Programa de Pós-graduação em Performances Culturais

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Museus para o esquecimento: seletividade e memórias silenciadas nas performances museais
(Universidade Federal de Goiás, 2017-06-30) Bulhões, Girlene Chagas; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Camargo, Robson Corrêa de; Chagas, Mario de Souza
Amidst its multiple tensions and meanings, museums are considered institutions in which our memories are kept and communicated so that we don’t lose sight of them. However, some of the museums, with a conscious intention or not, doing just the opposite: they silence the memories of certain subjects and social groups systematically and deliberately. Hence, they turn into Cultural Performances for the oblivion. Based, mainly, on studies of Cultural Performances, Social and Affective Museologies, Social Cartography, Queer Studies and on post-structuralist authors, in this dissertation, considerations will be made about this fact, which I consider to be a museum controversy, starting, mainly, from passages of greek and yoruba mythologies, concepts of Museum Pact, Social Drama, Mask, Façade, Scenario, Museum Selectivity, Museums/Museums Performances Arboreal and Rhizomatic, Affection, Rhizome and Art Brut.
O Curinga no teatro Fórum: formação teatral e política pelo bufão
(Universidade Federal de Goiás, 2017-08-25) Oliveira, Sarah Reimann; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; André, Carminda Mendes; Camargo, Robson Corrêa de
The Forum Theater is one of the most widespread Theater of the Oppressed’s modalities. It was systematized in the 1970s and it approaches social and psychological opressions on the scene so that they are discussed and restaged by the public. The mediator between the forum-scene and the public is the joker. This work proposes an investigation between the Forum Theater joker’s language and the buffoon. The buffoon is a clown with origins in the medieval times that uses comicality mainly through grotesque body gestures and ironic speech. This research has as primordial objective to investigate political and theatrical buffoon’s characteristics being in Forum Theater’s joker in order to provoque the critical eye. To that end, it was accomplished a historical rescue of the Forum Theater, of the joker and of the buffoon by means of books and videos that bring concepts and practices about them; it was written about the Victor Turner’s social drama bearing in mind one of the research’s development axes: the study of the Cultural Performances and their relations with the Theater of the Oppressed; and it was effected an analysis of videos, found on the internet, about Forum Theater’s plays presented in the brazilian’s state capitals. The selected videos’ analysis was done parting from two categories, they are: Forum theater and jokering; and buffoon aspects. The analyis’ categories were guided through three questions: In what way the Forum Theater has been presenting regarding the criticality matters? Is there criticality in the spect-actors’ fruition through the jokering? Can the buffoons’ aspects contribute to the Forum Theater’s joker formation? The mainly consideration obtained in this investigation shows that part of the studied Forum Theater plays are politically emptied and don’t seek the spect-actor’s critical eye. Therefore is fundamental that the joker builds his/her acting game by the improvisational quality that is one of the atributes of the buffoon’s activities, in this way is going to be possible having criticality in the spect-actors’ fruition.
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 José
Charlie 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.
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 Oliveira
This 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.
A terceira margem da performance: um estudo do ato-narrativo em Três contos de Guimarães Rosa
(Universidade Federal de Goiás, 2017-12-19) Barros, Wellington Rodrigues; Christino, Daniel; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4767433J0; Christino , Daniel; Borges, Rogério Pereira; Nogueira, Lisandro Magalhães
This dissertation studies the relation between the concept of narrative and performance based on the phenomenon of telling stories applied in three short stories of Guimarães Rosa: 'The Heppiness Margin', 'The Mirror' e 'The Third Margin of the River', form the book 'First Stories' (1988). Methodologically this work consists in a corpus referring in the performance narrative of the own author with two more performers, and with the audiovisual datas in order to reflect in the analyze and in the materialization of the narrative act.
Pagu: a arte no feminino como performance de si
(Universidade Federal de Goiás, 2018-03-15) Machado, Lucienne de Almeida; Almeida, Marcela Toledo França de; http://lattes.cnpq.br/4781175827443869; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Flores, Maria Bernardete Ramos; Reinato, Eduardo José
The present dissertation has as objective to show the construction of the conception of feminine in which that is understood as the art of the performance of self. Such relationship will happen through the analysis of autobiographical writing: Paixão Pagu: uma autobiografia precoce de Patrícia Galvão (1940). As a way of implementing this proposal was used the theoretical framework of psychoanalysis going through numerous authors that may contribute to this thematic. Specifically, however, a bibliographic review was carried out in some theoretical productions of Sigmund Freud and Jacques Lacan, by means of a clipping of texts that address the question of the feminine. Thinking on the paths that would guide us we resorted to the methodology of Cartography, Poetics and Poetry as traces that allowed the construction of this conception of feminine. By means of Pagu’s autobiography, the present work proposes the construction of a notion of a performance of self, another way of thinking the subjective construction of feminine, as a piece of art. The metaphor of the birth of flowers goes through the discussion in aid of the understanding of certain nakedness, not in the pornographic sense of the phallic vision of the presentation of the female, but in the sense of a blossom. The art of the feminine as performance of self is that of a body naked and removed from excesses for the creation of its flowers. Therefore, the present work intents to present a certain conception of the feminine in its approximation with art.
Arpilleras: o bordado como performance cultural chilena, em favor do drama social
(Universidade Federal de Goiás, 2018-04-09) Lima, Maria do Socorro Pereira; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Oliveira, Vânia Dolores Estevam de; Barroso, Eloísa Pereira; Martins, Raimundo
The emphasis of this study relies on the arpillerista women`s movement and their arpilleras, an embroidery technique that served as a tool to speak out against the the military dictatorship of Augusto Pinochet (1915-2016). The movement characterized itself by political resistance, the denouncing and the defense of human rights, inspired by various groups in Chile and in other countries, such as Brazil. The experience of arpilleristas consists in what the British anthropologist Victor Turner would call a “social drama” (TURNER, 2005a, p.182). The goal of this research is to identify the possibilities of artistic practices in the arpilleras as events of cultural performativity in that we can observe the occurrence of a “social drama” according to the authors who have written in this field. The methodology chosen for this study was the cartographic method and the investigation tools we used were: observation, semi-structured interviews with the representatives of the movement of Brazilian arpilleristas (arpilleras do MAB) and of Chilean arpilleristas (Memorarte) as well with as the curator of current expositions in Northern Ireland, Roberta Bacic, and the curator and facilitator of expositions and workshops of arpilleras, Esther Conti; my participation in workshops of production of this technique, as well as photographs taken to register the process. We understand that the importance of this study to the interdisciplinary field of Cultural Performances is valuable because it delves into the social, political and artistic experiences which deals with significant transformations yet to be explored by the academic world at large as well as in our country.
Espetáculo “BR trans”: micropolíticas, performances e cartografias queer
(Universidade Federal de Goiás, 2018-05-05) Costa, José Carlos Lima; Correia, Paulo Petronílio; http://lattes.cnpq.br/1801687030702050; Correia, Paulo Petronílio; Lima, Renata; Dias, Luciene de Oliveira; Henning, Carlos Eduardo
The present research intends to analyze the play "BR Trans", taking as base the performances and the performativities that emerge from its. I took the notion of performance in Butler as the guiding thread of the current research, which disarticulates the process of materialization and normalization of bodies by demonstrating that the gender is a repetition of stylized acts. I read "Trans BR" as a political, revolutionary manifesto because it manifests an action; it is a “war machine” against the exclusionary standards, based on the silencing of differences. “BR Trans” brings together narratives from the relations that Silvero Pereira established with the trans universe. Therefore, to think the play in analysis is to disassemble the current theatrical thought, proposing a Queer Theater, that is, a micropolitical, aesthetic and artistic agency that devours the structures of contemporary theater and proposes a new scene that, in fact, is a way of life activist, because it no longer seeks to move away from life, but life itself is taking shape in each scene. As a perspective of analysis, I adopted cartography, a method attributed to Deleuze and Guattari, and that it is a way of thinking that puts in check the norms, the notion of subject, roots and the image-tree of the world. In cartography, binarisms deconstructed are, because it operates through the rhizome, not the representation or decal of the world. It is a look that bets on thinking in transit, displacing and deterritorializing ways of thinking and living, and drag us to new processes of subjectivation. The emergence of post-structuralism and post-Nietzsche's nomadic thoughts, such as Foucault, Deleuze, and Guattari, and post-identities such as Butler's, made it possible to think of theater, especially theater, as art traversed by social issues such as a “war machine” against the devices that try to adapt the subjects to the established binarisms.
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, Adriana
The 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.
Amigos e guildas: performance, mídia e agência em MMORPGs
(Universidade Federal de Goiás, 2018-08-27) Firmino, José Guilherme Abrão; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Christino, Daniel; Moraes, Ângela Teixeira de; Oliveira, Rodrigo Cássio de
The present study aims to explore the relationship between digital games, game communities and the agency for creating social bonds and emerging behaviors in interactive digital media: video games. To do so, we rely on Victor Turner’s concepts of liminality and communitas, as well as Richard Schechner's concepts of transport/transformation and I-not-I, and link them to Janet Murray's and Brenda Laurel’s definitions of games and video games, among others and recent publications about media working on such concepts as Ian Bogost's procedural rhetoric and Henry Jenkins' narrative architecture. We argue that through agency, video games allow players to create lasting and real bonds with each other, and to create and interpret meanings about the world around them and about themselves. For this, we are based on the play concepts of Johan Huizinga and Eugen Fink. To do so, we conducted a field survey in the MMORPG The Elder Scrolls Online accompanying a group of five players in their online activities over three months. We had as methodological base the digital ethnography of Robert Kozinets, the mechanism of Jon Elster and the study of behavior and facades of Erving Goffman. In this way, we were able to trace the profile and analyze the actions of our subjects and it was possible to conclude that they have in fact developed significant and lasting affective ties in the digital space without face-to-face contact with the other players. This study also allowed us to look at the social challenges a novice player undergoes in embarking on a massive online game as well as better delineate what motivates veteran players to continue playing. Thus, we argue that this study demonstrates the relevance of cultural performance studies as a theoretical-methodological framework for the study of the field of video games specifically and of social media in general. In addition, we believe that the results and data obtained in this research open windows to new issues in the field of digital media and especially for social studies and discourse analysis focused on video games in general and online video games in particular.
Narrativas do rock and roll: sociabilidades, liminaridades e performances
(Universidade Federal de Goiás, 2018-10-25) Santos, Lucas Monteiro dos; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; Quadros, Eduardo Gusmão de; Santos, Nádia Maria Weber
The following research talks about the rock and roll and phenomenons that contextualize with this theme, for example the use of the spaces for the fans e the ways of sociabilities that is possible to find in these spaces that the events happen. Talks about the historical processes of this musical style, fundamental piece for the comprehension, and about the moshpit too, corporal performance of the crowd that is completely associated with the experience to be in a rock and roll event. Field researches happened on Goiania, Goiás, and narratives were done about how these events happen and how the moshpit performance happen. The methodological path used was the cultural performance studies, that are coherent with the theme. It is possible to conclude that the ambience that rise when these events happen are full of liminarities and freedom, and all of this context ethic and aesthetical of rock and roll, moshpit and performance comes with a group of restored behaviors e a incorporated knowledge for the people that integrate the scenario and these ambiances.
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, Erminia
The 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.
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, Roberto
The 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.
Sarau: um ritual da voz
(Universidade Federal de Goiás, 2018-12-17) Cruz Filha, Fernanda; Brandão, Carlos Rodrigues; http://lattes.cnpq.br/7721657000564411; Miranda, Elderson Melo de; http://lattes.cnpq.br/7743250278945993; Miranda, Elderson Melo de; Favilla, Andréa Maria; Borges, Sainy Coelho
This work is the result of a study of the soirée as a ritual performance and as an aggregator space your sociocultural perspective. Part of the approach of this dissertation, the construction of a brief history of your occurrence in Brazil and your consolidation as democratic space of exchanges and strengthening of social groups. The presente work chooses the Soirée of “Minas” (slang for women in Brazil), from Goiânia- GO, which takes place since of the year 2016, organized by women as a itinerante soirée, for an analysis of content on the social representation of this cultural manifestation. We tried to discuss here the space of speech, poetry, listening and welcoming women. It is hoped that with the realization of this research, the space for so many voices that have been in this territory for a long time cultivated, which is the soirée, will be even more open. The poetry of the voices echo in the corners wide your aggregating and transformative force.
Cinema e performances: a encenação de Eduardo Coutinho
(Universidade Federal de Goiás, 2019-03-19) Faleiro, Wertem Nunes; Nogueira, Lisandro; http://lattes.cnpq.br/6994570742767643; Christino, Daniel; Bezerra, Cláudio Roberto de Araújo
This research carried out a study of Cinema relating it to the interdisciplinary field of Cultural Performances. To this end, he hypothesized that mise-en-scene (staging) is the locus where we can find performances in the cinema. A mapping of the various conceptual and methodological paths possible from the performances was made. We did a resumption of the concept of staging from its origins in the theater, to the contemporary cinema, more precisely the device films. From the work of the filmmaker Eduardo Coutinho, we present his method, and we chose his film Jogo de Cena (2007) as object of analysis. In this, we verify the extreme problematization of the definitions linked to the performance / representation dichotomy, truth / mimesis, based on a device that allows the manifestation of performances of its participants, be they anonymous women, actresses known or not, and even the filmmaker himself.
Histórias ressignificadas entre Glorinha Fulustreka e mulheres Kalunga do Riachão
(Universidade Federal de Goiás, 2019-03-25) Neves, Vanusa Nogueira; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Hartmann, Luciana; Lima, Marlini Dorneles de
From the meeting with Kalunga women from the communities of Engenho II, Vão de Almas and Riachão, the enchantment for their "personal narratives" arises. From the enchantment to the awareness that these narratives relate to the performance of these women in their communities, the master project in Cultural Performances was structured, with the objective of investigating the art of storytelling based on the experiences of quilombola women, observing in this process their social strategies in the construction of ways of life and identity from their memories. Perceiving and letting itself be affected by this context is discussed in this work as the storytelling process of the performance of Glorinha Fulustreka, a character created in 2000 with the purpose of divulging the culture of the Cerrado of Goiás.
O ofício do raizeiro: saberes e práticas integrativas em comunidades tradicionais quilombolas Kalunga
(Universidade Federal de Goiás, 2019-04-15) Silva, Maria Tereza Gomes da; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Veloso, Sainy Coelho Borges; Silva, Rubens Alves da; Miranda, Elderson Melo de; Oliveira, Vânia Dolores Estevam de
The presente paper gols is the study of crafts and the rituals of Healing of the masters Kalungas with cultural performances and the process of production of one poetic in art from relationship. With the ground and the natural and used, like branches, baths, teas that compose the force of the ritualistic action that is performatizes in the moment of Healing in the Kalunga culture. The teorical reference used approaches contributions of anthropology african philosophy, art, and cultural performances. The methodology Was fallowed by the cartographic method and the perfomative research in a immersion relation with the livres Field, the research instrumentos were interviews with the herbalists masters and the community, field diary, participante daservation audiovisual record and conversations circles. Se understand that importance of this study to the interdisciplinary field of cultural performances is avaliable both for the researched communities, as it results in material that corroborada and expands knowledge through exchange of experiences and joint construction of knowledge. The vernacular knowledge of traditional communities, far from reaching their disuse, have specifities that dialogue with contemporaneous academic knowledge and corroborate with studies of culture, cultural performances, and related atrás, helping to promote the democratization of knowledge.
Contar histórias com e no corpo: uma metodologia da pedagogia performativa na formação continuada docente
(Universidade Federal de Goiás, 2019-07-02) Silva, Valquíria Duarte; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Icle, Gilberto; Silva, Renata de Lima; Vieira, Terezinha Duarte; Rios, Sebastião
This research aims to elicit a methodological possibility of telling stories with and in the body, comprehending this as an expressive whole in its gestures and voices, with teachers from the Municipal Department of Education and Sport (SME) of Goiânia. Investigating the following question: How can telling stories with and in the body can be configured in a methodology of performative pedagogy for continuing teacher education? Based on this questioning, it is hoped to investigate, experiment and register possibilities of telling stories from a scenic work with the focus on the corporal sensibilization of teachers. To do so, it has as an methodological tool an experiment in the format of a continuing training course in storytelling: Telling stories with / in the body, lasting 40 hours, offered to 25 teachers of early childhood education and cycle I of the SME of Goiânia. This course had a methodology based on the collaborative process of knowledge, which the previous knowledge, as well as the pedagogical practices of the interlocutors were significant for the contextualization of the experiment. The contents experienced during the course were: stretching, vocal warm-ups, sung toys, Viola Spolin theaters and Viewpoints. For data collection, we used: questionnaires, filming, photos and recordings of the discussions and letters written by the female students who were delivered at the last meeting. The interpretation of data in consonance with the bibliographical survey of conceptions regarding the performative pedagogy based on the studies of: Elyse Lamm Pineau, Luciana Hartmann, Gilberto Icle, João Francisco Duarte JR and Marcelo de Andrade Pereira, made possible the understanding that storytelling with and in the body was configured, in this experiment, as a methodology of performative pedagogy. Thus, I highlight some characteristics of the course that I consider to be inherent to the proposal of performative pedagogy, such as: the collaborative process of knowledge mediated by the exchange of experiences and skills; the reflective knowledge of learning by doing; the body as an essential element in the process of teaching learning. It was in, with and by the body that the female teachers performed the contents proposed in the course, and were challenged to tell stories. This methodology provided a sensitization of the participants in order to perceive their bodies as an expressive and communicative whole. This perception reverberated in her performances as storytellers and also in her performances as teachers. In this way, this research instigates practices of performative pedagogy (feel, think and act) in the continuing teacher formation.
Performances sonoras: uma escuta do cotidiano goianiense
(Universidade Federal de Goiás, 2019-09-03) Oliveira, Thais Rodrigues; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Veloso, Sainy Coelho Borges; Silva, Rubens Alves da; Stolf, Maria Raquel da Silva; Oliveira, Vania Dolores Estevam de; Santos, Rafael Guarato dos
The research here systematized circumscribes the problem: do the sounds of daily life in the the city represent us culturally? There is a sound cultural performance of Goiânia? Therefore, our objective was to identify, collect and record sounds in four significant places of the city and, subsequently, edit them in order to make a sound installation called Windows Sounds. This installation, beyond the end in itself, also served as a mecanism to confirm or not whether there is a cultural sound performance in Goiânia, with the reception of the selected sounds. The research data were obtained through observation, listening, interview and questionnaires of the four most expressive sound territories of Goiânia, selected and considered that way by me. Data analisys was developed qualitatively, etnographic (with contributions of urban antropology) and based on theoretical discussions of these authors: Erving Goffman (1986, 2001, 2011, 2012); Richard Schechner (1985, 2002, 2003, 2006); Raymond Murray Schafer (1977, 2011); Victor Turner (1974, 1982), Sainy Veloso (2013, 2014); Roland Barthes (1990); Michael Certeau, Luce Giard and Pierre Mayol (1996); Clifford Geertz (1989); Carlos Fortuna (1998, 1999); José Guilherme Cantor Magnani (1998, 2007, 2013, 2016); Maurice Halbwachs (1980); Pierre Schaeffer (1950, 1966); Bernd Schulz (1999); Gilles Deleuze and Felix Guattari (1992), among others. We hope that this sensitive sound experience, conducted in the investigation, will contribute to the discussion of sounds as cultural sound performance and allow understanding the local culture in its diversity.
O entre-lugar das performances culturais nas sessões de cinema na cidade de Goyaz de 1909 a 1937
(Universidade Federal de Goiás, 2019-09-09) Lima, Lázaro Ribeiro de; Camargo, Goiandira de Fátima Ortiz de; http://lattes.cnpq.br/3029764057965151; Camargo, Goiandira de Fátima Ortiz de; Abdala Junior, Roberto; Silva, Neemias Oliveira da; Siqueira, Ebe Maria de Lima; Tamaso, Isabela Maria
The present research aims to safeguard the memories of the first cinemas of the State of Goiás, inaugurated in the then capital city of Goyaz, between 1909 and 1937. During this period the capital counted on the following Cinema Theaters: São Joaquim, Goyano, Luzo Brasileiro, Iris, Ideal and Progress. We emphasize among the numerous cultural performances brought to the stages of these amusement houses the orchestras that made the live sounding below the screen of projection. In addition to these moments during the exhibitions, the audience still had performances by several artists between one projection and another, among which we highlight the young singer Santinha Marques who from the transfer of the capital went to the great centers of the country in search of visibility and performance. We seek to establish a dialogue between history, cinema and cultural performances for the development of this research. We will use documents from the collections of the Frei Simão Dorvi Foundation, Lyceu de Goyaz, Culture Point Image of Memory, among others. The methodology to be used is analytical, theoretical, critical and interpretive. This study also covers the reading and analysis of catalogs of films exhibited at the time, the records that the local and national press left about this period and photographs of the historical and personal collection of Vilabian families. He will be supported by the theoreticians: Richard Shechner (2012), Zeca Ligiéro (2006), Jorge Glusberg (2011), Jörn Rüsen (2015), Ecléa Bosi (2003), Belkiss Spencière Carneiro de Mendonça (1981) and others.

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