Doutorado em Performances Culturais (FCS)
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Item Arte e vida os parangolés de Hélio Oiticica - performances a contrapelo(Universidade Federal de Goiás, 2020-03-12) Gonzaga, Deusimar; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo , Robson Corrêa de; Camargo , Goiandira de Fátima Ortiz de; Reinato , Eduardo José; Veloso , Sainy Coelho; Lopes , Antônio HerculanoThis work aims at developing a study about Hélio Oiticica´s invention/performance Parangolé. The painter, sculptor and performance artist was born in Rio de Janeiro, in 1937 and died in the same city, in 1980. Parangolé is approached here as a language/performance of the subjectivities and the non-representational practices. The axis of the analyses is the artist´s written material which revolves around his parangolés (objects and performance) and his other objects. I search for an understanding of Parangolés entering Oiticica´s labyrinth-world. The analysis revolves around the thinking of three authors. Kenneth Burke (1897-1993): Symbolic action and Terministic Screens - categories of language analyses in his dramatism. Russian philosopher Mikhail Bakhtin (1895- 1975): his concept of exotopia - exceeding view (consideration of the other´s view, time and place of perspectives constituted in the work of art), to situate the presence of the spectator/participant of Parangolés. What Richard Schechner calls “actual”: a special manner of constituting and dealing with artistic experience. A mimesis event: imitation, presentation (in time, be present, existence, existence in time), representation and expression of the actions of living in the attempt to occupy the spaces between past and present, individual and group, inside and outside. I investigate in Parangolés what is beyond imitation or representation of reality; and beyond the expressions of mental and emotional states, circumscription that nests Oiticicas´s behavioral exercises. Chapter I - Ethics, aesthetics, action, and behavior of the embodied language of P(p)arangolés; Chapter II - Overview from an artistic angle of the Brazilian cultural scene of the 1960s: the constructivist art of the concrete and neo-concrete movements. Political and artistic matters from a sociocultural perspective; Chapter III - Deals with language as wills of presentation, introduction, and representation of the world, of us and others, in social interactions/performances; Chapter IV - A view from Burke´s screens; Chapter V - What one cannot see or see at Bakhtin´s screens; Chapter VI - Actualizing (Actual) as proposed by Schechner.Item O massacre de Eldorado dos Carajás/PA (1996-2019) e o desdobramento da luta de classes: narrativas dos sobreviventes e formação política(Universidade Federal de Goiás, 2020-07-07) Pereira, Antonio de Jesus; Real, Márcio Penna Corte; http://lattes.cnpq.br/1976193858153118; Real, Márcio Penna Corte; Pietrafesa, José Paulo; Ribeiro, Núbia Ferreira; Dias, Luciene de Oliveira; Abdala Júnior, RobertoThis work analyzes the historical, political, social and economic context of the fight for land in the state of Pará, concerning a possible raging process of class struggle in this state and influencing the massacre of Eldorado dos Carajás on April 17, 1996, when 19 agricultural landless workers were killed by the police. From the insertion of cultural performances in the field, the research that originated this thesis has a theoretical background based on the historical and dialectical materialism – mainly the notion of class struggle and its relation with the agricultural issue and the resulting conflicts in the country. As an investigation process, this work prioritized 11 interviews with agricultural workers linked to the Landless Workers’ Movement in Brazil (MST) that survived the massacre. This course allowed the analysis and discussion of narratives of the survivors, representing the raging of class struggle in Pará. The narratives expressed the massacre itself, and also evidenced some of the social tragedies experienced by the landless rural workers. They also showed elements of a political culture that has contributed to the formation of activists in the social movement of MST.Item A performatividade das quadrilhas juninas: reminiscências da tradição e a espetacularização da dança(Universidade Federal de Goiás, 2020-06-24) Zaratim, Samuel Ribeiro; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Tamaso, Izabela Maria; Gonçalves, Renata de Sá; Corrêa Junior, Sebastião Rios; Osório, Patrícia Silva; Bonetti, Maria Cristina de FreitasThis research discusses about quadrilhas juninas/folk june dances, in the concept of performativity, characterized by the Ação Junina in dance on stage from the introduction of the stereotyped figure of the matuto, to the quadrilhas juninas for competition full of new meanings; known as modern or stylized. The analysis dedicated to this work focused on the quadrilheiros experiences as well as on the different appropriations of the notion of Fazer Junino by the groups of quadrilhas juninas, in order to analyze their performance elaborations under the support of the theory of cultural performances. It is important to note that the terms performance characteristics and performativities, are understood in this study, as elements that constitutes the performances of Cultura Junina. In this context, this research presents the multiple factors tha compound the quadrilhas juninas modernas, among them the process of spectacularization of dance and the festivals, including their continuous processes of updating and reframing. In this work, I consider qudrilhas juninas as a product of the cultural industry that presents diversity in the elaboration of cultural goods in their performances, which, in a certain way, are aligned with the social contradictions of their localities. Simultaneously, the quadrilhas juninas as a social group transcends the festive and cultural dimensions, reaching professional ties and organizational actions that seek technical improvement, which stimulates the competitive attitude and encourages a spectacular perspective. The práticas juninas tell their stories, as they demonstrate their balances and imbalances in Fazer Junino, established by innovation, by the phenomenon of spectacularization and by the ideological clashes over culture in the face of media appeals attributed to the cultural market.