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Item 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 deThe 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.Item Apareceu o Margarida: liminaridades e masculinidades no futebol(Universidade Federal de Goiás, 2020-02-12) Gomes Júnior, Lázaro Moreira; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Dias, Luciene de Oliveira; Reinato, Eduardo José; Lima Neto, Djalma Rodrigues; Santos, Rafael Guarato dos; Lima, Ricardo Barbosa deThe work that follows sought to carry out a dialogue between soccer, a present and constituent sport in Brazilian society and culture, with studies of performance and gender. We had as starting point two professional soccer referees who acted between the decade of 1980 and 1990 of the twentieth century. Jorge José Emiliano dos Santos, an assumed homosexual and Clésio Moreira dos Santos, a heterosexual who created a gay character, to act as referee. The study sought to analyze soccer as a ritual, through the concepts developed by Victor Turner and Richard Schecnher, strained by the masculinities construction process within a misogynist and homophobic society based on heteronormativity.Item 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, RaimundoThe 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.Item Arte expandida decolonial: tensões entre a arte-vida, o corpo, a dramaturgia e as possibilidades de performar a si mesmo(Universidade Federal de Goiás, 2021-06-25) Pereira, José Arnaldo; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Conrado, Amélia Vitoria de Souza; Cardoso, Thereza Cristina RochaI proposed to follow the connections and clues of the notion of expanded field, identifying: art-life, the body, dramaturgy and possibilities of expanded ways of performing oneself. Thus, problematizing and constituting a centered and expanding research path between the look, the reeducation, the body of the artist himself, research guided by practice, performativity, the Indigenous Paradigm, the Actor-network Theory, as well as decolonial problematizations. What derives the notion-practice of Decolonial Expanded Art and its applicability in the cultural project arroboBOI.Item As performances de Odorico Paraguaçu em "O bem amado" (1973): uma sátira à política brasileira no século XX(Universidade Federal de Goiás, 2020-03-02) Vilela, Anne Araujo; Abdala Júnior, Roberto; http://lattes.cnpq.br/7014946989727038; Abdala Júnior, Roberto; Luterman, Luana Alves; Reinato, Eduardo JoséThe work aims at the representations of the fictional politician and colonel Odorico Paraguaçu of the soap opera O Bem-amado, in 1973. Designed by Dias Gomes, the soap opera challenged the political and historical period of that moment, the Brazilian military dictatorship. In the regime's view, the author was a subversive, but Dias Gomes, as a popular national playwright, did not allow himself to be intimidated and transformed Odorico into the portrait of several individuals who followed a unique, predictable and almost unchanging, even among political opponents. Odorico became a criticism that turned the real-life tragedy caused by most politicians into comedy. In order to understand the game of Odorico's representation, it was identified that the questions were transdisciplinary and could be encompassed by the studies of cultural performances, mainly as understood by Erving Goffman and Richard Bauman, thus, the communicative resources used by the author and the actor, Paulo Gracindo that interpreted Odorico, they were analyzed as cultural performances. Therefore, the character Odorico Paraguaçu performed through social frames as a moralist, colonel and populist, and during the telenovela, his actions become part of this character's personal and scenic facades, which revolve around his effort as a politician to please the population of the fictional city of Sucupira and inaugurate its campaign promise to the city hall: a cemetery, testing the efficiency of its representation. The comparison between the frames of the character Odorico and the politicians previous and contemporary to him, took place through bibliographic research mainly in digital collections of documents of the time. The performatically related data showed that Odorico's way of acting did not differ in the total forms of representations employed by politicians that existed in the Brazilian reality, most of the time with similar intentionality.Item As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim(Universidade Federal de Goiás, 2019-10-09) Santos, Flávia Cristina Honorato dos; Lima, Renata de Silva; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Monteiro, Marianna Francisca Martins; Correa Junior, Sebastião Rios; Lima, Marlini Dorneles de; Satler, Lara LimaFrom the perception of the potency of Afro-Brazilian musicality in the theatrical scene, as regard to the installation of a scenic presence, from a body state stimulated by these sounds, and as regards to the textures and ambiences that collaborate with the music dramaturgy, the interest arises in addressing the relationship between body, scene, music and Afro-Brazilian culture. In an attempt to understand the contours which this musicality delineates in the contemporary scene, giving it traces of black identities, this research analyzes the show Por cima do mar eu vim, from the Núcleo Coletivo 22. The scenic musical show deals with the story of Queen NzingaMbandi and the African Bantu influence in Brazil, it is committed to a black aesthetic composed in a textual and body dramaturgy in which Afro-Brazilian musicality appears as an important poetic resource. As researcher and interpreter-creator of Núcleo Coletivo 22, who participated in the creation process of this show, as well as its circulation in the city of Goiânia, I discuss from the perceptions, feelings and affections lived, the imbricate between act, touch, singing and dance in this scenic experience.Item Aspectos da performance em Copacabana mon amour: entre o ator e a mise en scène no cinema de Rogério Sganzerla(Universidade Federal de Goiás, 2021-06-14) Oliveira, Karine Matos de; Nogueira, Lisandro Magalhães; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Oliveira, Sandro de; Jordão, Janaína Vieira de Paula; Nogueira, Lisandro MagalhãesThis research has as its theme the acting in modern Brazilian cinema, focusing on Rogério Sganzerla's cinema in the context of Cinema Marginal that emerged in the second half of the 1960s. The corpus of the research consists of the film Copacabana mon amour (1970), directed by Sganzerla when he worked at the production company Belair. The objective of the research is to apply the concept of performance in a study of cinematographic stylistics focused on the mise en scène, emphasizing the work of the actors, in order to understand to what extent Copacabana mon amour incorporated elements characteristic of the performance as an artistic language, defining, thus, its particularities as a film of modern Brazilian cinema. The hypothesis is that Rogério Sganzerla adopted forms in the film Copacabana mon amour that have aspects in common with the way of thinking and making the scene, as well as the way of being in the scene of performance art. The language of the performance is taken as a type of scenic expression that has its own ways of acting and construction of the scene and that emphasizes the event at the moment of its presentation. Therefore, the cinema made by Sganzerla in Belair goes against a way of disposing the mise en scène approached by Aumont (2008a) and Oliveira Júnior (2013), which emerged in modern cinema, which values the creation of the actor at the time of filming as a component of its composition. This is a qualitative study that uses film analysis as a methodology. The result achieved with the research is that by combining aspects of the language of performance with an approximation of reality through the scenarios typical of modern cinema, Sganzerla allowed the actors to perform similar to that performed in performance art.Item Os cantos de presépios como identidade da comunidade de Pirenópolis(Universidade Federal de Goiás, 2020-10-13) Matteucci, Letícia Wayne; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Correa Júnior , Sebastião Rios; Curado, João Guilherme da Trindade; Dias, Luciene de Oliveira; Guimarães, LedaIn the present work, we investigate the tradition of songs of cribs that is celebrated by the community of the city of Pirenópolis. It was born in the first half of the XVIII century, in the time called Mines of Our Lady of the Rosary of Meia Ponte, it was in the XIX century that with the name of Meia Ponte, it stood out like cultural cradle Goiano - with the appearance of the band and great masters and of the press, with the emergence of the first Central West newspaper. Today, still influenced by the historical cultural festivities, the traditional houses of the city are surrounded by cribs, tradition and religiousness in the Christmas period. The representations of the tradition of songs of cribs, the mourners and devotees, will be in this production presented and portrayed, through the narrative of who experienced the ceremony and related to the mythical and spiritualized historic city. The intention is to extract from literature, fieldwork, memories and experiences of rezadeiras in the Alto do Bonfim neighborhood in Pirenópolis, subsidies for a description and understanding of the cultural manifestations that make up the city’s festive calendar. The trajectory begins with a journey through time when we produce the rescue of the city’s historicity and the implementation of its churches and religious and cultural festivities. Soon after, a description of the traditions of the songs of cribs and their memories is presented so that, afterwards, they can be debated as rituals, so that we can understand the memories and their transmissions as identity constituent parts of the pyrenopoline community.Item 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, RobertoThe 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.Item 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 AraújoThis 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.Item 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, SebastiãoThis 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.Item Contribuições performativas nas representações das lembranças do festival Goiânia em Cena 2001/2018 para a formação da memória cultural goianiense(Universidade Federal de Goiás, 2020-08-24) Jesus, Rosemary Aparecida de; Figueiredo, Valéria Maria Chaves de; http://lattes.cnpq.br/4166799919007370; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Dallago, Saulo Germano Sales; Veloso, Sainy Coelho BorgesThe present work deals with the International Festival of Performing Arts - Goiânia em Cena and has the general objective of raising the contributions of the performance in the representations of the memories of the festival, for the formation of the Goianiense cultural memory. It was guided by the collection of graphic material, presentation and dissemination, as well as interviews, verification of the Official Gazette and archive of the Municipal Secretary of Culture of Goiânia. The research aims to reflect on how the deponents perceive, describe and classify, over time, the facts involved in the operational dynamics of the event in question, in order to contribute to the cultural memory of Goiás. The following specific objectives were established: to describe the theoretical elements of cultural performances by the concepts related to this encounter of knowledge; identify the representations of the memories of the managers and artists involved with the event throughout its editions; present evaluate the repercussions of these memories as a possible record to contribute to the formation of the cultural memory of Goiás. We used an approach specific to the studies of cultural performances, called performative research, characterized by empirical works. Therefore, it was found as a result that the formation of memory goes through an individual point and extends to the collective plane, even when the experiences that happened in the past are processed individually. The participants revealed their memories of kept memories, expressing in their representations the memories they show in different ways, much or little when asked about the experiences lived in the operational dynamics of the “Festival Goiânia em Cena” revealed and analyzed.Item As conversas de Edifício Master: entre o mundo e a cena(Universidade Federal de Goiás, 2020-08-19) Nakamura, Lucas Hideki da Silva; Nogueira, Lisandro Magalhães; http://lattes.cnpq.br/6994570742767643; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Nogueira, Lisandro Magalhães; Christino, Daniel; Silva, Joanise Levy daThe research aims to examine the trajectory of the concepts of staging and performance in the documentary through the work from the maturity of Brazilian filmmaker Eduardo Coutinho: Edificio Master (2002). In this film, we are able to comprehend the director’s creation process, it’s unique relationship with the documentary characters and his conception about the devices. Our hypothesis is that Coutinho’s conversation cinema, which finds its maturity on movies like Edificio Master, articulates staging strategies to certain procedures that aim to create a fissure in what is real, allowing for the emergence of a liminal space, between the everyday and the performative space. A place of invention among those who film and those who are filmed. An interweave of performance as defined by Brasil (2011): the gesture before the mise en scène. This work explores how Eduardo Coutinho, prominent name of the conversation cinema, enables, in the final phase of his work, the dialogue between contemporary documentary thought and practice and performance theory.Item A dança negra de Ismael Ivo: a antropofagia de si como recurso para fazer dança como arte(Universidade Federal de Goiás, 2021-02-26) Ferreira, Juliana de Oliveira; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Fernández Serratos, María de Lourdes; Paixão, Maria de Lurdes Barros da; Dias, Luciene de OliveiraThis paper dedicates itself to explore the performance of the brazilian black artist, choreographer and dancer, Ismael Ivo (1955). Born and raised in the Zona Leste, in the city of São Paulo, Ismael Ivo has an international dance career, recognized by his artwork and dance management. What makes his practice so unique, and what makes us interested in this study, is the construction of his work as an artist, presenting a black dance perspective that kept an enduring dialogue with the european and north-american cultures dance canons historically called art, and titling himself as “a good son of the anthropophagy”. Using this as a starting point, we intend to comprehend which are the aspects of a black art the does not isolate itself in imaginaries claiming of supposed “essentialized origins” by the tradition’s bias but a black art dedicated to “devour” different perspectives in the frequent construction of his poetic, presenting another way of existence of the black diaspora shaped as dance. Thereto, this analysis will use narratives over his life, images and some of his scenic spectacles, to comprehend as Ismael Ivo invented his understanding about anthropophagy as a resource to make himself exist as a black artist in the artistic dance area.Item Deuses que dançam - a orixalidade no ensino da dança(Universidade Federal de Goiás, 2022-03-04) Silva, Wellington Campos da; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Dias, Luciene de Oliveira; Lima, Marlini Dorneles de; Silva, Renata de Lima“Gods that dance” is a dance praxis, that explores the potential energy of òrìṣà in the body of each individual, in search of vivacity in the corporeity of the divinity, in direct relationship with the imaginary, the myths and the music of the candomblé kétu tradition. Over a few years of experience with the workshop “Gods that dance”, some method discoveries were made and the desire to transform this in academic research to discuss the dance education from elements of orixality was born. This research is based in symbolical elements, esthetic and social of candomblé culture – that are passed by the eldest women and man; in the methodology of body preparation named “Body Installation”; on the discussion about body relation and ancestry and, finally in self-experience. For the development of this research, were executed two method procedures, thought from experience in candomblé dance, they are “Blessing” and “Act”.Item Do canto ritual do mara´akame ao ‘el canto de lo sagrado’: a cantografia do sagrado ou perform(ando) ancestralidades(Universidade Federal de Goiás, 2021-09-27) Ordaz Guzmán, Patricia; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Coelho, José Luiz Ligiéro; Souza, Geórgia Cynara Coelho deLa propuesta de este trabajo es describir y analizar sobre la formación de per-formances-rituales que relacionan el trabajo artístico basado en la voz y en el canto, en contacto con el canto Wixarika do Mara´akame (ZINGG, 1982; LUNA, 2004; LIRA, 2017) en su contexto ritual y sagrado. A investigación acompaño mi proceso de creación vocal y sonoro de uno de los movimientos de lo que fue titulado El canto de lo Sagrado (XO-CHTIZIN, 2020). La investigación tiene por principales referencias conceptuales, los es-tudios de performances culturales em sus relaciones de saberes de la antropología y de arte, especialmente de las nociones de ritual (TURNER, 1974, 2005) y sagrado (SCHE-CHNER, 2002, 2005, 2012). Se escribe em primera persona como una construcción de narrativas atravesando la auto etnografía (RUTTEN, 2016) y entendiendo la investigación como un proceso creativo vocal y sonoro que se construye por medio del referido canto del Mara´akame, de manera de tenerlo como una experiencia vivida, vista, senti-da/pensada (FABA e AEDO, 2017) para la creación artística vocal cantada. Describimos como el trabajo artístico constituye performances-rituales basadas en la voz y en el can-to en contacto con lo sagrado, interrelacionando creación vocal y elementos de la cultura Wixarika por medio de cartografía y rizoma conforme proponen los filósofos Deleuze y Guatarri (2011) y de la noción de escucha fluctuante y sensible de Melo (2016). Demos-tramos en el trabajo, por fin, la idea de que esa manera de concebir la creación y la in-teracción con los saberes amerindios es una forma rizomática de producción de encuen-tros, configurando un sistema sonoro que “figura contextos (PAREYON, 2020) y que se descoloniza en un cuerpo territorializado creando ‘Cantografias de lo Sagrado’.Item e-Cidadania como performatividade cidadã(Universidade Federal de Goiás, 2023-09-01) Ribeiro, Eloá Augusta; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Oliveira, Vânia Dolores Estevam de; Santos, Fabiane Cristina Silva dosCitizenship is a constantly evolving concept that permeates various approaches, meanings, and understandings. Its semantic evolution coincides with the very history of society. Scientific and technological development has established the foundations of society through systematized knowledge, step-based methods, specific metrics and processes, in the construction of a contemporary society that is hyperconnected, fragmented, and technological. In this context, this dissertation aims to investigate the new disposition of relationships that has been established in the exercise of citizenship through hyperconnection and technological mediation, which characterize contemporary society. Through a phenomenological approach, we identify ecitizenship as a phenomenon that emerges as a cultural form of exercising citizenship in the networked technological society, presenting itself as the main vector for citizenry construction in contemporaneity, due to its performative nature.Item 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 OliveiraThis 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.Item Engajamento cultural e efervescência política no Brasil: a trajetória de Hugo Zorzetti e do Teatro Exercício entre 1972 e 1977(Universidade Federal de Goiás, 2020-11-10) Pires, Daniel da Silva; Dallago, Saulo Germano Sales; http://lattes.cnpq.br/3928124448700815; Corrêa Júnior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Corrêa Junior, Sebastião Rios; Dallago, Saulo Germano Sales; Abdala Júnior, Roberto; Nunes, Alexandre SilvaThis paper brings a historical and interdisciplinary perspective about the theater in Goiânia after the imposition of the Institutional Act No. 5, which marks a period of clashes in the relationship between the artists and the dictatorship implanted with the 1964 civil-military coup. The research works with the historical fact that there was a process of political resistance through multiple discourses in the field of the arts. In Goiânia, the period of validity of the AI-5 marks the conflicting trajectory of the remaining youth group from TESE (Experimental Theater of the Secondary Student), which in 1973 became Chaos and later the Teatro Exercício Group, considered the greatest exponent among the groups the theater of Goiás at the time. This moment also corresponds to the symbolic and more politicized language of Hugo Zorzetti's dramaturgy, until 1977. Through a memorialistic study based on bibliography, documents and using interviews, we seek to understand the compatibility between the trajectory of Teatro Exercício and the process of current artistic resistance in the country. Thus, the main objective of this work is to understand how Teatro Exercício, as a group from the city of Goiânia that represented the works written by its main creator, Hugo Zorzetti, acted in the engagement scenario of the national theater, taking as a parameter, the trajectory of the groups Teatro de Arena and Teatro Oficina.Item Entre giros, esmolas e donzelas: uma prática performática de mulheres na folia de São João em Lagolândia(Universidade Federal de Goiás, 2021-03-30) Luz, Vinícius Machado; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Santos, Nádia Maria Weber; Guimarães, Leda Maria de Barros; Curado, João Guilherme da Trindade; Satler, Lara LimaThis dissertation presents the Revelry of Saint John in the city of Lagolândia (district of Pirenópolis, state of Goias, Brazil), by using its cultural performances. The Revelry of Saint John with characteristics that remained little know, until now, has the particularity of being performed by proximately 24 women, known as "maidens", apparently, also unique in the country. This manifestation, likewise, other religious/cultural celebrations from the region, arises from the initiative of a religious and political leader in the first half of the XX century, Benedita Cipriano Gomes, popularly known as Saint Dica. This research arose from the problem that there is a religious rite staged for decades in the region, with its unique rules and characteristics, dictated by the feminine, with the hypothesis that those manifestations occur by motivations linked to memory and identity of the place, which surpass the religious and devotional slant. This study follows the line of research Spaces, Materiality and Theatricalities, the temporal and spatial aspect, with emphasis on the characters and how they interact, modifying the relationship and spaces (buildings, streets, houses...) through their performances, of their female bodies and their relations with the history of the place and the language as an act, surpassing the religious and devotional slant. The main authors that give sustenance to this study are some of the main world references, while discussion and approach of the performances, from the popular culture, Anthropology and of the rites, such as Richard Schechner (2002, 2006 and 2012), Milton Singer (1985) and Victor Turner (1974, 1978 and 2005), among others. The survey had some restrictions imposed by the COVID-19 pandemic, in 2020; however, there was no loss regarding its objectives, which intended to show the characteristics of the party and its unique nature of the festivity in the region. Therefore, it was possible to present a result within what was proposed, with material registered during the project period. As a part of the conclusion, it was possible the comprehension of Revelry of Saint John as a festivity linked to the memory and the legacy of its founder, the Saint Dica.