Programa de Pós-graduação em Artes da Cena

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A sobrevivência do sagrado nas danças circulares durante a pandemia: O mundo virtual na circularidade das telas
(Universidade Federal de Goiás, 2023-12-05) Ferreira, Marieta Judith Ferraz; Bonetti, Maria Cristina de Freitas; http://lattes.cnpq.br/4951445474151712; Bonetti, Maria Cristina de Freitas; Santos, Rafael Guarato dos; Borges, Águeda Aparecida da Cruz; Suanno, Marilza Vanessa Rosa; Coimbra, Renata Maria
This work, from the research line Transversal Studies in Theater, Dance and Art Direction, of the Master's Program in Performing Arts at the Federal University of Goiás (UFG), consists of investigating the role of the sacred in Circular Dances in times of the Covid-19 pandemic, through online meetings. The proposal is justified by the fact that Sacred Circular Dance is an activity that has always privileged presence, the collective, holding hands, where the harmonization and attunement carried out before the dances open up space for access to the sacred. In this way, the main objective of this study is to understand how the sacred remains present in virtual meetings of Sacred Circular Dances. This is a qualitative study, using phenomenology and hermeneutics as its scientific method. The instruments used for data collection were: an interview with ten Sacred Circular Dances focalizers, who during the pandemic offered online courses and classes; a questionnaire with twentyfour dancers who participated in classes with the respective focalizers, through digital platforms; and observation. The bibliographic review is based on the theories of important thinkers in the field, including Mircea Eliade, Rudolf Otto, José Severino Croatto, Maria-Gabriele Wosien, Friedel Kloke, Nanni Kloke and Maria Cristina de Freitas Bonetti. To understand technology in this pandemic context, we sought support from Pierre Lévy. The two years of online experiences with Circular Dances, between 2020 and 2021, either as a participant or as a focalizer, served as motivation to investigate what this digital universe had to offer. The relevance of this research lies in the perception of the Sacred Circular Dances movement and the impacts and transformations that occurred during this time of living in virtuality.
Antígona: ensaio sobre uma poética política
(Universidade Federal de Goiás, 2022-11-14) Torres, Renata Cesar; Silva, Adriano Correia; http://lattes.cnpq.br/7465568204123045; Silva, Adriano Correia; Ramos, Luiz Fernando; Oliveira, Natássia Duarte Garcia Leite de
This dissertation presents an investigation of the discourses present in the tragedy Antigone, which run through the performance of tragic mimesis in its political context, focusing on the main questions that the plot proposes: the ruler's power action, questions of justice and individual reasons. From the point of view of Antigone's interpretation in it's performativity, the aesthetical aspects of the tragic and the political context of the plot are related to human relationships as an update of the discourses of power and political action.
Artes da cena e infância: reflexões críticas acerca da práxis com o teatro na educação infantil
(Universidade Federal de Goiás, 2022-05-16) Babugem, Eduardo Oliveira; Oliveira, Natássia Duarte Garcia Leite de; http://lattes.cnpq.br/2673206479757870; Oliveira, Natássia Duarte Garcia Leite de; Aguiar, Ana Rogéria de; Barbosa, Ivone Garcia
The present work is part of a research in process since 2019, composing the set of productions of the research line “Aesthetics and poetics of the Performing Arts” of the Graduate Program in Performing Arts (PPGAC) of the School of Music. and Performing Arts (EMAC) at the Federal University of Goiás-UFG, being linked to the Center for Studies and Research on Childhood and its Education in Different Contexts of the Faculty of Education at UFG (Nepiec/ FE/ UFG) and to the Interdisciplinary Research Laboratory in Performing Arts (LAPIAC). The dissertation entitled Performing Arts and Childhood: Critical Reflections on Praxis with Theater in Early Childhood Education has as its object the context of theatrical practice with/for/in early childhood education. In this way, we seek to understand theater as a field of knowledge, stressing relationships between theatrical pedagogy and bringing this discussion closer to the different conceptions of 'childhoods', respecting their personal, social, cognitive and expressive development. It was defined as research problems: What are the possibilities and potentialities of experiences with theater in early childhood education? The conceptual analysis in the research was carried out based on historical materialism and dialectics. The methodology is developed from a documentary and bibliographic study, with contribution to national curricular references, intersecting research methodologies with a view to establishing relationships to experience from potentialities and impossibilities with theater teaching at this stage. Some aspects pertaining to childhood training will be discussed in this work, exposing some gaps that we still face for access between theater making and early childhood education, also between teachers and children, educational institutions, and those responsible.
As dramaturgias que dançam em cenas brasileiras e seus fazeres artísticos
(Universidade Federal de Goiás, 2023-07-21) Amorim, Joisy Palmira de; Figueiredo, Valéria Maria Chaves de; http://lattes.cnpq.br/4166799919007370; Figueiredo, Valéria Maria Chaves de; Krischke, Ana Maria Alonso; Ferreira, Alexandre Donizete
This research aims to critically reflect on the dramaturgical construction in contemporary dance, through the discussions that emerge from the relationship between the choreographer and his artistic work, in the universe of the structuring and composition of the show. In this context, the concepts of choreography and dramaturgy will be investigated, as well as their interconnection in the process of artistic making in contemporary dance. Two choreographers were chosen: Suely Machado (First Act Dance Group, Belo Horizonte / MG) and Alejandro Ahmed (Scene 11 Group, from Florianópolis/SC), who have performed in the Brazilian scene for over 20 years. Given the complexity of the thematic approached and the subjective aspects present in each particular story, we chose a dialogical and dialectical methodological way, researching the subjects in their singularities and in different contexts. In the end it is intended to identify a possible methodology that supports and sustains the dramaturgical and choreographic practice in contemporary dance as scientific research in Performing Arts.
Caminhando pelo ínterim e descobrindo nuances entre os fazeres técnicos e cênicos dos iluminadores na cidade de Goiânia
(Universidade Federal de Goiás, 2024-03-13) Freitas, Danyell Oliveira; Ferreira, Alexandre Donizete; http://lattes.cnpq.br/6147910374743330; Ferreira, Alexandre Donizete; Pires, Rafaela Blanch; Nosella, Berilo Luigi Deiró
Este estudio tiene como objetivo contribuir y ampliar mis experiencias profesionales y personales sobre la óptica de la iluminación escénica y la resignificación de la perspectiva paradigmática de las fisuras que existían entre las distancias para iluminar y las posibles sensibilizaciones poéticas y estéticas de la luz escénica y sus influencias en una actuación teatral. Para ello, transitamos por el intermedio y revelamos matices entre los quehaceres técnicos y escénicos de los iluminadores escénicos y técnicos de iluminación en la ciudad de Goiânia. Así, se llevaron a cabo entrevistas con estos profesionales activos en la capital goiana con la intención de identificar las posibles similitudes y diferencias entre sus funciones. Al final, además de contribuir para un (auto) reconocimiento desde la perspectiva de mi desempeño, se revela un hibridismo y una "zona de difuminación" en el contexto de la iluminación teatral en Goiânia, lo cual me ha llevado a reflexionar que, dependiendo del entorno y la demanda que se me solicite, puedo desempeñarme en la práctica como un técnico de iluminación o como un iluminador escénico, o incluso como un profesional híbrido que puede ofrecer lo mejor de dos habilidades, adaptándome según el entorno y las necesidades del momento
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 Pinheiro
This 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.
Coreogeografia geraizeira: um estudo autof(r)iccional
(Universidade Federal de Goiás, 2023-03-24) Xavier, Davidson José Martins; Machado, Maria Ângela De Ambrosis Pinheiro; http://lattes.cnpq.br/4323916629529180; Machado, Maria Ângela De Ambrosis Pinheiro; Silva, Renata de Lima; Malveira, Ricardo Ribeiro
This work reflects on the process centered on scenic creation in dance, where investigation procedures include the use of imaginal sertanejo space and writing self-fiction. In the case of a deepening of the concept of choreo(geo)grahy through intuitive practical experimental developments in dance-theater, as well as theoretical studies about dance, creation processes and territoriality, this work is based on a theoretical contribution about dance, theater, dance-theater, interdisciplinarily linked to the body, its blackness and the imaginary sertão, the author lists creation processes and his fictionalized biography as material for autof(r)ictional creation in performing arts. The research understands self-fiction as an element that captures the imaginary north of Minas Gerais, where the figure of the catrumano, a pejorative name attributed to those born in the north of Minas Gerais, gains the character of a guide-myth that unveils the process in a search for its ancestry, a reform of the catrumano imaginary and a general choreogeography. The blackened north of Minas Gerais artistic research results in three video dances: 'Reflexo', 'Modos de ofuscar os olhos' and 'Imorredouro'.
Corpoéticas na cidade: reperformance do feminino no espaço urbano
(Universidade Federal de Goiás, 2022-05-13) Silva, Ana Carolina; Oliveira, Natássia Duarte Garcia Leite de; http://lattes.cnpq.br/2673206479757870; Oliveira, Natássia Duarte Garcia Leite de; Silva, Maicyra Teles Leão e; Veloso, Verônica Gonçalves
The present work is dedicated to investigating the relation between body, gender, performance, city. The research tensions fundamental categories of performance, such as: space, time, action, relation; with the aim of proposing a reperformance/reenactment of the work Body Configurations (1972 – 1982) by the Austrian artist/performer VALIE EXPORT. The solo performative reperformance experience was (re)done with the support of the Ethics Committee of the Universidade Federal de Goiás; and with the knowledge, authorization and approval of the artist. It was defined as the central problem of the research: Can the female corporeality in the experience of reenactment in the urban space operate in transformations and other meanings of the ‘BodyPoet(h)ics’ of gender in/with/for/through the city? As the main objective, the composition and registration of a possible ‘BodyPoet(h)ics’ in the city was thought, based on the reperformance/reenactment of the performance Body Configurations by VALIE EXPORT, in the city of Goiânia, in the state of Goiás, in Brazil, as a performative practice for experimentation of the female body in relation to the architecture of the city, observing whether such experiences can operate in the transformations of the female body in/with/through urban space. The conceptual analysis and the theoretical corpus of the research was carried out based on conceptual operators, these were established according to authors who relate and tension the critical debate about the city, gender, body and performativity. Furthermore, it was discussed about the new and controversial phenomenon of reperformance, and the emergence of performative practices encouraged by the documentation of authorial or autobiographical performances of other artists, as well as the reflection about the characteristic concepts of this performative language. To develop this trajectory, a reflective study was realized on the performance Body Configurations and its documentation and registers, as well as bibliographic surveys to reflect on the concept of authorship, repetition and autobiographical. The investigation focuses on conceptual cartography and theoretical mapping, as well as on the i.materialities that emerged from the repercussion and expanded action of the reperformance, which culminated in the production of a hybrid exhibition displayed online through digital social networks.
Cria(D)anças: desdobramento das práticas artísticas do núcleo Coletivo 22 em co-autoria com crianças
(Universidade Federal de Goiás, 2024-03-26) Barreto, Claudia Cardoso; Lima, Marlini Dorneles de; http://lattes.cnpq.br/4182775556812377; Lima, Marlini Dorneles de; Silva, Renata de Lima; Hartmann, Luciana
This dissertation aimed to investigate the practices of the artistic company Núcleo Coletivo 22 as a support for learning and creating dance with children in a collective from a decolonial perspective. The Company originated by the meeting of musicians, actresses and dancers who currently sum up 11(eleven) artists interested in producing art committes to popular and afro-amerindian poetics. In order to identify the Company’s artistic practices, it was was carried out an arteiro state on proposals for notices approved and executed by the artistic company during the years from 2011 until 2022. The Company’s artistic practices were also identified by based on academic works carried out by members of Núcleo Coletivo 22. Poetnography and lived field are methological notions that support this study and that justify procedures such as semifictional narrative; places-moments and creative studio. Five children and the researcher artist experienced together 8 (eight) meetings which were called Cria(D)anças. During the meetings, inspired by the artistic practices of the investigated company, they collectively (de)constructed possibilities of producing knowledge in dance. Thus, when tensioning the art/dance-education relationship, they also made it for the action of poetnographing.
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança
(Universidade Federal de Goiás, 2022-05-23) Carareto, Tainara; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Meneghini, Henrique Rochelle; Antacli, Paulina Liliana
Started in 1988, Quasar Cia de Dança was founded in the city of Goiânia and was structured under modern premises. The search for the “new” proves to be a constant in the company, maintaining work after work. If initially the group insisted on emphasizing its desire to be professional, independent and to break with the local dance tradition, the aspect of novelty prominent in Quasar’s choreographic works runs through the company’s history, manifesting itself even in the most recent artistic choices of its resident choreographer, Henrique Rodovalho. However, Harold Rosenberg (1974) reminds us that it is precisely in moments of revolution manifested in the search for the new that an endless series of returns begins: the gesture, understood as a timeless survivor, is reborn, disguised as novelty. In this sense, the present research is dedicated to the analysis of the novelty aspect in the choreographic repertoire of Quasar Cia de Dança, questioning whether it is possible to identify scenes, gestures and choreographic phrases that are repeated in different works and moments of the company, capable of structuring “new” works from the citation of previous works. The analysis is based on the Warburgian method, which is crossed by the “evidential paradigm” of Carlo Ginzburg (1989, 2010) and the “transhistorical gestural dialogic” method proposed by Isabelle Launay (2019). Print screens were produced from filmic records of Quasar's work, composing 33 image panels that approximate the concept of Atlas Mnemosyne proposed by Aby Warburg. The objective is to highlight the presence of self-quotes as a characteristic that endures in the artistic trajectory of the Company, exposing an anachronistic story, capable of (re)telling itself through a process of incorporation of files and/or memories of dancing bodies. It was observed that self- quotes in Quasar are manifested both in the reuse of choreographic excerpts in their entirety (re-enactments and reconstructions), as in surviving gestures and in the adoption of recurrent scenic solutions. In addition to focusing on the Cia.'s own choreographic repertoire, the specificity of the citational process at Quasar is revealed in the intricate relationship established between the self-quotes and the group's choreographer's need to use dance, while artistic expression, to communicate.
Em busca de identificações metodológicas dos processos criativos no grupo teatral “o mundo é nossa casa” nos anos 90
(Universidade Federal de Goiás, 2024-02-06) Silva, Edimar Pereira; Dallago, Saulo Germano Sales; http://lattes.cnpq.br/3928124448700815; Dallago, Saulo Germano Sale; Costa, Clarice da Silva; Souza, Rildo Bento de
This research seeks to fill some of the many gaps in the History of Theater in Goiás, focusing on the Theater Group O Mundo É Nossa Casa in the city of Senador Canedo in the Jardim das Oliveiras region, where their practices and productions are analyzed to identify the processes, methods and other actions that articulate theater making and thinking in its local context, which are a priori related to the activities of the Nossa Senhora Aparecida Community and the local reality of the neighborhood. The Cia's creative and investigative processes do not go directly through theatrical tradition references. The present study notices similarities with currents of thought that question whether Latin America thinks for itself or still remains a colony, but now from an epistemological point of view. The study includes references that influenced the group, such as Liberation Theology and the pedagogy of the oppressed; In this context, interculturality is not a choice, but something that is constituted in the process of living in community and that, in the encounter with consolidated aesthetics, the clash shows the difference between the two, often relegating the group's aesthetics as subordinate art
Estudos preliminares candomblecistas para criação de máscaras com materiais recicláveis
(Universidade Federal de Goiás, 2022-06-24) Barros, Tiago Barreto de; Dallago, Saulo Germano Sales; http://lattes.cnpq.br/3928124448700815; Dallago, Saulo Germano Sales; Nunes, Alexandre Silva; Malveira, Ricardo Ribeiro
Este trabajo tiene como objetivo los estudios de Máscara Escénica Inspirada en Orixá, concatenando Teatro de Máscaras, Candomblé, Orixá y sustentabilidad ambiental en diseños de máscaras. Buscando una máscara, encontró el “enmascaramiento” del investigador Prof. Dr. Felisberto Sabino da Costa (2015) – Energía escénica de la máscara en relación de la animación con el actor significante en artista teórico-máscara-público. En el Teatro de Formas Animadas, de la dramaturga Profa. Dr. Ana María Amaral (2008, 2011, 2013) y en el Teatro de Máscaras de Valmor Nini Beltrame y Milton de Andrade (2010), consultamos autores, técnicas y contextos para enmascaradores y extranjeros. Consideramos a Coupeau y Lecoq en las tipologías y conceptos de los formatos de mascarada y como propuestas teatrales didáctico-pedagógicas con máscaras de Elizabeth Pereira Lopes, permeando los estudios del imaginario simbólico. Desde el Candomblé de Rituales de la Nación Representación de Conjuntos Simbólicos, y Culto, los Orixá en Máscaras de Dos Rituales, contemplar los personajes y las jerarquías de los fenómenos, aparecer y percibir al Orixá lleno de características arquetípicas, dos rituales. escénico, probado y representable. En representaciones de máscaras, indicaciones, rasgos arquetípicos, dominios sobre elementos de la naturaleza, o del entorno, como combinaciones de rasgos y técnicas de enmascaramiento. Mencionamos la rentabilidad de la obra de arte reciclable, conocer imágenes de máscaras en los rituales, historias míticas en la investigación artística como herramientas de estudio como el Método Matrix, el estudio de mitos realizado por Gilbert Durand (1993) y el Análisis Iconográfico para interpretar imágenes, asociación en varias áreas de conocimiento relacionadas con esta investigación. Tratamos la sustentabilidad ambiental en conceptos, relaciones con axé, con el paradigma, fomentando técnicas, tecnologías, elecciones de bocetos de vestimentas características en elecciones de materiales, situaciones de reproductibilidad del arte y generación de arte, considerando la pandemia del Covid-19. Finalmente, indicamos la idea de en este trabajo para que esta investigación obtenga incentivos como personas para vivirla en contextos práctico-artístico-profesional.
Formatividades e balizas - processos de ensino, aprendizagem e criação na escola de balizas do estado de Goiás
(Universidade Federal de Goiás, 2024-06-28) Silva, Pollyanna França da; Ferreira, Alexandre Donizete; http://lattes.cnpq.br/6147910374743330; Ferreira, Alexandre Donizete; Frausino, Neusa Maria Silva; Ishibashi, Eliana de Toledo; Lima, Marlini Dorneles de; Figueiredo, Valéria Maria Chaves de
The figure of the Majorettes has, for many decades, drawn the attention of the population in various Brazilian cities who watch parades, celebratory festivities, opening ceremonies of games, and various other public events. Historically, this character has its origins in militarism, guiding the marching band that encouraged the combatants. Additionally, it was influenced by the "capoeiras" (capoeira practitioners) who participated in the carnival of the time, particularly in the "ranchos" and "cordões". It entered the school environment at a time when the order was to discipline students, instill values of morality, civics, and respect for hierarchies. However, over the years it has transformed, leaving behind the allegories and carnival parades, the military uniforms, and the technical instructions to make room for reflections, enabling those involved to construct various ethical, aesthetic, pedagogical, and artistic interpretations. Due to the scarcity of studies dedicated to observing and understanding this character, this qualitative study aimed to investigate the holistic development of students, the possible relationships between the content taught in classes and the daily lives of the students at the Majorettes School, especially during the choreographic composition process for performances and their impacts on the students' corporeality. Applied in nature, the research had an exploratory objective, seeking to obtain a deeper and broader understanding of the subject in question, presenting reflections on pedagogical proposals. Autoethnographic procedures were adopted, with the environment of the Goiás Majorettes School as the data source, obtained from descriptive records, photographs, yearbooks, reports, and logbooks, with the immersive participation of the author. Given a scenario with few historical records, disconnected information, and sometimes contestable between authors, the writing presented chronologically the various environments in which the performance of Majorettes is recorded, establishing a dialogue between the artistic and educational environments, seeking to elucidate the teaching-learning processes and training that encompass them. In light of the above, here is an invitation for the reader to pause what is being experienced in automatic mode for a deeper and more meaningful experience in the world of Bands, Fanfares, and Majorettes.
Imagem e memória: fragmentos poéticos de um ator
(Universidade Federal de Goiás, 2023-08-16) Silva, Andreane Lima e; Nunes, Alexandre Silva; http://lattes.cnpq.br/4192026825077254; Nunes, Alexandre Silva; Tourinho, Lígia Losada; Dallago, Saulo Germano Sales
Aiming to investigate this apparently intangible world that makes up the studies of the imaginary, this work proposes to reflect on the concepts of image and memory, exemplified through a case study, in order to contribute to the production of knowledge in theatrical creation. To do so, I focus on the montage of three actor-creative processes experienced by me at different times in my career: A Farpa, by Cia Mínima de Teatro (2008); O Semeador de Poesias, by Corpo Cênico (2010) and Njilas: Dance e Esqueça suas Dores, by LABORSATORI (2017), which were on display in the city of Goiânia/GO. My main objective is to analyze how imagery representations collaborate in the interpretation work, based on the staging of the investigated shows and, finally, try to understand how the imaginary world experienced by the artist can be articulated as a creation tool, taking into account considering that each montage process has particular symbolic systems. Therefore, it was necessary to carry out a bibliographical survey on the works and authors of reference in this theoretical field, articulating their epistemological concepts about image and memory to artistic language, in a constant dialogue between theory and practice.
Kundzob: corpo-árvore - um processo de criação e meditação em ecoperformance
(Universidade Federal de Goiás, 2023-08-17) Lima, Elcivan Luciano de; Nunes, Alexandre Silva; http://lattes.cnpq.br/4192026825077254; Nunes, Alexandre Silva; Haderchpek, Robson Carlos; Lima, Marlini Dorneles de; Malveira, Ricardo Ribeiro
This research proposes to discuss the process of creating ecopoetics in ecoperformance, which is based on the perspective of the Tibetan Buddhist's meditation as a process. With this, the objective is to provide the performer with an inner perception development during the creative process and the performative act. For this procedural trajectory, we resort to the elaboration of personal mythology, related to the circumstances of life and its relationship with the ecological behavior as a fundamental practice, intending to provide the performer, through his body, an encounter of full presence on alert for the performance art. Performative research was the approach used as a practical and creative investigation methodology to understand, in the everyday work, the propositions and relations established by the performative artist.
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 de
Samba 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.
Nós, as poetas: experiências em literatura, performance e feminismos na luta em prol das mulheres
(Universidade Federal de Goiás, 2022-11-17) Wolff, Tayná Campos; Lima, Marlini Dorneles de; http://lattes.cnpq.br/4182775556812377; Lima, Marlini Dorneles de; Silva, Renata de Lima; Lyra, Luciana de Fátima Rocha Pereira de
Este trabajo busca, desde el campo del arte y la cultura, formular percepciones sobre el arte y sus dimensiones políticas y sociales a través de acciones que movilicen preguntas sobre género, sexualidad, feminismos y derechos humanos. A partir de las acciones realizadas por el colectivo de escritoras independientes Nós, as Poetas! El trabajo busca resaltar las organizaciones colectivas de mujeres como formas de articulación de luchas, la investigación tiene los siguientes propósitos: describir y analizar la trayectoria de las obras de Nós, as Poetas! evaluar la fuerza de las manifestaciones artísticas feministas como elementos de transformación y transgresión; investigar otras autoras y sus manifestaciones artísticas feministas de diferentes lenguajes, como la Performance, la Literatura, la producción literaria independiente y la Intervención Urbana, señalando sus aspectos de intención creativa y la relación con el entorno social; encontrar puntos de confluencia entre las obras de estos artistas y Nós, as Poetas!, pensando cómo las manifestaciones artísticas que reflexionan sobre el género pueden contribuir a las luchas por una sociedad con más justicia y equidad; reflejan la importancia de valorar las narrativas de grupos históricamente marginados por coyunturas hegemónicas, heteropatriarcales y capitalistas. Los referentes teóricos buscan narrativas de autores no blancos de países colonizados. Los caminos metodológicos parten de la propia experiencia del autor como miembro del colectivo Nós, as Poetas! y se desarrollan con análisis de otras obras artísticas con temáticas de feminismos, género y sexualidad. De esta forma, se desarrollan reflexiones sobre la conservación de costumbres y tradiciones culturales que mantienen estructurado el machismo, la heteronormatividad, el racismo y otras desigualdades, señalando en las manifestaciones artísticas subversivas consignas para oponer barreras que pretenden frenar los debates contra las desigualdades en los entornos sociales.
O ator transmidiático
(Universidade Federal de Goiás, 2023-10-13) Carneiro, Thiago Moura; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; Jesus, Samuel José Gilbert de; Dallago, Saulo Germano Sales; Santos, Júlio César dos
The present research offers a critical reflection on transmedia scenic creation as it presents contemporary concepts coined by the author, in order to glimpse the multiple perspectives of scenic work and understand his own reality and artistic work. Therefore, the objective is to share the author's own experiences in dialogue with places, concepts, reflections and fundamentals about the scene. Having as justification the understanding of contemporary scenic urgencies, it is understood that practical experiences of artists in dialogue with theoretical aspects of the knowledge area that involves the actor's work, be it in theater, cinema, or multiple media, are capable of provoking the production of technical and subjective knowledge necessary for the demands evoked today. In this context, the actor's work on stage tends to engage with various territories, such as scientific research, the scenic experience itself, the dilemma of contemporary media and technologies, among others. Thus, it is intended to register questions that allow the development of a theoretical framework that stimulates the continuity and development of the research carried out, as well as seeks to collaborate with the artistic and poetic work of other actors and actresses. In addition, the present work proposes a study of dream memories as a creative resource. It is developed in favor of the transmedia expansion of the universe of the work Katatonisch, a theater show created by the author of this research, proposing the enhancement of the actor's ability to transit through multiple media. From this perspective, we sought to observe the concept of scenic truth as a point of convergence between performances in multiple scenic spaces, including analyses of the concepts of reality, verisimilitude, and post-dramatic narrative.
O empoderamento das identidades de gênero feministas pela cibercena/educação infantil crítica no DEI/CEPAE/UFG
(Universidade Federal de Goiás, 2023-08-17) Lyra, Yasmin Gonçalves e; Cunha, Fernanda Pereira da; http://lattes.cnpq.br/8739909013018488; Cunha, Fernanda Pereira da; Barbosa, Ana Mae Tavares Bastos; Azevedo, Fernando Antônio Gonçalves de; Silva, Adriano Correia; Dallago, Saulo Germano Sales
The research in question has as impellent the study about the critical Early Childhood Cyberscene/Education in favor of the empowerment of feminist gender identities, with children aged 4 to 6 years from the Department of Early Childhood Education of the Center for Teaching and Applied Research to Education at the Federal University of Goiás – DEI/CEPAE/UFG. As a Cyberactress/Educator at that institution, the perception of sexist gender identity stereotypes is raised, present in the metacenic expressions of children aged 4 to 5 years old through the child play that composes the aesthetics of everyday school life, stereotypes that may be reinforcing iniquitous power relations in the binary representations of masculine and feminine that make up the ontological formation of children. The metacenic expressions of gender identity stereotypes are phenomenally analyzed from the visualities of the scene through iconographic and audiovisual records, interviews with the children's families and reports of pedagogical activities written by DEI/CEPAE/UFG teachers. Thus, a Cyberscenic/Educational intervention was developed for children from 4 to 6 years of age at DEI/CEPAE/UFG, by the Cybertheater Forum with Animated Forms, based on the Triangular Approach developed by Professor Ana Mae Barbosa, on the Digital Triangular System systematized by Professor Fernanda Cunha , and on Aesthetics of the Oppressed by Augusto Boal, for the promotion of aesthetic-scenic resignifications regarding the cognitive perception of personal identity through the concept of Artist Cyberlife. Feminism is understood in this study as a political movement in favor of gender equality, against institutionalized sexism that establishes unequal power relations through oppression from an early age.
O Sentido dramatúrgico da caracterização do corpo interprete: um estudo de caso dos espetáculos: Gota d’água e O abajur lilás
(Universidade Federal de Goiás, 2023-05-24) Borges, Jéssika Hannder; Pereira, Dalmir Rogério; http://lattes.cnpq.br/8892640500335012; Viana; Pereira, Dalmir Rogério; Viana, Fausto Roberto Poço; Pires, Rafaela Blanch
In the field of Performing Arts, the visual characterization of the performer's body occupies a place very important, given that without it there is no scenic production, nor the constitution and construction of the character, of the performer. The present work aims to understand the relationship between the characterization and the body of the actor/performer, in order to intend aspects of the makeup and costumes; reflecting on the configurations and reconfigurations of languages in the areas of performing arts. The methodology adopted in this study involves research bibliographic and documentary, with a qualitative approach and theoretical investigation. The results obtained in the research indicate a tendency towards a scarcity of academic productions about theatrical characterization in the state of Goiás, between 2011 and 2021. Despite its necessary importance, the research also demonstrated that characterization has occupied a subordinate role in relation to the work as a whole. We believe that this research can contribute to the study of characterization in the process of composition of corporeality scenic; and, at the same time, how and if it is possible to conceive dramaturgies based on the stimulu that visual characterization brings to the body.

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