EMAC - Escola de Música e Artes Cênicas
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O EMAC - Escola de Música e Artes Cênicas, da Universidade Federal de Goiás, oferece Graduação em: Artes Cênicas; Direção de Arte; Música Bacharelado; Música Licenciatura; e, Musicoterapia. Além de Especialização em: Ensino da Música e Artes Integradas.
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Item Arthur Azevedo: o teatro de revista entre a vida e a arte(2011-12) Camargo, Robson Corrêa deThis study analyzes the play Tribofe by brazilian dramatist Arthur Azevedo (1855-1908), one of the leading reviews of the year written by the author, using the categories of carnivalization. This castegories were presented by Mikhail Bakhtin in his works Rabelais and His World and Problems of Dostoevsky’s Poetics. Bakhtin assumes that Carnival does not enter the realm of art, standing on the border between “art and life”. These drama reviews of the year among many, seek to carnavalize the theatrical life of Rio de Janeiro society, so we find these categories described by Bakhtin in the carnivalization of everyday life on this play: free family contact, the relationship between the characters, the eccentricity, the mesalliance, desecration and the stage of the actions.Item A crítica e a crítica genética. Diálogos sobre o entendimento do espetáculo teatral(2008-12) Camargo, Robson Corrêa deItem E que a nossa emoção sobreviva... Brecht, Marx e o tratado védico Natyasastra(2010-12) Camargo, Robson Corrêa deThis paper focus on the concepts of sensibility, emotion and reason in drama. It’s also considered the relationship among those notions, the actor, the character and the audience. I use some aspects of the Brechtian’s distinction between the Epic and Dramatic, a poem by Fernando Pessoa, concepts from Feuerbach’s Thesis, the Economic-Philosophic Manuscripts by Marx, studies of the neurologist Antonio Damásio and, finally, the discussion of senses and theater as considered in the Natyasastra. Through these distinct points of views, this paper shows the complementarity between reason and emotion in the drama and in the human relationship.Item Encenando vozes na prosa de Beckett(2012-12) Gontarski, Stanley E.; Adriana Fernandes, Adriana; Camargo, Robson Corrêa deItem O jogo teatral e sua fortuna crítica....(2010-04) Camargo, Robson Corrêa deItem Lev S. Vigotski e os quatro fundamentos da crítica de leitor(2012-06) Barros, Edlucia Robelia Oliveira de; Camargo, Robson Corrêa deThis paper presents the contribution of the Russian psychologist L. Vygotsky to the active role of the reader/interpreter in their interaction with artistic works. Aspects and stages of this active role are describd and discussed. The starting point is overcoming the authorial intent as a main source to explain creative processes.Item Máskara, uma aventura goiana(2015-06) Camargo, Robson Corrêa deThis paper reports some particularities in the process of building a collective group theater in the city of Goiania, between the years 2002- 2015. Presents some characteristics of Goiás theater and its complexity. Describes some performances of the Group Máskara and its adventures.Item Neva Leona Boyd e os jogos teatrais: polifonias do teatro improvisacional de Viola Spolin(2010-12) Camargo, Robson Corrêa deThis paper presents the concepts of play and game as understood by Neva Boyd (1876- 1963), also presents aspects of her thinking, aspects of her practice, showing their links with the work of Viola Spolin’s theatrical games. It presents a distinction between play and game concepts based in the analysis of the main writings by Neva BoydItem Neva Leona Boyd e Viola Spolin, jogos teatrais e seus paradigmas(2002) Camargo, Robson Corrêa deItem O rei Stanislavski no tempo da pós-modernidade: traduções, traições, omissões e opções(2010-12) Mauch, Michel; Fernandes, Adriana; Camargo, Robson Corrêa deConstantin Stanislavski (1863-1938) is recognized nowadays as a major thinker of the actor’s working process and character-building. However, unfavorable opinions and misreading have led to inaccurate understanding of his concepts and proposals. This is mainly due to editorial needs and imprecision that have occurred in the early English translations, made during the twentieth century (Ed. Theatre Arts Books), which founded misleading publications of his works in virtually all the West World and Brazil. In this paper we focus our analysis on the work of El Trabajo del Actor sobre su Papel (directly translated from Russian by Ed. Quetzal) which would be “equivalent” to Brazilian book A Criação de um Papel (Ed. Civilização Brasileira). We bring here original excerpts for readers of our language, focusing mainly in fragments where Stanislavsky deals with actors’ difficulties on certain procedures considered “vanguard” in the performance of his time.Item Samuel Beckett: (re) construindo imagens e memórias(2012-08) Camargo, Robson Corrêa deThe scope of this work is to present the reception of the artistic work of Samuel Beckett at Brazil, in its first Brazilian performance (1955), the first after the French performance, showing different perceptions on this country, both made by critics as by his performers. This study, on playbills, pictures and Brazilian newspapers, was conducted by a director as part of the process of performing Godot in 1995 at the Drama Undergrad Program at University of São Paulo and in 2006 at another staging made at a research group (at Goias, UFG), on a distinct approach.Item Spolin e Stanislavski: intersecções no ensino e na prática do teatro(2010-04) Teixeira, Ana Paula; Camargo, Robson Corrêa deThis article focuses in the dialog between the 'games' of Viola Spolin, with the studies of Richard Courtney and Vygostky ideas and some aspects of Stanislavsky psychophysic theories of acting. This study was constructed inside the undergraduate drama course at Universidade Federal de Goiás (2003-2007), wrapping practical and bibliographical study. This research studied the relationship between practical drama and education, thinking the formation of the professional actor and the general student. Aspects of Stanislavski acting theories are analyzed concerning the formation of the professional of this art. Subsequently, during the discipline of Theatrical Games (2005), we deep into some aspects of the dialog between Stanislavski and the theatrical games of Spolin. So, it was possible to realize that, elements of the experience of the physical actions (Stanislavski) contributed to the making of the Spolins’ theatrical games.Item O tapete... voador teorias do espetáculo e da recepção(2010-12) Mota, Marcus; Camargo, Robson Corrêa deItem A teatralização do mundo segundo Witkacy (1885-1939): um artista da forma nas margens do seu tempo(2013-06) Camargo, Robson Corrêa deHere I present elements of thework of the artist, painter, philosopher,playwrightandpolish performerWitkacy (Stanislaw Ignacy Witkiewicz). His works, translatedto English andFrench on the 1970s,are stillunheard of inour language, despite their importancein the twentieth century. At the end, parts of his work Pure Form, main aesthetical platform of this author.Item O teatro de feira e sua poética(2012-03) Camargo, Robson Corrêa deThis paper presents refl ections on the various forms of theatrical events held in the French fairs between the seventeenth and eighteenth centuries, and indicates the proper impact of these theatrical forms at the French fairs in the defi nition of what must be called theater, drama or performance. It also, presents some examples of the acting procedures and construction of its performance, which uses deliberately and without any ceremony all existing styles and reworked them into a new permanent key. A theater that is not imposed by stylistic boundaries or allegiances, instead, sought to break them, renew them, occupy them, and maybe subtract them. With the strong gesture-representational momentum of this kind of spectacle, the theater at the fairs was composed by such heterogeneity, that we must call it a heterogender, a gender that is made by using always the difference, profi led without using predetermined or fi xed characteristics. In its constant prismatic method, determined by using at random a constant dialogue with distinct forms of contemporary spectacle, it shows other dramatic forms of compositional unity, asserting itself as a central phenomenon in determination of what should be understood as drama.Item Vigotski e o teatro: descobertas, relações e revelações(2011-06) Barros, Edlucia Robelia Oliveira de; Camargo, Robson Corrêa de; Rosa, Michel MauchThis paper aims to reveal the partial results of ongoing research that investigates the deep relationship of the writings of psychologist Lev S. Vygotsky (1896 - 1934) with the theatrical art. It presents data on the biography of the author, as a matter of him having been in youth, lover, reader of dramatic works, director and actor. Experiences that contributed to its formation and are expressed in productions such as The Tragedy of Hamlet, Prince of Denmark (1968), which has strong influences of the show Hamlet (1911), directed by Gordon Craig and Stanislavsky. Moreover, the text displays brief comments about the works of Vygotsky, among these, Psychology of Art (1965) that provides a notion of aesthetic reception based on contradictory catharsis. Data that are expanding knowledge and interpretations about the life and work of the Russian psychologist, as well as studies regarding his relationship with the theater.