Mestrado em Performances Culturais (EMAC)
URI Permanente para esta coleção
Navegar
Navegando Mestrado em Performances Culturais (EMAC) por Por tipo de Acesso "Acesso Aberto"
Agora exibindo 1 - 20 de 30
Resultados por página
Opções de Ordenação
Item A teatralidade do surdo na performance(Universidade Federal de Goiás, 2015-12-04) Araújo, Karla; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; Camargo, Robson Corrêa de; Faria, Juliana GuimarãesThe dissertation entitled The deaf theatricality on performance is a research focusing on the performance and deaf identity, based on the concepts and definitions of performance, on performativity of the teacher and actor Sergio Mendes Vaz. The issue is important because it contributes to the studies of performance, with the key theatricality of the deaf in performance. The goal is to analyze elements, such as facial and body language, expression, signaling, characterization (costumes), actor relationship and public professor and actor Sergio, in order to expand the debate and discussions about the importance of performance within the culture deaf. The investigation seeks justification in authors like Felipe (2007), Quadros et al. (2009), Ferreira-Brito (1989), Skilar (1999), Perlin (1998), Sá (2002), Souza, Silvestre e Arantes (2007), Sacks (2010), Féral (2008), Schechner (2011), Pavis (1999), Gennep (2011), Cornago (2009); Goffman (1985) e Zumthor (2000). This research is a case study with the teacher and the deaf actor, Sérgio Vaz Mendes, who teaches and communicates in Brazilian Sign Language (Libras), a language of visual-spatial-gestural mode, whereby the deaf express themselves . As a result of nature of the object, the methodological approach is a qualitative research, with the fichamentos data collection instruments, films and photographs, as well as field research, carried out through observations, interviews, diary records field and coexistence with Sérgio Vaz. The field research occurred in three different environments, but complementary: (a) Course Pounds, offered by Colleges Alves Faria (ALFA), which offers the course free for deaf and hearing, and Professor Sérgio Vaz as a teacher of the classes; (B) Coral Deaf, which is a social project, developed by Professor Sérgio Vaz and his wife Waléria Batista, supported by SEARA Association, a charity, educational, cultural, welfare and health, non-profit; (C) the stage show The Art In Silence, staged at Chaplin Educational System in 2005, on graduation of Libras classes. The contribution of this research is given to broaden the search field performance and theatricality with deaf. The research finds theatricality on performance the deaf actor Sérgio Vaz. And the importance of the performances presented in their deaf identity.Item (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 LuísThe 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.Item 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 deThis 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.Item Performances em Hamlet: textualidades, teatralidades e liminaridades(Universidade Federal de Goiás, 2015-12-03) Barros , Edlúcia Robélia Oliveira de; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; O'Shea, José Roberto Basto; Junior, Roberto AbdalaThis dissertation is the result of a diverse literature and aims to analyze multiple aspects in the tragedy Hamlet, Prince of Denmark (1600-1601), the Englishman William Shakespeare (1564-1616), as a performative text. To do so, it establishes relationships between this tragedy and some issues discussed on performance studies, specifically theatricality, liminality and textuality. Hamlet’s story is first related to the concept of theatricality as state from the Russian playwright and theater director Nicolas Evreinov (1879-1953), as well as establishes dialogues with the notion of liminality discussed by folklorist and ethnographer Arnold van Gennep German (1873-1957), also with ideas of the Russian thinker Mikhail Bakhtin (1895-1975) about the performance of language, among other notions about performing and human performance practices. Hamlet, the text, appears on the threshold between completeness and movement, between textuality and theatricality, between readings and cultures. It is described and further analyzed Hamlet assembly in Moscow Art Theatre (MAT), one of the famous readings and rewrites the Shakespearean tragedy. A scenic production, which features dialogues and confrontations between text and scene, between Aesthetics, between readings of the tragedy, which express themselves through the collisions between the directors of this performances, the actors and the spectators. Finally comes to aspects of reception of Hamlet.Item 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 PetronílioThe 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.Item Tradições em movimento no Terno de Congo Verde e Preto(Universidade Federal de Goiás, 2016-09-19) Carvalho, Cleber de Sousa; Corrêa Junior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Corrêa Junior, Sebastião Rios; Silva, Renata de Lima; Garcia, Allysson FernandesThis dissertation shows reflections about the Festivity in Honor of Our Lady of the Rosary and Saint Benedict of Village João Vaz (Goiânia, GO) and the body movements of the congo’s dancers of Terno de Congo Verde e Preto focusing on processing procedures and permanence which are subject traditions and expressions of popular culture. The Rosary celebrations of black men are also known as Congada parties or Congado are produced from a conversion universe to Catholicism present in Brazil, since the colonial period with an ambiguous character who reconstructed and a new meant the sacred made its own and articulated with knowledge and concepts bounded to the ancestral notion of Bantu people. Onwards from a theoretical reference aligned by an interdisciplinary aproach the research purpose is to perceive how the congadeiros of Village João Vaz, especially the participants of congo’s dancers, they living the processes of transformation and permanence of their rituals and body movements (dancing, singing and drumming). To do this, initially, will be shown the structure of the Feast of the João Vaz, its relations with Congada Party of Catalan (GO), and main ceremonies, enabling the perception of the cycle of the Feaste, from the participation of Terno de Congo Verde e Preto. Then we will discuss about the contact’s points between the processes of urbanization and modernity and the ceremonies of the Feast of João Vaz that have presented to “congadeiros” the necessity of modifications and new meanings in their rituals, as the demands of urban life. So understand that, the same time that the life settings in the city point to the formation of an individualistic and apathetic subjectivit based on monetary values it was observed as the existence of manifestations of popular culture as the Congada between others present in regions considered marginalized comunities that they went occupied by people with limited financial resources who value sociability, solidarity coexistence affection and friendship. Finally, we will discuss about how the dancers of Terno de Congo Verde e Preto are living the changes and continuities in the configuration of body movements and rituals they perform, in view of the embodiment of knowledge that are manifested in dancing, singing and drumming, as basic features make up the african-Brazilian performances. The survey conducted the understanding of the interrelationships between the material sphere of existence and spiritual or symbolic sphere that operated in the manifestations of popular culture. This being one of the aspects that allow the observation of their movements and transformations and the realization that the knowledge of Congada that are sedimented in Congadeiro(congo dancer) body in built-in memory, the formation of a habitus, which manifests in festive ceremonies and celebration rituals.Item Ritual em Richard Schechner e Victor Turner: aspectos de um diálogo interdisciplinar(Universidade Federal de Goiás, 2015-11-06) Costa, Grasielle Aires da; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo , Robson Correa de; Dawsey , John; Hartmann, LucianaThis work aims to analyze the concepts of ritual developed by Richard Schechner and Victor Turner. This is realized through the definition, analysis and discussion of the concepts looking for the dialog between Schechner and Turner. The research was developed by reading and analysing the major volumes published by these authors, what is Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors and From Ritual to Theater by Turner and made by Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual and Performance Studies. Was not found any work like this. It is an inedited and presented an important review on Schechner‟s and Turner‟s written. The ritual concept needs this multiplicity look to take a new breath and look up different sea-lines. This job has a methodological richness because points out precisely the fact that the research belongs analyse the field "between" the theatre and anthropology. It is not remand to any discipline and the same time belongs to all of them. This is a bibliographic study what can provide theoretical support for various research fields.Item Zé Pereira: a performance carnavalesca em Itaberaí-GO(Universidade Federal de Goiás, 2015-11-06) Faria, Marcelo Fecunde de; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Tamaso, Izabela Maria; Correa, Paulo Petronilio; Osório, Patrícia SilvaThis dissertation deals with the carnival manifestation "Zé Pereira" in Itaberai- GO, analyzing it as a cultural performance adopting some concepts present in studies of cultural performances to understand how is the relationship and involvement that are coming and characteristic of performative action, linking the liminality concepts of Victor Turner, the theory of performance of Richard Schechner, Bakhtin and DaMata Carnival. The focus of the analysis are the events that take place 15-17 days before the national carnival, being a predecessor activity the carnival period, the performance is formed by a group of masked young people wearing horrifying masks, accompanied by a drumming group with several instruments percussion and prepared by a committee of support organization, all these characters are surrounded by an audience that accompanies the demonstration during ALL the days passing through different streets of the city gaining attention from citizens who are in their homes. This work aims to demonstrate that while performance “Zé Pereira” produces historical, social and cultural repercussions on people directly or indirectly involved. This context was accompanied by ethnographic experience and observation of the process of formation and constitution of the current “Zé Pereira” in Itaberaí.Item 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/9964594962008164This 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.Item 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, DanielThis 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.Item 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 RiosThis 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.Item 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 RiosThis 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.Item 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, PauloThis 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.Item 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 JoséThis 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.Item A preparação de atores na montagem de ‘Quatro Paredes’. Goiânia, Brasil (2003).(Universidade Federal de Goiás, 2015-06-09) Peixoto , Bruno Quirino; Fernandes, Adriana; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4763076D6; Camargo, Robson Corrêa de; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4799746D9; Camargo, Robson Corrêa de; Vicentini, Albertina; Mendonça, Maria BeatrizThis dissertation is due to is a due to thoughts about the process of the coaching of actors from the play Quatro Paredes, by Cia. Mínima in Goiânia, Goiás, Brasil, 2003. This theatrical production was constituted inspired by principles of acting coaching presented by Italian theater director Eugênio Barba (1936) in Brazil and is part of the reception of techniques developed by the director in our country. These work pursuits the systematization and thinking of the methodologies and exercises used in the preparation of actors of this theatrical production. Such analysis uses four conceptual filters for the comprehension of this process and present on the building of this play: ritual, flow, play and improvisation. The methodology used in this is investigated through exercises and procedures that were grounded on these conceptual filters. Through work diary, photos and memories the elements of four actors’ experiences are registered and analyzed during the preparation of the referred play: Ana Paula Carvalho, Bruno Peixoto, Mayarah Pinheiro e Pedro Vilela.Item 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 FerreiraAn 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.Item 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 deThe 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.Item Performances da dança-educação: autonomia e autogovernança(Universidade Federal de Goiás, 2015-11-23) Pinho, Eurim Pablo Borges; Cunha, Fernanda Pereira da; http://lattes.cnpq.br/8739909013018488; Cunha, Fernanda Pereira da; Correa, Paulo Petronílio; Barbosa, Ana MaeIn this dissertation we present a research in the field of Cultural Performances within the universe of art education, which has the analytical debate about critical dance-education and technic oriented dance-education as its axis. Therefore, this study arises out of the critique about our own practice as a dance teacher in public education, specifically at Escola Municipal em Tempo Integral Professora Silene de Andrade (EMTIPSA), in the city of Goiânia – Goiás. Our search is centered in systematically developing students’ potentiality through dance and its teaching, taking pedagogical actions as a means to develop the students’ critical and autonomous capability of expression within the world surrounding them. The social justification of this study is in the fact that it is scheduled in an education that fosters the reflection on the student´s own power of reflection, i.e. the development of the capability of his/her autonomous and self-governing critical expression of the EMTIPSA; make them the subject of themselves, through the expression of their authenticity in dance, what will reflect in their life expression. We aim to propose through the research-action, the development and the analyzing of the art-educational performance in dance, though the questioning of the sociocultural context of the student. Voice and body had autonomy so that this student were able to participate effectively in the process and the product of this performance, in the search of a “consummatory” experience towards the development of their selfgoverning.Item Onde é o after? Modo de vida, multidões queer e masculinidades no pedaço gay em Goiânia(Universidade Federal de Goiás, 2017-04-07) Rodrigues, Roberto; Correia, Paulo Petronilio; http://lattes.cnpq.br/1801687030702050; Correia, Paulo Petronilio; Lima, Fátima; Braz, Camilo Albuquerque de; Marques Filho, AdairThe present study aims to map the lifestyles in the gay part of Goiânia. These lifestyles are created and devised from the politics of the queer crowds, outlined by the following issues: the being together, relationships between men and friendships as lifestyles that can give rise to a gay culture, ethics and aesthetics. In so far as they point to the contestation of logocentrism, they highlight the traits, flows, changes and desires that intersect and affirm themselves in the festive homosocialitiesand in the assemblages of masculinities that territorialize, deterritorialize and reterritorialize processes of subjectivation of the minorities, the abject beings. From the party planners' meetings we can reflect on the constitution of ways of life that pass between gender issues and the flows and overflows of the party itself. The festive territories are made up of multiple and Dionysian landscapes where joy is constituted as a superior way of life. However, the tragic aspect of the party makes the risks, instabilities and dangers also present in the composition of its landscapes.Item A Suça em Natividade: festa, batuque e ancestralidade(Universidade Federal de Goiás, 2015-08-28) Rosa, Eloisa Marqies; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Rios, Sebastião; http://lattes.cnpq.br/7078983629857043; Rios, Sebastião; Real, Márcio Penna Corte; Veloso, Jorge das Graças; Silva, Renata de LimaThis work is the result of a study of the performance of the Suça in the city of Natividade, in the state of Tocantins, Brazil. The Suça is a performance of the black population of the region and involves dancing, singing and playing drums and other instruments. The performance takes place in the mining settlement areas in the center and southeast regions of Tocantins and north of Goiás. In the scope of this study, the Suça was analyzed as a manifestation of “crossroads” created by the intersection between the batuque (traditional drumming) of the black Brazilian cultures and the Christian devotion. On one hand there is the Folia of the Holy Spirit, context in which the Suça often happens as a legacy of the parties of Brazilian Colonial times. On the other hand, there are the batuques, forged in the midst of the African-Brazilian culture, such as the Southeast Jongos and the Tambor de Crioula (Creole drums) in the state of Maranhão, which are cited in this work as means of building a strategy for the understanding of the Suça as batuque. The ethnographic experience with the Suça, the suceiros and the Folia of the Holy Spirit in Natividade is narrated with the poetic license of a fieldwork that, due to its centrality in the body, had a character of aesthetic experience.