Mestrado em Performances Culturais (EMAC)
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Navegando Mestrado em Performances Culturais (EMAC) por Por Orientador "Correia, Paulo Petronilio"
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Item Afro rizomas: corpo, noção de pessoa e identidade no Candomblé(Universidade Federal de Goiás, 2016-06-03) Rezende, Marcos Vinícius Buiati; Correia, Paulo Petronilio; http://lattes.cnpq.br/1801687030702050; Correia, Paulo Petronilio; Nascimento, Wanderson Flor do; Dias, Luciana de Oliveira; Silva, Renata de LimaThe body in Candomble, in its scenic and ritual performances, is asked to dwell friction zones that destabilize and confuse certain aesthetic-ethical-political normative standards. The aim of this study is to map part of this conjuncture of destabilization and displacements from the liturgical - teaching aspects in which the body is inserted in Candomble, in dialogue with some of the conceptual axes, such as aesthetics, composition, person, gender and identity. It seeks to elucidate in which ways the scenic and ritual performances of body in Candomble are only possible if there´s a destabilization of these normative categories, therefore creating an aesthetic - ethics of being in community through social and liturgical means that displaces and unsettles this body. The general theoretical scope rests on the rhizome perspective, epistemological system proposed by Deleuze and Guattari (1995), where there are no pre-established hierarchies or closed dichotomies. The approach so of the body in Candomblé is from a multi conceptual and hybrid reference. It also relies in Deleuze and Guattari (2010), Guattari (1992), Maffesoli (1996) and Santos (2012) to consider aesthetics in Candomble; Segato (2000), Goldman (1984) Butler (2012) and Hall (2011) for identity and notion of person. Theory and method are therefore interdisciplinary, thought from multiplicity and plurality conceptual and analytical, guided by cultural performances perspective. It is expected to show that body in Candomble´s performance builds a scenic act in itself, unique and inventive, as well as is in itself an event. So here, it can be said that in its plurality, body in Candomble affirms itself as revolutionary and subversive. It is a body that resists the present, questioning it from its margins and cracks.Item Onde é o after? Modo de vida, multidões queer e masculinidades no pedaço gay em Goiânia(Universidade Federal de Goiás, 2017-04-07) Rodrigues, Roberto; Correia, Paulo Petronilio; http://lattes.cnpq.br/1801687030702050; Correia, Paulo Petronilio; Lima, Fátima; Braz, Camilo Albuquerque de; Marques Filho, AdairThe present study aims to map the lifestyles in the gay part of Goiânia. These lifestyles are created and devised from the politics of the queer crowds, outlined by the following issues: the being together, relationships between men and friendships as lifestyles that can give rise to a gay culture, ethics and aesthetics. In so far as they point to the contestation of logocentrism, they highlight the traits, flows, changes and desires that intersect and affirm themselves in the festive homosocialitiesand in the assemblages of masculinities that territorialize, deterritorialize and reterritorialize processes of subjectivation of the minorities, the abject beings. From the party planners' meetings we can reflect on the constitution of ways of life that pass between gender issues and the flows and overflows of the party itself. The festive territories are made up of multiple and Dionysian landscapes where joy is constituted as a superior way of life. However, the tragic aspect of the party makes the risks, instabilities and dangers also present in the composition of its landscapes.Item “Por Instantes de Felicidade”: corpos em performances na Quasar Cia. de Dança de Goiânia(Universidade Federal de Goiás, 2017-04-28) Silva, Michael; Correia, Paulo Petronilio; http://lattes.cnpq.br/1801687030702050; Correia, Paulo Petronilio; Bonetti, Maria Cristina de Freitas; Ribeiro, Luciana Gomes; Silva, Renata de LimaThis research use the performance notion from studies of Department of Performance Studies at New York University, especially in the work of the playwright Richard Schechner, and pounces toward “Por Instantes de Felicidade” (“Moments of Happiness”), Quasar Dance Companycelebrating spetacle its twentieth anniversary. This work, therefore, questions itself about the historical journey of this company; about how its national and international projection occurs and about its characteristics as a dancer producer to thenceforth to do a poetic reading about this spectacle. In order to get that, this paper proposes a conceptual reflection that signals the epistemological view cast upon the documents of this show and about this company, and it makes a detailed description of the spectacle “Por Instantes de Felicidade” to perceive it formally and contextually. The reading of the show counts on the video images of its local premiere on April 18 and 20, 2008 at Teatro Goiânia, with the extras of such a DVD, an interview with the choreographer Henrique Rodovalho and a writing questionnaire with the interpreter Daniel Calvet. One of the conclusions reached in the research is that the show studied excels by a virtuous performance of dance and that its strong self-referential content ends up characterizing it as a spectacle fundamentally entertainment, especially for its theme to be commemorative. From the interviews conducted with the dancers João Paulo Gross, Marcos Buiati and Martha Cano, who danced it in later years, it is concluded, among other things, that this vigorous performative pattern of the company is physically very demanding for the bodies of the performers.