Programa de Pós-graduação em Performances Culturais

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Performance dos digital influencers no Instagram: um estudo sobre identidade e persona
(Universidade Federal de Goiás, 2020-04-24) Andrade, Marcilene Barbosa de; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Santos, Nádia Maria Weber; http://lattes.cnpq.br/3929583037339642; Santos, Nádia Maria Weber; Oliveira, Rodrigo Cássio; Moraes, Ana Luíza Coiro; Faria, Edna Silva; Satler, Lara Lima
This research analyzes how digital influencers share their daily experiences and interact with their followers through the Instagram platform. The objective of the research is to understand the performances of digital influencers, from the roles they play, in order to increase the number of followers. For this, Lalá Noleto and Jan Mendanha were chosen as the object of research, both digital influencers that stand out on Instagram. As a theoretical basis, this research is supported by the studies of Erving Goffman (2014), Raquel Recuero (2009) and Paula Sibilia (2016) and in some dissertations and theses that deal with social networks and digital influencers. In this study, the notion of the persona is discussed on the Instagram platform under the eyes of the Swiss psychiatrist Carl Gustav Jung. In addition, it seeks to understand the pertinence of the construction of the persona through the creation of content and interaction promoted by digital influencers, which become fundamental for the consolidation of the new digital marketing format. The research also brings a qualitative approach. As a methodological procedure for data collection it was made observations based on interviews conducted with two digital influencers and selection of images and comments displayed on their Instagram accounts.
Memória e práticas tradicionais na Folia de Reis de Uruceres-GO
(Universidade Federal de Goiás, 2020-06-25) Bitencourt, Rosana de Freitas Mesquita; Correa Júnior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Corrêa Júnior, Sebastião Rios; Oliveira, Vânia Dolores Estevam de; Pessoa, Jadir de Morais
The present work focuses on analyzing the process of transmitting the cultural traditions of the Folia de Reis de Uruceres - GO, how the current revelers learned and how they pass on knowledge about the ritual of the Reis revelry, both with regard to the organization of the party about the ritual moments themselves, the route, their songs, their symbols and their importance to the group. More specifically, it is a study of memory: individual memory of the participants in the festivities and collective memory of the Folia group.
Apareceu o Margarida: liminaridades e masculinidades no futebol
(Universidade Federal de Goiás, 2020-02-12) Gomes Júnior, Lázaro Moreira; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Dias, Luciene de Oliveira; Reinato, Eduardo José; Lima Neto, Djalma Rodrigues; Santos, Rafael Guarato dos; Lima, Ricardo Barbosa de
The work that follows sought to carry out a dialogue between soccer, a present and constituent sport in Brazilian society and culture, with studies of performance and gender. We had as starting point two professional soccer referees who acted between the decade of 1980 and 1990 of the twentieth century. Jorge José Emiliano dos Santos, an assumed homosexual and Clésio Moreira dos Santos, a heterosexual who created a gay character, to act as referee. The study sought to analyze soccer as a ritual, through the concepts developed by Victor Turner and Richard Schecnher, strained by the masculinities construction process within a misogynist and homophobic society based on heteronormativity.
Arte e vida os parangolés de Hélio Oiticica - performances a contrapelo
(Universidade Federal de Goiás, 2020-03-12) Gonzaga, Deusimar; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo , Robson Corrêa de; Camargo , Goiandira de Fátima Ortiz de; Reinato , Eduardo José; Veloso , Sainy Coelho; Lopes , Antônio Herculano
This work aims at developing a study about Hélio Oiticica´s invention/performance Parangolé. The painter, sculptor and performance artist was born in Rio de Janeiro, in 1937 and died in the same city, in 1980. Parangolé is approached here as a language/performance of the subjectivities and the non-representational practices. The axis of the analyses is the artist´s written material which revolves around his parangolés (objects and performance) and his other objects. I search for an understanding of Parangolés entering Oiticica´s labyrinth-world. The analysis revolves around the thinking of three authors. Kenneth Burke (1897-1993): Symbolic action and Terministic Screens - categories of language analyses in his dramatism. Russian philosopher Mikhail Bakhtin (1895- 1975): his concept of exotopia - exceeding view (consideration of the other´s view, time and place of perspectives constituted in the work of art), to situate the presence of the spectator/participant of Parangolés. What Richard Schechner calls “actual”: a special manner of constituting and dealing with artistic experience. A mimesis event: imitation, presentation (in time, be present, existence, existence in time), representation and expression of the actions of living in the attempt to occupy the spaces between past and present, individual and group, inside and outside. I investigate in Parangolés what is beyond imitation or representation of reality; and beyond the expressions of mental and emotional states, circumscription that nests Oiticicas´s behavioral exercises. Chapter I - Ethics, aesthetics, action, and behavior of the embodied language of P(p)arangolés; Chapter II - Overview from an artistic angle of the Brazilian cultural scene of the 1960s: the constructivist art of the concrete and neo-concrete movements. Political and artistic matters from a sociocultural perspective; Chapter III - Deals with language as wills of presentation, introduction, and representation of the world, of us and others, in social interactions/performances; Chapter IV - A view from Burke´s screens; Chapter V - What one cannot see or see at Bakhtin´s screens; Chapter VI - Actualizing (Actual) as proposed by Schechner.
O lado surpreendente da queda: minha experiência com o contato improvisação
(Universidade Federal de Goiás, 2020-02-17) Itavo, Camila Vinhas; Abdala Junior, Roberto; http://lattes.cnpq.br/7014946989727038; Vilela, Ana Lucia; Reinato, Eduardo José; Camargo, Robson Corrêa de; Abdala Junior, Roberto
Contact Improvisation is analyzed from the perspective of cultural performances as a unique form of contemporary dance that emphasizes the surprising side of falling, inspired in the words of writer, anthropologist and dancer Cynthia Jean Novack (1947-1996) for whom contact improvisation “emphasizes the wildness and awkwardness of falling ”(NOVACK, 1990, p.151). The ethnographic description of this dance and its dialogical essence are presented as forms of social self-reflexivity, through the narrative, in a funneling movement of participant observation, from macro to microcosm, starting from what is given in the world to the person who writes this analysis, in search for the understanding of the relationship between the experiences provided by this performance and the multiplicity of meanings that refer to it that make it cultural performances. From what is given in the world, two testimonies available online in audiovisuals with the creator of this performance (1972), Steve Paxton, one from Juniata College, USA, in the 36th anniversary of contact improvisation, and another from the Dancing Museum, France. These two narratives are taken as sources of the ethnographic description which highlight essential performance characteristics and motivational issues which generated this dance movement. In the second chapter, the narratives which underpin the funneling of the ethnographic description are some of the writings of Steve Paxton, published by Contact Quarterly’s Contact Improvisation Sourcebook (1997), a special historical collection of this dance journal launched in 1975 as a space for reflection, debate and circulation of movement studies and experiences resulting from the performance. Along with these writings, aspects of the history of contact improvisation and the Small Dance, presented as a preparation technique for the movement, as the warming up of the perception for the dance of contact improvisation. The third chapter presents the contact improvisation class as a performance and focuses on participant observation, including my experience as a dancer, contactor, dance and contact improvisation teacher as an object of reflection on the performance load of possible transformation and transportation (Schechner, 2011) available in the classroom and at the jam sessions.
A performance negra de Victoria Santa Cruz e suas reverberações na construção de escrevivências e feminismos negros
(Universidade Federal de Goiás, 2020-02-12) Jesus, Rafaela Francisco de; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Araújo, Rosângela Janja; Dias, Luciene de Oliveira
La performance de la artista afroperuana Victoria Santa Cruz se discute en este estudio desde del mirar de una artista de danza comprometida con una perspectiva negra y feminista. Por lo tanto, la noción de escritura, desarrollada por la escritora brasileña Conceição Evaristo, se utiliza como un estímulo por el cual la escritura se vive y baila, pasando por los problemas inherentes al cuerpo de las mujeres negras en su acto de (r) existencia. Además de discutir la trayectoria y producción de Victoria Santa Cruz como una actuación negra, problematizando este concepto, tenemos la intención de desarrollar diálogos con mujeres negras sobre Victoria Santa Cruz, utilizando el lenguaje de la letra y la danza en sí misma como un recurso discursivo y poético. Por lo tanto, alimentándose de una escritura que busca la representatividad femenina y negra permitida por la escritura, se desarrolla una red de significados y afectos al rededor de la actuación negra de Victoria Santa Cruz y su pensamiento filosófico que hizo una importante contribución del teatro y Bailes negros en el Perú. Victoria Santa Cruz está presente en este estudio como un pilar ancestral y filosófico, cuyo tiempo es el destino y el punto de partida para la creación de cartas escritas.
O massacre de Eldorado dos Carajás/PA (1996-2019) e o desdobramento da luta de classes: narrativas dos sobreviventes e formação política
(Universidade Federal de Goiás, 2020-07-07) Pereira, Antonio de Jesus; Real, Márcio Penna Corte; http://lattes.cnpq.br/1976193858153118; Real, Márcio Penna Corte; Pietrafesa, José Paulo; Ribeiro, Núbia Ferreira; Dias, Luciene de Oliveira; Abdala Júnior, Roberto
This work analyzes the historical, political, social and economic context of the fight for land in the state of Pará, concerning a possible raging process of class struggle in this state and influencing the massacre of Eldorado dos Carajás on April 17, 1996, when 19 agricultural landless workers were killed by the police. From the insertion of cultural performances in the field, the research that originated this thesis has a theoretical background based on the historical and dialectical materialism – mainly the notion of class struggle and its relation with the agricultural issue and the resulting conflicts in the country. As an investigation process, this work prioritized 11 interviews with agricultural workers linked to the Landless Workers’ Movement in Brazil (MST) that survived the massacre. This course allowed the analysis and discussion of narratives of the survivors, representing the raging of class struggle in Pará. The narratives expressed the massacre itself, and also evidenced some of the social tragedies experienced by the landless rural workers. They also showed elements of a political culture that has contributed to the formation of activists in the social movement of MST.
Gordon Craig e Le Corbusier. O símbolo, o vazio e o espaço em performance
(Universidade Federal de Goiás, 2020-06-16) Santos, Luis Guilherme Barbosa dos; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Silva Filho, Almir Ribeiro da; Cintra, Wagner Francisco Araújo
This work is the result of a research and analysis of life paths, artistic construction and experiences in theatre and architecture by Edward Gordon Craig (1872 - 1966), actor, director, designer, printmaker, costume designer and British set designer and architect, draftsman, French-Swiss painter and sculptor Charles-Edouard Jeanneret-Gris (1887 - 1965), known as Le Corbusier. It comprises a reading about the transformation of the theatrical and architectural space, based on the consequences of the social and cultural transformations of their times, with the observation of personal and professional particularities that have shown them as symbols in modern staging and architecture. Gordon Craig, for the rupture he built in front of the realistic and naturalistic theatre, constituted a new thought for the staging and for the modern theatre. Le Corbusier was guided artistically and technically, by the social, cultural and industrial changes that took place after the First and Second World War in Europe, in face of the machinations of the architectural production of that time. I discuss their new proposals to new spatialities in staging and architecture, based on the observation and analysis of some aspects that relate architecture to theatre, constituting, in this sense, a staging architecture. I highlight Gordon Craig's experience in Hamlet for the Moscow Art Theatre in 1912, with his Screens project and Le Corbusier's in symbolizing the human being by the Modulor, the measurement system he created. I still talk about Craig’s and Corbusier’s spaces as spaces in performance, full of symbolic meanings, memorial and historical potentials. Finally, the observation of the possible methods and concepts used by Gordon Craig and Le Corbusier in the planning and production of their spaces, under the perspective that they are potentially didactic and pedagogical for a new perception in the teaching of space in theatre and architecture.
Larp: jogo e experiência vivida
(Universidade Federal de Goiás, 2020-02-28) Santos, Raoni Julian Pablo dos; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Christino, Daniel; Veloso, Sainy Coelho Borges; Toassa, Gisele
This study brings together authors and interdisciplinary content, to understand the practice of a type of game, Larp, as an immersive activity and from the perspective of cultural performances. The importance of this study is due to the lack of scientific material that creates the connections between Larp's studies and performances. For this, the selection and research of references are based on reviews to understand the relationship of thoughts between authors in a dialectical and historical-cultural way. In this way, the work sought to understand Larp as a recreational and artistic practice to fill the shortage of material. Therefore, a bibliographic review constituted by historical and dialectical materialism. The results obtained from these connections were the perception and concepts about emotional phenomena in performance actions. In the final considerations, the chosen path contributed to a critical relationship of how the theories are beyond instrumentalizing the object. In this way, allowing the study to continue advancing through the historical and cultural contexts observed within future perspectives.
A performatividade das quadrilhas juninas: reminiscências da tradição e a espetacularização da dança
(Universidade Federal de Goiás, 2020-06-24) Zaratim, Samuel Ribeiro; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Tamaso, Izabela Maria; Gonçalves, Renata de Sá; Corrêa Junior, Sebastião Rios; Osório, Patrícia Silva; Bonetti, Maria Cristina de Freitas
This research discusses about quadrilhas juninas/folk june dances, in the concept of performativity, characterized by the Ação Junina in dance on stage from the introduction of the stereotyped figure of the matuto, to the quadrilhas juninas for competition full of new meanings; known as modern or stylized. The analysis dedicated to this work focused on the quadrilheiros experiences as well as on the different appropriations of the notion of Fazer Junino by the groups of quadrilhas juninas, in order to analyze their performance elaborations under the support of the theory of cultural performances. It is important to note that the terms performance characteristics and performativities, are understood in this study, as elements that constitutes the performances of Cultura Junina. In this context, this research presents the multiple factors tha compound the quadrilhas juninas modernas, among them the process of spectacularization of dance and the festivals, including their continuous processes of updating and reframing. In this work, I consider qudrilhas juninas as a product of the cultural industry that presents diversity in the elaboration of cultural goods in their performances, which, in a certain way, are aligned with the social contradictions of their localities. Simultaneously, the quadrilhas juninas as a social group transcends the festive and cultural dimensions, reaching professional ties and organizational actions that seek technical improvement, which stimulates the competitive attitude and encourages a spectacular perspective. The práticas juninas tell their stories, as they demonstrate their balances and imbalances in Fazer Junino, established by innovation, by the phenomenon of spectacularization and by the ideological clashes over culture in the face of media appeals attributed to the cultural market.

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