Mestrado em Artes da Cena (EMAC)

URI Permanente para esta coleçãohttp://200.137.215.59/tede/handle/tede/9156

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Caminhos criativos para o processo de montagem do espetáculo m(eu) infinito: partitura corporal e mímesis corpórea
(Universidade Federal de Goiás, 2024-12-05) Cardoso, Gabriel Gomes; Dallago, Saulo Germano Sales; http://lattes.cnpq.br/3928124448700815; Dallago , Saulo Germano Sales; Hirson, Raquel Scotti; Costa, Clarice da Silva
This research explores the process of putting together the show M(eu) Infinito, from its appearance in 2016, when the researcher was a graduate student in Performing Arts at UFG and a Theater instructor at SESC, until the following years. The initial focus was on the body score based on the writings of François Delsarte and the drum exercise, learned in the “Ser so energetic” workshop taught by Thardelly Lima, to build the first version of the show. For the 2018 and 2021 versions of the play, the cast and provocateur also focused on the procedures of corporeal mimesis, originating from the Lume group (UNICAMP), in the use of printed images as poetic and creative references in the body investigation of the actors. This research is then called corporal partition and corporal mimesis of creative paths, as it was during the investigation of both that the original cast laid the foundation for the solos that make up the whole of the show. Dramaturgy also played an important role, allowing actors to create an authorial text based on their own experiences. The creation of this dramaturgy took place in self-writing through the practice of writing in the stream of consciousness, opening the discussion and reflection on whether these writings are autobiographical or autofiction, but without the intention of locking them within a single defining nomenclature. Another important discussion discussed is the structures that constitute and dictate a dramaturgy, and how I perceive the text of M(eu) Infinito in light of these constituent elements of the drama. However, the central focus of this dissertation is to understand the gaps that emerged during the creation and structuring of the show, and the impact of the corporal score and corporeal mimesis on the work and development of the dance of the performers' self. This qualitative approach, in addition to bibliographical research, is made up of experience reports and logbooks of the provocateur and author of the research, as well as material provided by participants in the 2018 and 2021 processes.
De La Mancha ao Desmanche: autonomia(s) e interseccionalidade(s) na Encruzilhada Cênica Dom Quebrada
(Universidade Federal de Goiás, 2025-05-22) Souza, Luciano Ferreira de; Dallago, Saulo Germano Sales; http://lattes.cnpq.br/3928124448700815; Dallago, Saulo Germano Sales; http://lattes.cnpq.br/3928124448700815; Viana, Fausto Roberto Poço; http://lattes.cnpq.br/8433918896586792; Oliveira, Joana Abreu Pereira de; http://lattes.cnpq.br/1396198930054185; Costa, Clarice da Silva; http://lattes.cnpq.br/0712156808449393
Esta investigación se dedica a descomponer las autonomías y interseccionalidades entre los variados lenguajes artísticos utilizados para crear el segundo espetáculo hecho por el Coletivo Cênico Centelha, el cruce escénico titulado Dom Quebrada, que, en este caso, es el pretext e base para las análisis desarollados. La obra se divide en cinco partes: el prólogo, donde se discuten conceptos rectores y metodoligías; acto I, en el que la literature es el tema central; acto II, donde me centro en las visualidades plásticas animadas de la escena; acto III donde discutiré visualidades plástico-escénicas inanimadas y, finalmente, el epílogo que será (in)conclusivo. Objetivamente, el Proyecto pretende profundizar en el análisis de elementos práticos de montaje, principalmente de la sala de ensayo y estudios; metodológicamente, el camino elegido para el Desarrollo de este trabajo es el desmontaje escénico-analítico.
Montagem como catalisadora da criação cinematográfica
(Universidade Federal de Goiás, 2024-12-16) Torres, Rochane Cesar; Nunes, Alexandre Silva; http://lattes.cnpq.br/4192026825077254; Nunes, Alexandre Silva; http://lattes.cnpq.br/4192026825077254; Pereira, Dalmir Rogério; http://lattes.cnpq.br/8892640500335012; Viana, Mauro Giuntini; http://lattes.cnpq.br/4095902155435194
This research is part of the “Aesthetics and Poetics of Performing Arts” research line of the Postgraduate Program in Performing Arts, EMAC, UFG. The general objective of this work is to understand the editing processes and methods developed in the cinematographic productions of the feature-length and short films, Silêncio Não Se Escuta (2016), Aquelas Ondas (2017), and De Onde Viemos, Para Onde Vamos (2021), understanding the discursive method of filmmaker Sergei Eisenstein, and the filming process and montage thinking of filmmaker Dziga Viértov. This is a theoretical study on processes of filmmaking productions in constant experimentation. Filmmaking, based on encounters and captures of instantaneous and accidental images, has montage as the discourse and synthesis of the film.
Teatro e cárcere: a dimensão pública da obra da CiA dXs TeRrOrIsTaS
(Universidade Federal de Goiás, 2024-12-13) Schmaedecke, Thaisa; Pereira, Dalmir Rogério; http://lattes.cnpq.br/8892640500335012; Pereira, Dalmir Rogério; http://lattes.cnpq.br/8892640500335012; Costa, Felisberto Sabino da; http://lattes.cnpq.br/3956582367368579; Narvaes, Viviane Becker; http://lattes.cnpq.br/1184164180045928
This research proposes to analyze the “public dimension” (Cornago, 2019, p. 12) of two projects developed by the CiA dXs TeRrOrIsTaS: TRANSgressoras ou como recuperar o fôlego gritando (2020-2021) and Fractos Corpografados: Vicissitudes de uma teatralidade abolicionista fractal (2022-2023), developed with trans and transvestites women and who are "survivors of prison", term used as a symbol of the fight for social justice, adopted by the company to refer to people coming out the prison system. To this end, it proposes a case study of artistic manifestations - the podcast, the book of poems and stories, the theatrical show, dramaturgy and performance - produced in two projects, through a diversity of approaches in relation to a same phenomenon: the weaknesses of the Brazilian prison system and the penal abolitionist struggle. The artistic works will be analyzed based on the notion of public experience, by Oscar Cornago and the concepts of liminal spaces and testimonial theatricality, by Ileana Diéguez. In addition to artistic analysis, the phenomenon will also be investigated based on references that contribute to a critical analysis of incarceration policies, based on the current of criminal abolitionist thought endorsed by Angela Davis and the notion of precariousness addressed by American philosopher Judith Butler. The study showed that the Company appropriates theatricality as a device that allows it to go beyond the limits of the theatrical and artistic (Diéguez, 2014 apud Fernandes, 2019) in the production of works in the most diverse communication languages, through which TeRrOrIsTaS develop their political potential in the construction of an abolitionist poetics.
Teatralidade fotográfica da dor: experiências de fotoperformance a partir da imagem sintoma
(Universidade Federal de Goiás, 2024-12-19) Silva, Vanessa Cássia Rodrigues; Pereira, Dalmir Rogério; http://lattes.cnpq.br/8892640500335012; Pereira, Dalmir Rogério; Fernandes, Ana Rita Vidica; Schwarz, Erika
Le projet de recherche intitulé "Théâtralité photographique de la douleur: expériences de photo-performance basées sur l'image du symptôme" propose une étude de cas sur l'utilisation du dispositif photographique comme stratégie performative dans la production de connaissances. Cette perspective est directement liée au tournant social des arts dans les pratiques scéniques contemporaines, dans lesquelles les constructions métonymiques et allégoriques s'imposent comme les principales ressources représentationnelles dans la relation entre les corps, les objets et l'éthique du contexte privé vers l'univers public. Cette section se base sur la série "La Rebelión de los iconos" (2007-2012) de la performeuse Rosa Maria Robles, dans laquelle la photographie nous place dans un théâtre de la mort qui met en évidence la violence à travers l'utilisation d'objets déplacés de la réalité. Le concept de l'image-symptôme, articulé par Georges Didi-Huberman (2013), est essentiel pour souligner la relation entre la douleur et le corps sur scène, un aspect central de ma recherche. La configuration symbolique proposée répond aux enjeux spécifiques de la crise généralisée depuis le début de la pandémie, causée par l'absence totale de l'État dans la lutte contre la propagation rapide du virus Covid-19, où jedéplace cette perspective vers une section centrée sur le contexte de ma relation avec la réalité de Goiás, où j'explore l'utilisation de l'objet-symptôme pour enquêter sur les absences et les deuils qui traversent ma pratique artistique. L'objectif principal du projet est de comprendre et d'appliquer le concept d'image-symptôme, en mettant en tension les aspects de ce concept dans la pratique performative de la photographie et ses particularités, en adoptant l'étude de la série de Robles (2007-2012) comme référence de déclenchement dans le processus créatif. À cette fin, nous avons adopté une méthodologie d'étude de cas avec une enquête sur les références, une recherche théorique et une analyse documentaire. Le projet documente également le développement d'une série de photoperformances inspirées par les principes de l'image symptomatique, avec un accent sur les absences et le deuil, en appliquant des concepts performatifs au corps et aux objets sur scène. Tout au long de la recherche, je crée un dialogue entre le travail de Robles et mes propres pratiques photographiques performatives, révélant de nouvelles possibilités de création et de réflexion dans le domaine des arts du spectacle et de la direction artistique. Le résultat final transcende la photographie traditionnelle, évoluant entre la sculpture, l'installation et l'occupation artistique, agissant comme un témoignage visuel et performatif de la douleur, de la dénonciation, de la mémoire et de l'absence.
Processo criativo e análise da recepção da obra Mulheres visíveis: uma entrega pra você!
(Universidade Federal de Goiás, 2024-12-03) Mendes, Maria Antonieta Vilela; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Silva, Rosemeri Rocha da; http://lattes.cnpq.br/9734662622571615; Tourinho, Lígia Losada; http://lattes.cnpq.br/8862753744492089
This research is dedicated to the process of creation and analysis of scenic work entitled "Visible women: a delivery for you!", consists of performing performances in the form of "dance deliveries'” that embodying stories of women who have suffered some kind of violence. The study investigates beyond the creative process, the capacity that the scenic work has to raise awareness of violence against women, from the presentation of contemporary dance performances in subway stations of the Federal District and subsequent dialogue with the interlocutor public. Considering that the research deals with issues of gender, raciality and creation process, the methodology of performative-qualitative research has been presented as an important methodological instrument for dealing with practice as a research guide.
Arte do Mover: Um Olhar da Autoetnografia Sobre Arte, Saude e Educação na Formação de Jovens Bailarinos
(Universidade Federal de Goiás, 2025-09-25) Lima, Gabriela Leite; Figueiredo, Valéria Maria Chaves de; http://lattes.cnpq.br/4166799919007370; Figueiredo, Valéria Maria Chaves de; Ferreira, Alexandre Donizete; Bittar, Adriano Jabur; Abrão, Elisa
This dissertation focuses on reflecting and discussing the processes involved in the experience of "A Arte do Mover," (The Art of Moving) a project created by the author. The experience was conducted with students undergoing professional training, including young dance artists in Brazil, specifically in the classical ballet modality, and students from a physiotherapy program at a public arts institution with international recognition, located in Goiânia (Escola do Futuro em Artes Basileu França). To this end, an ethnographic study was undertaken, considering the lived experiences of the artist-researcher throughout her professional trajectory in the performing arts, as well as a field study conducted over one year at the aforementioned institution. Given the scope of the research, a triangulation between art, health, and education is proposed. The field immersion highlighted the intersections experienced by both the young participants and the author amid contradictions and complexities. The discussions in this text articulate concepts such as health, the position of the research subjects (and the researcher) within the study, and also subjective aspects of the quality of life of young artists during their technical dance training. Finally, the need for an expanded perspective in professional training is emphasized, underscoring the potential of utilizing the biopsychosocial model in dance education, so that affective, sensitive, and plural perspectives can be developed.
A Cor da Lua: cenografia teatral, trajetória e dispositivo poético-pedagógico
(Universidade Federal de Goiás, 2025-03-10) Herrero, Daniel Freitas; Pereira, Dalmir Rogério; http://lattes.cnpq.br/8892640500335012; Pereira, Dalmir Rogério; Pires, Rafaela Blanch; Costa, Adriane Camilo
The present research aims to develop an autobiographical reflection that intertwines the theoretical foundations of scenography, a critical analysis of my trajectory as a scenographer, and a proposal for the use of scenography as a poetic-pedagogical device. The initial study focuses on the discussion of scenographic concepts, investigating its role and relevance as a constitutive element of the theatrical experience. Subsequently, I present accounts of various projects I have carried out in scenography, highlighting the challenges faced, the creative solutions adopted, and the lessons learned throughout the process. This approach enables an understanding of the technical and artistic aspects that have shaped my practice as a scenographer. Drawing on this consolidated experience, the research culminates in the prospect of an experimental performance entitled The Color of the Moon. This is an original creative process in which scenography takes on the role of central protagonist, configured as a poetic-pedagogical device designed to provide the audience with a formative experience through an immersive and sensory atmosphere.
Teatro para crianças em Goiânia na década de 1970: um estudo histórico e cultural
(Universidade Federal de Goiás, 2024-12-16) Constantino, Amanda Toledo; Dallago, Saulo Germano Sales; http://lattes.cnpq.br/3928124448700815; Dallago, Saulo Germano Sales; Oliveira, Joana Abreu Pereira de; Vieira, Karine Ramaldes
En muchos aspectos, el teatro juega un papel fundamental en el proceso cultural, estético y educativo de los niños, además de ofrecer entretenimiento y valiosas oportunidades de aprendizaje, desarrollo emocional y crítico. En Brasil, el teatro para niños es rico y diverso, un arte que presenta una variedad de influencias culturales y sociales. Sin embargo, en el caso específico de Goiás, esta tradición adquirió características propias que reflejan las peculiaridades culturales e históricas del estado. El objetivo de este estudio es investigar el teatro para niños en la capital de Goiás en la década de 1970, analizando sus orígenes, los principales nombres involucrados y el impacto social y educativo de estas iniciativas. Además, a través de documentos históricos, entrevistas y estudios teóricos, la investigación justifica la importancia del teatro para generaciones de niños de Goiás en su proceso de formación y educación.
Velhices em Cena: Caminhos para uma prática teatral com pessoas idosas
(Universidade Federal de Goiás, 2024-12-16) Vergara, Lívia da Costa; Machado, Maria Ângela de Ambrosis Pinheiro; http://lattes.cnpq.br/4323916629529180; Vergara, Lívia da Costa; Machado , Maria Ângela De Ambrosis Pinheiro; Torres, Lisa Valéria Vieira
This dissertation presents a general overview of old age, addressing the various factors that influence it and highlighting the relevance of artistic practices, with an emphasis on the theatrical experience, in this context. Through a case study, the work reports the theatrical experience developed with elderly people in the "Faculdade Fênix" project at the University of Rio Verde - UNIRV, focusing on the creative processes of putting together the shows "Colcha de Memórias" and "Eu – Woman”. Furthermore, the study proposes reflections on theatrical practices with elderly people, highlighting the importance of collectivity both in pedagogical activities and in dramaturgical construction. theatrical, with emphasis on the Theater of the Oppressed methodology, associated with a Freirean approach. This combination highlighted the importance of welcome, active listening and affection, considered essential elements to create an environment conducive to artistic expression and collective transformation.
O Trabalho no campo do figurino no audiovisual brasileiro: reflexões sobre o passado, o presente e possíveis caminhos futuros para o ingresso na profissão
(Universidade Federal de Goiás, 2024-12-12) Dias Filho, Márcio Masselli; Pires, Rafaela Blanch; http://lattes.cnpq.br/5634631010017373; Pires, Rafaela Blanch; Pereira, Dalmir Rogério; Schwarz, Érika Velloso Lemos
This qualitative research focuses on the work of costume design in Brazilian audiovisual, investigating the paths of education, entry into the profession, work dynamics, challenges, and professional recognition in the sector. Initially, through a bibliographic review, a brief overview of the national audiovisual industry is provided, followed by an overview of the costume departments’ technical sheets from film productions over the years, as well as a presentation of the work dynamics and roles within the costume department. Based on this, examples of various forms of costume education (formal, non-formal, and informal) in the country are presented as a possibility for preparation and entry into the profession, with the hypothesis that it is a process that promotes improvements in work and professional recognition in the field. Finally, the analysis of interviews with four professionals from the costume design field, coming from different backgrounds and training, enriches the analysis of entry into and the profession of the costume designer, broadening the understanding of the sector and its complexities. As a result, it is observed that the entry into the profession can occur in a multidimensional way. Unlike other more regulated professions, there is no single path or standard model of education for costume designers. It is also noted that the field of costume design can improve aspects of formal training by combining theory and practice applied to the different contexts in which costume designers can work, especially in audiovisual. Finally, the strengthening of the profession depends on greater structuring of professional education, recognition in the market, and greater appreciation of the technical and creative work of costume designers.
Poéticas cinestésicas: experiências transfronteiriças em dança, inclusão e terapia
(Universidade Federal de Goiás, 2024-04-30) Sant`Anna, Adriana Lopes de Oliveira; Lima, Marlini Dorneles de; http://lattes.cnpq.br/4182775556812377; Lima, Marlini Dorneles de; Figueiredo, Valéria Maria Chaves de; Abrão, Elisa
This study investigates the experience lived in dance, in its artistic, pedagogical and therapeutic dimensions, This study investigates and reflects on the lived experience in dance, exploring its artistic, pedagogical, and therapeutic dimensions. It emerges from deepening and connections arising from cross-border experiences that extend through the intersection of dance, inclusion, and therapy. Furthermore, it reflects on the cross-border experiences that span the intersection between dance, inclusion and therapy. Intentionally and systematically, borders and territories existing between these different areas of knowledge are discussed and discussed, recognizing their characteristics, similarities and differences. The objective is to understand, interrelate, interconnect dance, inclusion and therapy as permeable borders based on the socio-historical construction of people with disabilities in dance and the artistic scene and on the relationships established with the concept of Inclusive Dance (Amoedo, 2002). The research territory covers the relationships established in/with the Diversus dance group(GDD), an extension project linked to the Faculty of Physical Education and Dance at the Federal University of Goiás (UFG), where, subsequently, the poetics of the dancing bodies intrinsic to the practice and artistic process experienced and constructed together with this dance collective. The investigation takes place in the in-between space of experiencing kinesthetic sensations, through the “practice as research” approach that is fundamental to this dance study. As methodological layers of qualitative research, bibliographic procedures, documentary and audiovisual collections, interviews and analysis of artistic works developed from 2018 to 2021 by the dance group are presented in an exploratory and descriptive scenario of body analysis. This entire archive results in reflections of the living body, in movement, of the encounter with subjects who dance their plural anatomies, awakening new perceptions that manifest themselves in the plurality of conception of the human being, in the emergence of kinesthetic poetics as poetics of bodies dancing at GDD. The aim is to promote perspectives that instigate plural and singular perspectives on academic research in different areas of knowledge, as well as on the different forms of expression of different bodies within the scope of the Performing Arts and in other fields that permeate the borders permeable from dancing
Dark room: estratégias da contra produção no contexto contemporâneo
(Universidade Federal de Goiás, 2024-12-20) Ribeiro, João Pedro Bento; Ribeiro, João Pedro Bento; https://lattes.cnpq.br/1905971745979049; Oliveira, Natássia Duarte Garcia Leite de; http://lattes.cnpq.br/2673206479757870
This dissertation stems from research conducted from mid-2020 to the end of 2023, within the research field of Aesthetics and Poetics of the Performing Arts within the Graduate Program in Scenic Arts (PPGAC) at the School of Music and Performing Arts (EMAC) of the Federal University of Goiás (UFG). It is affiliated with the following laboratories: the Laboratory of Scenic Productions and Theater Education (LabMonTe/EMAC/UFG) and the Interdisciplinary Laboratory for Research in Scenic Arts (Lapiac), the latter being affiliated with EMAC and the School of Physical Education and Dance (FEFD/UFG) as well as the Laboratory of Indumentary creation, Costume Collection and Sewing Atelier (LabCriaa). The dissertation is titled: "DARK ROOM: Counterproduction Strategies in the Contemporary Context." Its aim is to be a practical experience that achieves a creative intersection between Art Direction and the socio-political theory of contrasexuality, writen by Paul Preciado. To this end, it carries out an experiment in immersive performative installation open to the public, where interaction, touch, and existence are key elements of the experience. This project seeks to establish the theme of Contrasexuality, indicating it as the theoretical foundation that links to the body and drives the construction of exposed bodies. It also extends to the understanding of Body Architecture, as coined by Marcelo Denny. Finally, Art Direction, which permeates all these fields, contributes to the visual construction of the installation, allowing for the integration of the exposed conceptualizations in front of a performative installation and the participants who pass through it. In conclusion, the project's realization is expected to be achieved through the construction and assembly process, which will be documented and displayed as a way to emphasize the importance of practical knowledge that persists in the field of scenic production, especially in Art Direction that may arise in bodies out of the norm possibilities of creation on the artistic field.
Perambular: um olhar para o corpo em um processo de criação cênica
(Universidade Federal de Goiás, 2024-10-11) Oliveira, Eliadine Geovanna de; Machado, Maria Ângela De Ambrosis Pinheiro; http://lattes.cnpq.br/4323916629529180; Machado, Maria Ângela De Ambrosis Pinheiro; Abrão, Elisa; Caetano, Patrícia de Lima
A partir del principio del cuerpo en la experiencia en el arte, la actriz experimenta y analiza un proceso de creación artística. Comparte cómo buscó comprender la materialidad escénica desde la perspectiva del cuerpo y su corporalidad a partir de experimentos de laboratorio. Con la comprensión del proceso artístico como espacio de creación e investigación, y subvencionado por el enfoque metodológico de la Investigación Guiada por la Práctica, se desarrolló una investigación basada en el recorrido de la creación artística con el cuerpo como guía, y, en ese camino, fuimos observando redes de diálogo con técnicas y métodos teatrales. La disertación propone analizar qué es el cuerpo, cómo aprende, cómo se expresa, además de señalar formas de cómo se trabaja el cuerpo en el teatro con el objetivo de apoyar la comprensión de su papel en esta investigación. Propone pensar la dramaturgia que parte del cuerpo, señalando, entonces, cómo en este caso de estudio se desarrolló la dramaturgia del cuerpo en la escena denominada Desacordar, presentando esta construcción a partir de prácticas y notando que los significados de la narrativa son presentes a partir de la exposición de las sensaciones y descubrimientos del personaje EmiLia
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.
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.
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.
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.
Portas: entre vias, saia são - performance de gente
(Universidade Federal de Goiás, 2024-02-26) Santiago, Letícia Lemes; Lima, Marlini Dorneles de; http://lattes.cnpq.br/4182775556812377; Lima, Marlini Dorneles de; Lotufo, Júlia Jenior; Souza, Newton Armani de
The study sought to promote performing arts among residents of the northwest region of Goiânia, adopting a workshop approach that culminated in an artistic performance. The central proposal of the research was the creation of a performance among the region’s residents. The research was based on the concepts of Spinoza’s “affects” and Bakhtin’s “voices”, paving the way for a deeper exploration through memory from somatic-performative research. This exploration involved the search for objects, actions, memories, stories and movements that held the desire to be shared. The main objective was to discover voices and affections that intertwine in the search for (re)creating through artistic performance. As a result, this research contributes to a deeper understanding of art as a means of expression, connection and personal development in collaboration with the local community. Therefore, when exploring voices and affections, a deep and meaningful journey is revealed that transcends the limits of the body and language. Voices, as individual and collective entities, and affects, as emotional drivers, merge in an exploration that echoes the rich diversity of human experience and its quest to (re)create through artistic performance.
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

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