Doutorado em Performances Culturais (FCS)

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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.
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.
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 Lima
The 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.
Metaphors we rap by: performatividade, estética e política do cotidiano
(Universidade Federal de Goiás, 2019-10-21) Silva, Thiago Cazarim da; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Pinto, Joana Plaza; Garcia, Allysson Fernandes; Christino, Daniel; Corrêa Júnior, Sebastião Rios
This dissertation is a philosophical essay on an issue related to musical productions, speeches and practices that do not have rap as their raison d'être. It is what I call rap's performative claim – the idea that it is a musical genre endowed with different “powers of doing”. However, if this performativity assumes for artists, cultural actors and rap-related fans positive features – such as the power to transform reality, to become socially aware or to turn rap music an instrument of struggle – it is also through a performative claim that state officials and media speeches often harness to rap music a power to incite crime and public disorder, to uphold the structuring values of peaceful social coexistence and even the physical integrity of an individual. Thus, a formation of performative metaphorical chains seems to be central to the appreciation, acceptance, rejection and, eventually, sociocultural and ecological assimilation of such music genre. This essay tries to think over the impact, the need, and the risks encompassed in rap’s performative metaphorization as music genre, in which aesthetics and politics articulate and stress the boundaries between everyday life and fiction.
Arte e vida os parangolés de Hélio Oiticica - performances a contrapelo
(Universidade Federal de Goiás, 2020-03-12) Gonzaga, Deusimar; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo , Robson Corrêa de; Camargo , Goiandira de Fátima Ortiz de; Reinato , Eduardo José; Veloso , Sainy Coelho; Lopes , Antônio Herculano
This work aims at developing a study about Hélio Oiticica´s invention/performance Parangolé. The painter, sculptor and performance artist was born in Rio de Janeiro, in 1937 and died in the same city, in 1980. Parangolé is approached here as a language/performance of the subjectivities and the non-representational practices. The axis of the analyses is the artist´s written material which revolves around his parangolés (objects and performance) and his other objects. I search for an understanding of Parangolés entering Oiticica´s labyrinth-world. The analysis revolves around the thinking of three authors. Kenneth Burke (1897-1993): Symbolic action and Terministic Screens - categories of language analyses in his dramatism. Russian philosopher Mikhail Bakhtin (1895- 1975): his concept of exotopia - exceeding view (consideration of the other´s view, time and place of perspectives constituted in the work of art), to situate the presence of the spectator/participant of Parangolés. What Richard Schechner calls “actual”: a special manner of constituting and dealing with artistic experience. A mimesis event: imitation, presentation (in time, be present, existence, existence in time), representation and expression of the actions of living in the attempt to occupy the spaces between past and present, individual and group, inside and outside. I investigate in Parangolés what is beyond imitation or representation of reality; and beyond the expressions of mental and emotional states, circumscription that nests Oiticicas´s behavioral exercises. Chapter I - Ethics, aesthetics, action, and behavior of the embodied language of P(p)arangolés; Chapter II - Overview from an artistic angle of the Brazilian cultural scene of the 1960s: the constructivist art of the concrete and neo-concrete movements. Political and artistic matters from a sociocultural perspective; Chapter III - Deals with language as wills of presentation, introduction, and representation of the world, of us and others, in social interactions/performances; Chapter IV - A view from Burke´s screens; Chapter V - What one cannot see or see at Bakhtin´s screens; Chapter VI - Actualizing (Actual) as proposed by Schechner.
A solução de problemas como potência prática na performance dos jogos teatrais: de John Dewey à Viola Spolin
(Universidade Federal de Goiás, 2020-06-23) Vieira, Karine Ramaldes; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Koudela, Ingrid Dormien; Moreira, Carlos Otávio Fiúza; Santos, Nádia Maria Weber; Reinato, Eduardo José
This study seeks to understand how the process of problems-solving, from the perspective pointed out by John Dewey (1859-1952), constitutes the master structure of the approach and development of the theater games proposed by Viola Spolin (1906-1994). It investigates the path that John Dewey's studies have taken in the elaboration of the problem-solving process, in order to arrive at the games systematized by Viola Spolin. This question becomes fundamental not only for the studies relating to Spolin's theater plays, but also for theater teaching and performance studies in Brazil. It tries to examine some questions that pervade the construction of the experience in the theater games of Viola Spolin from the process of problems-solving. This is an approach, which elaborates mental, psychological, practical, contextual analysis, interpretation, and analyzes how these can enrich the studies concerning the pedagogy of theatrical practice in a more comprehensive way.
A performatividade das quadrilhas juninas: reminiscências da tradição e a espetacularização da dança
(Universidade Federal de Goiás, 2020-06-24) Zaratim, Samuel Ribeiro; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Tamaso, Izabela Maria; Gonçalves, Renata de Sá; Corrêa Junior, Sebastião Rios; Osório, Patrícia Silva; Bonetti, Maria Cristina de Freitas
This research discusses about quadrilhas juninas/folk june dances, in the concept of performativity, characterized by the Ação Junina in dance on stage from the introduction of the stereotyped figure of the matuto, to the quadrilhas juninas for competition full of new meanings; known as modern or stylized. The analysis dedicated to this work focused on the quadrilheiros experiences as well as on the different appropriations of the notion of Fazer Junino by the groups of quadrilhas juninas, in order to analyze their performance elaborations under the support of the theory of cultural performances. It is important to note that the terms performance characteristics and performativities, are understood in this study, as elements that constitutes the performances of Cultura Junina. In this context, this research presents the multiple factors tha compound the quadrilhas juninas modernas, among them the process of spectacularization of dance and the festivals, including their continuous processes of updating and reframing. In this work, I consider qudrilhas juninas as a product of the cultural industry that presents diversity in the elaboration of cultural goods in their performances, which, in a certain way, are aligned with the social contradictions of their localities. Simultaneously, the quadrilhas juninas as a social group transcends the festive and cultural dimensions, reaching professional ties and organizational actions that seek technical improvement, which stimulates the competitive attitude and encourages a spectacular perspective. The práticas juninas tell their stories, as they demonstrate their balances and imbalances in Fazer Junino, established by innovation, by the phenomenon of spectacularization and by the ideological clashes over culture in the face of media appeals attributed to the cultural market.
O massacre de Eldorado dos Carajás/PA (1996-2019) e o desdobramento da luta de classes: narrativas dos sobreviventes e formação política
(Universidade Federal de Goiás, 2020-07-07) Pereira, Antonio de Jesus; Real, Márcio Penna Corte; http://lattes.cnpq.br/1976193858153118; Real, Márcio Penna Corte; Pietrafesa, José Paulo; Ribeiro, Núbia Ferreira; Dias, Luciene de Oliveira; Abdala Júnior, Roberto
This work analyzes the historical, political, social and economic context of the fight for land in the state of Pará, concerning a possible raging process of class struggle in this state and influencing the massacre of Eldorado dos Carajás on April 17, 1996, when 19 agricultural landless workers were killed by the police. From the insertion of cultural performances in the field, the research that originated this thesis has a theoretical background based on the historical and dialectical materialism – mainly the notion of class struggle and its relation with the agricultural issue and the resulting conflicts in the country. As an investigation process, this work prioritized 11 interviews with agricultural workers linked to the Landless Workers’ Movement in Brazil (MST) that survived the massacre. This course allowed the analysis and discussion of narratives of the survivors, representing the raging of class struggle in Pará. The narratives expressed the massacre itself, and also evidenced some of the social tragedies experienced by the landless rural workers. They also showed elements of a political culture that has contributed to the formation of activists in the social movement of MST.
Ciranda na arte, construindo performances, afetos e liminaridades. Experiências arte/educativas na rede pública do Estado de Goiás (2009-2016)
(Universidade Federal de Goiás, 2020-10-08) Alcantara, Luz Marina de; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo , Robson Corrêa de; Barbosa , Ana Mae; Koudela , Ingrid Dormien; Rizzi , Maria Christina; Reinato , Eduardo José
This study analyzes the performances of Ciranda da Arte Center of Study and Research, an institution of the State of Goiás, with no similar at the national level, founded on July 15th, 2005. Ciranda aims to develop a process of continuing education in art, focusing on artistic production, research and training of art/educators. Ciranda looks for updating and deepening knowledge that reverberates in the quality of art teaching in the system of state public school and the aesthetic education of society in general (PPP 2015). Therefore, we examine the historical path of art teaching in the public network of Goiás developed under the intervention of Ciranda da Arte, historically considering the eleven years before its creation and the eleven years that followed (1994-2016). As a theoretical framework, the performances were produced according to the concepts of affectivity and significant learning developed by the French philosopher and psychologist Henri Wallon (1879-1962), and also the American philosopher John Dewey (1859-1952). From the cultural performance perspective, the current study tries to understand the relational game of the ciranda performances as processes of structure, anti-structure and liminalities, concepts developed by Victor Turner (1920-1983) in his book The Ritual Process. Structure and Anti-structure (Lewis H. Morgan Lectures, 1966). I also adopted the sequence of artistic performance as it was developed by Richard Schechner (1934) for the analysis of the collective and individual art exhibitions of the full-time state schools in the cities of Anápolis, Goiânia, Inhumas and Palmeiras de Goiás.
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 Lima
This 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.
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 Lima
This 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.
Ecossonâncias: o protagonismo da mulher no tambor de crioula
(Universidade Federal de Goiás, 2020-12-01) Monteles, Nayara Joyse Silva; Abreu , Carla Luzia de; http://lattes.cnpq.br/1430560976125427; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Santinho, Gabriela Di Donato Salvador; Guimarães, Leda Maria de Barros; Ribeiro, Tania Cristina Costa; Hartmann, Luciana
In this study, systematized as a thesis, the objective was to discuss about creole drum and the performance of the coreira on circle dances associated with St. Benedict, the Moor, that take place in the cities of São Luís and Alcântara in the state of Maranhão, Brazil. The field research was carried out in the period from 2017 to 2019 in the mentioned cities. It was observed that the creole drum is a cultural performance, considered as Intangible Cultural Heritage of Humanity since 2007 by the National Historical and Artistic Heritage Institute - (IPHAN). The focus is on the drums of promise, linked to the religiosity of black Catholicism and performed as a way of thankfulness and devotion, above all, to St. Benedict, the Moor. The discussions proposed in this material involve the notions of Creole drum, memory, orality, oral narrative, popular culture, popular Catholicism and the centrality of women in the creole drum. As a methodological approach, the basis used was the oral narrative for trying to understand the drum and the performance of the coreira from the perspective of women / coreiras and the poetnography which is used as a gateway to the creative process that is derived from the junction of the field research and the researcher’s life story. From the immersion in the field, by means of Poetnography, the visual productions called visual ecossonances are derived.
Performances negras e homoeróticas na literatura de James Baldwin
(Universidade Federal de Goiás, 2020-12-21) Bezerra, Paulo Rogério Bentes; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Nunes, Flávio Adriano Nantes; Correia, Paulo Petronílio; Almeida Neto, Luiz Mello de; Camargo, Flávio Pereira; Dias, Luciene de Oliveira
The aim of this academic paper is to discuss, primarily, the homoeroticism and the negritude in the literature produced by James Baldwin, with the focus on Performances Culturais.The homoeroticism is discussed under the conception that the sexuality of the main male characters of both novels is not fixed, stable, but undefined, in transit and performative. The masculinity and the space are also issues within this literary scope of black and homoerotic bodies, particularly in the narrative of the novels Another Country and Just Above My Head, written by James Baldwin. Both novels are discussed in this work throughout the idea of an anti-hegemonic masculinity, in which the virility is not attached to heteronormativity but to a whole set of sexual ambiguity, regarding the main male characters. In terms of the space matter, this research carries the idea that it is intertwined with the characters, through their peripheric aspect, indoors and outdoors. The narratives take place in neighborhoods which are located in the margins of New York City. Furthermore, the city communities, their places of social interaction and the ideology of racial segregations are issues of discussion and lead to a complex urban performance in the writing by Baldwin. Moreover, African American Literature brings out the discussion of Escrevivência, a literary term created by Brazilian black female writter Conceição Evaristo. This term is viewed in this research as object of an approximation between the literature of James Baldwin and Conceição Evaristo. Finally, in order to better conduct his academic paper, I selected as theoretical framework, the works of bell hooks (1992, 2015), Paul Gilroy (2007), Kimberlé Crenshaw (1989), Grada Kilomba (2019), Gaston Bachelard (1984), Fernando Seffner (2016), Jurandir Freire Costa (1992, 1995), Toni Morrison and Conceição Evaristo (1996) among other contributions.
Cartografia camerística: uma poiética intertextual na performance contemporânea da música de câmara
(Universidade Federal de Goiás, 2021-03-05) Freccia, Gustavo Weiss; Rios, Sebastião; http://lattes.cnpq.br/7078983629857043; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Veloso, Sainy Coelho Borges; Santos, Rafael Guarato dos; Oliveira, Vânia Dolores Estevam de; Bittar, Valéria Maria Fuser; Ballestero, Luiz Ricardo Basso
This work is the product of a cartographic investigation about the performance(s) that is (are) to be found in today's chamber music recital. Starting from a discussion on the creative role played by a classical music performer (when he or she structures the spectacle's performance, chooses his or her repertoire, sets spacialities and the intertextual devices that integrate each recital), we assume that the recital takes the shape of a ritual (GOFFMAN, 1959; TURNER, 1974). Even though such chamber music recital's cultural rituals are secular, they do comprise an artistic dimension that overcomes common place and everyday life, such as in the case of sacred things. The chamber musical recital, therefore, is an event full of performatic dimensions that go through all phases of the performance (SCHECHNER, 1985), in its inceptions, as well as in its performance or its mouvance (ZUMTHOR, 2018). I name “performatic layers” (genre, praxis, and recital) those very dimensions through which one may set a certain perspective by means of the lenses of the performances for they at times coexist, superimpose upon each other or take place separately and yet they are co-dependent. In a way, such matters drive theme, problem and method itself and therefore some assumptions are set by means of an investigation about the arts (BORGDORF, 2012; 2018), thereby setting a certain entanglement with the so-called qualitative investigations (BAUER; GASKELL, 2008, VELARDI, 2018), and performatic investigations (HASEMAN, 2015), as well as cartographic investigations (ROLNIK, 2006, DELEUZE; GUATTARI, 2011, PASSOS; KASTRUP; ESCÓSSIA, 2015). In another way, cartographic deambulatory experience merges artistic experience with research experience, thus generating data that throw some light upon the setting of this thesis and demand a specific method. Besides the theoretical framework related to the very features of this research, its concepts and the history of chamber music and beyond the theory concerning cultural performances, there also appear as generated data the observation and analysis of recitals which I attended and of recitals in which I took part (as a musician), as well as interviews with chamber musicians. Such data comprise a kind of counterpoint to the information present in the three first chapters and the description of the making of the recitals and therefore demonstrate the applicability of the concepts that have been used. This thesis culminates in the artistic project elaborated through the cartography made during this investigation (narratives, theoretical references, discussion of concepts and interviews), in a video-recital entitled Improvisório. It is a self-poietic testimony, which closes this work from the perspective of artistic practice.
Performances afro-brasileiras na cidade de Goiás (GO): diálogos patrimoniais
(Universidade Federal de Goiás, 2021-04-15) Macedo, Eliene Nunes; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Tamaso, Izabela Maria; Pires, Ema Cláudia Ribeiro; Osório, Patrícia Silva; Silva, Renata de Lima; Corrêa Júnior, Sebastião Rios
The present thesis seeks to explain black performances in some Afro-Brazilian groups from Cidade de Goiás (GO) and how they relate to the world heritage title given to the city by UNESCO and IPHAN. In such sense, the research followed the Congo, Afoxé, Avó Delê and Bloco Pilão de Prata groups to understand, in a dialogical perspective, the identity relations and their mirrors, as well as the embodiment and experiences of ethnic racial relations in heritage performance practices taking into consideration the way cultural policies are developed both worldwide and nationally with local specifications. Goiás was considered a UNESCO World Heritage in 2001 thanks to the preservation of its historical, architectonic and urbanistic values, which witnessed the occupations and colonization that happened in the 18th Century. Paradoxically, at the beginning of the 20th Century, other cultural practices start to emerge and build connections with the descolonialism context besides instigating discussions about ethnic racial relations. Such scientific investigation is justified by the need of understanding the ethnic racial identity relations that exist in post-modernity and thereby it attempts to reflect upon the multiple processes of identification and manifestations of expression that run through the aforementioned subjects. In addition to these discussions illuminating reflections on ethnic-racial relations, it underlines the emerging need for Brazilian society to critically reflect and act in the fight against racism. The analysis presented has a field research done between 2016 and 2020 as a reference in which ethnographic methods were used and whose goal is to interpret Afro-Brazilian performances in the town of Goiás and their heritage dialogues. It is possible to observe that the historical center heritage speech, which had a unique identity, starts to get fissured and displaced. As far as it is concerned, the groups Congo, Bloco do Pilão de Prata and Afoxé Avó Delê attribute new outlines to the local cultural practices and highlight the agency of symbolic content in Afro-Brazilian manifestations, which therefore result in a complex process of descolonialism as an outcome of their performances and educational actions.
A performance da subjetividade lírica na poesia de Edival Lourenço
(Universidade Federal de Goiás, 2021-07-05) Tavares, Valéria Alves Correia; Camargo, Goiandira de Fátima Ortiz de; http://lattes.cnpq.br/3029764057965151; Camargo, Goiandira de Fátima Ortiz de; Souza, Jamesson Buarque de; David, Nismária Alves; Pinto, Divino José; Christino, Daniel
The thesis Performance of lyrical subjectivity in the poetry of Edival Lourenço introduces perspectives and analyses on performance experiences from the point of view of the poetic work of Edival Lourenço, a writer from the state of Goiás. Standing out in both the regional and national literary scene, the author is recognized for his production ranging journalism, prose and poetry. The work Poesia Reunida (2014), corpus of this research, is here analyzed in the scope of textual elements that indicate the underlying performance in the poem and how these elements allow the performance act of the lyrical subject. The investigation also encompassed the author’s poetry in the scope of the lyrical subjectivity expressed in this poems based on an approach focused on reader’s performance. Therefore, the work chosen to be the corpus of this research provided elements that, under analysis, indicate the performance viability of Lourenço’s poetry and how such elements could interfere on reader’s subjective reception. Furthermore, based on a critical approach, it is identified how the performance adopted in Lourenço’s poem possibly guide us through the poet’s perception of awareness, who finds himself pointing to these textual elements and manages to show the reader the manifestation of his language. Our reflections on Lourenço’s poetry and performance talent are grounded on the study of Reception Aesthetics, a branch of Literary Theory that seeks to understand the role and function of the reader as an active participant in the reading process. Such approach highlights the theoretical postulates of Paul Zumthor (1993, 2005, 2010, 2014), Wolfgang Iser (1979, 1999), Hans Robert Jauss (1979, 1994), Umberto Eco (2002, 2015), Richard Bauman (2006, 2009), and Richard Schechner (1985, 2011a, 2011b), among other scholars.
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 Oliveira
This 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.
Memória, ancestralidade e práticas corporais na congada da Vila João Vaz
(Universidade Federal de Goiás, 2021-08-02) Carvalho, Cleber de Sousa; Corrêa Junior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Corrêa Junior, Sebastião Rios; Falcão, José Luiz Cirqueira; Antunes, Priscilla de Cesaro; Silva, Renata de Lima; Neves, Talita Viana
This study presents reflections on the processes of evoking memories among the congadeiros of the Festa da João Vaz (Goiânia-GO). We seek to understand the processes of evoking African and Afro-Brazilian memories of Bantu matrices, mainly, but also Sudanese, in view of the protagonism of the bodily practices of its participants. Among the objectives, we highlight the interest in analyzing the intercultural processes that occur at the festival, from different Bantu, Sudanese and popular Catholic traditions; identify the references of religiosities experienced by the congadeiros and their correlations with the event in focus; investigate how bodily practices participate in memory recall processes; and finally, perceive and register the senses and meanings of the experiences of the congadeiros with dancing, singing and drumming. An ethnographic study was carried out in the context of the preparation and realization of the Festa da João Vaz. The analyzes were also based on the studies of Cultural Performances, considering the integrality of the performances of the congadeiros, as well as the perception and analysis of their experiences with the phenomenon in question. Aspects of the corporeality of the congadeiros revealed memories whose plots constituted in gestures, in the familiarity with the places and in the use of objects and artifacts as insignia of power during the celebrations. The diversity of dances, songs, colors of uniforms, types of musical instruments and their ways of performing them demonstrate dynamics of identity (re)signification that occur between the participants and their guardas in Congada. Memory, its meanings and the ways in which it is evoked nurture the link between congadeiros and their notions of African and Afro-Brazilian ancestry. Through the link with ancestry, they experience their own relationship with the sacred in a black bodily mnemonic that goes beyond the most current conceptions of Catholicism, Umbanda and Candomblé. In the encounter and interdependence of these phenomena, the memories incorporated in the congadeiros reveal cosmovisions and symbols in the composition of black culture in Brazil.
O arrepio do lúdico: análise da construção do espaço e da atmosfera de jogos de videogame de horror, terror, suspense e subgêneros
(Universidade Federal de Goiás, 2021-08-06) Bueno, Murilo Gabriel Berardo; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Christino, Daniel; Rocha, Claudio Aleixo; Franco, Edgar Silveira; Nogueira, Lisandro Magalhaes; Melo, Marcilon Almeida de
Cette thèse de doctorat analyse la construction de l'espace et l'atmosphère de l'horreur, le suspense et les genres possibles dans le jeux vidéo. L'investi-gation interdisciplinaire combine les études phénomènologiques propos par Heidegger, Gumbrecht et Fink, avec un cadre complemmentaire des étu-des sur les performances culturelles propos par Schechner, Turner et Gen-nep, ainsi que les études sur le genre et les narratifs cinématographiques, en permettrant d'annaliser comment l'expérience et matérialisation de l'espace et de l'atmosphère sont construites dans les jeux, en amenent points de con-tact avec les états liminaires et performatiques qui constituent l’expérience de la jouabilité et offrent la possibilité d'étudier des genres et des catégories nar-ratifs dans les jeux. The objectif de la recherche est d'analyser l'espace et l'atmosphère des jeux Outlast, Outlast II, The Evil Within, The Evil Within 2, Resident Evil 2 (Remake), Resident Evil 3 (Remake). Ces jeux ont été choisi pour être, bien qu'ils sont issus d'une recherche qualitative, d'un échantillon pertinent pour une discussion sur différents types d'espaces, d'atmosphères, d'ouvertures esthétiques et de genres narratifs. L'objectifs spécifiques ont été établis pour analyser l'interface entre les performances culturelles et phéno-ménologie, par l'analyse de la construction d'espaces organisés pour faire peur. Un objectif supplémentaire pour l'orientation et le développement de la recherche était de mener l'investigation des jeux d'un point de vue esthéti-que, liés à apporter la consolidation du climat de peur et la constitution d'un langage visant à l'esthétique dans les jeux qui font partie du corpus de re-cherche. Enfin, le besoin d'enqueter sur les histoires, les intrigues et les récits dans la consolidation des tropes de genre à chaque moment de jeuabilité. Au cours de la discussion sur le sujet dont je m'occupe, l'objet d'un corpus d'étu-des et de recherches, nous avons développé l'analyse basée sur une structu-re interdisciplinaire, dans une combinaison d'éléments théoriques, com-me proposé avant.
A experiência de Samuel Beckett no cinema
(Universidade Federal de Goiás, 2021-10-21) Reis, Adriel Diniz dos; Abdala Júnior, Roberto; http://lattes.cnpq.br/7014946989727038; Abdala Júnior, Roberto; Camargo, Robson Corrêa de; Nogueira, Lisando Magalhães; Reinato, Eduardo José; Vieira, Karine Ramaldes
This thesis presents a cinematographic analysis of the short film named Film (1965) from the perspective of theatrical influence the Irish Samuel Beckett. Thus, this work brings together the film Film, the play Waiting for Godot and all the dramaturgical work written by the Irish playwright Beckett. Written and directed by Beckett and co-directed by the American stage director Alan Schneider, Film addresses the Irish philosopher George Berkeley’s “To be is to be perceived” principle. In turn, Waiting for Godot, Beckett's main play, approaches the conceptual tripod of all Beckettian dramaturgy, based on the concepts of time, memory and habit, so important to the French writer Marcel Proust. Therefore, this research is interested in discussing the “subjective self-performances” raised in the reader-viewer from the relationships established in the filmic-theatrical characters' plot of the beckettian.

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