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Item 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 DonizeteThis 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.Item 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 PinheiroThis 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.Item 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 GarciaThe 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.Item 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 RibeiroEste 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.Item O Sentido dramatúrgico da caracterização do corpo interprete: um estudo de caso dos espetáculos: Gota d’água e O abajur lilás(Universidade Federal de Goiás, 2023-05-24) Borges, Jéssika Hannder; Pereira, Dalmir Rogério; http://lattes.cnpq.br/8892640500335012; Viana; Pereira, Dalmir Rogério; Viana, Fausto Roberto Poço; Pires, Rafaela BlanchIn the field of Performing Arts, the visual characterization of the performer's body occupies a place very important, given that without it there is no scenic production, nor the constitution and construction of the character, of the performer. The present work aims to understand the relationship between the characterization and the body of the actor/performer, in order to intend aspects of the makeup and costumes; reflecting on the configurations and reconfigurations of languages in the areas of performing arts. The methodology adopted in this study involves research bibliographic and documentary, with a qualitative approach and theoretical investigation. The results obtained in the research indicate a tendency towards a scarcity of academic productions about theatrical characterization in the state of Goiás, between 2011 and 2021. Despite its necessary importance, the research also demonstrated that characterization has occupied a subordinate role in relation to the work as a whole. We believe that this research can contribute to the study of characterization in the process of composition of corporeality scenic; and, at the same time, how and if it is possible to conceive dramaturgies based on the stimulu that visual characterization brings to the body.Item 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 LilianaStarted 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.Item 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 dosThe 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.Item 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 deThe 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.Item “Transversal do tempo”: uma investigação acerca do gesto cênico de Elis Regina no espetáculo apresentado em Lisboa (1978)(Universidade Federal de Goiás, 2019-10-31) Cuellar, Davi Coutinho Evangelista Johns; Souza, Ana Guiomar Rego; http://lattes.cnpq.br/5810153792986725; Souza, Ana Guiomar Rego; Cruvinel, Flávia Maria; Capel, Heloísa Selma Fernandes; Rosa, Robervaldo LinharesThe context of the Military Dictatorship (1964-1985) generated several cultural movements in Brazil setting precedents for many artists to resist the system imposed on Brazilian society. The period that refers to the opening of the regime (1977-1985) was composed of several changes and it was at this juncture that the “Transversal do Tempo” show (1978) was born. Elis Regina's “Transversal do Tempo” tour ran across several Brazilian cities and also featured international shows, including the presentation at the Villaret Theater in Lisbon, available on various internet sites today. In this regard, the aim of this research was to carry out a phenomenological analysis of the scenic gesture of Elis Regina in the “Transversal do Tempo” show performed at the Villaret Theater in Lisbon (1978) and for this endeavor I was based basically on the thought of the philosopher Mikhail Bakhtin and his conception of the genres of discourse, in Lawrence Ferrara's methodological proposal (1984) about the use of phenomenology as a tool for performing musical analysis in his article Phenomenology as a Tool for Musical Analysis and in three biographical narratives built around the life and work of Elis Regina: Furacão Elis (ECHEVERRIA, 2012), Elis – Uma Biografia Musical (FARIA, 2015) e Elis Regina – Nada Será Como Antes (MARIA, 2015). This dissertation was conceived, structured and divided into three parts (chapters). In the first chapter I discussed the notions of units of language, utterance, text, discourse, movement and scenic gesture. In the second chapter I crossed biographical aspects of Elis Regina with the historical context that was lived in Brazil, especially during the Military Dictatorship (1964-1985). And in the third chapter I performed the analysis of five songs (considering the categories: textual aspects, harmony, musical instruments and scenic gesture) contained in the show Transversal do Tempo presented at the Villaret Theater in Lisbon (1978): Fascinação, Sinal Fechado, Transversal do Tempo, Romaria and Cartomante.Item 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 RibeiroThis 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.Item 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 DonizeteThis 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.Item 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 RibeiroThe 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.Item O violão nas escolas de música goianienses: processos identitários e interações culturais sob o foco do representacional(Universidade Federal de Goiás, 2019-09-30) Fonseca, Renan Ribeiro; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Souza, Ana Guiomar Rêgo; Guimarães, Fernanda Albernaz do Nascimento; Nunes, Jordão HortaThis research aimed to identify the guitar-related representations that circulate in four selected schools in the city of Goiânia - the Holanda Escola de Música, the Instituto Gustav Ritter, the Instituto Federal de Goiás (IFG), and the Escola de Música e Artes Cênicas of UFG, a private school, a state school and two federal ones - that have invested in the teaching of the instrument in the city, perceived not only as fields of production at musical education, but also as a locus of practice and interaction between groups related with the music of different cultural dimensions, that is, different fields of musical production. To reach this objective, firstly, it was invested in theorical foundation in authors who have been disserting about forging representations of identity processes, such as Chartier (2002) and Hall (2014), aiming at a basis for the focus of some representations related to the historical trajectory of the guitar in Brazilian society as well as in Goiania’s society. In a second moment, we sought to know the initiatives and formulations of the first institutions of music education, first conservatories and Brazilian universities, and, in this context, the representations that circulated around to the guitar, which led to the need for the instrument to be released of the historical prejudice, the stigma, the marginalization that prevented him from acting there, which only happened more recently, with the creation of guitar courses in the academies of the country. Already in a third moment, from the foundation in Bourdieu (2003), which discussed about fields of cultural production, where the different cultural capitals, economic capital and symbolic capital intersect in processes of constant interaction and conflict, evidencing struggles of representations, the results of the analysis, interpretation, comparison and intersection of data collected through the field research and interviews conducted in the selected schools were recorded. This circumstance made it possible to identify representations that pointed to the peculiarities of guitar teaching and the repertoires adopted in each of these institutions, always observed both in their relationship with the cultural interactions effected, with the struggles of existing representations that take place in a cultural production field, regarding its relation to the representations that were evidenced in the study of the historical trajectory of the instrument, whose residues still act in the city of Goiânia.Item Caminhando pelo ínterim e descobrindo nuances entre os fazeres técnicos e cênicos dos iluminadores na cidade de Goiânia(Universidade Federal de Goiás, 2024-03-13) Freitas, Danyell Oliveira; Ferreira, Alexandre Donizete; http://lattes.cnpq.br/6147910374743330; Ferreira, Alexandre Donizete; Pires, Rafaela Blanch; Nosella, Berilo Luigi DeiróEste estudio tiene como objetivo contribuir y ampliar mis experiencias profesionales y personales sobre la óptica de la iluminación escénica y la resignificación de la perspectiva paradigmática de las fisuras que existían entre las distancias para iluminar y las posibles sensibilizaciones poéticas y estéticas de la luz escénica y sus influencias en una actuación teatral. Para ello, transitamos por el intermedio y revelamos matices entre los quehaceres técnicos y escénicos de los iluminadores escénicos y técnicos de iluminación en la ciudad de Goiânia. Así, se llevaron a cabo entrevistas con estos profesionales activos en la capital goiana con la intención de identificar las posibles similitudes y diferencias entre sus funciones. Al final, además de contribuir para un (auto) reconocimiento desde la perspectiva de mi desempeño, se revela un hibridismo y una "zona de difuminación" en el contexto de la iluminación teatral en Goiânia, lo cual me ha llevado a reflexionar que, dependiendo del entorno y la demanda que se me solicite, puedo desempeñarme en la práctica como un técnico de iluminación o como un iluminador escénico, o incluso como un profesional híbrido que puede ofrecer lo mejor de dos habilidades, adaptándome según el entorno y las necesidades del momentoItem 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 RibeiroThis 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.Item O hinário Novo Cântico em duas igrejas presbiterianas em Goiânia - GO: uso litúrgico, permanências e renovações(Universidade Federal de Goiás, 2018-08-24) Lima, Tirza Sodré Almeida; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Borges, Maria Helena Jayme; Guimarães, Fernanda Albernaz do Nascimento; Cunha, Estércio MarquezThis work has as object of study the Presbyterian hymnal New Song and its use in two Presbyterian Churches in Goiânia / GO, the First Presbyterian Church of Goiânia and the Presbyterian Church Graça e Vida. It was sought to investigate its practice and liturgical use in these churches, one founded in 1935 and another in 2009, trying to understand how this song happens and the circumstances of permanence and renewal with them involved. The methodological path that he invested in a bibliographical and documentary survey, an analysis of iconographic, sound and audiovisual sources, besides the in loco observation carried out in the two Churches, the analysis of the structure of the New Hymnbook and some selected hymns that integrate it, made it possible to prove the presumption that elements of renewal interact in a constant way with a careful cultivation of tradition. This is especially the case in the younger Church, which does not have the same structural conditions and the same workforce as the first one, including musical training and performance. When Freire (1994) states that music, like other languages, does not reduce itself to a determinate universe of meanings, it is capable of incorporating current meanings in interaction with latencies and residues of meanings (re-significances). Representations were evidenced, linked to this circumstance, revealing the identity processes related to each one of the Churches observed when dealing with this multi-time condensation, in addition to pointing to a residual strong linked to indoctrination and evangelization.Item 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 CandidaThe 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.Item 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 SalesThe 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.Item Oficina integrada: uma abordagem na formação da criança pela arte(Universidade Federal de Goiás, 2019-09-18) Oliveira, Juliana Motta; Guimarães, Fernanda Albernaz do Nascimento; http://lattes.cnpq.br/3197196510078601; Zanini, Claudia Regina de Oliveira; Campos, Gilka Martins de Castro; Guimarães, Fernanda Albernaz do NascimentoIt is observed a different behavior between people who had contact with art in early childhood and those who were not exposed to art, because people who received artistic training in childhood are more culturally sensitive, reflective and critical. The aim of this research is to show the human formation, interpersonal and social relations, based on child development, through the course of Integrated Workshop that demonstrates the process of integration of Arts, integral formation, meeting the challenges of postmodernity. The research was carried out at the Integrated Workshop of the Free Arts Center, a public school in the city of Goiânia, seeking to answer questions raised in the research proposal about its operation and relevance, regarding Interdisciplinarity, always focusing on art, as form of learning and identity. The theoretical basis was based on studies aimed at human formation and field research was conducted by observing the classes, interviews with students, current teachers and also with teachers who participated in the founding of the Integrated Workshop. The influence of art on the development of children is considered, forming them for life and developing values of friendship, respect, identity and culture. We highlight the importance of the Integrated Workshop and the Centro Livre de Artes Institution in the Goiás scenario.Item No pinicado da viola: a criação de personagem a partir da experiência com o samba chula(Universidade Federal de Goiás, 2022-02-24) Oliveira, Lorena Fonte de; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Queiroz, Clécia Maria Aquino de; Oliveira, Joana Abreu Pereira deSamba de Roda is a traditional expressive manifestation of the Recôncavo Baiano region, which involves music and choreographic, poetic, festive and ritualistic aspects. Since 2005, it has been recognized as an oral and intangible heritage of humanity by the United Nations Educational, Scientific and Cultural Organization (Unesco). Samba is considered a Brazilian musical genre. Among the different manifestations of samba, there is the Samba de Roda and the Samba Chula, which is characterized by the presence of a type of song that gives its name to the samba (chula) and the viola machete. From the experience with Samba Chula in the group “Angoleiros do Samba Chula”, from Goiânia - Goiás, the desire arises to carry out a scenic investigation into the potential of Samba Chula as a driving force for a scenic creative work, in particular, for the character creation. This investigation focused on conducting field research in the district of São Braz, municipality of Santo Amaro - Bahia, with the Samba Chula João do Boi group; in theoretical studies on scenic work, especially from research carried out by Lume – Interdisciplinary Center for Theater Research (Unicamp) and by NuPICC – Collective Scenic Research and Investigation Nucleus 22 and, finally, in a scenic laboratory where the character is born. Rosario. Therefore, it starts from the understanding that the creative work in Arts of the Scene, with elements of Afro-Brazilian cultural manifestations, such as Samba Chula, provides the expansion of the communicative and political potential of the theater, valuing traits of cultural identities.