Mestrado em Artes da Cena (EMAC)

URI Permanente para esta coleção

http://200.137.215.59/tede/handle/tede/9156

Navegar

Agora exibindo 1 - 20 de 21

O empoderamento das identidades de gênero feministas pela cibercena/educação infantil crítica no DEI/CEPAE/UFG
(Universidade Federal de Goiás, 2023-08-17) Lyra, Yasmin Gonçalves e; Cunha, Fernanda Pereira da; http://lattes.cnpq.br/8739909013018488; Cunha, Fernanda Pereira da; Barbosa, Ana Mae Tavares Bastos; Azevedo, Fernando Antônio Gonçalves de; Silva, Adriano Correia; Dallago, Saulo Germano Sales
The research in question has as impellent the study about the critical Early Childhood Cyberscene/Education in favor of the empowerment of feminist gender identities, with children aged 4 to 6 years from the Department of Early Childhood Education of the Center for Teaching and Applied Research to Education at the Federal University of Goiás – DEI/CEPAE/UFG. As a Cyberactress/Educator at that institution, the perception of sexist gender identity stereotypes is raised, present in the metacenic expressions of children aged 4 to 5 years old through the child play that composes the aesthetics of everyday school life, stereotypes that may be reinforcing iniquitous power relations in the binary representations of masculine and feminine that make up the ontological formation of children. The metacenic expressions of gender identity stereotypes are phenomenally analyzed from the visualities of the scene through iconographic and audiovisual records, interviews with the children's families and reports of pedagogical activities written by DEI/CEPAE/UFG teachers. Thus, a Cyberscenic/Educational intervention was developed for children from 4 to 6 years of age at DEI/CEPAE/UFG, by the Cybertheater Forum with Animated Forms, based on the Triangular Approach developed by Professor Ana Mae Barbosa, on the Digital Triangular System systematized by Professor Fernanda Cunha , and on Aesthetics of the Oppressed by Augusto Boal, for the promotion of aesthetic-scenic resignifications regarding the cognitive perception of personal identity through the concept of Artist Cyberlife. Feminism is understood in this study as a political movement in favor of gender equality, against institutionalized sexism that establishes unequal power relations through oppression from an early age.
Um olhar experimental para dramaturgia na educação: movimento e encenação
(Universidade Federal de Goiás, 2022-11-11) Duarte, Sarah Auxiliadora Paiva; Figueiredo, Valéria Maria Chaves de; http://lattes.cnpq.br/4166799919007370; Figueiredo, Valéria Maria Chaves de; Brasileiro, Livia Tenório; Ferreira, Alexandre Donizete
This dissertation investigates the theatrical making related to viewpoints with somatic practices to theater students in a non-formal school. The incessant search to understand the functioning of the actor's work instrument, the body, and how the functions of this body dialogue with theatrical making led to the search for theories and practical research to arrive at some considerations about staging. The experience and experience of these students when they came into contact with somatic practices, for the first time, yielded reports of a perceived body and its powers for the development of the creative process in the construction of the character now in a proprioceptive body. By making convergence with viewpoints in the search to apply the fundamentals of theater, the exploration of this proprioceptive body stimulated the body expression of these students and the sources of creation emerged with the somatic exercises, the principle of the score of theatrical anthropology, the theatrical and traditional games. Data collection was based on action research, which emerged a relationship of teacher and student, and a horizontal relationship with exchanges of knowledge and solutions in relation to what was experienced. This data collection yielded photographs, logbooks, audios, drawings and the enthusiasm to do theater. This research seeks to contribute with art as knowledge and the strengthening of somatic practices, viewpoints, theatrical games and traditional games that have become a path of new possibilities for these students in the theatrical sphere. Keywords: Somatic practices. Viewpoinsts; Scenario; Action research.
As dramaturgias que dançam em cenas brasileiras e seus fazeres artísticos
(Universidade Federal de Goiás, 2023-07-21) Amorim, Joisy Palmira de; Figueiredo, Valéria Maria Chaves de; http://lattes.cnpq.br/4166799919007370; Figueiredo, Valéria Maria Chaves de; Krischke, Ana Maria Alonso; Ferreira, Alexandre Donizete
This research aims to critically reflect on the dramaturgical construction in contemporary dance, through the discussions that emerge from the relationship between the choreographer and his artistic work, in the universe of the structuring and composition of the show. In this context, the concepts of choreography and dramaturgy will be investigated, as well as their interconnection in the process of artistic making in contemporary dance. Two choreographers were chosen: Suely Machado (First Act Dance Group, Belo Horizonte / MG) and Alejandro Ahmed (Scene 11 Group, from Florianópolis/SC), who have performed in the Brazilian scene for over 20 years. Given the complexity of the thematic approached and the subjective aspects present in each particular story, we chose a dialogical and dialectical methodological way, researching the subjects in their singularities and in different contexts. In the end it is intended to identify a possible methodology that supports and sustains the dramaturgical and choreographic practice in contemporary dance as scientific research in Performing Arts.
O ator transmidiático
(Universidade Federal de Goiás, 2023-10-13) Carneiro, Thiago Moura; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; Jesus, Samuel José Gilbert de; Dallago, Saulo Germano Sales; Santos, Júlio César dos
The present research offers a critical reflection on transmedia scenic creation as it presents contemporary concepts coined by the author, in order to glimpse the multiple perspectives of scenic work and understand his own reality and artistic work. Therefore, the objective is to share the author's own experiences in dialogue with places, concepts, reflections and fundamentals about the scene. Having as justification the understanding of contemporary scenic urgencies, it is understood that practical experiences of artists in dialogue with theoretical aspects of the knowledge area that involves the actor's work, be it in theater, cinema, or multiple media, are capable of provoking the production of technical and subjective knowledge necessary for the demands evoked today. In this context, the actor's work on stage tends to engage with various territories, such as scientific research, the scenic experience itself, the dilemma of contemporary media and technologies, among others. Thus, it is intended to register questions that allow the development of a theoretical framework that stimulates the continuity and development of the research carried out, as well as seeks to collaborate with the artistic and poetic work of other actors and actresses. In addition, the present work proposes a study of dream memories as a creative resource. It is developed in favor of the transmedia expansion of the universe of the work Katatonisch, a theater show created by the author of this research, proposing the enhancement of the actor's ability to transit through multiple media. From this perspective, we sought to observe the concept of scenic truth as a point of convergence between performances in multiple scenic spaces, including analyses of the concepts of reality, verisimilitude, and post-dramatic narrative.
Antígona: ensaio sobre uma poética política
(Universidade Federal de Goiás, 2022-11-14) Torres, Renata Cesar; Silva, Adriano Correia; http://lattes.cnpq.br/7465568204123045; Silva, Adriano Correia; Ramos, Luiz Fernando; Oliveira, Natássia Duarte Garcia Leite de
This dissertation presents an investigation of the discourses present in the tragedy Antigone, which run through the performance of tragic mimesis in its political context, focusing on the main questions that the plot proposes: the ruler's power action, questions of justice and individual reasons. From the point of view of Antigone's interpretation in it's performativity, the aesthetical aspects of the tragic and the political context of the plot are related to human relationships as an update of the discourses of power and political action.
Kundzob: corpo-árvore - um processo de criação e meditação em ecoperformance
(Universidade Federal de Goiás, 2023-08-17) Lima, Elcivan Luciano de; Nunes, Alexandre Silva; http://lattes.cnpq.br/4192026825077254; Nunes, Alexandre Silva; Haderchpek, Robson Carlos; Lima, Marlini Dorneles de; Malveira, Ricardo Ribeiro
This research proposes to discuss the process of creating ecopoetics in ecoperformance, which is based on the perspective of the Tibetan Buddhist's meditation as a process. With this, the objective is to provide the performer with an inner perception development during the creative process and the performative act. For this procedural trajectory, we resort to the elaboration of personal mythology, related to the circumstances of life and its relationship with the ecological behavior as a fundamental practice, intending to provide the performer, through his body, an encounter of full presence on alert for the performance art. Performative research was the approach used as a practical and creative investigation methodology to understand, in the everyday work, the propositions and relations established by the performative artist.
Nós, as poetas: experiências em literatura, performance e feminismos na luta em prol das mulheres
(Universidade Federal de Goiás, 2022-11-17) Wolff, Tayná Campos; Lima, Marlini Dorneles de; http://lattes.cnpq.br/4182775556812377; Lima, Marlini Dorneles de; Silva, Renata de Lima; Lyra, Luciana de Fátima Rocha Pereira de
Este trabajo busca, desde el campo del arte y la cultura, formular percepciones sobre el arte y sus dimensiones políticas y sociales a través de acciones que movilicen preguntas sobre género, sexualidad, feminismos y derechos humanos. A partir de las acciones realizadas por el colectivo de escritoras independientes Nós, as Poetas! El trabajo busca resaltar las organizaciones colectivas de mujeres como formas de articulación de luchas, la investigación tiene los siguientes propósitos: describir y analizar la trayectoria de las obras de Nós, as Poetas! evaluar la fuerza de las manifestaciones artísticas feministas como elementos de transformación y transgresión; investigar otras autoras y sus manifestaciones artísticas feministas de diferentes lenguajes, como la Performance, la Literatura, la producción literaria independiente y la Intervención Urbana, señalando sus aspectos de intención creativa y la relación con el entorno social; encontrar puntos de confluencia entre las obras de estos artistas y Nós, as Poetas!, pensando cómo las manifestaciones artísticas que reflexionan sobre el género pueden contribuir a las luchas por una sociedad con más justicia y equidad; reflejan la importancia de valorar las narrativas de grupos históricamente marginados por coyunturas hegemónicas, heteropatriarcales y capitalistas. Los referentes teóricos buscan narrativas de autores no blancos de países colonizados. Los caminos metodológicos parten de la propia experiencia del autor como miembro del colectivo Nós, as Poetas! y se desarrollan con análisis de otras obras artísticas con temáticas de feminismos, género y sexualidad. De esta forma, se desarrollan reflexiones sobre la conservación de costumbres y tradiciones culturales que mantienen estructurado el machismo, la heteronormatividad, el racismo y otras desigualdades, señalando en las manifestaciones artísticas subversivas consignas para oponer barreras que pretenden frenar los debates contra las desigualdades en los entornos sociales.
Outros lugares de onde se vê: acessibilidade comunicacional em espetáculos cênicos em Goiânia
(Universidade Federal de Goiás, 2023-06-23) Santana, Thiago de Lemos; Lima, Marlini Dorneles de; http://lattes.cnpq.br/4182775556812377; Lima, Marlini Dorneles de; Figueiredo, Valéria Maria Chaves de; Silva, Emerson de Paula
Esta tesis de maestría fue desarrollada con personas, con y sin discapacidad, en un contexto artístico en la ciudad de Goiânia, reconociendo sus diversos roles como espectadores, artistas, gestores y productores culturales. Tuvo como objetivo reflexionar, problematizar y percibir la accesibilidad comunicacional desde los enfoques de los avisos públicos del Fundo de Arte e Cultura de Goiás (FAC-GO) y los proyectos culturales financiados a partir de esos avisos públicos ejecutados en los años 2018, 2019 y 2020. Se consideró un abordaje fenomenológico de la percepción, permeado por narrativas semificcionales que trazan cruces entre tres instituciones que estuvieron fuertemente presentes en los cambios en el escenario cultural de Goiás hacia la perspectiva de la Accesibilidad Cultural, el Instituto Arte e Inclusão (INAI), el Centro Cultural UFG (CCUFG) y Grupo de Dança Diversus (GDD). La investigación se configuró cualitativa y cuantitativa, exploratoria y explicativa. La metodología cualitativa recurrió a procedimientos bibliográficos, documentales y grupo focal. La metodología cuantitativa recurrió a cuestionarios estructurados referentes a los proyectos aprobados en convocatorias públicas del Fundo de Arte e Cultura. La investigación parte de una perspectiva filosófica, política y estética, con reflexiones sobre el cuerpo-sujeto como punto de intersección de los fenómenos escénicos y comunicacionales, así como reflexiones y problematizaciones sobre aspectos hegemónicos presentes en este contexto actuando como barreras que impiden la accesibilidad. en sus diferentes dimensiones. Esta es una investigación posibilitada por el aviso público Qualificar n° 01/2019, un anuncio para incentivar la calificación de servidores de la Universidad Federal de Goiás (UFG), por lo tanto, como resultados esperados o como repercusión de esta investigación, pretendemos contribuir a los estudios y prácticas sobre Accesibilidad Cultural en los contextos de creación y producción escénica, así como subvenciones para la elaboración de una política de accesibilidad cultural para la UFG.
Ritual da queima dos tambores: teatro e imaginário do fogo
(Universidade Federal de Goiás, 2022-11-21) Faleiro, Taiom Nunes; Nunes, Alexandre Silva; http://lattes.cnpq.br/4192026825077254; Nunes, Alexandre Silva; Amoroso, Daniela Maria; Lima, Marlini Dorneles de; Malveira, Ricardo Ribeiro
The research has its premise as the analysis of the cultural manifestation of the Ritual of Queima dos Tambores, taking it as a theatrical phenomenon In this sense, we seek to investigate the constituent elements of the Ritual of Queima dos Tambores and how they have characteristics of a type of theater that differs from the classical structure. Linked to these conceptual studies, the investigation will make use of studies on the imaginary of fire, as a poetics capable of allowing an understanding of the Ritual of Queima dos Tambores, based on the studies of the imaginary. Therefore, it will be necessary to combine the survey and bibliographic investigation with field research, based on the paradigm of performative research.
Coreogeografia geraizeira: um estudo autof(r)iccional
(Universidade Federal de Goiás, 2023-03-24) Xavier, Davidson José Martins; Machado, Maria Ângela De Ambrosis Pinheiro; http://lattes.cnpq.br/4323916629529180; Machado, Maria Ângela De Ambrosis Pinheiro; Silva, Renata de Lima; Malveira, Ricardo Ribeiro
This work reflects on the process centered on scenic creation in dance, where investigation procedures include the use of imaginal sertanejo space and writing self-fiction. In the case of a deepening of the concept of choreo(geo)grahy through intuitive practical experimental developments in dance-theater, as well as theoretical studies about dance, creation processes and territoriality, this work is based on a theoretical contribution about dance, theater, dance-theater, interdisciplinarily linked to the body, its blackness and the imaginary sertão, the author lists creation processes and his fictionalized biography as material for autof(r)ictional creation in performing arts. The research understands self-fiction as an element that captures the imaginary north of Minas Gerais, where the figure of the catrumano, a pejorative name attributed to those born in the north of Minas Gerais, gains the character of a guide-myth that unveils the process in a search for its ancestry, a reform of the catrumano imaginary and a general choreogeography. The blackened north of Minas Gerais artistic research results in three video dances: 'Reflexo', 'Modos de ofuscar os olhos' and 'Imorredouro'.
A reversão semiótica do Triângulo rosa como objeto dramatúrgico experimental e performático
(Universidade Federal de Goiás, 2022-11-16) Lobo, Ravana da Silva; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/ 3589952430806659; Jesus, Samuel José Gilbert de; Dallago, Saulo Germano Sales; Martins, Rosilandes Candida
The present thesis aims to demonstrate the dramaturgical power of the “Pink Triangle” symbol, in its semiotic reversal, in the creation of an experimental video performance, directing the production designer look to the historical processes that made several audiovisual, theatrical and literary narratives, of the LGBTQIAP+ universe possible. It is also a proposal of an educational dimension, since the creation revisits and analyzes the cultural identity purposes and the connections between the performing arts presented along the route that reverted, the aforementioned symbol, from shame to pride of a group who learned to deal with the adversities to which it was exposed, using creativity to overcome them and, from a reflexive perspective, tries to revive a memory that for decades was hidden and segregated.
O que (não) é circo? circ/uns/grafia nas artes da cena
(Universidade Federal de Goiás, 2022-12-06) Sena, Jonathan Brites; Duprat, Rodrigo Mallet; http://lattes.cnpq.br/0281480941035478; Oliveira, Natássia Duarte Garcia Leite De; http://lattes.cnpq.br/2673206479757870; Oliveira, Natássia Duarte Garcia Leite de; Duprat, Rodrigo Mallet; Ferreira, Andreia Cristina Peixoto; Figueiredo, Valéria Maria Chaves de; Ferreira, Alexandre Donizete
The present dissertation results from a research developed from mid-2019 to the end of 2021, composing the researching line: Poetics and Aesthetics of the Performing Arts of the Graduate Program in Performing Arts (PPGAC) of the Music and Arts School (EMAC) of the Federal University of Goiás (UFG), linked to the laboratories: Laboratory of Scenic Assembly and Theater Education (LabMonTe/ EMAC/ UFG) and to the Interdisciplinary Laboratory for Performing Arts Research (Lapiac), linked to EMAC and the Physical Education and Dance College (FEFD/UFG). The dissertation is entitled WHAT IS (NOT) CIRCUS? CIRC/UNS/GRAPHY IN THE PERFORMING ARTS. Since the 20th century, there has been a growing number of circus artists who do not necessarily belong to a traditional circus family. This factor is motivated by the creation of circus schools, which emerges as a new way of teaching and disseminating circus art. Thus, such institutions start to coexist with different ways of circus knowledges, some transiting through orality in a family environment; others linked to technical/artistic education in specific circus schools. These integrate various circus arts and are integrated by artists from different artistic areas - dancers, actors, visual artists, performers, among others. Thus, the teaching and learning relationships in these environments are not exclusive to members of traditional circus arts families. In this sense, our work was an investigation of a theoretical and documentary nature, exploratory, with a qualitative and transdisciplinary approach, whose research object was the performance in circus arts. Our objective was to understand how the so-called traditional circus – the first structured model of this practice – has been sharing spaces with other possibilities of circus making from modernity to our contemporaneity, identifying possibles elements concerning these historical movements. Starting from the question ‘What is (not) Circus? The investigation deals with an in-between place, submited to numerous transformations, which are related to the circus transit through different contexts and through different cultural formations, as we could see in the vast theoretical contribution researched. We conclude, therefore, that the circus presents itself as an important field of knowledge of the performing arts, and can be a multiple space for mutual and democratic learnings, which contributes to the development of psychophysical, affective and playful practitioners skills.
Teatro, jogos tradicionais e Goiás: para abrir Colchetes poéticos
(Universidade Federal de Goiás, 2022-10-04) Dias, Pedro Paulo Galdino Vitorino; Nunes, Alexandre Silva; http://lattes.cnpq.br/4192026825077254; Nunes, Alexandre Silva; Veloso, Jorge das Graças; Machado, Maria Ângela de Ambrosis Pinheiro; Bonetti, Maria Cristina de Freitas; Malveira, Ricardo Ribeiro
This master thesis was woven from the image of the wire gat from rural area which surrounds and opens passage between spaces of land. The objective was to open autoenográficos poetics wire gates to free transits between the incantatins of the lands of children's knowledge and doings wrapped in the Goiás imaginary with a focus on a systematization of traditional plays in parallel to theatrical play. For this we studied the plays philosophy especially the play spirit intrinsic to the theatrical creative process as well as the theater philosophy thinking it as an ontological happening, established in conviviality, poiesis and expectation (DUBATTI, 2016). The paths traveled were based on traditional plays poetic dreaminess as its own artistic purpose and in its possibilities in the work of the scenic interpreter in starting points for a scene as well as perspectives for teaching in theatrical classes or workshops.
Estudos preliminares candomblecistas para criação de máscaras com materiais recicláveis
(Universidade Federal de Goiás, 2022-06-24) Barros, Tiago Barreto de; Dallago, Saulo Germano Sales; http://lattes.cnpq.br/3928124448700815; Dallago, Saulo Germano Sales; Nunes, Alexandre Silva; Malveira, Ricardo Ribeiro
Este trabajo tiene como objetivo los estudios de Máscara Escénica Inspirada en Orixá, concatenando Teatro de Máscaras, Candomblé, Orixá y sustentabilidad ambiental en diseños de máscaras. Buscando una máscara, encontró el “enmascaramiento” del investigador Prof. Dr. Felisberto Sabino da Costa (2015) – Energía escénica de la máscara en relación de la animación con el actor significante en artista teórico-máscara-público. En el Teatro de Formas Animadas, de la dramaturga Profa. Dr. Ana María Amaral (2008, 2011, 2013) y en el Teatro de Máscaras de Valmor Nini Beltrame y Milton de Andrade (2010), consultamos autores, técnicas y contextos para enmascaradores y extranjeros. Consideramos a Coupeau y Lecoq en las tipologías y conceptos de los formatos de mascarada y como propuestas teatrales didáctico-pedagógicas con máscaras de Elizabeth Pereira Lopes, permeando los estudios del imaginario simbólico. Desde el Candomblé de Rituales de la Nación Representación de Conjuntos Simbólicos, y Culto, los Orixá en Máscaras de Dos Rituales, contemplar los personajes y las jerarquías de los fenómenos, aparecer y percibir al Orixá lleno de características arquetípicas, dos rituales. escénico, probado y representable. En representaciones de máscaras, indicaciones, rasgos arquetípicos, dominios sobre elementos de la naturaleza, o del entorno, como combinaciones de rasgos y técnicas de enmascaramiento. Mencionamos la rentabilidad de la obra de arte reciclable, conocer imágenes de máscaras en los rituales, historias míticas en la investigación artística como herramientas de estudio como el Método Matrix, el estudio de mitos realizado por Gilbert Durand (1993) y el Análisis Iconográfico para interpretar imágenes, asociación en varias áreas de conocimiento relacionadas con esta investigación. Tratamos la sustentabilidad ambiental en conceptos, relaciones con axé, con el paradigma, fomentando técnicas, tecnologías, elecciones de bocetos de vestimentas características en elecciones de materiales, situaciones de reproductibilidad del arte y generación de arte, considerando la pandemia del Covid-19. Finalmente, indicamos la idea de en este trabajo para que esta investigación obtenga incentivos como personas para vivirla en contextos práctico-artístico-profesional.
Um olhar decolonial para o processo de criação em dança na Escola Municipal de Artes de Aparecida de Goiânia – GO
(Universidade Federal de Goiás, 2022-05-16) Pimenta, Kayara Castilho; Lima, Marlini Dorneles de; http://lattes.cnpq.br/4182775556812377; Lima, Marlini Dorneles de; Figueiredo, Valéria Maria Chaves de; Baldi, Neila Cristina
This research study was born from the memories and concerns of a body that carries with it marks of a hegemonic, racist, patriarchal and colonial education. It seeks to investigate an artistic and pedagogical proposal for the teaching and creation process in dance at the Escola Municipal de Artes in Aparecida de Goiânia through a decolonial perspective. The course of this research was carried out between the months of February and November of 2020, surprised by the COVID-19 pandemic, decreed on March 11th of the same year by OMS, which led us to a new (virtual) reality for our dance classes, provoked by the moment of isolation/distance that crossed our bodies, feelings, actions and thoughts. The paths of this research they werw guided by the theoretical and reflective scope of decolonial thinking, a pedagogical perspective that provokes other looks at the pedagogical artistic process, through sensitive experiences between the Arab oriental dances and the multi-sensory potentialities woven into the memories and knowledge that the subjects carry. In view of this, we committed to carry out the following methodological procedures: data collection, conversation circles, logbook, photographs and filming, which pointed us to an expressive transformation in our dancing classes at school, which at that moment were the Arab oriental dances, through collective, plural and dialogic practices, supported mainly by the thoughts of Santos (2011; 2019; 2020; 2021), Lima (2016), Rolnik (2019), Freire (2019; 2016), Mota Neto (2016), Silva (2016), Hooks (2017), Krenak (2020), among others, which will be of great importance for this journey of struggle and resistance, in search of a dance that is possible for any and every body. The path we traveled was designed by three places/moments, from which creative processes flourished, built through artistic-pedagogical practices, translated into danced poetics.
A contação de histórias na cena: contar, encenar e (re) significar como proposição arte/educativa no chão da escola
(Universidade Federal de Goiás, 2022-04-13) Amorim, Maria Cecília Silva de; Figueiredo, Valéria Maria Chaves de; http://lattes.cnpq.br/4166799919007370; Figueiredo, Valéria Maria Chaves de; Santos, Luciene de Souza; Charréu, Leonardo Verde; Machado, Maria Ângela Ambrosis Pinheiro
This paper presents studies and theoretical/practical reflections occurred from the master's research in the Graduate Program in Performing Arts - PPGAC about storytelling at school, with a view to investigate, using a/r/tography, how storytelling, as an art/educational proposition in the scene, can generate learning and senses in the perceptual development of students in the last year of elementary school. Through the metaphor of the traveling teacher, we created narratives trying to synthesize the trip/investigation. Other questions arose along the way: How to tell stories? What stories to tell? Are teachers storytellers? Who is Aunt Cecília? The choice of Art-Based Educational Research and a/r/tography as a methodological approach brought the concept of the in-between place artist/researcher/teacher, a hybrid place. As a qualitative approach, it presents itself as a conceptual commitment linked to the renderings: contiguity, metaphor and metonymy, Living Research, community of practice, openings, excesses andreverberations. (DIAS and IRWIN, 2013). By the adverse condition of the Covid-19 pandemic, the journey happened through the Internet, inspired by the poetics of José Saramago's Traveler's Luggage (1996), passing through groups of storytellers, video storytelling productions or cybernarratives (BUSATTO, 2013). The journey generated links with other storytellers for the field research, composing a community of practice (IRWIN, 2013). Among the narratives emerged memories, perceptions, searches about the origin / belonging, to finally make a virtual art/educational proposition with a group of children thinking about bringing up aesthetic experiences developed with the child protagonism. Our theoretical work was developed on references such as Benjamin (2018), Bedran (2012), Machado (1989; 2015), Dewey (2010), Dias and Irwin (2013), Desgranges (2018), Kramer (2006), Decico (2006) and others. We conducted storytelling workshops to share moments of fruition with 9- to 11-year-old students from a full-time school. Even with the virtual presence, the children enjoyed moments full of imagination, delicacy and protagonism until they felt confident to read or tell in public. The dissertation is divided in acts, allusive to the poetics of the Scene. The reverberations of this art/educational work in the form of a virtual trip were strongly felt in the teacher/artist/researcher formation that, in due time, started to sow written and told stories wherever it was possible to go. The learnings were constituted thinking about the triangular approach: reading/appreciating, contextualizing, and making Art. The a/r/tography as methodology and analysis will make the path possible to be thought as a process/path of artistic constitution of the traveling teacher, learning to be a storyteller in community.
Corpoéticas na cidade: reperformance do feminino no espaço urbano
(Universidade Federal de Goiás, 2022-05-13) Silva, Ana Carolina; Oliveira, Natássia Duarte Garcia Leite de; http://lattes.cnpq.br/2673206479757870; Oliveira, Natássia Duarte Garcia Leite de; Silva, Maicyra Teles Leão e; Veloso, Verônica Gonçalves
The present work is dedicated to investigating the relation between body, gender, performance, city. The research tensions fundamental categories of performance, such as: space, time, action, relation; with the aim of proposing a reperformance/reenactment of the work Body Configurations (1972 – 1982) by the Austrian artist/performer VALIE EXPORT. The solo performative reperformance experience was (re)done with the support of the Ethics Committee of the Universidade Federal de Goiás; and with the knowledge, authorization and approval of the artist. It was defined as the central problem of the research: Can the female corporeality in the experience of reenactment in the urban space operate in transformations and other meanings of the ‘BodyPoet(h)ics’ of gender in/with/for/through the city? As the main objective, the composition and registration of a possible ‘BodyPoet(h)ics’ in the city was thought, based on the reperformance/reenactment of the performance Body Configurations by VALIE EXPORT, in the city of Goiânia, in the state of Goiás, in Brazil, as a performative practice for experimentation of the female body in relation to the architecture of the city, observing whether such experiences can operate in the transformations of the female body in/with/through urban space. The conceptual analysis and the theoretical corpus of the research was carried out based on conceptual operators, these were established according to authors who relate and tension the critical debate about the city, gender, body and performativity. Furthermore, it was discussed about the new and controversial phenomenon of reperformance, and the emergence of performative practices encouraged by the documentation of authorial or autobiographical performances of other artists, as well as the reflection about the characteristic concepts of this performative language. To develop this trajectory, a reflective study was realized on the performance Body Configurations and its documentation and registers, as well as bibliographic surveys to reflect on the concept of authorship, repetition and autobiographical. The investigation focuses on conceptual cartography and theoretical mapping, as well as on the i.materialities that emerged from the repercussion and expanded action of the reperformance, which culminated in the production of a hybrid exhibition displayed online through digital social networks.
Artes da cena e infância: reflexões críticas acerca da práxis com o teatro na educação infantil
(Universidade Federal de Goiás, 2022-05-16) Babugem, Eduardo Oliveira; Oliveira, Natássia Duarte Garcia Leite de; http://lattes.cnpq.br/2673206479757870; Oliveira, Natássia Duarte Garcia Leite de; Aguiar, Ana Rogéria de; Barbosa, Ivone Garcia
The present work is part of a research in process since 2019, composing the set of productions of the research line “Aesthetics and poetics of the Performing Arts” of the Graduate Program in Performing Arts (PPGAC) of the School of Music. and Performing Arts (EMAC) at the Federal University of Goiás-UFG, being linked to the Center for Studies and Research on Childhood and its Education in Different Contexts of the Faculty of Education at UFG (Nepiec/ FE/ UFG) and to the Interdisciplinary Research Laboratory in Performing Arts (LAPIAC). The dissertation entitled Performing Arts and Childhood: Critical Reflections on Praxis with Theater in Early Childhood Education has as its object the context of theatrical practice with/for/in early childhood education. In this way, we seek to understand theater as a field of knowledge, stressing relationships between theatrical pedagogy and bringing this discussion closer to the different conceptions of 'childhoods', respecting their personal, social, cognitive and expressive development. It was defined as research problems: What are the possibilities and potentialities of experiences with theater in early childhood education? The conceptual analysis in the research was carried out based on historical materialism and dialectics. The methodology is developed from a documentary and bibliographic study, with contribution to national curricular references, intersecting research methodologies with a view to establishing relationships to experience from potentialities and impossibilities with theater teaching at this stage. Some aspects pertaining to childhood training will be discussed in this work, exposing some gaps that we still face for access between theater making and early childhood education, also between teachers and children, educational institutions, and those responsible.
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança
(Universidade Federal de Goiás, 2022-05-23) Carareto, Tainara; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Meneghini, Henrique Rochelle; Antacli, Paulina Liliana
Started in 1988, Quasar Cia de Dança was founded in the city of Goiânia and was structured under modern premises. The search for the “new” proves to be a constant in the company, maintaining work after work. If initially the group insisted on emphasizing its desire to be professional, independent and to break with the local dance tradition, the aspect of novelty prominent in Quasar’s choreographic works runs through the company’s history, manifesting itself even in the most recent artistic choices of its resident choreographer, Henrique Rodovalho. However, Harold Rosenberg (1974) reminds us that it is precisely in moments of revolution manifested in the search for the new that an endless series of returns begins: the gesture, understood as a timeless survivor, is reborn, disguised as novelty. In this sense, the present research is dedicated to the analysis of the novelty aspect in the choreographic repertoire of Quasar Cia de Dança, questioning whether it is possible to identify scenes, gestures and choreographic phrases that are repeated in different works and moments of the company, capable of structuring “new” works from the citation of previous works. The analysis is based on the Warburgian method, which is crossed by the “evidential paradigm” of Carlo Ginzburg (1989, 2010) and the “transhistorical gestural dialogic” method proposed by Isabelle Launay (2019). Print screens were produced from filmic records of Quasar's work, composing 33 image panels that approximate the concept of Atlas Mnemosyne proposed by Aby Warburg. The objective is to highlight the presence of self-quotes as a characteristic that endures in the artistic trajectory of the Company, exposing an anachronistic story, capable of (re)telling itself through a process of incorporation of files and/or memories of dancing bodies. It was observed that self- quotes in Quasar are manifested both in the reuse of choreographic excerpts in their entirety (re-enactments and reconstructions), as in surviving gestures and in the adoption of recurrent scenic solutions. In addition to focusing on the Cia.'s own choreographic repertoire, the specificity of the citational process at Quasar is revealed in the intricate relationship established between the self-quotes and the group's choreographer's need to use dance, while artistic expression, to communicate.
Sertãovida em cena: a busca por um solo poético caipira e sertanejo
(Universidade Federal de Goiás, 2022-03-02) Costa, Diogo Ramon da Silva; Oliveira, Natássia Duarte Garcia Leite de; http://lattes.cnpq.br/2673206479757870; Veloso, Jorge das Graças; Soares, Marcos Antônio; Oliveira, Natássia Duarte Garcia Leite de
The related research provided the production of knowledge during the artistic-scientific process, which may influence new questions and future practices, in the same way that it left an artistic record that expands the continuous process of knowledge in the performing arts. The present work results from a research that was developed from mid-2019 to the end of 2021, composing the line of research: Poetics and Aesthetics of the Performing Arts of the Graduate Program in Performing Arts (Pós-Graduação em Artes da Cena – PPGAC) of the School of Music and Performing Arts (Escola de Música e Artes Cênicas – EMAC) of the Federal University of Goiás (Universidade Federal de Goiás – UFG), being linked to the following laboratories: Laboratory of Scenic Assembly and Theater Education (LabMonTe / EMAC / UFG), Costume Creation Laboratory, Collection of Costumes and Sewing Atelier (Laboratório de Montagens Cênicas e Teatro Educação – LabCriaa/ EMAC/ UFG), and the Interdisciplinary Laboratory for Research in Performing Arts (Laboratório Interdisciplinar de Pesquisa em Artes da Cena – Lapiac) linked to EMAC and the Faculty of Physical Education and Dance (Faculdade de Educação Física e Dança – FEFD/UFG). The dissertation receives the title of SertãoVida em cena: The search for a rustic and sertanejo poetic soil (SerTãoVida em cena: A busca por um solo poético caipira e sertanejo) and registers the investigation about the relations between the sertão and the scene, taking into account the particularities of the caipira and sertaneja culture and the specifics of the scene in its contemporaneity. The guiding question that guides this investigative and creative process is: Through the study and experience with the concept of 'sertão', 'caipira' and 'sertanejo'; how and what incitements, inspirations and poetics can be provoked for artistic creation? The main objective of the investigation was to research and experience country and country experiences as a scenic inspiration in the search for a poetic soil, that is, a scenic product that would dialogue with the atmosphere of the backwoods. The work created was the audiovisual and theatrical solo Sertão, Sol & Canção, which is divided into the following three microscenes: Bendito, Vaquinha and Encantado. From a methodological point of view, the development of the written work was supported by the methodological dimensions of self-ethnography and action research, among other procedures of methodologies in the artistic field which supported the creative proposal of the project. In this investigative walk, new actions for the encounter with the sertão were being tried, which go beyond the proposal of face-to-face interaction with communities and groups of caipiras and sertanejos, as is the example of the poetic encounter with the sertão through social isolation. The artistic work created, shared through a video platform, is an artistic product that explains the studies and experiments carried out during the investigation, as well as promotes the writing of some records of this dissertation work. The related research provided the production of knowledge during the artistic-scientific process, which may influence new questions and future practices, in the same way that it left an artistic record that expands the continuous process of knowledge in the performing arts.

Navegar

Submissões Recentes