  • ANDRE LUIZ RODRIGUES BEZERRA
  • Circuito Regional de Performance BodeArte: encontros, coletividade e porítica na performance do Rio Grande do Norte.

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • LUCIO JOSÉ DE SÁ LEITÃO AGRA
  • NAIRA NEIDE CIOTTI
  • Data: 14-mar-2014


  • Resumen Espectáculo
  • Esta dissertação tem por objetivo voltar-se à estrutura do evento Circuito Regional de Performance BodeArte, para pensar, desde seu formato conceitual até seu acontecimento e limitações práticas, como ele em sua proposta aponta questões relevantes para a compreensão da performance brasileira na contemporaneidade. A partir desta proposição, a dissertação organiza-se em três capítulos pautados nos seguintes aspectos: a retomada dos acontecimentos e dados reunidos na ocorrência do Circuito BodeArte, a apresentação de suas escolhas conceituais, e as metáforas conduzidas pelo uso do termo performance e como elas podem nos conduzir a ideia de uma performance-como-BodeArte. As estruturas metodológicas para tanto são de caráter qualitativo, e tomam como base materiais impressos, textos, programas, blog, vídeos, fotografias, entrevistas, palestras e fóruns, além de nossa própria memória como produtor e performer do evento, procurando através destes estabelecer pontos de organização epistemológica da proposta do Circuito, ampliando-os e discutindo-os. Deste modo esta pesquisa desloca-se pelas proposições do evento em suas três edições, promovendo discussões que interpelam e dialogam com conceitos como a emergência de Steve Johnson (2004), as metáforas do pensamento de Christine Greiner, a ideia de performance hacker de Maria Beatriz de Medeiros (AQUINO, et al., 2012), assim como outras proposições lançadas por Jan Swidzinski (2005) e Eleonora Fabião (2012).

     ABSTRACT: This dissertation aims to look into the structure of the event Circuito Regional de Performance BodeArte[1] to think how it collaborate with its proposal providing theoretical points to relevant questions to the comprehension of Brazilian performance art in contemporaneity, since its conceptual format until its occurrence and practical limitations. From this proposition the dissertation is organized into three chapters guided for the following aspects: the resumption of the events encompassed on the occurrence of Circuit BodeArte as well as a tabulation of the data reunited in its history, the presentation of its conceptual choices, and the metaphors conducted by the use of the term performance and how they can lead us to the idea of a performance-as-BodeArte. The methodological structures moved for this organization are qualitative, and have been formed from printed materials, texts, festival programs, blog, videos, photos, interviews, lectures and forums, plus our own memory as a producer and performer of the event, looking through these set points of the epistemological organization contained on the proposal of the Circuito, expanding and discussing them. This way this research moves between the propositions of this event in its three editions, promoting discussions that dialogue with concepts such as the emergence of Steve Johnson (2004), the metaphors of thought proposed by Christine Greiner (2005), the idea of performance hacker of Maria Beatriz de Medeiros (AQUINO, et al., 2012), as well as other propositions presented by Jan Swidzinski (2005) and Eleonora Fabião (2012).

    [1] Regional Circuit of Performance GoatArt in a free translation. In a brazilian portuguese accent the pronunciation of the word “body”, as in the term “Body Art”, sounds like the word “bode” (goat in Portuguese), this been the reason why the translation may appear confuse to the reader in English version of the term “GoatArt”.

4
  • LEANDRO AUGUSTO E SILVA MIRANDA CAVALCANTE
  • A ARTE DE CONDUZIR-SE PELO ENSINO DE TEATRO: Realidades e Ficções de Alunos-Diretores em Camarão.

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • ADRIANO CHARLES DA SILVA CRUZ
  • ARÃO NOGUEIRA PARANAGUÁ DE SANTANA
  • JEFFERSON FERNANDES ALVES
  • ROBSON CARLOS HADERCHPEK
  • Data: 14-mar-2014


  • Resumen Espectáculo
  • Esta dissertação baseia-se em uma experiência teatral de quatro anos (2009-2012) com vinte turmas de 9º ano em uma escola pública de Felipe Camarão, Natal-RN, desenvolvida por mim, e se destina a analisar os procedimentos empíricos experimentados e descobertos por adolescentes que assumiram a função de diretores teatrais frente às suas turmas, buscando montar peças a partir da adaptação de filmes brasileiros, e, portanto descobrir com os próprios conceitos a maneira de lidar com a especificidade das linguagens artísticas em questão. Para tanto, a presente pesquisa aborda o meu papel como orientador destes processos cênicos atribuindo um novo significado ao professor de teatro da escola pública que participa ativamente dos trabalhos, mas potencializa a autonomia dos alunos-diretores em conduzir. Alunos-diretores numa realidade, cujo contexto sócio-cultural influencia diretamente suas construções ficcionais no teatro e que ao refletirem coletivamente, a partir da dialogicidade, entendem a importância do relacionamento entre os membros de um grupo. Esta pesquisa-ação apresenta, por vezes, uma linguagem metafórica com o intuito de enfatizar o universo destes adolescentes, e adentra em temas ligados à pedagogia freireana tentando estabelecer uma ponte entre a realidade dos adolescentes oprimidos e o protagonismo adquirido com o envolvimento nas ficções das peças montadas, acomodando aspectos da pedagogia de Makarenko, no tocante à cooperação coletiva de um grande grupo. Deste modo, a pesquisa mergulha profundamente na caracterização do ambiente que cerca estes alunos procurando entender as identidades culturais e suas influências estéticas na criação de seus espetáculos. Associa ainda experiências e intuições de alunos na condução teatral com outras teorias ou teóricos do teatro como o Teatro Épico em Brecht, o Teatro Pobre de Grotowski, o Teatro Popular, o Teatro do Absurdo, o Teatro do Oprimido desenvolvido por Boal apontando conceitos também de Stanislavski, Tchékhov, e Meyerhold. Utiliza ainda conceitos ligados à mídia, à mistura da realidade com a ficção e aos processos de condução em um grupo, como um fenômeno nominado “efeito de condução”. Faz assim a leitura artística de quatro encenações (no total), selecionadas uma por ano, tentando formalizar conceitos teatrais outrora discutidos. Por fim, mesmo estando minha participação diluída no texto, traz algumas conversas com encenadores que gostam de ensinar e aprender.

    Abstract: This dissertation is based on a theatre experience of four years (2009-2012), with twenty classes of the 9th grade in a public school of Felipe Camarão, Natal- RN. It was developed by me, and it is intended to analyze the empirical procedures experienced and discovered by teenagers who took the role of theater directors before their classes, seeking to set up plays through the adaptation of Brazilian films, and thus to discover with their own concepts how to deal with the specificity of the artistic languages in question. Therefore, this research approaches my role as the advisor for these scene processes, assigning a new meaning to the public school drama teacher who participates actively in the activities, but enhances the autonomy of the student-directors in directing. Student-directors in a reality whose socio- cultural context directly influences their fictional constructions in the theater and who, when to reflect collectively, understand the importance of the relationship between members of a group, from what concerns dialog. This research-action sometimes uses metaphorical language – in order to emphasize the universe of these teenagers – and enters themes related to Freire's pedagogy, trying to build a bridge between the oppressed teenagers reality and the main role acquired (by the teenagers) from the involvement in the fiction of the plays set up, accommodating aspects of Makarenko´s pedagogy, regarding the collective cooperation of a large group. Thus, the research goes deeply into the characterization of the environment which surrounds these students, seeking to understand the cultural identities and their aesthetic influences in creating their shows. This work still associates students' intuition and experiences in theater directing with other theories or theater theorists, like Brechtian Epic Theatre, Grotowski's Poor Theatre, o Teatro Popular, the Theatre of the Absurd, Theatre of the Oppressed (developed by Boal), also pointing concepts from Stanislavski, Tchékhov, and Meyerhold. It still uses concepts related to media, the mix of reality and fiction and the directing processes in a group, like a phenomenon named "direction effect". In this way, it does an artistic reading of four plays (in total), selected once a year, trying to formalize theatre concepts previously discussed. Finally, even being my part diluted in the text, it brings up some conversation with directors who like to teach and learn.

     

5
  • MAURICIO MORAES MOTTA
  • Mover/se(r) – A gênese do corpo entre/corpos  e seus trajetos no processo coreográfico.

     

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • NARA GRACA SALLES
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • ROBSON CARLOS HADERCHPEK
  • MARIA ALBERTINA SILVA GREBLER
  • Data: 21-mar-2014


  • Resumen Espectáculo
  • Resumo: Esta dissertação propõe uma reflexão a respeito do corpo entre/corpos, em especial na dança contemporânea, neste seu trajeto que tem inicio na construção coreográfica, perpassando o corpo do coreógrafo, o corpo do bailarino e, ao realizar-se como manifestação artística, o corpo do espectador. Inicialmente discute o corpo na dança como espaço topológico de convergência, conexidade e continuidade, a partir do pensamento do filósofo grego Epicuro de Samos, em diálogo, principalmente, com o pensamento de Regina Miranda, Maurice Merleau-Ponty e José Gil. Reflete, em especial, a relação coreógrafo/bailarino utilizando como fio condutor as experiências do autor em seu trajeto artístico e, por fim, relata o processo de criação do experimento cênico (h)áporos, que se configura como prática da cena desta  dissertação.

     Abstract: This paper proposes a reflection on the body between/bodies, especially in contemporary dance, in their path that starts from the choreographic construction, permeating the body of the choreographer, the dancer’s body and when fulfills themselves as artistic expression, the body of the spectator. Initially discusses the body in dance as a topological space of convergence, connectedness and continuity, from the thought of the Greek philosopher Epicurus of Samos, in mainly dialogue with the thought of Regina Miranda, Maurice Merleau-Ponty and José Gil. Reflects, in particular, the relationship choreographer/dancer using as guiding thread the experiences of the author in his artistic path, and finally, describes the process of creating the scenic experiment (h)áporos, which is configured as a practice of the scene of this dissertation.

6
  • CHRYSTINE PEREIRA DA SILVA
  • Para Transvalorar a Dança Contemporânea: Potências de Dança No (Do) Corpo-Artista

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • PATRICIA GARCIA LEAL
  • LEDA MARIA MUHANA MARTINEZ IANNITELLI
  • Data: 27-mar-2014


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

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

     

7
  • EMANUELLA DE JESUS FERREIRA DA SILVA
  • Processos Criativos com Alunos-Atores Idosos: caminhos para uma dramaturgia de Pertencimento

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • ROBSON CARLOS HADERCHPEK
  • VERÔNICA FABRINI MACHADO DE ALMEIDA
  • Data: 22-abr-2014


  • Resumen Espectáculo
  • 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.

8
  • EDILBERTO DA SILVA MENDES
  • Dramaturgia da Seca: escrita teórico-prática sobre as imagens do retirante na literatura e no drama como operações estético-políticas

  • Líder : ALEX BEIGUI DE PAIVA CAVALCANTE
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • ADRIANO CHARLES DA SILVA CRUZ
  • DURVAL MUNIZ DE ALBUQUERQUE JUNIOR
  • CATARINA SANT''''ANNA
  • Data: 29-abr-2014


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

9
  • RAFAELLA LIRA AMORIM
  • Caldo do Caldo: memória do espetáculo paraibano de dança Caldo da Cana

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • NARA GRACA SALLES
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • ROBSON CARLOS HADERCHPEK
  • GUILHERME BARBOSA SCHULZE
  • Data: 22-may-2014


  • Resumen Espectáculo
  • 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.

10
  • MONIQUE DIAS DE OLIVEIRA
  • ENTRE ECOS E NARCISOS: estudo de caso sobre a prática teatral com adolescentes como atividade extracurricular numa escola de nível médio”

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • ROBSON CARLOS HADERCHPEK
  • VILMA CAMPOS DOS SANTOS LEITE
  • Data: 20-jun-2014


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

    Abstract:

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

2013
Disertaciones
1
  • BIANCA BAZZO RODRIGUES
  • Crenças e quebranças de um corpo que dança: poéticas do benzimento na criação cênica.

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • ELOISA LEITE DOMENICI
  • KARENINE DE OLIVEIRA PORPINO
  • ROBSON CARLOS HADERCHPEK
  • Data: 25-feb-2013


  • Resumen Espectáculo
  • 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.

2
  • FELIPE HENRIQUE MONTEIRO OLIVEIRA
  • CORPOS DIFERENCIADOS E O PROCESSO DE CRIAÇÃO DA PERFORMANCE “KAHLO EM MIM EU E(M) KAHLO”

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • NARA GRACA SALLES
  • TEODORA DE ARAUJO ALVES
  • ELIANA RODRIGUES SILVA
  • Data: 04-mar-2013


  • Resumen Espectáculo
  • RESUMO: A dissertação tem como objetivo realizar uma averiguação sobre o fazer artístico na existência dos seres humanos com corpos diferenciados na sociedade, em diferentes momentos históricos. Neste sentido e com base neste panorama, o estudo elabora uma descrição sobre a produção de estigmas e a forma como eles se instauram, se propagam e interferem na sociabilidade entre os seres humanos considerados normais e os com corpos diferenciados. No que tange as artes cênicas, o texto faz uma descrição acerca da participação dos artistas com corpos diferenciados na cena, especificamente do freak show e no teatro pós-dramático. O texto também investiga aspectos da biografia e da obra da artista plástica mexicana Frida Kahlo, os quais fundamentam os procedimentos metodológicos e produzem aportes para o processo criativo da performance Kahlo em mim Eu e(m) Kahlo, que consiste na investigação da prática da cena na dissertação.

    ABSTRACT: The dissertation intends to develop an investigation on the artistic existence in human beings with different bodies in society at different historical moments. In this regard and based on this scenario, the study develops a description of the stigmas production and how they are established, spread and interfere with the sociability among human beings regarded as normal and those with different bodies. Regarding the scenic arts, the text describes about the participation of artists with different bodies in the scene, specifically the freak show and postdramatic theater. The text also investigates aspects of the biography and the work of mexican artist Frida Kahlo, which underpin methodological proceedings and produce contribution to the creative process of performance Kahlo em mim Eu e(m) Kahlo, which is to investigate the practice of the scene in this dissertation.

3
  • GUSTAVO HENRIQUE LIMA FERREIRA
  • O Sangyo em Dolls: um encontro do Bunraku com Takeshi Kitano

  • Líder : MARIA HELENA BRAGA E VAZ DA COSTA
  • MIEMBROS DE LA BANCA :
  • DENILSON LOPES DA SILVA
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • MARIA HELENA BRAGA E VAZ DA COSTA
  • Data: 06-mar-2013


  • Resumen Espectáculo
  • 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.

4
  • CARLA PIRES MARTINS
  • Cravo do Canavial: Mímesis Corpórea e Maracatu Rural em Processo e a Construção de uma Dramaturgia Cênica


  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • RAQUEL SCOTTI HIRSON
  • ROBSON CARLOS HADERCHPEK
  • TEODORA DE ARAUJO ALVES
  • Data: 25-mar-2013


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

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

5
  • ELAINE LIVIA MOLLA DE VASCONCELLOS
  • O TEATRO DO OPRIMIDO E SUA CONTRIBUIÇÃO NA FORMAÇÃO DA CRIANÇA COM TRANSTORNO DO DÉFICIT DE ATENÇÃO COM HIPERATIVIDADE.

  • Líder : TASSOS LYCURGO GALVAO NUNES
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • NOELI TURLE DA SILVA
  • TASSOS LYCURGO GALVAO NUNES
  • Data: 10-abr-2013


  • Resumen Espectáculo
  • RESUMO: Este trabalho tem por objetivo investigar as possíveis contribuições do Teatro do Oprimido e a utilização de suas técnicas, como recurso terapêutico na formação da criança com Transtorno do Déficit de Atenção com Hiperatividade. Em se tratando de pesquisa bibliográfica, faz-se na primeira parte dessa pesquisa um estudo teórico sobre: transtorno da Aprendizagem, transtorno da Atenção e Hiperatividade para conhecer os sintomas, as causas e os efeitos dessa síndrome. Na segunda parte analisa-se a relação Teatro-Terapia-Educação, para entender a importância dos jogos teatrais na sala de aula, identificando o espaço estético da criança; estuda-se o Teatro do Oprimido e suas possíveis contribuições para a formação da criança com TDAH; reflete-se sobre a ação da criança no palco teatral e no palco terapêutico. E na terceira parte apresentam-se algumas práticas registradas durante a pesquisa. Para discutir as diferentes abordagens do conhecimento, dialoga-se com autores como Paulo Freire, Augusto Boal, Spolin, Reverbel, Moreno entre outros. Através das ações do Teatro do Oprimido, constrói-se na escola X, um espaço do ‘possível’, surgem novas estratégias para o letramento, cria-se um espaço de inserção do teatro nas ações do PPP (Projeto Político e Pedagógico). Nota-se que o TO facilita a criança a sua inclusão no grupo e na sociedade, devolve a sua autonomia, criatividade, e espontaneidade, viabilizando a transformação de sua conduta, adquirindo o comportamento social desejado.

    ABSTRACT: This study aims to investigate the possible contributions of the Theatre of the Oppressed and the use of their techniques as a therapeutic resource in the education of children with Attention Deficit Disorder with Hyperactivity. When it comes to literature, it is the first part of this research a theoretical study: Learning Disorder, Attention and Hyperactivity disorder to know the symptoms, causes and effects of this syndrome. The second part analyzes the relation-Theatre Therapy Education, to understand the importance of theater games in the classroom, identifying the aesthetic space of the child; studies the Theatre of the Oppressed and their possible contributions to the education of children with ADHD; reflected on the effect of the child on stage and theatrical onstage therapeutic. And in the third part presents some practices recorded during the survey. To discuss different approaches to knowledge, dialogues with authors such as Paulo Freire, Augusto Boal, Spolin, Reverbel, Moreno among others. Through the actions of the Theatre of the Oppressed, builds up at school X, a space of 'possible', new strategies for literacy, it creates a space for insertion of the theater in the actions of the PPP (Project Political and Pedagogical). Note that the child TO facilitates their inclusion in the group and society returns to its autonomy, creativity, and spontaneity, enabling the transformation of his conduct, acquired the desired social behavior.

6
  • LUCIANA INDAIA PERDONSINI DE OLIVEIRA
  • A Ideologia da Encenação: Uma análise dos aspectos cênico/ideológicos da encenação produzida pela indústria cultural.


  • Líder : TASSOS LYCURGO GALVAO NUNES
  • MIEMBROS DE LA BANCA :
  • EDUARDO OKAMOTO
  • ROBSON CARLOS HADERCHPEK
  • TASSOS LYCURGO GALVAO NUNES
  • Data: 11-abr-2013


  • Resumen Espectáculo
  • RESUMO: A pesquisa que deu origem a essa dissertação adotou um conjunto de aspectos cênico/ideológicos, inerentes à encenação produzida pela indústria cultural, como objeto de investigação. A produção intelectual de Theodor W. Adorno e Max Horkheimer norteou as abordagens sobre o objeto, providenciando o conjunto de características cênico/ideológicas a ser explorado, pois, de acordo com os autores, encenações produzidas pela indústria cultural estão atreladas à ideologia dominante, visto que agem em favor da manutenção do status quo. O primeiro objetivo proposto consistiu na definição desse conjunto de características inerentes à encenação produzida pela indústria cultural, através da exploração de bibliografia produzida por Adorno e Horkheimer, de modo que foi possível definir um conjunto formado por nove elementos: Construção de personagens como tipos característicos; Estereótipos; Naturalização de linguagem estereotipada; Dramaturgia simplória; Reutilização de fórmulas dramáticas; Amor e Sexualidade como temas dos enredos; Utilização do elemento trágico; Representação objetiva; Aproximação de ficção e realidade. O segundo objetivo consistiu na análise de encenações produzidas pela indústria cultural atualmente, a fim de que fosse possível verificar se algum dos aspectos cênico/ideológicos, indicados por Adorno e Horkheimer em meados do Século XX, fazia-se presente em meio a encenações produzidas no início do Século XXI. Através da análise de três telenovelas, produzidas no Brasil no ano de 2012, foi possível verificar que os nove aspectos cênico/ideológicos buscados, indicadas por Adorno e Horkheimer, apareceram nas encenações observadas. Além disso, uma nova característica cênico/ideológica, não indicada por Adorno e Horkheimer, se faz presente: o merchandising

    ABSTRACT: The research that led to this dissertation adopted a set of scenic/ideological aspects inherent to the productions of the Culture Industry as its object of research. The intellectual output of Theodor W. Adorno and Max Horkheimer underscored the approaches on this subject, since it provides the same set of scenic/ideological features to be explored because, according to the authors, scenes produced by the culture industry are linked to the dominant ideology, since they act in favor of maintaining the status quo. The first objective was the definition this set of features inherent to the scene produced by the culture industry, through the exploration of literature produced by Adorno and Horkheimer, so it was possible to define a set composed of nine elements: Construction of characters as characteristic types; Stereotypes; Naturalization of Stereotyped language; Simplistic playwriting; Reuse dramatic formula; Love and sexuality as themes of plots; Utilization of tragic element; Objetive representation; Approximation of fiction and reality. The second goal was the analysis of scene produced by the culture industry nowadays, so that it was possible to verify if any scenic/ideological aspects indicated by Adorno and Horkheimer in the mid-twentieth century were present among the productions from this beginning of the twenty-first century. Through the analysis of three soap operas produced in Brazil in 2012, it was found that the nine scenic/ideological aspects as indicated by Adorno and Horkheimer appeared in the observed productions. Additionally, a new scenic/ideological feature, not indicated by Adorno and Horkheimer is present: the merchandising.

7
  • MARINA MADEIRA DE TOLEDO
  • Dramaturgia do Aqui e Agora: Presença, Recepção e Sentido no Corpo do Ator.

  • Líder : ALEX BEIGUI DE PAIVA CAVALCANTE
  • MIEMBROS DE LA BANCA :
  • ADRIANA FERNANDES
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • MARIA DE LURDES BARROS DA PAIXAO
  • Data: 12-abr-2013


  • Resumen Espectáculo
  • RESUMO: O ator não é ator somente no momento da cena, é ator em todas as etapas de criação e desenvolvimento de seu objeto estético. Nesse sentido, em seu cotidiano o ator pode procurar utilizar suas potencialidades para captar e traduzir da realidade o material para seu trabalho criativo. Esta pesquisa possui caráter teórico e aborda o conceito de presença no trabalho do ator, colocando-o como conceito para além da cena, não isolado de outros componentes – entre eles o corpo, a palavra, o silêncio, a técnica, a representação – como uma postura do ator para com sua realidade, a fim de integrar-se ao meio ambiente que o cerca, equilibrando seu conteúdo interior com o conteúdo exterior. Para tanto, utiliza como aporte teórico encenadores que abordam o conceito de presença no trabalho do ator (BROOK; BARBA; GROTOWSKI; MNOUCHKINE) e os estudos da teoria da recepção (ISER, 1996; GUMBRECHT, 2010), traçando um paralelo dialógico entre as funções de leitor e ator, apontando ambos como receptores. Como exemplo prático do estudo sobre a presença, é feita aqui uma descrição do espetáculo de teatro de rua Kamchàtka, realizado pela Companhia Kamchàtka, localizando nesse espetáculo os elementos: jogo, escuta, palavra, silêncio, sentido, relação com o aqui e agora e efeitos de presença; citados ao longo da dissertação.

    ABSTRACT: The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of “presence” in the actor’s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor’s “stance” in regards to his own reality. The objective of such “stance” is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside  life flow. To reach this objective, the research drew theoretical resources from the concept of “presence” in the actor’s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between “reader” and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said ‘presence’.

8
  • CIBELE RIBEIRO DA SILVA
  • Corpo-devir: improvisação em dança na preparação do artista cênico

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • ROBSON CARLOS HADERCHPEK
  • MÁRCIA MARIA STRAZZACAPPA HERNANDEZ
  • Data: 30-abr-2013


  • Resumen Espectáculo
  • RESUMO: A presente dissertação tem objetivo como investigar a improvisação - tal como é realizada no contexto da Dança Contemporânea - como possibilidade de preparação corporal do artista cênico. Propõe realizar uma reflexão sobre o processo da preparação corporal proposto por mim através da observação dos procedimentos experimentados no Grupo de Pesquisa Corpo-devir, especialmente criado nessa pesquisa, que estudou e vivenciou a improvisação em dança e, ainda, apresentar relatos e reflexões dos participantes sobre sua experiência, com ênfase especial na possível contribuição para a formação dos artistas da cena. Justifica-se, assim, no ensejo de que o artista cênico usufrua dos conhecimentos trazidos pela prática da dança e se perceba sujeito criador da própria formação artística, e, ainda, que essa prática possa contribuir com perspectivas artístico-pedagógicas do corpo cênico, da cena e dos processos criativos nas artes cênicas. O trabalho tem abordagem qualitativa com tratamento descritivo das observações e está baseado em pesquisa bibliográfica, videográfica e somática dos procedimentos de improvisação em dança contemporânea. Os principais interlocutores teóricos dessa dissertação são Gilles Deleuze, Félix Guattari, Maurice Merleau-Ponty, Jorge Larossa, João Francisco Duarte Jr., Rudolf Laban e Klauss Vianna, sendo que os dois últimos e o coletivo Judson Dance Theater contribuem ainda, com as concepções metodológicas utilizadas nas oficinas.

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

9
  • CAMILA MARIA GRAZIELLE FREITAS
  • Leitora-Criadora: A Experiência Situada na Construção Dramatúrgica

  • Líder : ALEX BEIGUI DE PAIVA CAVALCANTE
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • ADRIANO CHARLES DA SILVA CRUZ
  • ANTÔNIA PEREIRA BEZERRA
  • Data: 30-abr-2013


  • Resumen Espectáculo
  • Este trabalho tem por objetivo investigar o termo “leitora-criadora”, considerando os aspectos textuais presentes nas peças “A Morte nos Olhos”, “A Memória Ferida” e “Na Outra Margem” (2010) da autora Antonia Pereira Bezerra. Nesse sentido, propomos uma análise das obras baseada nas vivências da autora enquanto matéria criativa para a narrativa autoficcional, destacando as relações entre os elementos autobiográficos (LEJEUNE, 2008; DOSSE, 2009) e ficcionais para a construção das narrativas dramáticas.A análise teórica perpassa pelos estudos da Estética da Recepção (ISER, 1996), da memória (RICOEUR, 2007) e da narrativa (RICOEUR, 2010), pondo em evidência a relação da autora e a sua busca pelas lembranças e pelas experiências, material necessário para a elaboração da sua escrita.  Pretendemos, então, pensar um “leitora-criadora” de si mesma que ao mesmo tempo em que busca nas lembranças os aspectos biográficos necessários para sua narrativa, transforma essa realidade através da inserção de elementos ficcionais pela imaginação (SARTRE, 2008).

10
  • LARISSA HOBI MARTINS
  • Interface Cena e Tecnologia: composições cênicas mediadas.

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • NAIRA NEIDE CIOTTI
  • GABRIELA LÍRIO GURGEL MONTEIRO
  • JOSÉ AMÂNCIO TONEZZI RODRIGUES PEREIRA
  • Data: 22-ago-2013


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

11
  • GISELE CARVALHO DA SILVA
  • A sala de aula em cena: uma pesquisa em ensino do teatro a partir da experiência docente.

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • ARÃO NOGUEIRA PARANAGUÁ DE SANTANA
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • ROBSON CARLOS HADERCHPEK
  • Data: 30-ago-2013


  • Resumen Espectáculo
  • RESUMO: No primeiro momento, apresentaremos ao leitor uma reflexão sobre a história do teatro e posteriormente uma contextualização sobre as movimentações didáticas voltadas para a área das artes cênicas. Através do dialogo constante com autores das áreas que envolvem educação, teatro, corporeidade e música, foi possível analisar, desenvolver e criticar um trabalho sob minha responsabilidade que envolvia quatorze turma. No segundo momento decorrerá uma autocrítica sobre a qualidade das aulas de teatro, consequentemente; os conteúdos e as metodologias. A técnica estará ao lado da emoção e juntas desenvolverão habilidades a fim de traçar caminhos para o teatro desenvolvido na sala de aula de uma escola da rede particular da cidade de Natal-RN. No terceiro momento uma turma é escolhida para análise da pesquisa e muitos experimentos acontecem após essa decisão, iniciados e sensibilizados através da música, com um olhar significante para a corporeidade e priorizando o teatro como conteúdo prioritário do nono ano – ensino fundamental II – Na conclusão, percebe-se que o aprendizado é mútuo entre o aluno e o professor, que o teatro pode fazer parte do cotidiano das pessoas, assim como as artes em geral, e quando todas elas forem regularizadas dentro do sistema nacional de ensino para as escolas públicas e particulares, teremos seres humanos mais sensíveis e mais capacitados intelectualmente também.

    ABSTRACT: At the first moment, we will introduce the reader to reflect about the history of theater and after a contextualization on didactic movements directed to the area of scenic arts. Through constant dialogue with authors of areas involving education, theater, music and corporeality, it was possible to analyze, develop and criticize a work under my responsibility involving fourteen classes. In the second moment will exist a self-criticism about the quality of theater classes, consequently, the contents and methodologies. The technique will be beside the emotion and together will develop skills to drawing ways for theater developed in the classroom of a private school in Natal-RN. In the third moment a class is chosen for analysis of research and many experiments will happen after this decision, initiated and sensitized through music, with a significant view to corporeality and prioritizing the theater with a priority content of the ninth year - basic education II - In the conclusion, it realizes that learning is mutual between the student and the teacher, that theater can be a part of everyday life, even as the arts in general, and when all of them are settled within the national education system for schools public and private, we will have humans more sensitive and more capable intellectually too.

12
  • RAQUEL FRANCO ALMEIDA
  • A RUA É O PICADEIRO E O CÉU É A LONA: A criação de uma palhaça brincante

  • Líder : NARA GRACA SALLES
  • MIEMBROS DE LA BANCA :
  • NARA GRACA SALLES
  • TEODORA DE ARAUJO ALVES
  • URÂNIA AUXILIADORA SANTOS MAIA DE OLIVEIRA
  • Data: 02-sep-2013


  • Resumen Espectáculo
  • *

13
  • YURI DE ANDRADE MAGALHAES
  • A Travessia do Trágico no Romance d'a Pedra do Reino de Ariano Suassuna.

  • Líder : ALEX BEIGUI DE PAIVA CAVALCANTE
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • RUBEN FIGAREDO FERNANDEZ
  • MILTOM MARQUES JÚNIOR
  • Data: 23-oct-2013


  • Resumen Espectáculo
  • RESUMO: Este trabalho busca investigar discorrer sobre a influência dos elementos contidos na Tragédia Grega, dialogando diretamente com aspectos míticos, poéticos e romanescos, no Romance d'A Pedra do Reino e o Príncipe do Sangue do Vai-e-Volta, de Ariano Suassuna. A obra tem como protagonista o sertanejo Pedro Dinis Quaderna que é um personagem simultaneamente popular, enigmático, ingênuo, e um intelectual dotado de uma notável erudição. Quaderna é um personagem que busca, por meio da Literatura, restabelecer um reino outrora perdido no sertão nordestino, onde ele seria herdeiro. Buscando constantemente exaltar o nordeste brasileiro, Quaderna busca tornar-se um poeta epoppeico tal qual Homero, apontando assim para uma forte influência da Epopeia. Assim como diversos personagens da Tragédia Grega, Quaderna possui um passado repleto de desgraças no seio familiar, e os fatos sucedidos a seus familiares como a morte brutal de seu tio Pedro Sebastião Garcia-Barretto, o desaparecimento de seu primo Sinésio, e a disputa entre os irmãos Arésio e Sinésio, remetemos entre outros aspectos, as notáveis influências, além das epopéias, das tragédias clássicas. Ao decorrer da leitura da obra podemos notar que as semelhanças entre o percurso de Quaderna e os heróis da tragédia grega são diversas. Para fins de análise acerca do fenômeno trágico na obra de Suassuna, o diálogo com diversos teóricos que discorrem acerca do romance com textos e personagens clássicos da tragédia grega. Nos capítulos desta dissertação busca-se proporcionar noções elementares da forma romanesca, bem como noções de tragicidade, o diálogo com o mítico, e a aplicabilidade dos aspectos trágicos e epopeicos na obra de Suassuna.

2012
Disertaciones
1
  • MAYRA MONTENEGRO DE SOUZA
  • O Ator que Canta um Conto – A Manipulação de Parâmetros Musicais na Voz do Ator

  • Líder : VERA LOURDES PESTANA DA ROCHA
  • MIEMBROS DE LA BANCA :
  • NARA GRACA SALLES
  • VALÉRIO FIEL DA COSTA
  • VERA LOURDES PESTANA DA ROCHA
  • Data: 12-mar-2012


  • Resumen Espectáculo
  • RESUMO: Esta pesquisa se deu a partir de uma investigação sobre a fala teatral. Através de uma metodologia empírica – que analisou uma experiência prática de construção de uma encenação – e de pesquisa bibliográfica, a atriz/pesquisadora investigou possibilidades de manipulação de parâmetros musicais como recursos no processo de criação da voz do ator. A atriz/pesquisadora procurou unir teoria e prática, movida pelo desejo de buscar uma expressão vocal em cena que se concretizasse como movimento vivo e transformador. Este trabalho contém também o relato de experiências pedagógicas, nas quais a atriz/pesquisadora explorou estratégias para ensinar a apropriação de parâmetros da música na construção do trabalho vocal do ator. Verificando que a fala teatral está mais próxima do canto do que da fala cotidiana, ela concluiu que o ator pode compor música – assim como o faz um compositor de música – no processo de criação de suas partituras vocais. Por isso, constatou que é de fundamental importância um treinamento musical na formação do ator.

    ABSTRACT: This research started with an investigation about the theatrical speaking. Through an empirical methodology – that analyzed a practical experience of creating a play – and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor’s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music – as a music composer does – in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.

2
  • JOSE VERISSIMO DE SOUSA
  • No palco, os quadrinhos: a influência do teatro judaico no desenvolvimento das histórias em quadrinhos modernas.

  • Líder : TASSOS LYCURGO GALVAO NUNES
  • MIEMBROS DE LA BANCA :
  • ADRIANO CHARLES DA SILVA CRUZ
  • EDGAR SILVEIRA FRANCO
  • TASSOS LYCURGO GALVAO NUNES
  • Data: 20-abr-2012


  • Resumen Espectáculo
  • RESUMO: Esta dissertação tem como principal objetivo a sinalização de aspectos do desenvolvimento narrativo das histórias em quadrinhos modernas (HQs) a partir das suas relações com as artes cênicas, mais especificamente com o teatro iídiche (teatro judaico). A pesquisa foi feita partindo da análise da obra do quadrinhista Will Eisner, autor que possui um trabalho amplo e influente na sua área de atuação. Além disso, o autor também reflete claramente nas suas obras as tangências de aspectos narrativos existentes entre HQs e teatro. A metodologia adotada para este estudo foi qualitativa, com método de procedimento histórico comparativo, através de bibliografia.O estudo indica que, apesar de serem formas midiáticas a princípio distintas, as HQs têm com o teatro iídiche uma estreita relação de influências, no que tange as suas soluções narrativas.

     ABSTRACT: This dissertation has its main goal on signing the modern Comic Books` narrative development aspects. It goes from its relationship with performing arts, specifically with the Yiddish (Jewish theatre). The research was done from the Will Eisner´s work     analysis. He is a cartoonist and has a wide and influent in his area. Moreover he clearly reflects the similarities between Comic Books and Theatre. In this study was adopted the qualitative methodology on historic-comparative procedure through bibliography. The study indicates that, although their media and distinct principles, the Comic Books and Yiddish Theatre have close influence relationship considering their narrative solutions.  

3
  • LILIAN MARIA ARAUJO DE CARVALHO
  • *

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • ROBSON CARLOS HADERCHPEK
  • MÁRCIA MARIA STRAZZACAPPA HERNANDEZ
  • Data: 25-may-2012


  • Resumen Espectáculo
  • *

4
  • RODRIGO CESAR DO NASCIMENTO XAVIER
  • Da Poética das Lágrimas a uma Poética do Riso: de Aristóteles ao One-man Show.

  • Líder : ALEX BEIGUI DE PAIVA CAVALCANTE
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • ADRIANO CHARLES DA SILVA CRUZ
  • MARIA DE LOURDES RABETTI
  • Data: 25-may-2012


  • Resumen Espectáculo
  • 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.

5
  • FREDERICO DO NASCIMENTO
  • Grupo Totem: a infecção pela performance e a encenação performática

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • NAIRA NEIDE CIOTTI
  • NARA GRACA SALLES
  • ANTONIO WELLINGTON DE OLIVEIRA JUNIOR
  • Data: 26-may-2012


  • Resumen Espectáculo
  •  

    RESUMO: A questão da criação de encenações de matrizes híbridas tem demandado, há mais de três décadas, a atenção de diversos teóricos teatrais (COHEN: 1995; LEHMANN: 2007). O estudo de filósofos (DELEUZE & GUATTARI: 1995) tem contribuído para novas conceituações da cena. São práticas artísticas, que dependendo do contexto, vêm gerando cada vez mais, novas formas de encenação. Abordarei a questão da infecção do teatro pela performance, tomando como base o pensamento de Barbara Browning (1995), a partir da sua capacidade de penetrar e de invadir territórios, e instalar um novo sistema. Afirmo que o Grupo Totem (Recife – PE) foi contaminado pela performance e analisarei duas encenações performáticas do grupo, seus pontos de convergência e distanciamento. A primeira é Ita, a busca da origem, o devir animal; a segunda é Caosmopolita, o corpo como reflexo da urbanidade.

    ABSTRACT:

    The issue of creating productions ofhybrid matrices has demanded, for more thanthreedecades, the attention of several theater theorists (COHEN: 1995; LEHMANN: 2007). The study of philosophers (DELEUZE & GUATTARI: 1995) has contributed for new concepts of the scene. These artistic practices, depending on the context,have been generating,more and more,new waysof staging. I will discussthe issueof the theater’s infection by the performance, based on the thought of Barbara Browning (1995), from its capacity to penetrate and invadeterritories,and installa new system. I affirmthat theTotem Group (Recife – PE) wascontaminatedby the performance and analyze two performative plays of the group, their points of convergence and separation.The first one is Ita, the search for the origin, the animal devir; the second is Caosmopolita, the body as a reflex of urbanity.

     

6
  • JOEVAN SILVA DE OLIVEIRA JUNIOR
  • A Performance como Outro Lugar da Escrita: escritura, autoperformance e emergência.

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • ARTUR MATUCK
  • NAIRA NEIDE CIOTTI
  • Data: 28-may-2012


  • Resumen Espectáculo
  • 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”

    Resumé: Cedocument propose penser l'idéed’uneécrire de laperformance associés àl'opération desconstrutionist cà partir des vecteurs de problematization quisont traités descertaines questionsde la performanceBiokhraphia de Lina Sanehet Rabih Mroué. À cette fin, nous avons essayé de localiserla performancedans un autre lieu, travaillant comme un espaced'indéterminationnous a permis desouligner la processivité et l'altéritéde la natureaporétiquecomme vecteurs de problématisationde l'écriture. En ce sens, nous allons associerle conceptde l'écriture mêmeàun mouvement d'auto-ficcionalization qu'icinous appelonsautoperformancedans laquellele désir desappropriationdece qui est différentet le désir de maintenirl'altérité comme l'inaccessibilité del'autre caractérisentla disjonctionse caracteristique de l’attitudedéstabiliser et déstabilisantes de laperformance.Nous cherchonségalement à soulignerle caractèreémergent decette écriture, afin de la configurer comme un système demultiplestextesinterconnectésque auto s’organise, indépendamment du modèle de référenceà travers unprocessus continu denégociations entrele je et autres.

7
  • RAPHAELLY SOUZA BEZERRA
  • AS INTER (AÇÕES) ENTRE ESPAÇO DO CORPO E O MOVIMENTO DANÇADO

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • LENIRA PERAL RENGEL
  • Data: 15-jun-2012


  • Resumen Espectáculo
  • RESUMO: Esta dissertação busca refletir a respeito das relações entre movimento dançado e espaço do corpo (cinesfera), e suas contribuições para a ampliação das possibilidades expressivas do sujeito ao dançar. Segundo Rudolf Laban não há espaço que seja vazio, pois este está sendo modificado e significado a todo o momento pelo movimento. O espaço existe porque interagimos com ele, ao mesmo tempo em que o movimento acontece configurando um espaço de significância que é incessantemente transformado. Neste sentido, espaço, corpo e movimento, aparecem nesta investigação enquanto interligados e interdependentes. Para esta discussão temos como principal interlocutor os estudos de Rudolf Laban. A pesquisa é de natureza qualitativa do tipo descritiva.  Trata-se de um contexto que abarca o fenômeno da dança e como tal se funda numa dimensão que não lida com o mensurável, mas sim com o cenário da arte, fecundo na sua infinita abertura à criação de múltiplas significâncias para o vivido. Propomos apresentar ainda um relato sobre o estudo prático desenvolvido na disciplina de Coreologia, do curso de Licenciatura em Dança da UFRN, e a análise das entrevistas aplicadas aos discentes deste componente curricular. As questões foram desenvolvidas de maneira a suscitar uma reflexão acerca da experiência dos entrevistados nesta disciplina, gerando assim material para que pudéssemos discutir o modo como os discentes percebem a dança a partir do estudo relacional entre espaço e movimento. Compreendemos que este estudo pode favorecer um entendimento das relações que o movimento experienciado no ato da dança vai tecendo junto à espacialidade que recebe e preenche nossos corpos, resignificando uma visão do espaço que o restringe a um mero lugar em que o corpo se move e dele se ocupa. Também favorece a reflexão em torno de um atentar sobre o corpo que se move e constrói uma espacialidade quando dança, trazendo desse modo para as Artes Cênicas uma possibilidade de pensar e vivenciar acerca da ampliação do gestual expressivo na dança e para além dela a partir do reconhecimento dos princípios que organizam o movimento humano apontados por Laban. Contribui ainda, para a formação docente dos alunos de Licenciatura em Dança no sentido de questionar os modos de apropriação dos conteúdos trabalhados numa disciplina de graduação no que se refere à disponibilidade do corpo para a dança. O trabalho dissertativo encontra-se dividido em três partes, denominadas de Impulsos, e ainda Por enquanto, as ponderações finais a respeito do percurso investigativo deste.

    ABSTRACT: This dissertation seeks to reflect about the relations between danced movement and body space (cinesfera), and their contributions to the expansion of the expressive possibilities of the subject on dancing. According to Rudolf Laban there is no space that is empty, because it is always being modified and signified at every moment by the movement. Space exists because we interact with it, at the same time movement occours configuring a signifcant space that is incessantly transformed. In this sense, space, body and movement appear in this research as interconnected and interdependent. For this discussion we have as main interlocutor the studies of Rudolf Laban. The nature of this research is qualitative and descriptive. This is a context that embraces the phenomenon of dance and as such it is based on a dimension that doesn't deal with mensurability, but with the art scene, fruitful in its infinite openness to the creation of multiple significances for what has been lived. We also propose to present a report about the practical study developed in the discipline of Coreologia in the licentiate course of Dance in UFRN, as well as the analysis of the interviews applied to students of this curricular component. The questions were developed in a way that lead to a reflection about the experience of those interviewed in this discipline, thus generating material for us to discuss how the students perceive dance based on the relational study between space and movement. We realize that this study may favor an understanding of the relations that the experienced movement in the act of the dance weaves along the spatiality that receives and fills our bodies, resignifying the vision of a space which is restrict to the mere place were the body moves and occupies. It also favors the reflections concerning the body that moves and creates spatiality when dancing, thereby bringing to the Performing Arts a chance to think and to experience on the expansion of the expressive gesture in dance and beyond it, led by the recognition of the principles that organize human movement pointed by Laban. It also contributes on the formation of the students in licentiate courses of Dance by questioning the ways to appropriate the contents worked in a graduation discipline as regards to the availability of the body for dance. This dissertation is divided in three parts, called Impulses, and also a (in) conclusion.

2011
Disertaciones
1
  • HÉLIO JUNIOR ROCHA DE LIMA
  • O TEMA NO PROCESSO CRIATIVO DA ASMARIAS COMPANHIA DE TEATRO.

  • Líder : JEFFERSON FERNANDES ALVES
  • MIEMBROS DE LA BANCA :
  • JEFFERSON FERNANDES ALVES
  • ROBSON CARLOS HADERCHPEK
  • SÍLVIA BALESTRERI NUNES
  • Data: 11-abr-2011


  • Resumen Espectáculo
  • 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. 

2
  • MARCIO ALESSANDRO NUNES RODRIGUES
  • A CENA CONTEMPORÂNEA AOS PEDAÇOS: OBSERVAÇÃO DE UM EXPERIMENTO.

  • Líder : NAIRA NEIDE CIOTTI
  • MIEMBROS DE LA BANCA :
  • ELAINE DA GRAÇA DE PAULA CARAMELLA
  • NAIRA NEIDE CIOTTI
  • NARA GRACA SALLES
  • Data: 14-abr-2011


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

3
  • ANA CAROLINA STRAPAÇÃO GUEDES VIANNA
  • "A Experiência no Tai Chi: Possibilidades para Pensar o Corpo sem Órgãos e a Preparação do Ator"

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • GUILHERME BARBOSA SCHULZE
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • Data: 26-abr-2011


  • Resumen Espectáculo
  • 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.         

     

4
  • RUMMENIGGE MEDEIROS DE ARAÚJO
  • GERALD THOMAS E A (DES)ENCENAÇÃO DO MUNDO: AS PAISAGENS VISUAIS COMO GRAFIA DE INTERTEXTUALIDADES, CITAÇÕES E HIPERTEXTOS

  • Líder : MARIA HELENA BRAGA E VAZ DA COSTA
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • MARIA HELENA BRAGA E VAZ DA COSTA
  • TÂNIA BRANDÃO SILVA
  • Data: 29-abr-2011


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

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

5
  • ANTONIO LUIZ DE OLIVEIRA NETO
  • Possibilidades em Jogo: Um Estudo da (Re) criação da Vida Cênica do Ator

  • Líder : ROBSON CARLOS HADERCHPEK
  • MIEMBROS DE LA BANCA :
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • PAULA ALVES BARBOSA COELHO
  • ROBSON CARLOS HADERCHPEK
  • Data: 05-may-2011


  • Resumen Espectáculo
  • 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).

6
  • SANDRO SOUZA SILVA
  • DANÇANDO ÀS AVESSAS: Relatos de um processo de criação envolvendo antropologia teatral, “corpo sem órgãos” e aspectos da mítica hindu

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • ALICE STEFÂNIA CURI
  • NARA GRACA SALLES
  • TEODORA DE ARAUJO ALVES
  • Data: 17-jun-2011


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

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

7
  • ALAN CARLOS MONTEIRO JÚNIOR
  • Rosmaninhos... O entre do carvão ao corpo-em-arte de Ator-Brincante

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • TEODORA DE ARAUJO ALVES
  • ROBSON CARLOS HADERCHPEK
  • ÉRICO JOSÉ SOUZA DE OLIVEIRA
  • Data: 22-jun-2011


  • Resumen Espectáculo
  • 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... 

8
  • FRANCISCO ALEXSANDRO SOARES ALVES
  • O Nascimento da Gesamtkunstwerk Wagneriana

  • Líder : TASSOS LYCURGO GALVAO NUNES
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • DEYVE REDYSON MELO DOS SANTOS
  • TASSOS LYCURGO GALVAO NUNES
  • Data: 22-jun-2011


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

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

9
  • ACÁCIA BATISTA DE OLIVEIRA
  • TRAJETOS CÊNICOS DO GRUPO PARAFOLCLÓRICO DA UFRN: que dança é essa?

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • ROBSON CARLOS HADERCHPEK
  • ELOISA LEITE DOMENICI
  • Data: 08-jul-2011


  • Resumen Espectáculo
  • 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.

10
  • RAIMUNDO NONATO SANTOS DA COSTA
  • Escarcéu e Escassez no Teatro de Mossoró: Percursos e Percalços de Uma Dramaturgia na Rua.

  • Líder : ALEX BEIGUI DE PAIVA CAVALCANTE
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • MARIA HELENA BRAGA E VAZ DA COSTA
  • LEMUEL RODRIGUES DA SILVA
  • Data: 19-ago-2011


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

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

11
  • TELMA ROMAO DE ALBUQUERQUE
  • AMPLIAÇÃO DE MOVIMENTOS NA DANÇA CIRCULAR COM PESSOAS COM DEFICIÊNCIA VISUAL

  • Líder : JEFFERSON FERNANDES ALVES
  • MIEMBROS DE LA BANCA :
  • JEFFERSON FERNANDES ALVES
  • KARENINE DE OLIVEIRA PORPINO
  • MÁRCIA MARIA STRAZZACAPPA HERNANDEZ
  • Data: 09-sep-2011


  • Resumen Espectáculo
  • 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.

     

2010
Disertaciones
1
  • TATIANA DE MORAIS BARBOSA
  • "Mão Branca" em Cena: Dramaturgia e Violência no Mito Urbano

  • Líder : ALEX BEIGUI DE PAIVA CAVALCANTE
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • SANDRA AMÉLIA LUNA CIRNE DE AZEVEDO
  • SANDRA SASSETTI FERNANDES ERICKSON
  • Data: 15-mar-2010


  • Resumen Espectáculo
  • RESUMO

     

     

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

     

     

    ABSTRACT

     

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

     

     

2
  • ANA CLAUDIA ALBANO VIANA
  • Nós, Sós: Tramas de uma Composição Coreográfica

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • KARENINE DE OLIVEIRA PORPINO
  • GUILHERME BARBOSA SCHULZE
  • JUSSARA SOBREIRA SETENTA
  • Data: 05-abr-2010


  • Resumen Espectáculo
  • 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.

3
  • KEILA FONSECA E SILVA
  • O Corpo (Em)cena: Território de Polifonia

  • Líder : TEODORA DE ARAUJO ALVES
  • MIEMBROS DE LA BANCA :
  • GUILHERME BARBOSA SCHULZE
  • NAIRA NEIDE CIOTTI
  • TEODORA DE ARAUJO ALVES
  • Data: 28-abr-2010


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

     

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

4
  • RONALDO FERNANDO COSTA
  • A Oficina de Iluminação Cênica e a Construção do Espetáculo: uma Proposta Pedagógica

  • Líder : JOSE SAVIO OLIVEIRA DE ARAUJO
  • MIEMBROS DE LA BANCA :
  • ERNANI DE CASTRO MALETTA
  • JEFFERSON FERNANDES ALVES
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • Data: 30-abr-2010


  • Resumen Espectáculo
  • 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.



5
  • REBEKA CAROÇA SEIXAS
  • Convenção Consciente: A Produção do Espaço Cênico Meyerholdiano

  • Líder : MARIA HELENA BRAGA E VAZ DA COSTA
  • MIEMBROS DE LA BANCA :
  • ALEX BEIGUI DE PAIVA CAVALCANTE
  • ARLETE ORLANDO CAVALIERE
  • MARIA HELENA BRAGA E VAZ DA COSTA
  • Data: 31-may-2010


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

     

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

     

     

     

6
  • LENILTON TEIXEIRA DOS SANTOS
  • A Mística e suas Interseções Teatrais

  • Líder : VERA LOURDES PESTANA DA ROCHA
  • MIEMBROS DE LA BANCA :
  • JEFFERSON FERNANDES ALVES
  • VERA LOURDES PESTANA DA ROCHA
  • Data: 11-jun-2010


  • Resumen Espectáculo
  • 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.

     

7
  • LEILA BEZERRA DE ARAÚJO
  • DANÇA E PROCESSOS DE CRIAÇÃO: UMA EXPERIÊNCIA PARA PENSAR O CORPO NA GAYA CONTEMPORÂNEA

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • KARENINE DE OLIVEIRA PORPINO
  • JOSE SAVIO OLIVEIRA DE ARAUJO
  • MÁRCIA MARIA STRAZZACAPPA HERNANDEZ
  • Data: 02-jul-2010


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

8
  • ROSEANE MELO DOS SANTOS
  • DANÇA, CORPO E TÉCNICA: APONTAMENTOS PARA PENSAR A FORMAÇÃO DO BAILARINO

  • Líder : KARENINE DE OLIVEIRA PORPINO
  • MIEMBROS DE LA BANCA :
  • ELAINE MELO DE BRITO COSTA
  • KARENINE DE OLIVEIRA PORPINO
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • Data: 16-jul-2010


  • Resumen Espectáculo
  • 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.

9
  • LAURICE MARIA MAIA DE LUCENA
  • O Ator-Dançarino e sua Dança Fluida: Energia e Pré-Expressividade


     

  • Líder : LARISSA KELLY DE OLIVEIRA MARQUES
  • MIEMBROS DE LA BANCA :
  • LARISSA KELLY DE OLIVEIRA MARQUES
  • LENIRA PERAL RENGEL
  • ROBSON CARLOS HADERCHPEK
  • Data: 23-sep-2010


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

     

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

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