Mestrado em Performances Culturais (EMAC)

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Quadrilhas Juninas em Giânia: novos sentidos e significados
(Universidade Federal de Goiás, 2014-08-06) Zaratim, Samuel Ribeiro; Real, Marcio Penna Corte; http://lattes.cnpq.br/1976193858153118; Real, Marcio Penna Corte; Grando, Beleni Salete; Oliveira, Vânia Dolores Estevam de; Ribeiro, Núbia Ferreira; Valadares, Florence Rodrigues
This work aims to understand the dynamics of production and organization of quadrilhas juninas from metropolitan area of Goiânia – GO. This work also has as theoretical contribution the reflection on the cultural performances field. The research distinguished itself by the analysis of the tension between the traditional and contemporary aspects found in the quadrilhas juninas, comprising the celebration and the spectacle. The period (2012 - 2013) of total immersion in the junino world proposes as a field research method the observational study of three groups of quadrilhas juninas. The backstage of quadrilhas juninas groups provided an interpretative analysis of the peculiarities of the visited groups allowing the interpretation of the data and a dense description of elements that concretize the communities involved. The reflections related to this work, point to the understanding of that, currently, the quadrilhas juninas, in the great Goiania/GO, coexist simultaneously with traditional elements that acquire new symbologies facing the transformations caused by the characteristic of spectacle that involves it. Thus the structures that comprises the new senses and meanings of the quadrilhas juninas dynamics aggregate tools of recognition, re-signification and identification through complex web of meanings, in this context analyzed by theory of culture, particularly the cultural performances.
As linguagens presentes nas místicas do MST no processo formativo da militância orgânica
(Universidade Federal de Goiás, 2014-11-24) Pereira, Antonio de Jesus; Corte Real, Márcio Penna; http://lattes.cnpq.br/1976193858153118; Corte Real, Marcio Penna; Villas Bôas, Rafael Litvin; Corrêa Júnior, Sebastião Rios; Ribeiro, Núbia Ferreira
An analysis of the mystics of the MST (movement of the landless workers) has been conducted in this dissertation. An attempt has been made to identify the enunciations that circulate around the mystics of the movement in order to find out to what extent they can enhance the potential of the formative process of its organic militancy. The elements which contribute to the manifestations of the mystics and which allow for them to be analyzed, in the perspective of the cultural performances, have been identified. For that means we have conducted a dense description ethnography of the mystics of the landless workers, supported by the idea of Clifford Geertz. The research that resulted in this dissertation was done in the state of Pará, and the purpose was to accomplish a work with the militancy of the movement of the rural landless workers (MST). Pará was chosen because it is a place of serious conflicts between landless workers and farmers. The following methodological procedures were adopted: record on field notebooks, observations, interviews and sound recordings. The research was conducted in the main formation spaces of the militants of the MST, such as: meetings, associations, assemblies and schools. Nine interviews with the militants have been conducted. From this trajectory we come to the conclusion that the landless workers constitute themselves by means of rituals and of the social activities of the MST, as social actors that incorporate experiences of struggle. In face of that they have constituted a capacity of systematizing their experience through poetic, body, imagistic and symbolic language that permeate the mystics of the movement.
O ator no teatro de animação: uma análise dos espetáculos Envelopes e Plural, da companhia de teatro “Nu escuro”, de Goiás
(Universidade Federal de Goiás, 2014-12-05) Silva, Patrícia Mendes da; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; Vicentini, Albertina; Correia, Paulo Petronilio
This dissertation investigated the trajectory of the theater company “Nu escuro”, in Goiânia, since its creation, initialized in the old technical school of Goiás – current IFG -, until its recent show called Gato Negro. Since its first show, Três por três, the company uses the puppet theater, and, over the course of time, it has been developing this language, specifically in the shows Envelopes (2005) and Plural (2012), focused in this research. It aims, therefore, to analyze the work of the animator-actor in the theater company “Nu escuro” in the shows Envelopes, in which the animator-actor is visible, but neutral in the scene, and Plural, in which it is visible and active in the scene. The objective was to investigate, through interviews and living with the group, the work of the animator-actor in its presence and neutrality and in its relation with the puppets and the masks in the puppet theater. Concerning both shows – Envelopes and Plural –, it was possible to observe how the creation of the animator-actor‟s bodywork of the theater company “Nu escuro” happened, being based, initially, on his body and on the animated artifacts – puppets and masks. Finally, it‟s considered the actor‟s body, in which one body is the animator-actor and the other is the character-actor, differentiating one from the other by the technique, that is, by the question of guiding the focus.
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 Petronilio
This 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.
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, Daniel
This 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.
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 Beatriz
This 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.
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/9964594962008164
This 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.
A dança dos congos da cidade de Goiás: performances de um grupo afro-brasileiro
(Universidade Federal de Goiás, 2015-07-30) Macedo, Eliene Nunes; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Tamaso, Izabela Maria; Brandão, Carlos Rodrigues; Hartmann, Luciana; Correa Júnior, Sebastião Rios
This master thesis introduces the Congo dance, which has been performed in Goiás City (Goiás/Brazil) since the first half of the 18th century. In this ritual, we are able to watch the fight between Moors and Christians. The routine is divided into street parades and representations of an embassy mission, performed by poor Afro-Brazilian men, usually at the city’s Historical Centre (held as a UNESCO world cultural heritage). The performances generally take place during the Divine Holy Ghost and the Our Lady of the Rosary festivals. This is an ethnographic research project, which aims at interpreting the performances of the Congo dance ritual and its complex meaning relations. Therefore, a detailed description of the Congo dance structure was done, by highlighting its gestures, orality, music, clothing and dramatization. Also, as an analytical category, the theoretical background to such cultural performances was reviewed, aiming at analysing the dance and dancers’ embodied knowledge. Furthermore, some questions on the congos’ cultural social historical were raised, bringing some comparison among the thoughts on ethnographic studies on the Congo dance and the possibility of an interlocution between Brandão’s ethnography (1977) and the one presented in this paper. Eventually, the representation and appropriation of this way of expression towards the whole Goiás City’s cultural heritage and how safeguard policy is done were deeply observed. As a conclusion, the study states that the Congo dance from Goiás City is the materialisation of the iconography of people who live, fight, resist and remain.
A Suça em Natividade: festa, batuque e ancestralidade
(Universidade Federal de Goiás, 2015-08-28) Rosa, Eloisa Marqies; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Rios, Sebastião; http://lattes.cnpq.br/7078983629857043; Rios, Sebastião; Real, Márcio Penna Corte; Veloso, Jorge das Graças; Silva, Renata de Lima
This work is the result of a study of the performance of the Suça in the city of Natividade, in the state of Tocantins, Brazil. The Suça is a performance of the black population of the region and involves dancing, singing and playing drums and other instruments. The performance takes place in the mining settlement areas in the center and southeast regions of Tocantins and north of Goiás. In the scope of this study, the Suça was analyzed as a manifestation of “crossroads” created by the intersection between the batuque (traditional drumming) of the black Brazilian cultures and the Christian devotion. On one hand there is the Folia of the Holy Spirit, context in which the Suça often happens as a legacy of the parties of Brazilian Colonial times. On the other hand, there are the batuques, forged in the midst of the African-Brazilian culture, such as the Southeast Jongos and the Tambor de Crioula (Creole drums) in the state of Maranhão, which are cited in this work as means of building a strategy for the understanding of the Suça as batuque. The ethnographic experience with the Suça, the suceiros and the Folia of the Holy Spirit in Natividade is narrated with the poetic license of a fieldwork that, due to its centrality in the body, had a character of aesthetic experience.
Jú onze e 24: pretextos, textos e contextos de atores drag-queens em Goiânia (GO)
(Universidade Federal de Goiás, 2015-11-05) Nunes, Paulo Reis; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Vicentini, Albertina; Petronilio, Paulo
This work tries to recall the memory of the show Jú Onze e 24, directed by Júlio Vilela, and its latest attempts at survival, with its structure and circulation among the theatrical spaces and spaces LGBT in Goiânia, with the main attraction the dragqueens performances. This drags, to carry out the production of a female body translated as assemblies, presented at different mappings. These mappings are understood as flexible operating modes that go or back together. The fact of producing and performing, featuring her performative process, which allowed for a study of the aesthetic transformations in the show, based on studies of performance, queer theory, gender and sexuality. These themes could incite processes of identification and difference about subjects of deviant sexuality, as transvestites and transsexuals who are confused or placed under one label, which confirms that there is confusion regarding the usual drag-queen performance.
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, Luciana
This 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.
Zé Pereira: a performance carnavalesca em Itaberaí-GO
(Universidade Federal de Goiás, 2015-11-06) Faria, Marcelo Fecunde de; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Tamaso, Izabela Maria; Correa, Paulo Petronilio; Osório, Patrícia Silva
This dissertation deals with the carnival manifestation "Zé Pereira" in Itaberai- GO, analyzing it as a cultural performance adopting some concepts present in studies of cultural performances to understand how is the relationship and involvement that are coming and characteristic of performative action, linking the liminality concepts of Victor Turner, the theory of performance of Richard Schechner, Bakhtin and DaMata Carnival. The focus of the analysis are the events that take place 15-17 days before the national carnival, being a predecessor activity the carnival period, the performance is formed by a group of masked young people wearing horrifying masks, accompanied by a drumming group with several instruments percussion and prepared by a committee of support organization, all these characters are surrounded by an audience that accompanies the demonstration during ALL the days passing through different streets of the city gaining attention from citizens who are in their homes. This work aims to demonstrate that while performance “Zé Pereira” produces historical, social and cultural repercussions on people directly or indirectly involved. This context was accompanied by ethnographic experience and observation of the process of formation and constitution of the current “Zé Pereira” in Itaberaí.
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 José
The 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.
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 José
This 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.
Performances da dança-educação: autonomia e autogovernança
(Universidade Federal de Goiás, 2015-11-23) Pinho, Eurim Pablo Borges; Cunha, Fernanda Pereira da; http://lattes.cnpq.br/8739909013018488; Cunha, Fernanda Pereira da; Correa, Paulo Petronílio; Barbosa, Ana Mae
In this dissertation we present a research in the field of Cultural Performances within the universe of art education, which has the analytical debate about critical dance-education and technic oriented dance-education as its axis. Therefore, this study arises out of the critique about our own practice as a dance teacher in public education, specifically at Escola Municipal em Tempo Integral Professora Silene de Andrade (EMTIPSA), in the city of Goiânia – Goiás. Our search is centered in systematically developing students’ potentiality through dance and its teaching, taking pedagogical actions as a means to develop the students’ critical and autonomous capability of expression within the world surrounding them. The social justification of this study is in the fact that it is scheduled in an education that fosters the reflection on the student´s own power of reflection, i.e. the development of the capability of his/her autonomous and self-governing critical expression of the EMTIPSA; make them the subject of themselves, through the expression of their authenticity in dance, what will reflect in their life expression. We aim to propose through the research-action, the development and the analyzing of the art-educational performance in dance, though the questioning of the sociocultural context of the student. Voice and body had autonomy so that this student were able to participate effectively in the process and the product of this performance, in the search of a “consummatory” experience towards the development of their selfgoverning.
Teatro/educação: ludopedagogia crítica pelo jogo teatral potencializado pelo conflict game com alunos do ensino fundamental de Goiânia - GO
(Universidade Federal de Goiás, 2015-11-30) Tagliari, Mariana; Cunha, Fernanda Pereira da; http://lattes.cnpq.br/8739909013018488; Cunha, Fernanda Pereira da; Pinto, Karen Astrid Muller; Real, Márcio Penna Corte; Camargo, Robson Corrêa de
This study presents a critical reflexive analysis on the current paradigm of the “ludopedagogical” practices of theatre teachers who have identified themselves in the “ciberculture”. Practices which have reverberated in the Brazilian primary schools it is relevant to say that this analysis arises out of the studies of e-Art/Education. It´s pedagogical aim is to identify and discuss whether the teacher has utilized the game in his/her classes as a booster of knowledge or just as the game for its own sake. EArt/ Education is here conceived as a segment of Art/Education, which covers the reality of the digital world, which is in this research looked at from the perspective of the cultural performances. For the conception of this study, a research on the site YouTube has been conducted with the aim of verifying whether teachers from all the Brazilian capitals have been using the game as a mediator of signifying experiences with their students or using it only as entertainment. The analytical research of those ludopedagogical practices in the theatre teaching-learning process have indicated the need of carrying out etheatre/ educational interventions with the aim of using the theatrical conflict game as a mediator of meaningful experiences with the students of basic school in Goiânia – Goiás. Therefore we carried out the performance Protesto Escolar na Escola Municipal de Tempo Integral Silene de Andrade, which had the aim of developing critical thought of turmas G´s students, in relation to depredations and graffiti that had been occurring in that institution. The performing actions developed with the 22 students mentioned, revealed that game can be the mediator of the students’ critical and investigative knowledge, through the means of meaningful experience in benefit of the theatrical conflict game. The analytical research conducted on the site YouTube, in conjunction with our own ludopedagogical practices in the process of teaching-learning theatre, have indicated the need to use the game as a booster of knowledge in theatre in primary school of Colégio Estadual Dom Fernando Gomes dos Santos 2. The cibergame has always been highlighted in our classes whenever we would work on any theatrical content. In that sense, the concept of conflict game arises, in which conflicts are propitiated by the game as potential source of the theatrical game in the process of teaching learning theater.
Performances em Hamlet: textualidades, teatralidades e liminaridades
(Universidade Federal de Goiás, 2015-12-03) Barros , Edlúcia Robélia Oliveira de; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; O'Shea, José Roberto Basto; Junior, Roberto Abdala
This dissertation is the result of a diverse literature and aims to analyze multiple aspects in the tragedy Hamlet, Prince of Denmark (1600-1601), the Englishman William Shakespeare (1564-1616), as a performative text. To do so, it establishes relationships between this tragedy and some issues discussed on performance studies, specifically theatricality, liminality and textuality. Hamlet’s story is first related to the concept of theatricality as state from the Russian playwright and theater director Nicolas Evreinov (1879-1953), as well as establishes dialogues with the notion of liminality discussed by folklorist and ethnographer Arnold van Gennep German (1873-1957), also with ideas of the Russian thinker Mikhail Bakhtin (1895-1975) about the performance of language, among other notions about performing and human performance practices. Hamlet, the text, appears on the threshold between completeness and movement, between textuality and theatricality, between readings and cultures. It is described and further analyzed Hamlet assembly in Moscow Art Theatre (MAT), one of the famous readings and rewrites the Shakespearean tragedy. A scenic production, which features dialogues and confrontations between text and scene, between Aesthetics, between readings of the tragedy, which express themselves through the collisions between the directors of this performances, the actors and the spectators. Finally comes to aspects of reception of Hamlet.
A teatralidade do surdo na performance
(Universidade Federal de Goiás, 2015-12-04) Araújo, Karla; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; Camargo, Robson Corrêa de; Faria, Juliana Guimarães
The dissertation entitled The deaf theatricality on performance is a research focusing on the performance and deaf identity, based on the concepts and definitions of performance, on performativity of the teacher and actor Sergio Mendes Vaz. The issue is important because it contributes to the studies of performance, with the key theatricality of the deaf in performance. The goal is to analyze elements, such as facial and body language, expression, signaling, characterization (costumes), actor relationship and public professor and actor Sergio, in order to expand the debate and discussions about the importance of performance within the culture deaf. The investigation seeks justification in authors like Felipe (2007), Quadros et al. (2009), Ferreira-Brito (1989), Skilar (1999), Perlin (1998), Sá (2002), Souza, Silvestre e Arantes (2007), Sacks (2010), Féral (2008), Schechner (2011), Pavis (1999), Gennep (2011), Cornago (2009); Goffman (1985) e Zumthor (2000). This research is a case study with the teacher and the deaf actor, Sérgio Vaz Mendes, who teaches and communicates in Brazilian Sign Language (Libras), a language of visual-spatial-gestural mode, whereby the deaf express themselves . As a result of nature of the object, the methodological approach is a qualitative research, with the fichamentos data collection instruments, films and photographs, as well as field research, carried out through observations, interviews, diary records field and coexistence with Sérgio Vaz. The field research occurred in three different environments, but complementary: (a) Course Pounds, offered by Colleges Alves Faria (ALFA), which offers the course free for deaf and hearing, and Professor Sérgio Vaz as a teacher of the classes; (B) Coral Deaf, which is a social project, developed by Professor Sérgio Vaz and his wife Waléria Batista, supported by SEARA Association, a charity, educational, cultural, welfare and health, non-profit; (C) the stage show The Art In Silence, staged at Chaplin Educational System in 2005, on graduation of Libras classes. The contribution of this research is given to broaden the search field performance and theatricality with deaf. The research finds theatricality on performance the deaf actor Sérgio Vaz. And the importance of the performances presented in their deaf identity.
Memória, corpo e performances: a dança negra de Mercedes Baptista
(Universidade Federal de Goiás, 2016-04-20) Pereira, Dayana Gomes; Correia, Paulo Petronilio; http://lattes.cnpq.br/1801687030702050; http://lattes.cnpq.br/1801687030702050; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Correia, Paulo Petronilio; Ratts, Alecsandro José Prudêncio; Veloso, Sainy Coelho Borges
This study proposes reflections, analyzes and discussions for the female black body in dance, having as a study the course and the performances of dancer Mercedes Baptista (1921-2014). In order to get perceptions of this body, are emphasized choices, pathways, spaces, Afro Brazilian Dance in Mercedes Baptista, events and people that have gone through and marked her life story. From the reconstruction of its trajectory, it is possible to think the problems that still demarcate this body. This reinterpretation grounded in biographical work "Mercedes Baptista: the creation of black identity in dance" Paul Melgaço (2007) are marked educational spaces and meeting that will contribute to the formation of ballerina, considered this work as a rhizome. To broaden perspectives on aspects that cut across its history, they are discussed concepts related to the memory, forgetfulness and invisibility, in dialogue with the review and analysis of the content of three books dealing with the history of dance in Brazil. At understanding the printed demarcations that body, are discussed aspects that make up the social imaginarywith a focus on one of the representations attributed to the female black body dance, present in the trajectory of Mercedes Baptista, the personification of "mulatto". In this context of thinking training, the female black body and its representations, is taken up the "body afrodiaspórico" while confrontation way these symbolic impositions. For better understanding the variances of which this body created and recreated, although the omissions and representations, through the lens of Cultural Performances are discussed the notion of the body as "liminal body" being considered the documentary "standing Ballet on the ground" of Marianna Monteiro and Lily Solá (2005). This work aims at weaving a dance writing, that emphasis an important aspects, that is expected to contribute to the reflections on the formation of the female black body dance nowadays.
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 José
This 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.

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