Programa de Pós-graduação em Performances Culturais
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Item Ciranda na arte, construindo performances, afetos e liminaridades. Experiências arte/educativas na rede pública do Estado de Goiás (2009-2016)(Universidade Federal de Goiás, 2020-10-08) Alcantara, Luz Marina de; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo , Robson Corrêa de; Barbosa , Ana Mae; Koudela , Ingrid Dormien; Rizzi , Maria Christina; Reinato , Eduardo JoséThis study analyzes the performances of Ciranda da Arte Center of Study and Research, an institution of the State of Goiás, with no similar at the national level, founded on July 15th, 2005. Ciranda aims to develop a process of continuing education in art, focusing on artistic production, research and training of art/educators. Ciranda looks for updating and deepening knowledge that reverberates in the quality of art teaching in the system of state public school and the aesthetic education of society in general (PPP 2015). Therefore, we examine the historical path of art teaching in the public network of Goiás developed under the intervention of Ciranda da Arte, historically considering the eleven years before its creation and the eleven years that followed (1994-2016). As a theoretical framework, the performances were produced according to the concepts of affectivity and significant learning developed by the French philosopher and psychologist Henri Wallon (1879-1962), and also the American philosopher John Dewey (1859-1952). From the cultural performance perspective, the current study tries to understand the relational game of the ciranda performances as processes of structure, anti-structure and liminalities, concepts developed by Victor Turner (1920-1983) in his book The Ritual Process. Structure and Anti-structure (Lewis H. Morgan Lectures, 1966). I also adopted the sequence of artistic performance as it was developed by Richard Schechner (1934) for the analysis of the collective and individual art exhibitions of the full-time state schools in the cities of Anápolis, Goiânia, Inhumas and Palmeiras de Goiás.Item Emoção e afetividade. Arte e educação, um estudo de caso. O espetáculo Felicidade realizado na escola de tempo integral Professora Maria Nosídia Palmeira das Neves - Goiânia 2014(Universidade Federal de Goiás, 2017-12-14) Castro, Gleicy de Miranda; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Rizzi, Maria Christina de Souza Lima; Regino, Sueli Maria de OliveiraThis work examines the role of emotion andaffectionin the cognitive processes, as well as the connection between affectivity and intelligence, from the experience with artistic activities within the context of the full timeschool through the construction of the show Felicidade (Happiness), held at the Municipal School Professora Maria Nosídia Palmeira das Neves in the municipality of Goiânia - GO, developed in the year 2014. Initially it deals with experiences and perspectives of integral education in Brazil, rescuing the model of education of the Service of Vocational Education of Maria Nilde Mascelani (1931-1999) and presenting the pedagogical construction for the extended time in the schools of the municipal network of Goiânia. In this scenario, based on the field research, it seeks to understand the emotional and affective processes that involve the development of the child, as established in the writings of Wallon (1879-1962), Vygotsky (1896-1934) and Piaget (1896-1980) seeking connections with the movements of the arts and the structure of the knowledge.Item O estranhamento (Verfremdungseffekt) e o Gestus brechtiano nos filmes de Charlie Chaplin(Universidade Federal de Goiás, 2017-10-26) Freitas, Luciano Diogo Oliveira; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Cássio, Rodrigo; Reinato, Eduardo JoséCharlie Chaplin´s (1889-1977) influences on Bertolt Brecht’s theater (1898-1956) are diverse; also the films of the British director were inspiration for several plays written by the German playwright (The Rise and Fall of the City of Mahagonny (1928/1929), Mother Courage and Her Children (1939); Mr Puntila and his Man Matti (1940), and others). In many parts of Brecht works, diaries and theoretical texts Brecht makes comments about the importance of Chaplin´s cinematographic practice and his character The Tramp, for the constitution of his theater. Some moments Brecht considers Chaplin a model of actor to the epical theater (BRECHT 1995, p. 125; BRECHT 2005A, p. 249, 263, 291; and others). Two central concepts in Brecht´s work are fundamental for the understanding of this relationship: Verfremdungseffekt – the famous Estrangement Effect and the social Gestus. Once these concepts are delimited I search to analyze Chaplin´s work, the process of film construction and the interpretation in silent films as elements that generate estrangement and are structured as a Gestus language. At the first chapter I analyze the historical context of the Weimar’s Germany to understand the constitution of V-Effekt at its time. At the second chapter I assume the idea of the cinema as a revolution on the form of production and reception of art, passing by the Chaplin’s history trying to realize how his films were a large reference to a lot of artists, including Brecht. At the third chapter I study the social Gestus and how it is related with the variety shows and the Chaplin’s artistic works. Finally, at the conclusions, I return to the mail points of this intense dialogue between Brecht and Chaplin, and how this relationship produced uncountable fruits and artistic works. This material requires new theoretical and practical studies (on scream and on stage), considering its large reflexive and critical potential, and more than it, its artistic value.Item 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 HerculanoThis 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.Item A formação do artista circense goiano: olhares e deslocamentos entre o circo Basileu França e o circo Laheto(Universidade Federal de Goiás, 2018-11-06) Leles, Marilia Teodoro de; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Duprat, Rodrigo Mallet; Silva, ErminiaThe aim of the current research was to investigate the knowledge transmission process at institutionalized centers of circus schooling. Two institutions from the city of Goiania were chosen to compose the field of research, namely Circo Laheto and Circo Basileu França. Laheto is a private institution opened in the year 2000 and functions as a social circus. Basileu is part of the Instituto Tecnológico de Goiás em Artes Basileu França (Technologic Institute of Goiás in Arts Basileu França), originally set up as Escolinha de Artes Veiga Valle (School of Arts Veiga Valle) in 1967 as the first public school destined to the teaching of the arts in the state of Goiás. The former, besides teaching children and youngsters, offered a Professional Course in Circus in the years 2016-2017 while the latter has been offering, on intermittent basis, 3-year length certificate programs in circus since 2002. The research seeks to comprehend, by analyzing the individuals and their practices, the experiences they went through in this artistic formation set. As methodology, interviews were conducted with teachers, students and coordinators; classes and student-developed performances were watched, and the author herself took part in the researched formation processes. Therefore, the process by which new artists are formed and its pedagogical elements were investigated in the Brazilian Midwest context in order to identify and discuss the proceedings employed by the use of propositions which may contribute to the formation of circus artists.Item Artes integradas: a Arte na construção do conhecimento(Universidade Federal de Goiás, 2022-06-06) Monteiro, Aline Folly Faria; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Iavelberg, Rosa; Campos, Gilka Martins de Castro; Aquino, Thais Lobosque; Alcantara, Luz Marina deThis research intends to study theoretical models that work and research the integrated arts. The work intends to emphasize historical, conceptual-philosophical, pedagogical and methodological aspects that structure the artistic integration, in addition to seeking relationships with the Brazilian educational context today, investigating the adequacy to our reality. From the literature review of authors such as the philosopher John Dewey, who is considered the precursor of integrative thinking (1859-1952), with Art as Experience ([1934] 2010) and Experience and Education ([1938] 1976); Elliot Eisner (1933-2014), The arts and the creation of mind (2002) and What can education learn from the arts about the practice of education? ([2002a] (2008) and Howard Gardner (1943 -) with the work Multiple Intelligences ([1983] 2011). North American authors who research and practice the integrated arts were also brought in to dialogue and present concrete theoretical-practical possibilities, such as Bresler (1995; 2007), Burnaford et al (2001; 2007); Aprill (2010), Marshal (2014; 2015), Deasy (2003), among others. A deepening of the question requires that the propositions be analyzed from the understanding of concepts such as interdisciplinarity, transdisciplinarity and integration, differentiating from the concept of integrated arts. Thus, we highlight the studies on interdisciplinarity and integration based on the works of Ivani Fazenda (1941-), Hilton Japiassu (1934-2015) and Julie T. Klein (1944 -), among other authors. The paradigm shift, which is so necessary, is highlighted in the study of complex thinking, transdisciplinarity and the various levels of reality, based on the works of the philosopher Edgar Morin (1921-) The well-made head: rethinking reform, reforming the thought (2004), from the work of Basarab Nicolescu (1942-) in his The manifesto of transdisciplinarity (1999) and Maria Cândida Moraes and Saturnino de La Torre (undated) with the work Sentipensar: fundaments e strategies to re-enchant education (2004), among other authors, as a way of clarifying integrative practice and understanding the relationship between thought and action. This work also brings reflections from what was recently established by the document of the National Common Curricular Base (BNCC), which introduces the integrated arts in a simple and decontextualized way and without pointing out any theoretical basis that can establish its practice, giving rise to imprecise interpretations, the that does not contribute to their development in the educational framework. Ana Mae Barbosa (1936 -), among other authors, will be important to contextualize art in Brazil and the integrative processes that occurred, but that soon dissipated. Authors of Cultural Performances such as Schechner (2006; 2011), Robson Camargo (2006) among others, present an interdisciplinary theoretical contribution, highlighting important points in the practice of integrated arts. Finally, this work also presents the scarcity of research on the subject and some aspects that can structure artistic integration, outlining a form of integrative practice and planning as a proposal for the integrated arts within Brazilian schools.Item 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 AraújoThis 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.Item Cascando Beckett entre a luz e a sombra: um diálogo com Rembrandt Van Rijn (1606-1669) e Edward Gordon Craig (1872-1966)(Universidade Federal de Goiás, 2018-11-30) Silva, Allan Lourenço da; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Silva Filho, Almir Ribeiro da; Santos, Nádia Maria Weber; Abdala Júnior, RobertoThe present work, realized in the Interdisciplinary Program in Cultural Performances of the Faculty of Social Sciences, aims to understand through a dialogue between the pictorial works of Rembrandt Van Rijn (1606-1669) and theatrical ones of Edward Gordon Craig (1872-1966) as it happened the creative process of enlightenment in "Cascando Beckett: An Image Like Any Other". To do so, it aims to problematize how light, shadow and darkness were used by these artists to create their performance spaces. From the thoughts of these artists to unveil a new perception of the space of Cascando Beckett by the presentification of these phenomena. Thus, this research believes that both Rembrandt and Gordon Craig sought to understand the phenomena of light, shadow, and darkness in the creation of performatic space in its symbolic, imaginative and dramatic potential. For this, this dissertation develops through a qualitative, bibliographic, iconographic and exploratory approach, together with a study of Maurice Merleau-Ponty's phenomenology of perception, Gestalt theory in Rudolf Arnheim's researches and studies of Cultural Performances. Therefore, this research is structured to understand the symbolic, imaginative and dramatic potentials of light, shadow and darkness in the creation of the performance spaces of Rembrandt Van Rijn, Edward Gordon Craig and Cascando Beckett.Item A solução de problemas como potência prática na performance dos jogos teatrais: de John Dewey à Viola Spolin(Universidade Federal de Goiás, 2020-06-23) Vieira, Karine Ramaldes; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Koudela, Ingrid Dormien; Moreira, Carlos Otávio Fiúza; Santos, Nádia Maria Weber; Reinato, Eduardo JoséThis study seeks to understand how the process of problems-solving, from the perspective pointed out by John Dewey (1859-1952), constitutes the master structure of the approach and development of the theater games proposed by Viola Spolin (1906-1994). It investigates the path that John Dewey's studies have taken in the elaboration of the problem-solving process, in order to arrive at the games systematized by Viola Spolin. This question becomes fundamental not only for the studies relating to Spolin's theater plays, but also for theater teaching and performance studies in Brazil. It tries to examine some questions that pervade the construction of the experience in the theater games of Viola Spolin from the process of problems-solving. This is an approach, which elaborates mental, psychological, practical, contextual analysis, interpretation, and analyzes how these can enrich the studies concerning the pedagogy of theatrical practice in a more comprehensive way.