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Item Ritual em Richard Schechner e Victor Turner: aspectos de um diálogo interdisciplinar(Universidade Federal de Goiás, 2015-11-06) Costa, Grasielle Aires da; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo , Robson Correa de; Dawsey , John; Hartmann, LucianaThis work aims to analyze the concepts of ritual developed by Richard Schechner and Victor Turner. This is realized through the definition, analysis and discussion of the concepts looking for the dialog between Schechner and Turner. The research was developed by reading and analysing the major volumes published by these authors, what is Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors and From Ritual to Theater by Turner and made by Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual and Performance Studies. Was not found any work like this. It is an inedited and presented an important review on Schechner‟s and Turner‟s written. The ritual concept needs this multiplicity look to take a new breath and look up different sea-lines. This job has a methodological richness because points out precisely the fact that the research belongs analyse the field "between" the theatre and anthropology. It is not remand to any discipline and the same time belongs to all of them. This is a bibliographic study what can provide theoretical support for various research fields.Item Balé sob outros eixos: contextos e investigações do coreógrafo norte-americano William Forsythe (1949) entre 1984 e 1994(Universidade Federal de Goiás, 2015-06-12) Ferreira, Rousejanny da Silva; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164This dissertation aims at discussing the contexts and the reformulations on the vocabulary for the ballet proposed by the North American choreographer William Forsythe (1949), from the decades of 1980 to 1990. The excerpt delimited on the research is within the period which Forsythe directed the Frankfurt Ballet, in Germany. He has been considered an important revitalizer of the patterns of traditional ballet by many art and dance critics as well as by historians. For a better understanding of the trajectory and importance of Forsythe in the transformation of this dance, I first present some of the problems of the uncritical historic discussion of ballet. Following that I point out how ballet has raised aesthetical and political provocations about its performing up to the context of the subject here being investigated – William Forsythe. Next I investigate the social, political and artistic constructions which are designed by this choreographer in order to develop his references about the conception, performing and composing of ballet in the contemporaneity. In this perspective I also investigate the material that registers this period of his career: the CD-ROM Improvisation Technologies. I present the organization of the CD together with the description and analyses of the technology and the studies developed in the field of Labanian Choreutics as well as the description and analyses of all of the categories presented in its first edition, which has influenced the creation of the material. This work problematizes ballet as a web of meanings of our time, presenting the dancer as researcher of his choreographic practice.Item O drama como método de investigação de linguagem: uma interpretação do dramatismo de Kenneth Burke(Universidade Federal de Goiás, 2015-06-08) Gonzaga, Deusimar; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Hartmann, Luciana; Christino, DanielThis study aims at presenting and discussing some of the aspects of dramatism, method of analysis of human relations and mainly of the acts of the language and of the thinking, as it is presented by the North American philosopher and literary critic Kenneth Burke (1897-1993), from the years 1930 to 1960. Practically unknown in our language, Kenneth Burke‟s name and of his dramatism are compulsory presences in the recent compendiums which deal with the studies of performance and of cultural performances, for the comparison and the relation they establish between everyday life and the drama and thus require be better known. Among many theorists, Burke‟s works have influenced the literary critics Harold Bloom (1930) and Susan Sontag (1933-2004), his student at the University of Chicago, and mainly the theoretical founding of the sociologist Erving Goffman (1922-1982), being that in his studies of everyday life as well as in his “dramaturgical approach”. As it is implied from dramatism, we are not only language users, we are also used by it and language determines our actions. Dramatism is established as an instrument of analysis of language as symbolic action from five key terms (dramatistic pentad): the act in itself, what has been done; the agent of the act, the actor, who performed the act; the scene (the place, the where); the agency, the means/instruments or how the action is performed, or even the autonomous capability of people to make their own choices; and the purpose. The act is the central term around which the five categories of analyses are organized (pentad) and the investigation of the motives of the action is the fundamental strategy of the dramatistic analyses. Burke proposes that the field of observation of the human action and of its innumerable combinations, the transpositions and the transformations among the terms of the cited pentad, makes it possible for an analysis of the human action that has drama as its central term. Dramatism attempts to answer the questions of how human actions can be explained, and mainly how these actions are determined by the symbolic capability. Dramatism becomes a central element in the analysis of human theatricality, of the human being in performance.Item Maria Duschenes: teias de saberes e encontros(Universidade Federal de Goiás, 2015-11-13) Paiva, Warla Giany de; Abrão, Elisa; http://lattes.cnpq.br/5874205891147236; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Abrão, Elisa; Rengel, Lenira Peral; Reinato, Eduardo JoséThis research has arisen out of the interest to study the trajectory of the Hungarian born, naturalized Brazilian dancer and teacher, director and choreographer Maria Duschenes (1922- 2014). Our interest is in the historic aspects as well as in the artistic and pedagogical ones. We present the enfoldments of her work in the introduction and development of modern dance in Brazil. Duschenes worked in São Paulo from decades of 1940 to 1990 and had an important role in the reception, introduction and development of the labanian´s and dalcrozean´s proposals in Brazil. Despite its great importance, her intellectual, artistic, pedagogical, political and social work has been little explored in the academic field. Duschenes wove webs of knowledge evolving important names of the artistic european avant guard: in Budapest, she studied at Olga Szentpal`s school (1895-1968) in Jaques Dalcroze’s perspective (1865- 1950) and with Aurel von Millos (1906-1988), both crossed by labanians´s knowledge; in England, with Rudolf Laban (1879-1958) and his collaborators and partners Kurt Jooss (1901-1979), Sigurd Leeder (1902-1981) and Lisa Ullmann (1907-1985). Drawn in these universes, Duschenes developed as an axis of her work the improvisation of the movement aiding with transformations in the artistic scene, in pedagogy, in research, in therapy and in rehabilitation. For that purpose this is a work of qualitative and exploratory nature, which includes field research as well as documental research. It has being built with the objective of tracing the vestiges left by Duschenes as well as the vestiges and memories of her former students and her collaborators, through the means of interviews, conversations and classes as well as video, essays and documents analyses. This research begins weaving the paths that have subsidized her formation, making its way towards the bases and propositions which have composed her trajectory of work, from the decades of 1940 to 90. In sum, this study understands that the continuity, the potentiality and the unfolding of the unique manner of her work in Brazil is constituted by overlaying of diversified performing levels, which are composed by the intensities of her own presence in her life and art performances.Item A preparação de atores na montagem de ‘Quatro Paredes’. Goiânia, Brasil (2003).(Universidade Federal de Goiás, 2015-06-09) Peixoto , Bruno Quirino; Fernandes, Adriana; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4763076D6; Camargo, Robson Corrêa de; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4799746D9; Camargo, Robson Corrêa de; Vicentini, Albertina; Mendonça, Maria BeatrizThis dissertation is due to is a due to thoughts about the process of the coaching of actors from the play Quatro Paredes, by Cia. Mínima in Goiânia, Goiás, Brasil, 2003. This theatrical production was constituted inspired by principles of acting coaching presented by Italian theater director Eugênio Barba (1936) in Brazil and is part of the reception of techniques developed by the director in our country. These work pursuits the systematization and thinking of the methodologies and exercises used in the preparation of actors of this theatrical production. Such analysis uses four conceptual filters for the comprehension of this process and present on the building of this play: ritual, flow, play and improvisation. The methodology used in this is investigated through exercises and procedures that were grounded on these conceptual filters. Through work diary, photos and memories the elements of four actors’ experiences are registered and analyzed during the preparation of the referred play: Ana Paula Carvalho, Bruno Peixoto, Mayarah Pinheiro e Pedro Vilela.Item Teatro das emoções e emoções no teatro: diálogos entre neurociência e Stanislávski(Universidade Federal de Goiás, 2016-05-10) Santos, Adailson Costa dos; Fernandes, Adriana; http://lattes.cnpq.br/4049068003650520; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Fernandes, Adriana; http://lattes.cnpq.br/4049068003650520; Calvert, Dorys Farias; Hartmann, Luciana; Reinato, Eduardo JoséThis research analyzes the perspectives of Stanislavski’ system as proposed by the Russian director Constantin Stanislavski (1863 – 1938) in dialogue with recent proposals of the neurobiology of emotions. It begins with the main definitions about emotions in western history, starting with Plato and reaching conceptions posed by the Portuguese neuroscientist Antonio Damásio (1944) who investigate the production and interpretations of the human emotions. The work focuses on the proposals of the “organic” interpretation by Stanislavski, mainly on the concept and procedures of what has been called emotive memory. This discussion is based on the findings of the French psychologist Théodule-Armand Ribot (1839- 1916), and his concept of affective memory (in French, la memoire affective; In Russian, Affectivnaia pamiat’) that underpinned the concept used by Stanislavski. At the end, the thesis establishes the neurobiological construction that pervade the Stanislavski’ system.Item Memória roubada: teatralidades performáticas nas intervisualidades de Ana Maria Pacheco(Universidade Federal de Goiás, 2015-11-13) Santos, Valéria Braga dos; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Rodas, Hugo Renato; Reinato, Eduardo JoséThe purpose of this work is to study Memória Roubada I (Sculpture, 2001) done by the plastic artist Ana Maria Pacheco, born in Goiânia, 1943. This sculpture condenses and opens new paths at the Brazilian art and their fictional representation of our memory. This artwork establishes more than a simple relationship between the parts. It enters the world as an intervention, which puts the viewer in the center of the perceptive action and allows multiple interpretations and experiences. This study aims enlarges questions and reflections with regard to dynamics of the perceptive act and the ability to formulate thoughts. It seeks to understand the complexity of Memória Roubada I, its domains and relationship to memory, history and cultural performances.Item Jogos teatrais, pensamento simbólico e conhecimento intuitivo: diálogos entre Viola Spolin e Jean Piaget(Universidade Federal de Goiás, 2017-02-08) Tancrede, Onira de Avila Pinheiro; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Icle, Gilberto; Koudela, Ingrid Dormien; Hartmann, LucianaThe aim of this study is to relate the methodological aspects of theater games, such as developed by Viola Spolin (1906-1994), and symbolic play (jeu symbolique) as presented by Jean Piaget (1896-1980). This research analyzes the symbolic function and the symbolic games ([1945]) at the thought of Piaget and the improvisational games of Viola Spolin ([1963]). From this perspective, establish dialogues in their entertainment and educational way and shows how the knowledge of these symbolic characteristics and the intuitive knowledge can influence the driving proposals for theater education in public schools with children. This dissertation departs from the meaning established by the relationship between meaning/significant with the intuitive intelligence, which are elements presents in the theatrical play.Item Bandas de música militares: performance e cultura na cidade de Goiás(Universidade Federal de Goiás, 2013-09-27) Vieira, Joelson Pontes; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Pinto, Marshal Gaioso; Clímaco, Magda de Miranda; Camargo, Robson Corrêa deThe present thesis discusses the history of the military wind bands from the City of Goiás during the nineteenth and early twentieth century (1822-1937) and its relationship with the local society. After the analysis of the current literature about the history of Goiás, as well as the official documents regarding military wind bands, the present study make use as its analytical bases the bakhtinian dialogism ant its main characteristics, focused on three points: carnivalization, polyphony and intertextuality. Seeking to contribute for the construction of the cultural and social memory of the former capital of the State of Goiás, the present study, in the fields of musicology and cultural history, allows the recreation of one of the possible narratives about the origins, activities and relationships established by the military wind bands with other musical ensembles and with the local society. These origins, activities and relationships are analyzed based on an interdisciplinary approach, following the principles given by the bakhtinian triadic categorization.Item Os jogos teatrais de viola spolin: uma pedagogia da experiência(Universidade Federal de Goiás, 2015-02-27) Vieira, Karine Ramaldes; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Koudela, Ingrid Dormien; Correia, Paulo PetronilioThis study analyses the methodology of theater games developed by Viola Spolin (1906-1994) as a process of learning by experience, using the theorethical approach of experience developed by William James (1842-1910) and John Dewey (1859-1952). I establish possible dialogues with the practice of theater games with the distinct theorethical perspectives of both authors aiming to have a better understanding of the methodological improvisation on Drama proposed by Viola Spolin.