Mestrado em Performances Culturais (EMAC)

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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 Lima
The 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.
As performances do circo na rua: escolhas, expectativas e aprendizado do saltimbanco contemporâneo
(Universidade Federal de Goiás, 2017-05-04) Barreto, Mônica Alves; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Bortoleto, Marco Antônio Coelho; Real, Márcio Penna Corte; Oliveira, Vânia Dolores Estevam de
This research seeks to see street circus artists, here called contemporary saltimbancos, through the eyes of Cultural Performances. For two years the street artist from Goiânia was observed in his rituals, in order to understand the choices he makes in his daily life. Street art is often undervalued, however it can be seen that the influx of artists from different states and countries has grown in the streets of the capital of Goiás in the last decade. The present research was to search in the own artists' speeches a way to better understand this growth through semi-structured interviews. The street circus artist's learning style has been observed since local weekly meetings to Festivals and Conventions that bring together artists from all over Brazil and Latin America, bringing to the forefront a network of organization and relationships. By following the events of the street performers it was revealed a collective movement, mentioned by many as an aggregating factor and, in large part, responsible for the dissemination of circus art in the state. This research brings indicative of how this movement developed and what it brought to the circus art of the Midwest. The research also revealed tensions experienced by circus street artists. Internal relations, the relations between the street artist and society and between the various segments of the area are full of conflicts, inevitably revealed by the coexistence. The conclusions point to the urgency of a discussion about legislation concerning street art and the relevance of circus schools in the development of the circus artist who perform on the street.
O ator no teatro de animação: uma análise dos espetáculos Envelopes e Plural, da companhia de teatro “Nu escuro”, de Goiás
(Universidade Federal de Goiás, 2014-12-05) Silva, Patrícia Mendes da; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; Vicentini, Albertina; Correia, Paulo Petronilio
This dissertation investigated the trajectory of the theater company “Nu escuro”, in Goiânia, since its creation, initialized in the old technical school of Goiás – current IFG -, until its recent show called Gato Negro. Since its first show, Três por três, the company uses the puppet theater, and, over the course of time, it has been developing this language, specifically in the shows Envelopes (2005) and Plural (2012), focused in this research. It aims, therefore, to analyze the work of the animator-actor in the theater company “Nu escuro” in the shows Envelopes, in which the animator-actor is visible, but neutral in the scene, and Plural, in which it is visible and active in the scene. The objective was to investigate, through interviews and living with the group, the work of the animator-actor in its presence and neutrality and in its relation with the puppets and the masks in the puppet theater. Concerning both shows – Envelopes and Plural –, it was possible to observe how the creation of the animator-actor‟s bodywork of the theater company “Nu escuro” happened, being based, initially, on his body and on the animated artifacts – puppets and masks. Finally, it‟s considered the actor‟s body, in which one body is the animator-actor and the other is the character-actor, differentiating one from the other by the technique, that is, by the question of guiding the focus.
Autoimagem, ativismo online e o corpo feminino em performance: recepção a partir de vídeos da tag “Tour pelo meu corpo” no YouTube
(Universidade Federal de Goiás, 2021-08-23) Prado, Beatriz de Almeida; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Sacramento, Igor Pinto; Silva, Renata de Lima
Digital Culture is proving to be a viable and more accessible alternative for many women, teenagers and girls to communicate and organize collectively. Pages and groups that bring reports of experiences and questions on social networks such as YouTube, Facebook and Instagram have been increasing in number and importance, easing the exchange of knowledge, sharing experiences and mutual help between women in an environment that is mainly characterized by the possibility of interactivity. Recognizing that the message shared on the internet can affect the lives and self-esteem of people inside and outside the digital environment, both positively and negatively, this research proposes to investigate the reception of the performances of Tour Pelo Meu Corpo performed by Luíza Junqueira and Ellora Haonne on YouTube to understand how these are interconnected to the body self-image of their audiences and how the processes of body acceptance can change based on these performances. The main objective of this research is to understand how the experience with these performances can modify the spectators' body self- perception and spawn reflections about aesthetic standards, as well as the relationship established by women between self-image and aesthetic standards. It is a qualitative research, which uses media ethnography for data collection and pursuit to categorize the results obtained stem from Hall's studies. As a result, it was realized that, when performing these tours over their own bodies, the YouTubers perform a kind of self-writing, using the videos as an instrument of self-knowledge and confronting an excluding beauty standard, but by publishing these videos online their reflections can become a starting point for questioning the idea of a single kind of body as an ideal, just as rethinking their relationships with their own bodies. It is still not possible to know to what extent the experience with these performances would be able to promote lasting changes regarding the body self-image of girls and women, which are the focus of this study, however, its potential in fostering the discussion can already be seen. on aesthetic standards for the female body, intending to continue the study in future research.
Balé sob outros eixos: contextos e investigações do coreógrafo norte-americano William Forsythe (1949) entre 1984 e 1994
(Universidade Federal de Goiás, 2015-06-12) Ferreira, Rousejanny da Silva; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164
This dissertation aims at discussing the contexts and the reformulations on the vocabulary for the ballet proposed by the North American choreographer William Forsythe (1949), from the decades of 1980 to 1990. The excerpt delimited on the research is within the period which Forsythe directed the Frankfurt Ballet, in Germany. He has been considered an important revitalizer of the patterns of traditional ballet by many art and dance critics as well as by historians. For a better understanding of the trajectory and importance of Forsythe in the transformation of this dance, I first present some of the problems of the uncritical historic discussion of ballet. Following that I point out how ballet has raised aesthetical and political provocations about its performing up to the context of the subject here being investigated – William Forsythe. Next I investigate the social, political and artistic constructions which are designed by this choreographer in order to develop his references about the conception, performing and composing of ballet in the contemporaneity. In this perspective I also investigate the material that registers this period of his career: the CD-ROM Improvisation Technologies. I present the organization of the CD together with the description and analyses of the technology and the studies developed in the field of Labanian Choreutics as well as the description and analyses of all of the categories presented in its first edition, which has influenced the creation of the material. This work problematizes ballet as a web of meanings of our time, presenting the dancer as researcher of his choreographic practice.
O beijo no asfalto: melodrama na adaptação cinematográfica da obra de Nelson Rodrigues
(Universidade Federal de Goiás, 2017-03-02) Pinheiro, Pablo Marquinho Pessoa; Nogueira, Lisandro Magalhães; http://lattes.cnpq.br/6994570742767643; Nogueira , Lisandro Magalhães; Christino, Daniel; Souza , Jamesson Buarque de
The melodrama is popularly known as a genre that takes the viewers to tears, composed by great sentimentalism and exaggerated actors. Despite this popular idea has a real root, the melodrama characterizes itself mainly by the complex relationship with the public. This relationship of communication with viewers was determinant and strategic for the development of melodrama, as well as your upgrade and migration to other narrative forms. The first part of this research proposes a historic rescue of melodrama while genre, from its emergence in the theater during the 18TH century until their update by the cinema. The second part analyzes the relationship between melodrama, film and reception, from the studies on the cultural performances, it being understood that the viewer participates actively in the process of reception during a film session. Recognizing that updating the melodrama has kept a poetic communication full of emotion and with a strong educative and regulatory function. In the third part, one examines the film O Beijo no Asfalto, by Bruno Barreto, adapted from the eponymous dramaturgical text O Beijo no Asfalto, by Nelson Rodrigues. Searching elements that characterizes the melodramatic imagination, as well as, to point characteristics from melodrama reverberated in this film.
Catira: performance e tradição na dança caipira
(Universidade Federal de Goiás, 2016-10-27) Marra, Juliana Ribeiro; Tamaso, Izabela Maria; Tamaso, Izabela Maria; Silva, Patrícia Osório; Correa Junior, Sebastião Rios
This research aims at proposing a widening of the understanding of catira, a traditional dance of the Brazilian popular culture. The dance territorializes itself in the region of the caipira culture and has its structure founded in the clapping of hands and on step dancing of the dancers under the rhythm of the moda de viola and of the recortado. The viola is therefore the essential instrument for the dance. Catira is a dance but also music and poetry, which find identification with the rural world of the southern center of Brazil. Although the practice is considered contemporary of the country´s colonization – and the catira groups are many – there are few records and studies that go about it. Therefore, initially to introduce the dance, its forms and elements were presented and there has been an attempt to analyze them bearing in mind its insertion in the studies concerning popular culture and folklore in Brazil. Following that the theoretical and methodological approach of the research is outlined. Catira becomes then the focus of an analysis built within interdisciplinary knowledge. Focus in which, a method and categories of analyses of social sciences and also of the arts, are supposed. Cultural performances rise as the interpretative axis of the research, as long as in relationship with other concepts that also establish themselves in the multidisciplinary perspective – i.e. tradition, socialization, memory, body and dance. Bearing in mind these concepts, we reach the analysis of the records gained from the field research of the work. The analytical narrative is built from the interviews, observation and participation, theoretical relationships and audiovisual records, mainly the photographs taken in the fieldwork. Firstly the dance of the catira within the ritual of folia of Companhia de Reis Bandeira Vermelha, in the town of Goiás/GO, is analyzed. After that the focus is turned to the town of Itaguari/GO and its enormous Folia de Reis, where the groups Irmãos Oliveira e Orgulho Caipira are to be found. Finally having the experience lived with the groups as a referential, the analysis is deepened with focus on the identities, the power relationships and the negotiating carried by the groups of catira. The understanding is that the identities sought and lived are related to the places and territories in which this performing heritage of the caipira culture takes place. The endurance is characteristic of these bodies that move harmonized and in pairs since immemorial times, in the conjunctures of nowadays – if permitted indicating a path beforehand – in a future not envisioned.
A dança dos congos da cidade de Goiás: performances de um grupo afro-brasileiro
(Universidade Federal de Goiás, 2015-07-30) Macedo, Eliene Nunes; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Tamaso, Izabela Maria; Brandão, Carlos Rodrigues; Hartmann, Luciana; Correa Júnior, Sebastião Rios
This master thesis introduces the Congo dance, which has been performed in Goiás City (Goiás/Brazil) since the first half of the 18th century. In this ritual, we are able to watch the fight between Moors and Christians. The routine is divided into street parades and representations of an embassy mission, performed by poor Afro-Brazilian men, usually at the city’s Historical Centre (held as a UNESCO world cultural heritage). The performances generally take place during the Divine Holy Ghost and the Our Lady of the Rosary festivals. This is an ethnographic research project, which aims at interpreting the performances of the Congo dance ritual and its complex meaning relations. Therefore, a detailed description of the Congo dance structure was done, by highlighting its gestures, orality, music, clothing and dramatization. Also, as an analytical category, the theoretical background to such cultural performances was reviewed, aiming at analysing the dance and dancers’ embodied knowledge. Furthermore, some questions on the congos’ cultural social historical were raised, bringing some comparison among the thoughts on ethnographic studies on the Congo dance and the possibility of an interlocution between Brandão’s ethnography (1977) and the one presented in this paper. Eventually, the representation and appropriation of this way of expression towards the whole Goiás City’s cultural heritage and how safeguard policy is done were deeply observed. As a conclusion, the study states that the Congo dance from Goiás City is the materialisation of the iconography of people who live, fight, resist and remain.
(Des)dobrando o teatro da crueldade: Nietzsche, Artaud, Deleuze e outros pensadores rebeldes
(Universidade Federal de Goiás, 2017-03-24) Barbara, Rodrigo Peixoto; Correia, Paulo Petronílio; http://lattes.cnpq.br/1801687030702050; Correia, Paulo Petronílio; Christino, Daniel; Nunes, Alexandre Silva; Gomes, André Luís
The Theater of Cruelty is an Artaudian artistic manifestation that shook the representative Western aesthetic bases by returning the ritual, magic and life suppressed by Western theater to the performing arts, also highlighting controversial subjects / themes silenced by a ruling class, similarly as Friedrich Nietzsche and Gilles Deleuze did with their philosophical thoughts. In view of this, it is proposed with this Master's Dissertation, to (un)fold this Theater of Cruelty having as a theoretical subsidy, besides the studies of Antonin Artaud, the investigations of Nietzsche, Deleuze and some other rebellious thinkers. Through this unfolding, one studies the possible cruel plot given by the Philosophy-Art-Life conjunction and of that, the link between Tragedy, Dionysus and the Artaudian Theater. In view of this panorama, one wonders: what unites these cruel-artist thinkers? What do Nietzsche's Tragedy and the god Dionysus lend to the Theater of Cruelty of Artaud? To this end, the theoretical clause presented here rests on the attempt to account for a study that shows the rhizomatic agreement between these three thinkers and subversive thoughts having as central axis the Theater of Cruelty. Therefore, this theater is staged to propose a connection between Artaudian Cruelty and the revolutionary powers of the Nietzschean and Dionysian tragic.
Desejo, identidade e espacialidade em James Baldwin
(Universidade Federal de Goiás, 2017-04-10) Bezerra, Paulo Rogério Bentes; Correia, Paulo Petronílio; http://lattes.cnpq.br/1801687030702050; Ratts, Alecsandro José Prudêncio; Camargo, Flávio Pereira; Assumpção, Albertina Vicentini; Oliveira, Vânia Dolores Estevam de; Correia, Paulo Petronílio
The aim of this academic paper is to do a cartography of the desire, the identitiy and the space, among other issues which are related to the difference, on the novel Giovanni`s Room, produced in 1956 by African American writer James Baldwin. From my particular reading of the novel, there is the perception that the relationship between the couple David and Giovanni is the core of the narrative. Concerning the issue of desire, I will discuss it as multiplicity. Furthermore, regarding identity, I will discuss its subversive character, the diaspora and the in-between, which are snippets that I consider very meaningful to the novel and its author. Regarding the matter of space, through my point of view, it has a peripheral atmosphere, which reflects the social marginalization of the characters that inhabit and move around it. Moreover, the masculinity, which I also consider as a significant issue in the work of Baldwin is connected, in my conception, to sexual ambiguity. I emphasize that, considering the matters of space and masculinity, this research will approach Giovannni`s Room, but it will be also extended to the novels Another Country and Just Above My Head, also written by Baldwin, for their construction is marked, through my point of view, by the difference. In order to better conduct this academic paper, I will select a theoretical framework, which includes Michel Foucault, Judith Butler, Stuart Hall, Gilles Deleuze, Félix Guattari, Georges Battaile, Homi Bhabha, Gaston Bachelard, Fernando Seffner and other contributors.
O drama como método de investigação de linguagem: uma interpretação do dramatismo de Kenneth Burke
(Universidade Federal de Goiás, 2015-06-08) Gonzaga, Deusimar; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Hartmann, Luciana; Christino, Daniel
This study aims at presenting and discussing some of the aspects of dramatism, method of analysis of human relations and mainly of the acts of the language and of the thinking, as it is presented by the North American philosopher and literary critic Kenneth Burke (1897-1993), from the years 1930 to 1960. Practically unknown in our language, Kenneth Burke‟s name and of his dramatism are compulsory presences in the recent compendiums which deal with the studies of performance and of cultural performances, for the comparison and the relation they establish between everyday life and the drama and thus require be better known. Among many theorists, Burke‟s works have influenced the literary critics Harold Bloom (1930) and Susan Sontag (1933-2004), his student at the University of Chicago, and mainly the theoretical founding of the sociologist Erving Goffman (1922-1982), being that in his studies of everyday life as well as in his “dramaturgical approach”. As it is implied from dramatism, we are not only language users, we are also used by it and language determines our actions. Dramatism is established as an instrument of analysis of language as symbolic action from five key terms (dramatistic pentad): the act in itself, what has been done; the agent of the act, the actor, who performed the act; the scene (the place, the where); the agency, the means/instruments or how the action is performed, or even the autonomous capability of people to make their own choices; and the purpose. The act is the central term around which the five categories of analyses are organized (pentad) and the investigation of the motives of the action is the fundamental strategy of the dramatistic analyses. Burke proposes that the field of observation of the human action and of its innumerable combinations, the transpositions and the transformations among the terms of the cited pentad, makes it possible for an analysis of the human action that has drama as its central term. Dramatism attempts to answer the questions of how human actions can be explained, and mainly how these actions are determined by the symbolic capability. Dramatism becomes a central element in the analysis of human theatricality, of the human being in performance.
Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016)
(Universidade Federal de Goiás, 2016-05-31) Silva, André Carlos Conrado Inácio da; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Veloso, Sainy Coelho Borges; Jesus, Samuel José Gilbert de; Abdala Júnior, Roberto
The word performance was popularized and became appellant in everyday human being. However, they make use of it without understanding the size and strength she has. . The performance takes place in all areas of our life, she runs the kitchen at the time of cooking, in sports, at work, on the floor, finally the performance is a term loaded with meanings and synthesis shows that our life is structured with ways behavior and gestural expression that a social attitude that is evident in daily living. The dissertational work images that speak: A pictorial ethnographic research goianiense cultural performance (2014-2016), sought to demonstrate how to constitute the daily lives of the city of Goiania cultural performance of passers-by that it circulating in their day-to-day. For this, we used the Photoethnography in a collection of images made through photographs taken at various points of the city, which were later transformed into lick lick and taken for public reception in the same places where photographed form. With the reception process we seek to identify the goianiense or goianiense recognize the images its own cultural performance or not. So in the receptive process we conducted interviews with the receiver public that were later used for data analysis on procedural research. This time, the results led to a gestural performance goianiense and goianiense that became evident in his statements on the existence of an identity - performative than is to be a goianiense or goianiense. This work is an invitation to get to know how to built and present in living daily "be goianiense".
Os jogos teatrais de viola spolin: uma pedagogia da experiência
(Universidade Federal de Goiás, 2015-02-27) Vieira, Karine Ramaldes; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Koudela, Ingrid Dormien; Correia, Paulo Petronilio
This study analyses the methodology of theater games developed by Viola Spolin (1906-1994) as a process of learning by experience, using the theorethical approach of experience developed by William James (1842-1910) and John Dewey (1859-1952). I establish possible dialogues with the practice of theater games with the distinct theorethical perspectives of both authors aiming to have a better understanding of the methodological improvisation on Drama proposed by Viola Spolin.
Jogos teatrais, pensamento simbólico e conhecimento intuitivo: diálogos entre Viola Spolin e Jean Piaget
(Universidade Federal de Goiás, 2017-02-08) Tancrede, Onira de Avila Pinheiro; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Icle, Gilberto; Koudela, Ingrid Dormien; Hartmann, Luciana
The aim of this study is to relate the methodological aspects of theater games, such as developed by Viola Spolin (1906-1994), and symbolic play (jeu symbolique) as presented by Jean Piaget (1896-1980). This research analyzes the symbolic function and the symbolic games ([1945]) at the thought of Piaget and the improvisational games of Viola Spolin ([1963]). From this perspective, establish dialogues in their entertainment and educational way and shows how the knowledge of these symbolic characteristics and the intuitive knowledge can influence the driving proposals for theater education in public schools with children. This dissertation departs from the meaning established by the relationship between meaning/significant with the intuitive intelligence, which are elements presents in the theatrical play.
Jú onze e 24: pretextos, textos e contextos de atores drag-queens em Goiânia (GO)
(Universidade Federal de Goiás, 2015-11-05) Nunes, Paulo Reis; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Vicentini, Albertina; Petronilio, Paulo
This work tries to recall the memory of the show Jú Onze e 24, directed by Júlio Vilela, and its latest attempts at survival, with its structure and circulation among the theatrical spaces and spaces LGBT in Goiânia, with the main attraction the dragqueens performances. This drags, to carry out the production of a female body translated as assemblies, presented at different mappings. These mappings are understood as flexible operating modes that go or back together. The fact of producing and performing, featuring her performative process, which allowed for a study of the aesthetic transformations in the show, based on studies of performance, queer theory, gender and sexuality. These themes could incite processes of identification and difference about subjects of deviant sexuality, as transvestites and transsexuals who are confused or placed under one label, which confirms that there is confusion regarding the usual drag-queen performance.
As linguagens presentes nas místicas do MST no processo formativo da militância orgânica
(Universidade Federal de Goiás, 2014-11-24) Pereira, Antonio de Jesus; Corte Real, Márcio Penna; http://lattes.cnpq.br/1976193858153118; Corte Real, Marcio Penna; Villas Bôas, Rafael Litvin; Corrêa Júnior, Sebastião Rios; Ribeiro, Núbia Ferreira
An analysis of the mystics of the MST (movement of the landless workers) has been conducted in this dissertation. An attempt has been made to identify the enunciations that circulate around the mystics of the movement in order to find out to what extent they can enhance the potential of the formative process of its organic militancy. The elements which contribute to the manifestations of the mystics and which allow for them to be analyzed, in the perspective of the cultural performances, have been identified. For that means we have conducted a dense description ethnography of the mystics of the landless workers, supported by the idea of Clifford Geertz. The research that resulted in this dissertation was done in the state of Pará, and the purpose was to accomplish a work with the militancy of the movement of the rural landless workers (MST). Pará was chosen because it is a place of serious conflicts between landless workers and farmers. The following methodological procedures were adopted: record on field notebooks, observations, interviews and sound recordings. The research was conducted in the main formation spaces of the militants of the MST, such as: meetings, associations, assemblies and schools. Nine interviews with the militants have been conducted. From this trajectory we come to the conclusion that the landless workers constitute themselves by means of rituals and of the social activities of the MST, as social actors that incorporate experiences of struggle. In face of that they have constituted a capacity of systematizing their experience through poetic, body, imagistic and symbolic language that permeate the mystics of the movement.
Maria Duschenes: teias de saberes e encontros
(Universidade Federal de Goiás, 2015-11-13) Paiva, Warla Giany de; Abrão, Elisa; http://lattes.cnpq.br/5874205891147236; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Abrão, Elisa; Rengel, Lenira Peral; Reinato, Eduardo José
This research has arisen out of the interest to study the trajectory of the Hungarian born, naturalized Brazilian dancer and teacher, director and choreographer Maria Duschenes (1922- 2014). Our interest is in the historic aspects as well as in the artistic and pedagogical ones. We present the enfoldments of her work in the introduction and development of modern dance in Brazil. Duschenes worked in São Paulo from decades of 1940 to 1990 and had an important role in the reception, introduction and development of the labanian´s and dalcrozean´s proposals in Brazil. Despite its great importance, her intellectual, artistic, pedagogical, political and social work has been little explored in the academic field. Duschenes wove webs of knowledge evolving important names of the artistic european avant guard: in Budapest, she studied at Olga Szentpal`s school (1895-1968) in Jaques Dalcroze’s perspective (1865- 1950) and with Aurel von Millos (1906-1988), both crossed by labanians´s knowledge; in England, with Rudolf Laban (1879-1958) and his collaborators and partners Kurt Jooss (1901-1979), Sigurd Leeder (1902-1981) and Lisa Ullmann (1907-1985). Drawn in these universes, Duschenes developed as an axis of her work the improvisation of the movement aiding with transformations in the artistic scene, in pedagogy, in research, in therapy and in rehabilitation. For that purpose this is a work of qualitative and exploratory nature, which includes field research as well as documental research. It has being built with the objective of tracing the vestiges left by Duschenes as well as the vestiges and memories of her former students and her collaborators, through the means of interviews, conversations and classes as well as video, essays and documents analyses. This research begins weaving the paths that have subsidized her formation, making its way towards the bases and propositions which have composed her trajectory of work, from the decades of 1940 to 90. In sum, this study understands that the continuity, the potentiality and the unfolding of the unique manner of her work in Brazil is constituted by overlaying of diversified performing levels, which are composed by the intensities of her own presence in her life and art performances.
Memória roubada: teatralidades performáticas nas intervisualidades de Ana Maria Pacheco
(Universidade Federal de Goiás, 2015-11-13) Santos, Valéria Braga dos; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Rodas, Hugo Renato; Reinato, Eduardo José
The purpose of this work is to study Memória Roubada I (Sculpture, 2001) done by the plastic artist Ana Maria Pacheco, born in Goiânia, 1943. This sculpture condenses and opens new paths at the Brazilian art and their fictional representation of our memory. This artwork establishes more than a simple relationship between the parts. It enters the world as an intervention, which puts the viewer in the center of the perceptive action and allows multiple interpretations and experiences. This study aims enlarges questions and reflections with regard to dynamics of the perceptive act and the ability to formulate thoughts. It seeks to understand the complexity of Memória Roubada I, its domains and relationship to memory, history and cultural performances.
Memória, corpo e performances: a dança negra de Mercedes Baptista
(Universidade Federal de Goiás, 2016-04-20) Pereira, Dayana Gomes; Correia, Paulo Petronilio; http://lattes.cnpq.br/1801687030702050; http://lattes.cnpq.br/1801687030702050; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Correia, Paulo Petronilio; Ratts, Alecsandro José Prudêncio; Veloso, Sainy Coelho Borges
This study proposes reflections, analyzes and discussions for the female black body in dance, having as a study the course and the performances of dancer Mercedes Baptista (1921-2014). In order to get perceptions of this body, are emphasized choices, pathways, spaces, Afro Brazilian Dance in Mercedes Baptista, events and people that have gone through and marked her life story. From the reconstruction of its trajectory, it is possible to think the problems that still demarcate this body. This reinterpretation grounded in biographical work "Mercedes Baptista: the creation of black identity in dance" Paul Melgaço (2007) are marked educational spaces and meeting that will contribute to the formation of ballerina, considered this work as a rhizome. To broaden perspectives on aspects that cut across its history, they are discussed concepts related to the memory, forgetfulness and invisibility, in dialogue with the review and analysis of the content of three books dealing with the history of dance in Brazil. At understanding the printed demarcations that body, are discussed aspects that make up the social imaginarywith a focus on one of the representations attributed to the female black body dance, present in the trajectory of Mercedes Baptista, the personification of "mulatto". In this context of thinking training, the female black body and its representations, is taken up the "body afrodiaspórico" while confrontation way these symbolic impositions. For better understanding the variances of which this body created and recreated, although the omissions and representations, through the lens of Cultural Performances are discussed the notion of the body as "liminal body" being considered the documentary "standing Ballet on the ground" of Marianna Monteiro and Lily Solá (2005). This work aims at weaving a dance writing, that emphasis an important aspects, that is expected to contribute to the reflections on the formation of the female black body dance nowadays.
Na vibe das mulheres DJs: sentimento, mixagem e subversão
(Universidade Federal de Goiás, 2017-06-02) Sucena Junior, Edson; Correia, Paulo Petronílio; http://lattes.cnpq.br/1801687030702050; Dias, Luciana de Oliveira; Reinato, Eduardo José; Correia, Paulo Petronílio
This dissertation it is proposed to understand how the process of construction of identities of women DJs in the scene GLS in Goiânia, from the point of view that the DJ's are performers in the musical, as it cut through the mix, the relationship with the music and creating, they have the power to bring the crowd to ecstasy and trance in the club scene. This is a study about the narrative of women who act as professional DJs who now approaching, now distance themselves with regard to musical styles, because each one has its identity in the construction of his sets and in their performances. By understanding that identity is a social and cultural construction, we are led to think and problematize notions such as “feeling” (sensation), subversion and performance. These are women who are in their subordinate modes of being and expressing ourselves in the world while the genre and artists on the margin, in spaces with strong markers of social difference. Bring the voices of these women means enhancing movements and shifts of identity that will put you in check the heteronormativity compulsory. Is it so that this “feminine plural” starts to be questioned in their becomings and multiplicities. Therefore, to interrogate these identities allows us to question: a DJ is performance? How to build a DJ? Can the DJ talk? Performances and performatividades bypass their identities? Therefore, listening to the narratives of these women and go through their intimate allows us to create conditions and possibilities to which the subaltern can indeed speak and show their you can actually talk and show their potential subversive.

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