Doutorado em Performances Culturais (FCS)
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Navegando Doutorado em Performances Culturais (FCS) por Por Orientador "Hartmann, Luciana"
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Item Na teia de Ananse: a contação de histórias como performance, com crianças, na escola(Universidade Federal de Goiás, 2021-07-30) Gabriel, Sonaly Torres Silva; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Ribeiro, Kelly Cristine; Fernandes, Maria Lidia Bueno; Icle, Gilberto; Dias, Luciene de OliveiraThis research presents a study on storytelling performances, shared between children and adults, with the goal of investigating how this experience can contribute to children's protagonism in school environments. In this context, a performative research was developed, whose practices were carried out in two public schools in the Metropolitan Region of Vale do Aço, in Minas Gerais – Brazil. The methodology of this work is eminently guided-by-practice and had as fundamental methodological aspects: (i) poetics, the power of the body as primacy; (ii) the processes of creation, interaction and transformation present in performances and in research as performance; (iii) the enthusiasm for listening to children's stories and with the events that emerge from the storytelling performances; (iv) interaction with children, not only as interlocutors, but as co-producers of knowledge and stories. The approach of storytelling as performance was chosen in this research for its critical and inventive perspective: the notion of performance, when understood as an essential element of human experience, constitutes a tool to problematize the multiple relationships of everyday life, such as relationships adult-child in the school context. From this perspective, the practices of this research include the creation of a Performance Ananse presentation and the realization of storytelling workshops with children. These practices and the stories narrated by the children led us to problematize themes such as: colonialism, racism, violence, silence and silencing, adult-child interaction, children's cultures, the importance of multiple stories. In this process, it was possible to realize that storytelling as a performance is a liminal experience that can destabilize what we adults know about school, about storytelling, about children. Furthermore, it was evident that the role of children in schools is crossed and limited by disciplinary frameworks and by the asymmetry of power in the adult-child relationship. We conclude that is really relevance the perspective of shared protagonism, in which there is flexibility in the adult-child power relations, which demands an openness from the adult to deal with their limitations, to learn with children, to co-create interactive experiences in which children can participate in pedagogical choices, be recognized as authors of their stories, producers of cultures and knowledge.Item Epístolas profanas: performances dos silêncios manifestos(Universidade Federal de Goiás, 2019-10-10) Gomes, Morgana Barbosa; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Fernandes, Ciane; Medeiros, Maria Beatriz de; Silva, Renata de LimaThe Profane Epistles are cartographies (Suely Rolnik, Roberta Romagnoli) drawn from some pulsations that move us, namely: an expression of silence through artistic performances in the streets; an aesthetic performances (Susan Sontag) built at the intersection among art, philosophy and contemporary anthropology; a performance investigation (Ciane Fernandes, Brad Haseman) whose method implicates the epistolary literature as a genre of knowledge. We started from the cultural silencing of women, interacting with some thinkers, like Djamila Ribeiro, Sulei Carneiro, Marcia Tiburi, Gloria Anzaldúa, Grada Kilomba, Chimamanda Adichie, Gayatri Spivak, Judith Butlher, Simone de Beauvoir, Michelle Perrot, form among others, to demonstrations of this silence through artistic and cultural performances (Eni Orlandi, Richard Schechner, Paul Zumthor). This espistolary cartography is a composition of letters exchanged with readers, artists, professors, students, reseachers, witnesses, classmates and friends, from among other real and fictitious addressees, like cities and personified entities, artistic and highly – regarded characters, interacting with references who form the body of work. The letters refer to emergent questions from our practical experiences from the artistic programs Aesthetic of Silence (BA, 2015) and Poetics of Silence (GO, 2019), to the artistic performances Poems & Whispers, Profane Epistles, Elephant Woman, Silence Constellation, Beauty of Silence, Lady of Silence, which we performed in the streets of some brazilian cities amongst Bahia, Brasília e Goiás (2015-2019). We refered to writers who expressed their silence in the literature (Cora Coralina, Clarice Lispector, Hilda Hislt, Lya Luft, Virgínia Woolf, Franz Kafka), from among artists of other languages, writing to brazilian researchers contemporary with the silence in the arts. In this performative research, we experienced a synthesis between subject and object, theory and practice, content and shape, method and criation, being able to contribute to epistemologies and methodologies of researches into arts, interdisciplinary approaches to Cultural Performances.Item Transcorporeidade e saber: narrativas performativas e indisciplinares por uma descolonização epistêmica(Universidade Federal de Goiás, 2020-10-28) Maciel, Ceila Portilho; Bairon, Sérgio; http://lattes.cnpq.br/8712052461153621; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Brandão, Carlos Rodrigues; Fernandes, Ciane; Peres, Marta Simões; Silva, Renata de LimaThis Thesis aims to propose the concept of transcorporeity, from the perspective of the body wisdom and proposes to rethink the question of the construction and elaboration of knowledge, still governed by a colonial heritage - from an Eurocentric epistemic perspective - which includes the belief in the traditional method of modern science as a hegemonic paradigm. The investigation in the territory of the sensitive and creative body arts, having as reference the methodological proposal of the Performative Research, proposed to develop an investigative corporeality and its own methodology born from the field experience and an indisciplinary performance, which came to be designed as a intuitive-creative methodology. The initial steps of the research pointed to both the need for the decolonization of thought and the corporeity of the researcher herself, as well as the theoretical alignment with the epistemic decolonization movements. In this path, a strong intertwining of epistemic references from the global south was built, more specifically of traditional epistemologies of the peoples originating in Brazil and of African-Latinamerican origin, among others, interweaving an inclusive transepistemic perspective, of knowledge coexistence. The germination of the notion of transcorporeity, and the perception of several dimensions of its manifestation, became a medullary axis and an integrating element of the constellations of concepts, knowledge and experiences with which the thesis is involved and takes shape.Item Rodas e cortejos de aprender e criar: saberes e fazeres tradicionais na formação de artistas-docentes da cena(Universidade Federal de Goiás, 2020-11-06) Oliveira, Joana Abreu Pereira de; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Dumas, Alexandra Gouvêa; Manhães, Juliana Bittencourt; Carvalho, José Jorge de; Silva, Renata de LimaThis research aims to investigate the traditional knowledge and practices in the training processes of artist-teachers in the performing arts. To this end, it is based in an empirical path, seeking reflection on and from practice, which was developed from 2016 to 2019, in the design and implementation of the discipline Manifestações Dramáticas Populares, in the Theater Degree course of Escola de Música e Artes Cênicas from the Federal University of Goiás. Within the scope of this discipline, traditions such as Bumba meu boi, Congada, Tambor de Crioula, Caroço and Cacuriá were experienced, alternating the environment of the university with that of the communities which hold the traditional knowledge and practices visited. Based on the notions of decolonization, ancestry and pluriepistemology, as well as in the debate with masters and teachers, with the students and with authors who are members of traditional communities, the thesis proposes a performance-pedagogical approach methodology for the study of traditional knowledge and practices in Performing Arts pedagogical processes. Some fundamental pedagogical strategies were systematized (Mediated experiences; Meetings with masters; Field experiences; Reports of the lived and references in movement; Performance-pedagogical creations) and ten performance-pedagogical principles were elaborated (Mobilization of the body, Recognition of tradition, Dynamics of tradition, Collectivity, Relationship with ancestry, Sharing of knowledge, Importance of masters, Ability to improvise, Theatricality, Play-sing-dance-tell) to guide the work. It is also noted that the expansion of the university's limits, in the sense of daring to organize time in another way, to carry out learning in other spaces, to establish other hierarchies, was fundamental to the proposed teaching-learning process. In this process, contact with masters and their communities changed pedagogical, aesthetic and, mainly, ethical and social perceptions.Item Corpos e gritos de desencurralamento: performances como expressão das territorialidades geraizeirinhas(Universidade Federal de Goiás, 2023-12-07) Souza, Jonielson Ribeiro de; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Salgado, Ricardo de Seiça Alves; Lopes, Jader Janer Moreira; Veloso, Jorge das Graças; Corrêa Júnior, Sebastião RiosThis work presents a reflection on the relationships between theatrical performances by Gerazeiras children and adolescents and the ways of being and living in their communities in contexts of socio-environmental conflicts. Combining ethnography and theater, this research seeks to understand how children and adolescents are involved in these processes and how such relationships would be expressed in theatrical performances performed by them, which leads us to call this methodological proposal a performative ethnography. To this end, observant participation in the communities involved, provided by the author's experience in struggle processes or everyday events, combined with practices such as walks through their territories, are added to theatrical initiation workshops for children and adolescents taught by the author.