Mestrado em Performances Culturais (FCS)
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Item Performance dos digital influencers no Instagram: um estudo sobre identidade e persona(Universidade Federal de Goiás, 2020-04-24) Andrade, Marcilene Barbosa de; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Santos, Nádia Maria Weber; http://lattes.cnpq.br/3929583037339642; Santos, Nádia Maria Weber; Oliveira, Rodrigo Cássio; Moraes, Ana Luíza Coiro; Faria, Edna Silva; Satler, Lara LimaThis research analyzes how digital influencers share their daily experiences and interact with their followers through the Instagram platform. The objective of the research is to understand the performances of digital influencers, from the roles they play, in order to increase the number of followers. For this, Lalá Noleto and Jan Mendanha were chosen as the object of research, both digital influencers that stand out on Instagram. As a theoretical basis, this research is supported by the studies of Erving Goffman (2014), Raquel Recuero (2009) and Paula Sibilia (2016) and in some dissertations and theses that deal with social networks and digital influencers. In this study, the notion of the persona is discussed on the Instagram platform under the eyes of the Swiss psychiatrist Carl Gustav Jung. In addition, it seeks to understand the pertinence of the construction of the persona through the creation of content and interaction promoted by digital influencers, which become fundamental for the consolidation of the new digital marketing format. The research also brings a qualitative approach. As a methodological procedure for data collection it was made observations based on interviews conducted with two digital influencers and selection of images and comments displayed on their Instagram accounts.Item A terceira margem da performance: um estudo do ato-narrativo em Três contos de Guimarães Rosa(Universidade Federal de Goiás, 2017-12-19) Barros, Wellington Rodrigues; Christino, Daniel; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4767433J0; Christino , Daniel; Borges, Rogério Pereira; Nogueira, Lisandro MagalhãesThis dissertation studies the relation between the concept of narrative and performance based on the phenomenon of telling stories applied in three short stories of Guimarães Rosa: 'The Heppiness Margin', 'The Mirror' e 'The Third Margin of the River', form the book 'First Stories' (1988). Methodologically this work consists in a corpus referring in the performance narrative of the own author with two more performers, and with the audiovisual datas in order to reflect in the analyze and in the materialization of the narrative act.Item Memória e práticas tradicionais na Folia de Reis de Uruceres-GO(Universidade Federal de Goiás, 2020-06-25) Bitencourt, Rosana de Freitas Mesquita; Correa Júnior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Corrêa Júnior, Sebastião Rios; Oliveira, Vânia Dolores Estevam de; Pessoa, Jadir de MoraisThe present work focuses on analyzing the process of transmitting the cultural traditions of the Folia de Reis de Uruceres - GO, how the current revelers learned and how they pass on knowledge about the ritual of the Reis revelry, both with regard to the organization of the party about the ritual moments themselves, the route, their songs, their symbols and their importance to the group. More specifically, it is a study of memory: individual memory of the participants in the festivities and collective memory of the Folia group.Item Museus para o esquecimento: seletividade e memórias silenciadas nas performances museais(Universidade Federal de Goiás, 2017-06-30) Bulhões, Girlene Chagas; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Camargo, Robson Corrêa de; Chagas, Mario de SouzaAmidst its multiple tensions and meanings, museums are considered institutions in which our memories are kept and communicated so that we don’t lose sight of them. However, some of the museums, with a conscious intention or not, doing just the opposite: they silence the memories of certain subjects and social groups systematically and deliberately. Hence, they turn into Cultural Performances for the oblivion. Based, mainly, on studies of Cultural Performances, Social and Affective Museologies, Social Cartography, Queer Studies and on post-structuralist authors, in this dissertation, considerations will be made about this fact, which I consider to be a museum controversy, starting, mainly, from passages of greek and yoruba mythologies, concepts of Museum Pact, Social Drama, Mask, Façade, Scenario, Museum Selectivity, Museums/Museums Performances Arboreal and Rhizomatic, Affection, Rhizome and Art Brut.Item Teatro e cidadania: experiência de formação integral de jovens e adolescentes e o teatro/educação na Casa da Juventude Pe. Burnier entre 2011-2014(Universidade Federal de Goiás, 2020-02-27) Carneiro, Luiz Eduardo Souza; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; Abdala Junior, Roberto; Quadros, Eduardo Gusmão deThe analytical perspective of this research is that of participatory and qualitative investigation-action. This research was carried out through a focus group case-study that emphasizes the development process and the formative character of adolescents/young people, and the understanding of the importance of the revelation of theatrical art professional vocation, in contrast to the educational value of Theater as a tool for integral training. The empirical experience of the researcher, as an educator in Theater/education and Citizenship, at Casa da Juventude Fr. Burnier (CAJU), in Goiânia-GO, from 2011 to 2014, was instrumental for this research. CAJU was a non-profit civil organization aimed for public utility, created by Cia de Jesus and operated since its inauguration by Jesuits and lay collaborators. CAJU was founded in 1984 and ceased to exist in 2015. It operated in Goiânia-GO and offered specialized services to adolescents and young people in social vulnerability, providing support to community groups and youth organizations, enabling socio-educational activities, with a view to secure basic rights, seeking “youth leadership” with a commitment to building citizenship through integral and procedural training.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 Performatividade em rede e inteligência coletiva no YouTube(Universidade Federal de Goiás, 2021-05-14) Cavalcante, Laíse Barbosa; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Satler, Lara Lima; Araújo, Cláudia Helena dos SantosThe communicational processes in the network establish a social performative context with several consequences, among them, reverberations in the learning mechanisms. This is because the technological innovations, especially those of communication and information, affect the forms of sociability, languages and cognition, arising new ways of act. This dissertation analyzes a performative behavior that emerges today, that is the consumption of instructional and educational content, from short videos to carry out a project. For this, we checked the records of the interactions taken on four channels of the YouTube video sharing platform, named: Manual do Mundo, Paloma Cipriano, Professor Noslen and Algodão Cru. Through the phenomenological approach, we identified that this behavior is collaborative, reviews issues of time and place to learn, has applicability in the daily lives of individuals and results in new social performances that, among other things, echo in the identification of users with formal models or in person teaching. We demonstrate that this behavior adheres to concepts of learning, with articulation with the interactionist strand and that these informal and non-formal ways of learning through interactive media, go beyond educational objectives applied in formal education. We highlight the performative materiality of social media in the communicative processes established in it and how these processes continuously impact the actors who participate in them. Finally, we reflect on the recent expansion of this behavior, the need to learn networked, collaboratively, in the very exercise of sociability, as shown by the reality in the face of the Covid-19 pandemic.Item Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível(Universidade Federal de Goiás, 2021-12-15) Chibanga, Vitor Abílio; Manjate, Teresa Maria Alfredo; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Manjate, Teresa Maria Alfredo; Correa Júnior, Sebastião Rios; Menezes, Marcos Antonio de; Morais, Sara SantosThis dissertation reflects on the performances of timbila, from its complex networks of cultural relationships shared within its profound structure, in different dimensions - historical, social, cultural - in colonial and post-independence contexts. This reflection has to do with the way timbila has been perceived in terms of most visible aspects, presented on stage, within the reach of the general public, and of the elements that are found in the deep structure such as symbolic values and social roles. The approach was carried out from an interdisciplinary perspective. In this context, different fields of knowledge were put together to dialogue with each other, such as, for example, the performances of timbila, cultural anthropology, sociology, cultural history, ethnomusicology, literature and linguistics, in the sense of providing a deeper and more comprehensive understanding. From this interdisciplinary perspective a reflection on timbila was set out and made, based on authors such as: Hugh Tracey (1949), Henri Junod (1939), Martin Luther (1980), Ilídio Rocha (1962), Amândio Munguambe (2000), Valdemiro Jopela (2006), Marílio Wane (2020). In this reflection, the research seeks to situate the timbila not only as music and dance, but as a practice inserted within a complex network of cultural relationships such as myths of origin, which lies within the relationships between tradition and modernity. The research seeks to understand the timbila from the relationship that it establishes with the orality that has functioned as a depository of the knowledge that was preserved in an intergenerational way, functioning as one of the communication mechanisms that shares knowledge the chope people have built for themselves over the centuries. In addition, aspects inherent to timbila events are discussed, without losing sight of its symbolic value, in the colonial and post- independence context, as well as the different structures that this practice carried in different contexts. These are contexts that are marked by power relations. These are elements of the performances that are not visible in the act of performing, but which consequently contribute to the final product displayed on stage. It's based on that line of thought that we realized that the practice of timbila should not be thought only from the visible elements, but above all, from the non-visible elements that are present in the profound structure which contributes to the final product in an implicit way.Item A mulher na dança da catira: reminiscências e transformações(Universidade Federal de Goiás, 2018-06-15) Conrado, Oscélia Domingues Bonifácio; Abdala Júnior, Roberto; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4735832D5; Abdala Júnior, Roberto; Camargo, Robson Corrêa de; Fernandes, AdrianaThe dissertational work The woman in the dance of the catira: reminiscences and transformations consists of introduction presenting the object of study and the initial routes that circumscribed; three chapters and the closing remarks. The work consists of a study on the presence and women's role in the dance catira in which we seek to see if the woman's role in dance catira is real or imagery and whether it acts with her femininity or incorporates a gestural and male cosmetic for being the dance traditionally attributed to the male gender. This time to answer these questions we develop a field research with two groups of catireiras, a city of Jesúpolis and other city Itaguari, both in the interior of Goiás and catireiros group of the city of Annapolis also inside of Goiás. In the process of the research, we identify the performance acts through two strands, that is, the performance in its individual and collective scope.Item Espetáculo “BR trans”: micropolíticas, performances e cartografias queer(Universidade Federal de Goiás, 2018-05-05) Costa, José Carlos Lima; Correia, Paulo Petronílio; http://lattes.cnpq.br/1801687030702050; Correia, Paulo Petronílio; Lima, Renata; Dias, Luciene de Oliveira; Henning, Carlos EduardoThe present research intends to analyze the play "BR Trans", taking as base the performances and the performativities that emerge from its. I took the notion of performance in Butler as the guiding thread of the current research, which disarticulates the process of materialization and normalization of bodies by demonstrating that the gender is a repetition of stylized acts. I read "Trans BR" as a political, revolutionary manifesto because it manifests an action; it is a “war machine” against the exclusionary standards, based on the silencing of differences. “BR Trans” brings together narratives from the relations that Silvero Pereira established with the trans universe. Therefore, to think the play in analysis is to disassemble the current theatrical thought, proposing a Queer Theater, that is, a micropolitical, aesthetic and artistic agency that devours the structures of contemporary theater and proposes a new scene that, in fact, is a way of life activist, because it no longer seeks to move away from life, but life itself is taking shape in each scene. As a perspective of analysis, I adopted cartography, a method attributed to Deleuze and Guattari, and that it is a way of thinking that puts in check the norms, the notion of subject, roots and the image-tree of the world. In cartography, binarisms deconstructed are, because it operates through the rhizome, not the representation or decal of the world. It is a look that bets on thinking in transit, displacing and deterritorializing ways of thinking and living, and drag us to new processes of subjectivation. The emergence of post-structuralism and post-Nietzsche's nomadic thoughts, such as Foucault, Deleuze, and Guattari, and post-identities such as Butler's, made it possible to think of theater, especially theater, as art traversed by social issues such as a “war machine” against the devices that try to adapt the subjects to the established binarisms.Item Sarau: um ritual da voz(Universidade Federal de Goiás, 2018-12-17) Cruz Filha, Fernanda; Brandão, Carlos Rodrigues; http://lattes.cnpq.br/7721657000564411; Miranda, Elderson Melo de; http://lattes.cnpq.br/7743250278945993; Miranda, Elderson Melo de; Favilla, Andréa Maria; Borges, Sainy CoelhoThis work is the result of a study of the soirée as a ritual performance and as an aggregator space your sociocultural perspective. Part of the approach of this dissertation, the construction of a brief history of your occurrence in Brazil and your consolidation as democratic space of exchanges and strengthening of social groups. The presente work chooses the Soirée of “Minas” (slang for women in Brazil), from Goiânia- GO, which takes place since of the year 2016, organized by women as a itinerante soirée, for an analysis of content on the social representation of this cultural manifestation. We tried to discuss here the space of speech, poetry, listening and welcoming women. It is hoped that with the realization of this research, the space for so many voices that have been in this territory for a long time cultivated, which is the soirée, will be even more open. The poetry of the voices echo in the corners wide your aggregating and transformative force.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 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 Etnografia audiovisual: reafricanização e reexistência na religião de matriz africana(Universidade Federal de Goiás, 2022-04-28) Filene, Bruno Karasiaki; Alvarez, Gabriel Omar; http://lattes.cnpq.br/1246783304706348; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Dias, Luciana de Oliveira; Souza, Geórgia Cynara Coelho de; Alvarez, Gabriel Omar; Oliveira, Rodrigo CássioEtnografía Audiovisual: Reafricanizaciones y Reexistencias en Religiones de Matriz Africana trae un compendio con cuatro etnografías en video, dos trailers y una mesa de lanzamiento. El texto de la disertación utiliza los conceptos Reafricanizaciones y Reexistencias para reflexionar sobre las poblaciones del terreiro. Con base en la discusión teórica, se adaptan diferentes metodologías para el estudio de los pueblos de terreiros. Se señalan cuestiones epistemológicas en el tratamiento de las poblaciones por el censo oficial, y sus limitaciones predictivas. Hay un capítulo dedicado a cada visita de campo realizada y al proceso de elaboración de productos culturales audiovisuales. Los cortometrajes Obrigações de Axé, Encantaria na Jurema, Reexistências Nagô Ep.1 – Casa de Ajagunã y Reexistências Nagô Ep.2 – Linaje del Patriarca, fueron realizados en terreiros de Goiânia y Salvador. Los primeros dos videos están subtitulados y están dirigidos a audiencias internacionales de religiones latinoamericanas anticoloniales. Cuestiones teóricas, lenguaje cinematográfico, técnicas y metodologías, así como confrontaciones se presentan dentro de la colección.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 Performances e personagens em imagens da revista Veja: um estudo no ensino de arte em duas escolas públicas em Goiânia(Universidade Federal de Goiás, 2019-12-13) Fontana, Aglaê Dias Moreira Munhoz; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Camargo, Robson Corrêa de; Pereira, Marcelo de Andrade; Oliveira, Vânia Dolores Estevam de; Barroso, EloísaLa presente investigación se centró en estudios de performances y personajes en imágenes de la revista Veja, en la enseñanza del arte, en dos escuelas públicas en Goiânia. El objetivo de esta investigación fue investigar las performances culturales presentes en las imágenes mediáticas, que constituyen el universo visual de los estudiantes de secundaria de la ciudad de Goiânia. Con este fin, realizamos una intervención pedagógica em el anõ 2018. La acción buscó preguntar a los estudiantes de 8º grado sobre cómo perciben estas imágenes, cómo influyen en ellas y qué personajes y performances los seducen más. La investigación fue seguida por el método cartográfico, que es un método participativo de investigación-intervención. Tal método era más apropiado para la investigación, por su flexibilidad, por comenzar en la práctica, por la posibilidad de interrelación con la teoría, por la participación de los sujetos y por mi participación directa en la experiencia procesal escolar. La investigación también presentó los siguientes instrumentos: observación participante, cuaderno de campo, imágenes de revistas, dibujos y cuestionarios.Item Um estudo de recepção e identidade social por meio dosmemes goianos(Universidade Federal de Goiás, 2022-07-04) Fragoso, Julyana Aleixo; Girardi Júnior, Liráucio; http://lattes.cnpq.br/9324283862222562; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Girardi Júnior, Liráucio; Pavan, Ricardo; Amaral, Adriana da RosaConsidering the cultural meaning that memes have reached, due to their ability to circulate and recombine different types of representations about the world we live in, this research analyzes the process of reception and propagation of memes capable of representing “regional” elements of the “ goianity”. In this study, a bibliographic survey will be carried out on the notions of identity and regionality, in addition to the definitions of meme, its typologies and categorizations. In dialogue with the theoretical framework, the Instagram profile, Meanwhile in Goiás, and the memes that circulate around the characters Jacques Vanier and Serjão Berranteiro will be analyzed, two profiles that represent the stereotype of the Goiás, circulating, respectively, at the local and at the national level. As cultural productions circulate through processes of appropriation and recombination, the study will investigate the ways that the person from Goiás recognizes or not in these “regional” elements the identification with memes because they are perceived as “goiano”. This investigation will be carried out through semistructured interviews and virtual and face-to-face group discussion meetings. The research has theoretical bases of memetic culture, cultural studies of communication and reception, in addition to identity studies, based on authors such as Richard Dawkins (1976), Susan Blackmore (2020), Limor Shifman (2014), Raquel Recuero (2007; 2009), Marcelo Peruzzo (2015) and Rosaria Conte (2001), Martín-Barbero (2001) and Paula Sibilia (2016). It is expected with this research to identify the elements that influence sharing, and to observe the reception of regional memes from Goiás, specifically, from the public that identifies itself as Goiás. From the research carried out with the discussion groups, results were obtained that humor is an essential factor for the production of successful memes, as well as the inserted context of who receives the communication. Cultural experiences can be a trigger for sharing memes, as long as they are based on an updated narrative. Resistance to the traditional identity of Goiás was identified, possibly due to generational factors of the collaborators of the research group.Item O estranhamento (Verfremdungseffekt) e o Gestus brechtiano nos filmes de Charlie Chaplin(Universidade Federal de Goiás, 2017-10-26) Freitas, Luciano Diogo Oliveira; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Cássio, Rodrigo; Reinato, Eduardo JoséCharlie Chaplin´s (1889-1977) influences on Bertolt Brecht’s theater (1898-1956) are diverse; also the films of the British director were inspiration for several plays written by the German playwright (The Rise and Fall of the City of Mahagonny (1928/1929), Mother Courage and Her Children (1939); Mr Puntila and his Man Matti (1940), and others). In many parts of Brecht works, diaries and theoretical texts Brecht makes comments about the importance of Chaplin´s cinematographic practice and his character The Tramp, for the constitution of his theater. Some moments Brecht considers Chaplin a model of actor to the epical theater (BRECHT 1995, p. 125; BRECHT 2005A, p. 249, 263, 291; and others). Two central concepts in Brecht´s work are fundamental for the understanding of this relationship: Verfremdungseffekt – the famous Estrangement Effect and the social Gestus. Once these concepts are delimited I search to analyze Chaplin´s work, the process of film construction and the interpretation in silent films as elements that generate estrangement and are structured as a Gestus language. At the first chapter I analyze the historical context of the Weimar’s Germany to understand the constitution of V-Effekt at its time. At the second chapter I assume the idea of the cinema as a revolution on the form of production and reception of art, passing by the Chaplin’s history trying to realize how his films were a large reference to a lot of artists, including Brecht. At the third chapter I study the social Gestus and how it is related with the variety shows and the Chaplin’s artistic works. Finally, at the conclusions, I return to the mail points of this intense dialogue between Brecht and Chaplin, and how this relationship produced uncountable fruits and artistic works. This material requires new theoretical and practical studies (on scream and on stage), considering its large reflexive and critical potential, and more than it, its artistic value.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 O lado surpreendente da queda: minha experiência com o contato improvisação(Universidade Federal de Goiás, 2020-02-17) Itavo, Camila Vinhas; Abdala Junior, Roberto; http://lattes.cnpq.br/7014946989727038; Vilela, Ana Lucia; Reinato, Eduardo José; Camargo, Robson Corrêa de; Abdala Junior, RobertoContact Improvisation is analyzed from the perspective of cultural performances as a unique form of contemporary dance that emphasizes the surprising side of falling, inspired in the words of writer, anthropologist and dancer Cynthia Jean Novack (1947-1996) for whom contact improvisation “emphasizes the wildness and awkwardness of falling ”(NOVACK, 1990, p.151). The ethnographic description of this dance and its dialogical essence are presented as forms of social self-reflexivity, through the narrative, in a funneling movement of participant observation, from macro to microcosm, starting from what is given in the world to the person who writes this analysis, in search for the understanding of the relationship between the experiences provided by this performance and the multiplicity of meanings that refer to it that make it cultural performances. From what is given in the world, two testimonies available online in audiovisuals with the creator of this performance (1972), Steve Paxton, one from Juniata College, USA, in the 36th anniversary of contact improvisation, and another from the Dancing Museum, France. These two narratives are taken as sources of the ethnographic description which highlight essential performance characteristics and motivational issues which generated this dance movement. In the second chapter, the narratives which underpin the funneling of the ethnographic description are some of the writings of Steve Paxton, published by Contact Quarterly’s Contact Improvisation Sourcebook (1997), a special historical collection of this dance journal launched in 1975 as a space for reflection, debate and circulation of movement studies and experiences resulting from the performance. Along with these writings, aspects of the history of contact improvisation and the Small Dance, presented as a preparation technique for the movement, as the warming up of the perception for the dance of contact improvisation. The third chapter presents the contact improvisation class as a performance and focuses on participant observation, including my experience as a dancer, contactor, dance and contact improvisation teacher as an object of reflection on the performance load of possible transformation and transportation (Schechner, 2011) available in the classroom and at the jam sessions.