Mestrado em Artes da Cena (EMAC)
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Item A contação de histórias na cena: contar, encenar e (re) significar como proposição arte/educativa no chão da escola(Universidade Federal de Goiás, 2022-04-13) Amorim, Maria Cecília Silva de; Figueiredo, Valéria Maria Chaves de; http://lattes.cnpq.br/4166799919007370; Figueiredo, Valéria Maria Chaves de; Santos, Luciene de Souza; Charréu, Leonardo Verde; Machado, Maria Ângela Ambrosis PinheiroThis paper presents studies and theoretical/practical reflections occurred from the master's research in the Graduate Program in Performing Arts - PPGAC about storytelling at school, with a view to investigate, using a/r/tography, how storytelling, as an art/educational proposition in the scene, can generate learning and senses in the perceptual development of students in the last year of elementary school. Through the metaphor of the traveling teacher, we created narratives trying to synthesize the trip/investigation. Other questions arose along the way: How to tell stories? What stories to tell? Are teachers storytellers? Who is Aunt Cecília? The choice of Art-Based Educational Research and a/r/tography as a methodological approach brought the concept of the in-between place artist/researcher/teacher, a hybrid place. As a qualitative approach, it presents itself as a conceptual commitment linked to the renderings: contiguity, metaphor and metonymy, Living Research, community of practice, openings, excesses andreverberations. (DIAS and IRWIN, 2013). By the adverse condition of the Covid-19 pandemic, the journey happened through the Internet, inspired by the poetics of José Saramago's Traveler's Luggage (1996), passing through groups of storytellers, video storytelling productions or cybernarratives (BUSATTO, 2013). The journey generated links with other storytellers for the field research, composing a community of practice (IRWIN, 2013). Among the narratives emerged memories, perceptions, searches about the origin / belonging, to finally make a virtual art/educational proposition with a group of children thinking about bringing up aesthetic experiences developed with the child protagonism. Our theoretical work was developed on references such as Benjamin (2018), Bedran (2012), Machado (1989; 2015), Dewey (2010), Dias and Irwin (2013), Desgranges (2018), Kramer (2006), Decico (2006) and others. We conducted storytelling workshops to share moments of fruition with 9- to 11-year-old students from a full-time school. Even with the virtual presence, the children enjoyed moments full of imagination, delicacy and protagonism until they felt confident to read or tell in public. The dissertation is divided in acts, allusive to the poetics of the Scene. The reverberations of this art/educational work in the form of a virtual trip were strongly felt in the teacher/artist/researcher formation that, in due time, started to sow written and told stories wherever it was possible to go. The learnings were constituted thinking about the triangular approach: reading/appreciating, contextualizing, and making Art. The a/r/tography as methodology and analysis will make the path possible to be thought as a process/path of artistic constitution of the traveling teacher, learning to be a storyteller in community.Item No pinicado da viola: a criação de personagem a partir da experiência com o samba chula(Universidade Federal de Goiás, 2022-02-24) Oliveira, Lorena Fonte de; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Queiroz, Clécia Maria Aquino de; Oliveira, Joana Abreu Pereira deSamba de Roda is a traditional expressive manifestation of the Recôncavo Baiano region, which involves music and choreographic, poetic, festive and ritualistic aspects. Since 2005, it has been recognized as an oral and intangible heritage of humanity by the United Nations Educational, Scientific and Cultural Organization (Unesco). Samba is considered a Brazilian musical genre. Among the different manifestations of samba, there is the Samba de Roda and the Samba Chula, which is characterized by the presence of a type of song that gives its name to the samba (chula) and the viola machete. From the experience with Samba Chula in the group “Angoleiros do Samba Chula”, from Goiânia - Goiás, the desire arises to carry out a scenic investigation into the potential of Samba Chula as a driving force for a scenic creative work, in particular, for the character creation. This investigation focused on conducting field research in the district of São Braz, municipality of Santo Amaro - Bahia, with the Samba Chula João do Boi group; in theoretical studies on scenic work, especially from research carried out by Lume – Interdisciplinary Center for Theater Research (Unicamp) and by NuPICC – Collective Scenic Research and Investigation Nucleus 22 and, finally, in a scenic laboratory where the character is born. Rosario. Therefore, it starts from the understanding that the creative work in Arts of the Scene, with elements of Afro-Brazilian cultural manifestations, such as Samba Chula, provides the expansion of the communicative and political potential of the theater, valuing traits of cultural identities.Item Outros lugares de onde se vê: acessibilidade comunicacional em espetáculos cênicos em Goiânia(Universidade Federal de Goiás, 2023-06-23) Santana, Thiago de Lemos; Lima, Marlini Dorneles de; http://lattes.cnpq.br/4182775556812377; Lima, Marlini Dorneles de; Figueiredo, Valéria Maria Chaves de; Silva, Emerson de PaulaEsta tesis de maestría fue desarrollada con personas, con y sin discapacidad, en un contexto artístico en la ciudad de Goiânia, reconociendo sus diversos roles como espectadores, artistas, gestores y productores culturales. Tuvo como objetivo reflexionar, problematizar y percibir la accesibilidad comunicacional desde los enfoques de los avisos públicos del Fundo de Arte e Cultura de Goiás (FAC-GO) y los proyectos culturales financiados a partir de esos avisos públicos ejecutados en los años 2018, 2019 y 2020. Se consideró un abordaje fenomenológico de la percepción, permeado por narrativas semificcionales que trazan cruces entre tres instituciones que estuvieron fuertemente presentes en los cambios en el escenario cultural de Goiás hacia la perspectiva de la Accesibilidad Cultural, el Instituto Arte e Inclusão (INAI), el Centro Cultural UFG (CCUFG) y Grupo de Dança Diversus (GDD). La investigación se configuró cualitativa y cuantitativa, exploratoria y explicativa. La metodología cualitativa recurrió a procedimientos bibliográficos, documentales y grupo focal. La metodología cuantitativa recurrió a cuestionarios estructurados referentes a los proyectos aprobados en convocatorias públicas del Fundo de Arte e Cultura. La investigación parte de una perspectiva filosófica, política y estética, con reflexiones sobre el cuerpo-sujeto como punto de intersección de los fenómenos escénicos y comunicacionales, así como reflexiones y problematizaciones sobre aspectos hegemónicos presentes en este contexto actuando como barreras que impiden la accesibilidad. en sus diferentes dimensiones. Esta es una investigación posibilitada por el aviso público Qualificar n° 01/2019, un anuncio para incentivar la calificación de servidores de la Universidad Federal de Goiás (UFG), por lo tanto, como resultados esperados o como repercusión de esta investigación, pretendemos contribuir a los estudios y prácticas sobre Accesibilidad Cultural en los contextos de creación y producción escénica, así como subvenciones para la elaboración de una política de accesibilidad cultural para la UFG.Item O que (não) é circo? circ/uns/grafia nas artes da cena(Universidade Federal de Goiás, 2022-12-06) Sena, Jonathan Brites; Duprat, Rodrigo Mallet; http://lattes.cnpq.br/0281480941035478; Oliveira, Natássia Duarte Garcia Leite De; http://lattes.cnpq.br/2673206479757870; Oliveira, Natássia Duarte Garcia Leite de; Duprat, Rodrigo Mallet; Ferreira, Andreia Cristina Peixoto; Figueiredo, Valéria Maria Chaves de; Ferreira, Alexandre DonizeteThe present dissertation results from a research developed from mid-2019 to the end of 2021, composing the researching line: Poetics and Aesthetics of the Performing Arts of the Graduate Program in Performing Arts (PPGAC) of the Music and Arts School (EMAC) of the Federal University of Goiás (UFG), linked to the laboratories: Laboratory of Scenic Assembly and Theater Education (LabMonTe/ EMAC/ UFG) and to the Interdisciplinary Laboratory for Performing Arts Research (Lapiac), linked to EMAC and the Physical Education and Dance College (FEFD/UFG). The dissertation is entitled WHAT IS (NOT) CIRCUS? CIRC/UNS/GRAPHY IN THE PERFORMING ARTS. Since the 20th century, there has been a growing number of circus artists who do not necessarily belong to a traditional circus family. This factor is motivated by the creation of circus schools, which emerges as a new way of teaching and disseminating circus art. Thus, such institutions start to coexist with different ways of circus knowledges, some transiting through orality in a family environment; others linked to technical/artistic education in specific circus schools. These integrate various circus arts and are integrated by artists from different artistic areas - dancers, actors, visual artists, performers, among others. Thus, the teaching and learning relationships in these environments are not exclusive to members of traditional circus arts families. In this sense, our work was an investigation of a theoretical and documentary nature, exploratory, with a qualitative and transdisciplinary approach, whose research object was the performance in circus arts. Our objective was to understand how the so-called traditional circus – the first structured model of this practice – has been sharing spaces with other possibilities of circus making from modernity to our contemporaneity, identifying possibles elements concerning these historical movements. Starting from the question ‘What is (not) Circus? The investigation deals with an in-between place, submited to numerous transformations, which are related to the circus transit through different contexts and through different cultural formations, as we could see in the vast theoretical contribution researched. We conclude, therefore, that the circus presents itself as an important field of knowledge of the performing arts, and can be a multiple space for mutual and democratic learnings, which contributes to the development of psychophysical, affective and playful practitioners skills.