Banca de DEFESA: STEPHANE LOUISE VASCONCELOS DAMASCENO

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
DISCENTE : STEPHANE LOUISE VASCONCELOS DAMASCENO
DATA : 22/03/2019
HORA: 15:00
LOCAL: Sala 38 D
TÍTULO:

REFLECTIONS ABOUT PAINTED FACE DRAMATURGY

PALAVRAS-CHAVES:

Theater; Dramaturgy; Caracterization; Stage make-up; Image.

PÁGINAS: 163
GRANDE ÁREA: Linguística, Letras e Artes
ÁREA: Artes
RESUMO:

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.

 

MEMBROS DA BANCA:
Presidente - 3230406 - JOSE SAVIO OLIVEIRA DE ARAUJO
Interno - 1149574 - JEFFERSON FERNANDES ALVES
Externa à Instituição - ADRIANA VAZ RAMOS - USP