Banca de DEFESA: EVERSON OLIVEIRA DA CRUZ

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
DISCENTE : EVERSON OLIVEIRA DA CRUZ
DATA : 28/07/2017
HORA: 15:00
LOCAL: Departamento de Artes - UFRN- Sala 38D
TÍTULO:

What the eyes do not see: the non-visible as a form of the theatrical appreciation

 

PALAVRAS-CHAVES:
PÁGINAS: 178
GRANDE ÁREA: Lingüística, Letras e Artes
ÁREA: Artes
SUBÁREA: Teatro
RESUMO:

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.

MEMBROS DA BANCA:
Externo à Instituição - ARÃO NOGUEIRA PARANAGUÁ DE SANTANA - UFMA
Externo ao Programa - 1149574 - JEFFERSON FERNANDES ALVES
Presidente - 1038320 - KARENINE DE OLIVEIRA PORPINO
Interno - 1164369 - LARISSA KELLY DE OLIVEIRA MARQUES