Programa de Pós-graduação em Performances Culturais
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Navegando Programa de Pós-graduação em Performances Culturais por Por Orientador "Abdala Júnior, Roberto"
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Item A mulher na dança da catira: reminiscências e transformações(Universidade Federal de Goiás, 2018-06-15) Conrado, Oscélia Domingues Bonifácio; Abdala Júnior, Roberto; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4735832D5; Abdala Júnior, Roberto; Camargo, Robson Corrêa de; Fernandes, AdrianaThe dissertational work The woman in the dance of the catira: reminiscences and transformations consists of introduction presenting the object of study and the initial routes that circumscribed; three chapters and the closing remarks. The work consists of a study on the presence and women's role in the dance catira in which we seek to see if the woman's role in dance catira is real or imagery and whether it acts with her femininity or incorporates a gestural and male cosmetic for being the dance traditionally attributed to the male gender. This time to answer these questions we develop a field research with two groups of catireiras, a city of Jesúpolis and other city Itaguari, both in the interior of Goiás and catireiros group of the city of Annapolis also inside of Goiás. In the process of the research, we identify the performance acts through two strands, that is, the performance in its individual and collective scope.Item A experiência de Samuel Beckett no cinema(Universidade Federal de Goiás, 2021-10-21) Reis, Adriel Diniz dos; Abdala Júnior, Roberto; http://lattes.cnpq.br/7014946989727038; Abdala Júnior, Roberto; Camargo, Robson Corrêa de; Nogueira, Lisando Magalhães; Reinato, Eduardo José; Vieira, Karine RamaldesThis thesis presents a cinematographic analysis of the short film named Film (1965) from the perspective of theatrical influence the Irish Samuel Beckett. Thus, this work brings together the film Film, the play Waiting for Godot and all the dramaturgical work written by the Irish playwright Beckett. Written and directed by Beckett and co-directed by the American stage director Alan Schneider, Film addresses the Irish philosopher George Berkeley’s “To be is to be perceived” principle. In turn, Waiting for Godot, Beckett's main play, approaches the conceptual tripod of all Beckettian dramaturgy, based on the concepts of time, memory and habit, so important to the French writer Marcel Proust. Therefore, this research is interested in discussing the “subjective self-performances” raised in the reader-viewer from the relationships established in the filmic-theatrical characters' plot of the beckettian.Item As performances de Odorico Paraguaçu em "O bem amado" (1973): uma sátira à política brasileira no século XX(Universidade Federal de Goiás, 2020-03-02) Vilela, Anne Araujo; Abdala Júnior, Roberto; http://lattes.cnpq.br/7014946989727038; Abdala Júnior, Roberto; Luterman, Luana Alves; Reinato, Eduardo JoséThe work aims at the representations of the fictional politician and colonel Odorico Paraguaçu of the soap opera O Bem-amado, in 1973. Designed by Dias Gomes, the soap opera challenged the political and historical period of that moment, the Brazilian military dictatorship. In the regime's view, the author was a subversive, but Dias Gomes, as a popular national playwright, did not allow himself to be intimidated and transformed Odorico into the portrait of several individuals who followed a unique, predictable and almost unchanging, even among political opponents. Odorico became a criticism that turned the real-life tragedy caused by most politicians into comedy. In order to understand the game of Odorico's representation, it was identified that the questions were transdisciplinary and could be encompassed by the studies of cultural performances, mainly as understood by Erving Goffman and Richard Bauman, thus, the communicative resources used by the author and the actor, Paulo Gracindo that interpreted Odorico, they were analyzed as cultural performances. Therefore, the character Odorico Paraguaçu performed through social frames as a moralist, colonel and populist, and during the telenovela, his actions become part of this character's personal and scenic facades, which revolve around his effort as a politician to please the population of the fictional city of Sucupira and inaugurate its campaign promise to the city hall: a cemetery, testing the efficiency of its representation. The comparison between the frames of the character Odorico and the politicians previous and contemporary to him, took place through bibliographic research mainly in digital collections of documents of the time. The performatically related data showed that Odorico's way of acting did not differ in the total forms of representations employed by politicians that existed in the Brazilian reality, most of the time with similar intentionality.