Programa de Pós-graduação em Performances Culturais

URI Permanente desta comunidade

http://200.137.215.59/tede/handle/tede/8784

Navegar

Navegando Programa de Pós-graduação em Performances Culturais por Por Orientador "Oliveira, Rodrigo Cássio"

Agora exibindo 1 - 6 de 6
  • Nenhuma Miniatura disponível
    Item
    Etnografia audiovisual: reafricanização e reexistência na religião de matriz africana
    (Universidade Federal de Goiás, 2022-04-28) Filene, Bruno Karasiaki; Alvarez, Gabriel Omar; http://lattes.cnpq.br/1246783304706348; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Dias, Luciana de Oliveira; Souza, Geórgia Cynara Coelho de; Alvarez, Gabriel Omar; Oliveira, Rodrigo Cássio
    Etnografía Audiovisual: Reafricanizaciones y Reexistencias en Religiones de Matriz Africana trae un compendio con cuatro etnografías en video, dos trailers y una mesa de lanzamiento. El texto de la disertación utiliza los conceptos Reafricanizaciones y Reexistencias para reflexionar sobre las poblaciones del terreiro. Con base en la discusión teórica, se adaptan diferentes metodologías para el estudio de los pueblos de terreiros. Se señalan cuestiones epistemológicas en el tratamiento de las poblaciones por el censo oficial, y sus limitaciones predictivas. Hay un capítulo dedicado a cada visita de campo realizada y al proceso de elaboración de productos culturales audiovisuales. Los cortometrajes Obrigações de Axé, Encantaria na Jurema, Reexistências Nagô Ep.1 – Casa de Ajagunã y Reexistências Nagô Ep.2 – Linaje del Patriarca, fueron realizados en terreiros de Goiânia y Salvador. Los primeros dos videos están subtitulados y están dirigidos a audiencias internacionales de religiones latinoamericanas anticoloniales. Cuestiones teóricas, lenguaje cinematográfico, técnicas y metodologías, así como confrontaciones se presentan dentro de la colección.
  • Nenhuma Miniatura disponível
    Item
    As conversas de Edifício Master: entre o mundo e a cena
    (Universidade Federal de Goiás, 2020-08-19) Nakamura, Lucas Hideki da Silva; Nogueira, Lisandro Magalhães; http://lattes.cnpq.br/6994570742767643; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Nogueira, Lisandro Magalhães; Christino, Daniel; Silva, Joanise Levy da
    The research aims to examine the trajectory of the concepts of staging and performance in the documentary through the work from the maturity of Brazilian filmmaker Eduardo Coutinho: Edificio Master (2002). In this film, we are able to comprehend the director’s creation process, it’s unique relationship with the documentary characters and his conception about the devices. Our hypothesis is that Coutinho’s conversation cinema, which finds its maturity on movies like Edificio Master, articulates staging strategies to certain procedures that aim to create a fissure in what is real, allowing for the emergence of a liminal space, between the everyday and the performative space. A place of invention among those who film and those who are filmed. An interweave of performance as defined by Brasil (2011): the gesture before the mise en scène. This work explores how Eduardo Coutinho, prominent name of the conversation cinema, enables, in the final phase of his work, the dialogue between contemporary documentary thought and practice and performance theory.
  • Nenhuma Miniatura disponível
    Item
    Aspectos da performance em Copacabana mon amour: entre o ator e a mise en scène no cinema de Rogério Sganzerla
    (Universidade Federal de Goiás, 2021-06-14) Oliveira, Karine Matos de; Nogueira, Lisandro Magalhães; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Oliveira, Sandro de; Jordão, Janaína Vieira de Paula; Nogueira, Lisandro Magalhães
    This research has as its theme the acting in modern Brazilian cinema, focusing on Rogério Sganzerla's cinema in the context of Cinema Marginal that emerged in the second half of the 1960s. The corpus of the research consists of the film Copacabana mon amour (1970), directed by Sganzerla when he worked at the production company Belair. The objective of the research is to apply the concept of performance in a study of cinematographic stylistics focused on the mise en scène, emphasizing the work of the actors, in order to understand to what extent Copacabana mon amour incorporated elements characteristic of the performance as an artistic language, defining, thus, its particularities as a film of modern Brazilian cinema. The hypothesis is that Rogério Sganzerla adopted forms in the film Copacabana mon amour that have aspects in common with the way of thinking and making the scene, as well as the way of being in the scene of performance art. The language of the performance is taken as a type of scenic expression that has its own ways of acting and construction of the scene and that emphasizes the event at the moment of its presentation. Therefore, the cinema made by Sganzerla in Belair goes against a way of disposing the mise en scène approached by Aumont (2008a) and Oliveira Júnior (2013), which emerged in modern cinema, which values the creation of the actor at the time of filming as a component of its composition. This is a qualitative study that uses film analysis as a methodology. The result achieved with the research is that by combining aspects of the language of performance with an approximation of reality through the scenarios typical of modern cinema, Sganzerla allowed the actors to perform similar to that performed in performance art.
  • Nenhuma Miniatura disponível
    Item
    Tecnologias digitais em rede nas performances musicais: potencialidades da composição colaborativa em meios digitais
    (Universidade Federal de Goiás, 2023-04-10) Santana, Marcos Vinícius; Soares, Fabrízzio Alphonsus Alves de Melo Nunes; http://lattes.cnpq.br/7206645857721831; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Souza, Geórgia Cynara Coelho de; Melo, Marcilon Almeida de; Soares, Fabrízzio Alphonsus Alves de Melo Nunes
    Discusses about collaborative composition practices carried out on platforms / social networks / music creation and production applications. It traces a historical overview of musical development, contextualizing the history of music and discussing about networked digital technologies in musical performances of collaborative composition. To do so, it discusses interactivity in collaborative composition made possible by the digital medium based on studies on mediatization and mediation. It aims to identify experiences of collaborative compositions mediated by networked digital technologies, justifying itself based on the influence of media and networked digital technologies on musical performances, observed by the frequent use of technological applications for composition, production, and musical performance at the end of the twentieth century and the beginning of the twenty-first century. In its problem, it questions the limits and potential of musical performance within a collaborative digital composition environment. When discussing the concept of collaborative composition and its use in musical performances, he explains two types of compositions made in digital media: one made in synchronous format, through the actions of the band Tin Men and the Telephone and the performance Dialtones: A Telesymphony; another, based on the use of platforms / social networks / applications for collaboration in the creation of compositions, such as BandLab. Methodologically, it is configured as a qualitative, descriptive-exploratory research in relation to its objectives, as it presents other platforms / social networks / music creation and production applications, while it inserts the author as a subject of the research, through the accomplishment of a composition in partnership with other members of BandLab. Considers that networked digital technologies can actively affect collaborative compositions, especially when observed from the mediatization theory, concomitantly with the phenomenon of globalization, which increased access to networked digital technologies by the population, influencing the way in which musical performances are seen and performed today.
  • Nenhuma Miniatura disponível
    Item
    Metaphors we rap by: performatividade, estética e política do cotidiano
    (Universidade Federal de Goiás, 2019-10-21) Silva, Thiago Cazarim da; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Pinto, Joana Plaza; Garcia, Allysson Fernandes; Christino, Daniel; Corrêa Júnior, Sebastião Rios
    This dissertation is a philosophical essay on an issue related to musical productions, speeches and practices that do not have rap as their raison d'être. It is what I call rap's performative claim – the idea that it is a musical genre endowed with different “powers of doing”. However, if this performativity assumes for artists, cultural actors and rap-related fans positive features – such as the power to transform reality, to become socially aware or to turn rap music an instrument of struggle – it is also through a performative claim that state officials and media speeches often harness to rap music a power to incite crime and public disorder, to uphold the structuring values of peaceful social coexistence and even the physical integrity of an individual. Thus, a formation of performative metaphorical chains seems to be central to the appreciation, acceptance, rejection and, eventually, sociocultural and ecological assimilation of such music genre. This essay tries to think over the impact, the need, and the risks encompassed in rap’s performative metaphorization as music genre, in which aesthetics and politics articulate and stress the boundaries between everyday life and fiction.
  • Nenhuma Miniatura disponível
    Item
    Performances urbanas no cinema de Spike Lee
    (Universidade Federal de Goiás, 2024-07-19) Silva, Wadson Vinicius; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Sousa, Georgia Cynara Coelho de; Silva, Joanise Levy da
    This work originates from my particular interest in the work of director Spike Lee. From this, we associate here his cinematic trajectory focusing on the intersection of urban nuances with performance theory. Spike Lee stands out for his ability to portray the historical social conflicts faced by the black community in the United States, which arises from conflicts in various urban areas such as the regions of Brooklyn, Harlem in New York, Boston in Massachusetts, and Atlanta, Georgia. Lee offers us in his films a reflection on the social and cultural dynamics presents in urban communities. Thus, the objective here is to point out in an interdisciplinary manner the particularities of Spike Lee's cinema and his audiovisual language, to trace discussions on performance theories, and to show how these two aspects come together to perceive urban performances. The analysis of Lee's films in this text does not extend to all of his works, which are indeed quite extensive both in film direction and in music videos. Therefore, here we focus on his productions throughout the first 9 years of his career, marked by 7 films, namely: Joe's Bed-Stuy Barbershop: We Cut Heads; She's Gotta Have It; School Daze; Do the Right Thing; Mo' Better Blues; Jungle Fever; and Malcolm X. These films, predominantly urban and often set in New York, often bring racism to the forefront as a central theme. However, since the purpose of this work is not to delve deeply into this discussion, we delve into other issues that elevate the city/performance discourse.