Mestrado em Performances Culturais (EMAC)

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    Afro rizomas: corpo, noção de pessoa e identidade no Candomblé
    (Universidade Federal de Goiás, 2016-06-03) Rezende, Marcos Vinícius Buiati; Correia, Paulo Petronilio;; Correia, Paulo Petronilio; Nascimento, Wanderson Flor do; Dias, Luciana de Oliveira; Silva, Renata de Lima
    The body in Candomble, in its scenic and ritual performances, is asked to dwell friction zones that destabilize and confuse certain aesthetic-ethical-political normative standards. The aim of this study is to map part of this conjuncture of destabilization and displacements from the liturgical - teaching aspects in which the body is inserted in Candomble, in dialogue with some of the conceptual axes, such as aesthetics, composition, person, gender and identity. It seeks to elucidate in which ways the scenic and ritual performances of body in Candomble are only possible if there´s a destabilization of these normative categories, therefore creating an aesthetic - ethics of being in community through social and liturgical means that displaces and unsettles this body. The general theoretical scope rests on the rhizome perspective, epistemological system proposed by Deleuze and Guattari (1995), where there are no pre-established hierarchies or closed dichotomies. The approach so of the body in Candomblé is from a multi conceptual and hybrid reference. It also relies in Deleuze and Guattari (2010), Guattari (1992), Maffesoli (1996) and Santos (2012) to consider aesthetics in Candomble; Segato (2000), Goldman (1984) Butler (2012) and Hall (2011) for identity and notion of person. Theory and method are therefore interdisciplinary, thought from multiplicity and plurality conceptual and analytical, guided by cultural performances perspective. It is expected to show that body in Candomble´s performance builds a scenic act in itself, unique and inventive, as well as is in itself an event. So here, it can be said that in its plurality, body in Candomble affirms itself as revolutionary and subversive. It is a body that resists the present, questioning it from its margins and cracks.
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    Autoimagem, ativismo online e o corpo feminino em performance: recepção a partir de vídeos da tag “Tour pelo meu corpo” no YouTube
    (Universidade Federal de Goiás, 2021-08-23) Prado, Beatriz de Almeida; Satler, Lara Lima;; Satler, Lara Lima; Sacramento, Igor Pinto; Silva, Renata de Lima
    Digital Culture is proving to be a viable and more accessible alternative for many women, teenagers and girls to communicate and organize collectively. Pages and groups that bring reports of experiences and questions on social networks such as YouTube, Facebook and Instagram have been increasing in number and importance, easing the exchange of knowledge, sharing experiences and mutual help between women in an environment that is mainly characterized by the possibility of interactivity. Recognizing that the message shared on the internet can affect the lives and self-esteem of people inside and outside the digital environment, both positively and negatively, this research proposes to investigate the reception of the performances of Tour Pelo Meu Corpo performed by Luíza Junqueira and Ellora Haonne on YouTube to understand how these are interconnected to the body self-image of their audiences and how the processes of body acceptance can change based on these performances. The main objective of this research is to understand how the experience with these performances can modify the spectators' body self- perception and spawn reflections about aesthetic standards, as well as the relationship established by women between self-image and aesthetic standards. It is a qualitative research, which uses media ethnography for data collection and pursuit to categorize the results obtained stem from Hall's studies. As a result, it was realized that, when performing these tours over their own bodies, the YouTubers perform a kind of self-writing, using the videos as an instrument of self-knowledge and confronting an excluding beauty standard, but by publishing these videos online their reflections can become a starting point for questioning the idea of a single kind of body as an ideal, just as rethinking their relationships with their own bodies. It is still not possible to know to what extent the experience with these performances would be able to promote lasting changes regarding the body self-image of girls and women, which are the focus of this study, however, its potential in fostering the discussion can already be seen. on aesthetic standards for the female body, intending to continue the study in future research.
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    Memória, corpo e performances: a dança negra de Mercedes Baptista
    (Universidade Federal de Goiás, 2016-04-20) Pereira, Dayana Gomes; Correia, Paulo Petronilio;;; Oliveira, Vânia Dolores Estevam de;; Oliveira, Vânia Dolores Estevam de; Correia, Paulo Petronilio; Ratts, Alecsandro José Prudêncio; Veloso, Sainy Coelho Borges
    This study proposes reflections, analyzes and discussions for the female black body in dance, having as a study the course and the performances of dancer Mercedes Baptista (1921-2014). In order to get perceptions of this body, are emphasized choices, pathways, spaces, Afro Brazilian Dance in Mercedes Baptista, events and people that have gone through and marked her life story. From the reconstruction of its trajectory, it is possible to think the problems that still demarcate this body. This reinterpretation grounded in biographical work "Mercedes Baptista: the creation of black identity in dance" Paul Melgaço (2007) are marked educational spaces and meeting that will contribute to the formation of ballerina, considered this work as a rhizome. To broaden perspectives on aspects that cut across its history, they are discussed concepts related to the memory, forgetfulness and invisibility, in dialogue with the review and analysis of the content of three books dealing with the history of dance in Brazil. At understanding the printed demarcations that body, are discussed aspects that make up the social imaginarywith a focus on one of the representations attributed to the female black body dance, present in the trajectory of Mercedes Baptista, the personification of "mulatto". In this context of thinking training, the female black body and its representations, is taken up the "body afrodiaspórico" while confrontation way these symbolic impositions. For better understanding the variances of which this body created and recreated, although the omissions and representations, through the lens of Cultural Performances are discussed the notion of the body as "liminal body" being considered the documentary "standing Ballet on the ground" of Marianna Monteiro and Lily Solá (2005). This work aims at weaving a dance writing, that emphasis an important aspects, that is expected to contribute to the reflections on the formation of the female black body dance nowadays.
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    As performances do circo na rua: escolhas, expectativas e aprendizado do saltimbanco contemporâneo
    (Universidade Federal de Goiás, 2017-05-04) Barreto, Mônica Alves; Oliveira, Vânia Dolores Estevam de;; Bortoleto, Marco Antônio Coelho; Real, Márcio Penna Corte; Oliveira, Vânia Dolores Estevam de
    This research seeks to see street circus artists, here called contemporary saltimbancos, through the eyes of Cultural Performances. For two years the street artist from Goiânia was observed in his rituals, in order to understand the choices he makes in his daily life. Street art is often undervalued, however it can be seen that the influx of artists from different states and countries has grown in the streets of the capital of Goiás in the last decade. The present research was to search in the own artists' speeches a way to better understand this growth through semi-structured interviews. The street circus artist's learning style has been observed since local weekly meetings to Festivals and Conventions that bring together artists from all over Brazil and Latin America, bringing to the forefront a network of organization and relationships. By following the events of the street performers it was revealed a collective movement, mentioned by many as an aggregating factor and, in large part, responsible for the dissemination of circus art in the state. This research brings indicative of how this movement developed and what it brought to the circus art of the Midwest. The research also revealed tensions experienced by circus street artists. Internal relations, the relations between the street artist and society and between the various segments of the area are full of conflicts, inevitably revealed by the coexistence. The conclusions point to the urgency of a discussion about legislation concerning street art and the relevance of circus schools in the development of the circus artist who perform on the street.
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    Onde é o after? Modo de vida, multidões queer e masculinidades no pedaço gay em Goiânia
    (Universidade Federal de Goiás, 2017-04-07) Rodrigues, Roberto; Correia, Paulo Petronilio;; Correia, Paulo Petronilio; Lima, Fátima; Braz, Camilo Albuquerque de; Marques Filho, Adair
    The present study aims to map the lifestyles in the gay part of Goiânia. These lifestyles are created and devised from the politics of the queer crowds, outlined by the following issues: the being together, relationships between men and friendships as lifestyles that can give rise to a gay culture, ethics and aesthetics. In so far as they point to the contestation of logocentrism, they highlight the traits, flows, changes and desires that intersect and affirm themselves in the festive homosocialitiesand in the assemblages of masculinities that territorialize, deterritorialize and reterritorialize processes of subjectivation of the minorities, the abject beings. From the party planners' meetings we can reflect on the constitution of ways of life that pass between gender issues and the flows and overflows of the party itself. The festive territories are made up of multiple and Dionysian landscapes where joy is constituted as a superior way of life. However, the tragic aspect of the party makes the risks, instabilities and dangers also present in the composition of its landscapes.
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    Na vibe das mulheres DJs: sentimento, mixagem e subversão
    (Universidade Federal de Goiás, 2017-06-02) Sucena Junior, Edson; Correia, Paulo Petronílio;; Dias, Luciana de Oliveira; Reinato, Eduardo José; Correia, Paulo Petronílio
    This dissertation it is proposed to understand how the process of construction of identities of women DJs in the scene GLS in Goiânia, from the point of view that the DJ's are performers in the musical, as it cut through the mix, the relationship with the music and creating, they have the power to bring the crowd to ecstasy and trance in the club scene. This is a study about the narrative of women who act as professional DJs who now approaching, now distance themselves with regard to musical styles, because each one has its identity in the construction of his sets and in their performances. By understanding that identity is a social and cultural construction, we are led to think and problematize notions such as “feeling” (sensation), subversion and performance. These are women who are in their subordinate modes of being and expressing ourselves in the world while the genre and artists on the margin, in spaces with strong markers of social difference. Bring the voices of these women means enhancing movements and shifts of identity that will put you in check the heteronormativity compulsory. Is it so that this “feminine plural” starts to be questioned in their becomings and multiplicities. Therefore, to interrogate these identities allows us to question: a DJ is performance? How to build a DJ? Can the DJ talk? Performances and performatividades bypass their identities? Therefore, listening to the narratives of these women and go through their intimate allows us to create conditions and possibilities to which the subaltern can indeed speak and show their you can actually talk and show their potential subversive.
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    “Por Instantes de Felicidade”: corpos em performances na Quasar Cia. de Dança de Goiânia
    (Universidade Federal de Goiás, 2017-04-28) Silva, Michael; Correia, Paulo Petronilio;; Correia, Paulo Petronilio; Bonetti, Maria Cristina de Freitas; Ribeiro, Luciana Gomes; Silva, Renata de Lima
    This research use the performance notion from studies of Department of Performance Studies at New York University, especially in the work of the playwright Richard Schechner, and pounces toward “Por Instantes de Felicidade” (“Moments of Happiness”), Quasar Dance Companycelebrating spetacle its twentieth anniversary. This work, therefore, questions itself about the historical journey of this company; about how its national and international projection occurs and about its characteristics as a dancer producer to thenceforth to do a poetic reading about this spectacle. In order to get that, this paper proposes a conceptual reflection that signals the epistemological view cast upon the documents of this show and about this company, and it makes a detailed description of the spectacle “Por Instantes de Felicidade” to perceive it formally and contextually. The reading of the show counts on the video images of its local premiere on April 18 and 20, 2008 at Teatro Goiânia, with the extras of such a DVD, an interview with the choreographer Henrique Rodovalho and a writing questionnaire with the interpreter Daniel Calvet. One of the conclusions reached in the research is that the show studied excels by a virtuous performance of dance and that its strong self-referential content ends up characterizing it as a spectacle fundamentally entertainment, especially for its theme to be commemorative. From the interviews conducted with the dancers João Paulo Gross, Marcos Buiati and Martha Cano, who danced it in later years, it is concluded, among other things, that this vigorous performative pattern of the company is physically very demanding for the bodies of the performers.
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    Desejo, identidade e espacialidade em James Baldwin
    (Universidade Federal de Goiás, 2017-04-10) Bezerra, Paulo Rogério Bentes; Correia, Paulo Petronílio;; Ratts, Alecsandro José Prudêncio; Camargo, Flávio Pereira; Assumpção, Albertina Vicentini; Oliveira, Vânia Dolores Estevam de; Correia, Paulo Petronílio
    The aim of this academic paper is to do a cartography of the desire, the identitiy and the space, among other issues which are related to the difference, on the novel Giovanni`s Room, produced in 1956 by African American writer James Baldwin. From my particular reading of the novel, there is the perception that the relationship between the couple David and Giovanni is the core of the narrative. Concerning the issue of desire, I will discuss it as multiplicity. Furthermore, regarding identity, I will discuss its subversive character, the diaspora and the in-between, which are snippets that I consider very meaningful to the novel and its author. Regarding the matter of space, through my point of view, it has a peripheral atmosphere, which reflects the social marginalization of the characters that inhabit and move around it. Moreover, the masculinity, which I also consider as a significant issue in the work of Baldwin is connected, in my conception, to sexual ambiguity. I emphasize that, considering the matters of space and masculinity, this research will approach Giovannni`s Room, but it will be also extended to the novels Another Country and Just Above My Head, also written by Baldwin, for their construction is marked, through my point of view, by the difference. In order to better conduct this academic paper, I will select a theoretical framework, which includes Michel Foucault, Judith Butler, Stuart Hall, Gilles Deleuze, Félix Guattari, Georges Battaile, Homi Bhabha, Gaston Bachelard, Fernando Seffner and other contributors.
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    (Des)dobrando o teatro da crueldade: Nietzsche, Artaud, Deleuze e outros pensadores rebeldes
    (Universidade Federal de Goiás, 2017-03-24) Barbara, Rodrigo Peixoto; Correia, Paulo Petronílio;; Correia, Paulo Petronílio; Christino, Daniel; Nunes, Alexandre Silva; Gomes, André Luís
    The Theater of Cruelty is an Artaudian artistic manifestation that shook the representative Western aesthetic bases by returning the ritual, magic and life suppressed by Western theater to the performing arts, also highlighting controversial subjects / themes silenced by a ruling class, similarly as Friedrich Nietzsche and Gilles Deleuze did with their philosophical thoughts. In view of this, it is proposed with this Master's Dissertation, to (un)fold this Theater of Cruelty having as a theoretical subsidy, besides the studies of Antonin Artaud, the investigations of Nietzsche, Deleuze and some other rebellious thinkers. Through this unfolding, one studies the possible cruel plot given by the Philosophy-Art-Life conjunction and of that, the link between Tragedy, Dionysus and the Artaudian Theater. In view of this panorama, one wonders: what unites these cruel-artist thinkers? What do Nietzsche's Tragedy and the god Dionysus lend to the Theater of Cruelty of Artaud? To this end, the theoretical clause presented here rests on the attempt to account for a study that shows the rhizomatic agreement between these three thinkers and subversive thoughts having as central axis the Theater of Cruelty. Therefore, this theater is staged to propose a connection between Artaudian Cruelty and the revolutionary powers of the Nietzschean and Dionysian tragic.
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    Catira: performance e tradição na dança caipira
    (Universidade Federal de Goiás, 2016-10-27) Marra, Juliana Ribeiro; Tamaso, Izabela Maria; Tamaso, Izabela Maria; Silva, Patrícia Osório; Correa Junior, Sebastião Rios
    This research aims at proposing a widening of the understanding of catira, a traditional dance of the Brazilian popular culture. The dance territorializes itself in the region of the caipira culture and has its structure founded in the clapping of hands and on step dancing of the dancers under the rhythm of the moda de viola and of the recortado. The viola is therefore the essential instrument for the dance. Catira is a dance but also music and poetry, which find identification with the rural world of the southern center of Brazil. Although the practice is considered contemporary of the country´s colonization – and the catira groups are many – there are few records and studies that go about it. Therefore, initially to introduce the dance, its forms and elements were presented and there has been an attempt to analyze them bearing in mind its insertion in the studies concerning popular culture and folklore in Brazil. Following that the theoretical and methodological approach of the research is outlined. Catira becomes then the focus of an analysis built within interdisciplinary knowledge. Focus in which, a method and categories of analyses of social sciences and also of the arts, are supposed. Cultural performances rise as the interpretative axis of the research, as long as in relationship with other concepts that also establish themselves in the multidisciplinary perspective – i.e. tradition, socialization, memory, body and dance. Bearing in mind these concepts, we reach the analysis of the records gained from the field research of the work. The analytical narrative is built from the interviews, observation and participation, theoretical relationships and audiovisual records, mainly the photographs taken in the fieldwork. Firstly the dance of the catira within the ritual of folia of Companhia de Reis Bandeira Vermelha, in the town of Goiás/GO, is analyzed. After that the focus is turned to the town of Itaguari/GO and its enormous Folia de Reis, where the groups Irmãos Oliveira e Orgulho Caipira are to be found. Finally having the experience lived with the groups as a referential, the analysis is deepened with focus on the identities, the power relationships and the negotiating carried by the groups of catira. The understanding is that the identities sought and lived are related to the places and territories in which this performing heritage of the caipira culture takes place. The endurance is characteristic of these bodies that move harmonized and in pairs since immemorial times, in the conjunctures of nowadays – if permitted indicating a path beforehand – in a future not envisioned.
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    A preparação de atores na montagem de ‘Quatro Paredes’. Goiânia, Brasil (2003).
    (Universidade Federal de Goiás, 2015-06-09) Peixoto , Bruno Quirino; Fernandes, Adriana;; Camargo, Robson Corrêa de;; Camargo, Robson Corrêa de; Vicentini, Albertina; Mendonça, Maria Beatriz
    This dissertation is due to is a due to thoughts about the process of the coaching of actors from the play Quatro Paredes, by Cia. Mínima in Goiânia, Goiás, Brasil, 2003. This theatrical production was constituted inspired by principles of acting coaching presented by Italian theater director Eugênio Barba (1936) in Brazil and is part of the reception of techniques developed by the director in our country. These work pursuits the systematization and thinking of the methodologies and exercises used in the preparation of actors of this theatrical production. Such analysis uses four conceptual filters for the comprehension of this process and present on the building of this play: ritual, flow, play and improvisation. The methodology used in this is investigated through exercises and procedures that were grounded on these conceptual filters. Through work diary, photos and memories the elements of four actors’ experiences are registered and analyzed during the preparation of the referred play: Ana Paula Carvalho, Bruno Peixoto, Mayarah Pinheiro e Pedro Vilela.
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    Jogos teatrais, pensamento simbólico e conhecimento intuitivo: diálogos entre Viola Spolin e Jean Piaget
    (Universidade Federal de Goiás, 2017-02-08) Tancrede, Onira de Avila Pinheiro; Camargo, Robson Corrêa de;; Icle, Gilberto; Koudela, Ingrid Dormien; Hartmann, Luciana
    The aim of this study is to relate the methodological aspects of theater games, such as developed by Viola Spolin (1906-1994), and symbolic play (jeu symbolique) as presented by Jean Piaget (1896-1980). This research analyzes the symbolic function and the symbolic games ([1945]) at the thought of Piaget and the improvisational games of Viola Spolin ([1963]). From this perspective, establish dialogues in their entertainment and educational way and shows how the knowledge of these symbolic characteristics and the intuitive knowledge can influence the driving proposals for theater education in public schools with children. This dissertation departs from the meaning established by the relationship between meaning/significant with the intuitive intelligence, which are elements presents in the theatrical play.
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    O beijo no asfalto: melodrama na adaptação cinematográfica da obra de Nelson Rodrigues
    (Universidade Federal de Goiás, 2017-03-02) Pinheiro, Pablo Marquinho Pessoa; Nogueira, Lisandro Magalhães;; Nogueira , Lisandro Magalhães; Christino, Daniel; Souza , Jamesson Buarque de
    The melodrama is popularly known as a genre that takes the viewers to tears, composed by great sentimentalism and exaggerated actors. Despite this popular idea has a real root, the melodrama characterizes itself mainly by the complex relationship with the public. This relationship of communication with viewers was determinant and strategic for the development of melodrama, as well as your upgrade and migration to other narrative forms. The first part of this research proposes a historic rescue of melodrama while genre, from its emergence in the theater during the 18TH century until their update by the cinema. The second part analyzes the relationship between melodrama, film and reception, from the studies on the cultural performances, it being understood that the viewer participates actively in the process of reception during a film session. Recognizing that updating the melodrama has kept a poetic communication full of emotion and with a strong educative and regulatory function. In the third part, one examines the film O Beijo no Asfalto, by Bruno Barreto, adapted from the eponymous dramaturgical text O Beijo no Asfalto, by Nelson Rodrigues. Searching elements that characterizes the melodramatic imagination, as well as, to point characteristics from melodrama reverberated in this film.
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    Tradições em movimento no Terno de Congo Verde e Preto
    (Universidade Federal de Goiás, 2016-09-19) Carvalho, Cleber de Sousa; Corrêa Junior, Sebastião Rios;; Corrêa Junior, Sebastião Rios; Silva, Renata de Lima; Garcia, Allysson Fernandes
    This dissertation shows reflections about the Festivity in Honor of Our Lady of the Rosary and Saint Benedict of Village João Vaz (Goiânia, GO) and the body movements of the congo’s dancers of Terno de Congo Verde e Preto focusing on processing procedures and permanence which are subject traditions and expressions of popular culture. The Rosary celebrations of black men are also known as Congada parties or Congado are produced from a conversion universe to Catholicism present in Brazil, since the colonial period with an ambiguous character who reconstructed and a new meant the sacred made its own and articulated with knowledge and concepts bounded to the ancestral notion of Bantu people. Onwards from a theoretical reference aligned by an interdisciplinary aproach the research purpose is to perceive how the congadeiros of Village João Vaz, especially the participants of congo’s dancers, they living the processes of transformation and permanence of their rituals and body movements (dancing, singing and drumming). To do this, initially, will be shown the structure of the Feast of the João Vaz, its relations with Congada Party of Catalan (GO), and main ceremonies, enabling the perception of the cycle of the Feaste, from the participation of Terno de Congo Verde e Preto. Then we will discuss about the contact’s points between the processes of urbanization and modernity and the ceremonies of the Feast of João Vaz that have presented to “congadeiros” the necessity of modifications and new meanings in their rituals, as the demands of urban life. So understand that, the same time that the life settings in the city point to the formation of an individualistic and apathetic subjectivit based on monetary values it was observed as the existence of manifestations of popular culture as the Congada between others present in regions considered marginalized comunities that they went occupied by people with limited financial resources who value sociability, solidarity coexistence affection and friendship. Finally, we will discuss about how the dancers of Terno de Congo Verde e Preto are living the changes and continuities in the configuration of body movements and rituals they perform, in view of the embodiment of knowledge that are manifested in dancing, singing and drumming, as basic features make up the african-Brazilian performances. The survey conducted the understanding of the interrelationships between the material sphere of existence and spiritual or symbolic sphere that operated in the manifestations of popular culture. This being one of the aspects that allow the observation of their movements and transformations and the realization that the knowledge of Congada that are sedimented in Congadeiro(congo dancer) body in built-in memory, the formation of a habitus, which manifests in festive ceremonies and celebration rituals.
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    Teatro das emoções e emoções no teatro: diálogos entre neurociência e Stanislávski
    (Universidade Federal de Goiás, 2016-05-10) Santos, Adailson Costa dos; Fernandes, Adriana;; Camargo, Robson Corrêa de;; Camargo, Robson Corrêa de;; Fernandes, Adriana;; Calvert, Dorys Farias; Hartmann, Luciana; Reinato, Eduardo José
    This research analyzes the perspectives of Stanislavski’ system as proposed by the Russian director Constantin Stanislavski (1863 – 1938) in dialogue with recent proposals of the neurobiology of emotions. It begins with the main definitions about emotions in western history, starting with Plato and reaching conceptions posed by the Portuguese neuroscientist Antonio Damásio (1944) who investigate the production and interpretations of the human emotions. The work focuses on the proposals of the “organic” interpretation by Stanislavski, mainly on the concept and procedures of what has been called emotive memory. This discussion is based on the findings of the French psychologist Théodule-Armand Ribot (1839- 1916), and his concept of affective memory (in French, la memoire affective; In Russian, Affectivnaia pamiat’) that underpinned the concept used by Stanislavski. At the end, the thesis establishes the neurobiological construction that pervade the Stanislavski’ system.
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    Jú onze e 24: pretextos, textos e contextos de atores drag-queens em Goiânia (GO)
    (Universidade Federal de Goiás, 2015-11-05) Nunes, Paulo Reis; Reinato, Eduardo José;; Reinato, Eduardo José;; Vicentini, Albertina; Petronilio, Paulo
    This work tries to recall the memory of the show Jú Onze e 24, directed by Júlio Vilela, and its latest attempts at survival, with its structure and circulation among the theatrical spaces and spaces LGBT in Goiânia, with the main attraction the dragqueens performances. This drags, to carry out the production of a female body translated as assemblies, presented at different mappings. These mappings are understood as flexible operating modes that go or back together. The fact of producing and performing, featuring her performative process, which allowed for a study of the aesthetic transformations in the show, based on studies of performance, queer theory, gender and sexuality. These themes could incite processes of identification and difference about subjects of deviant sexuality, as transvestites and transsexuals who are confused or placed under one label, which confirms that there is confusion regarding the usual drag-queen performance.
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    Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016)
    (Universidade Federal de Goiás, 2016-05-31) Silva, André Carlos Conrado Inácio da; Veloso, Sainy Coelho Borges;; Veloso, Sainy Coelho Borges; Jesus, Samuel José Gilbert de; Abdala Júnior, Roberto
    The word performance was popularized and became appellant in everyday human being. However, they make use of it without understanding the size and strength she has. . The performance takes place in all areas of our life, she runs the kitchen at the time of cooking, in sports, at work, on the floor, finally the performance is a term loaded with meanings and synthesis shows that our life is structured with ways behavior and gestural expression that a social attitude that is evident in daily living. The dissertational work images that speak: A pictorial ethnographic research goianiense cultural performance (2014-2016), sought to demonstrate how to constitute the daily lives of the city of Goiania cultural performance of passers-by that it circulating in their day-to-day. For this, we used the Photoethnography in a collection of images made through photographs taken at various points of the city, which were later transformed into lick lick and taken for public reception in the same places where photographed form. With the reception process we seek to identify the goianiense or goianiense recognize the images its own cultural performance or not. So in the receptive process we conducted interviews with the receiver public that were later used for data analysis on procedural research. This time, the results led to a gestural performance goianiense and goianiense that became evident in his statements on the existence of an identity - performative than is to be a goianiense or goianiense. This work is an invitation to get to know how to built and present in living daily "be goianiense".
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    Performances em Hamlet: textualidades, teatralidades e liminaridades
    (Universidade Federal de Goiás, 2015-12-03) Barros , Edlúcia Robélia Oliveira de; Reinato, Eduardo José;; Reinato, Eduardo José;; O'Shea, José Roberto Basto; Junior, Roberto Abdala
    This dissertation is the result of a diverse literature and aims to analyze multiple aspects in the tragedy Hamlet, Prince of Denmark (1600-1601), the Englishman William Shakespeare (1564-1616), as a performative text. To do so, it establishes relationships between this tragedy and some issues discussed on performance studies, specifically theatricality, liminality and textuality. Hamlet’s story is first related to the concept of theatricality as state from the Russian playwright and theater director Nicolas Evreinov (1879-1953), as well as establishes dialogues with the notion of liminality discussed by folklorist and ethnographer Arnold van Gennep German (1873-1957), also with ideas of the Russian thinker Mikhail Bakhtin (1895-1975) about the performance of language, among other notions about performing and human performance practices. Hamlet, the text, appears on the threshold between completeness and movement, between textuality and theatricality, between readings and cultures. It is described and further analyzed Hamlet assembly in Moscow Art Theatre (MAT), one of the famous readings and rewrites the Shakespearean tragedy. A scenic production, which features dialogues and confrontations between text and scene, between Aesthetics, between readings of the tragedy, which express themselves through the collisions between the directors of this performances, the actors and the spectators. Finally comes to aspects of reception of Hamlet.
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    Balé sob outros eixos: contextos e investigações do coreógrafo norte-americano William Forsythe (1949) entre 1984 e 1994
    (Universidade Federal de Goiás, 2015-06-12) Ferreira, Rousejanny da Silva; Camargo, Robson Corrêa de;
    This dissertation aims at discussing the contexts and the reformulations on the vocabulary for the ballet proposed by the North American choreographer William Forsythe (1949), from the decades of 1980 to 1990. The excerpt delimited on the research is within the period which Forsythe directed the Frankfurt Ballet, in Germany. He has been considered an important revitalizer of the patterns of traditional ballet by many art and dance critics as well as by historians. For a better understanding of the trajectory and importance of Forsythe in the transformation of this dance, I first present some of the problems of the uncritical historic discussion of ballet. Following that I point out how ballet has raised aesthetical and political provocations about its performing up to the context of the subject here being investigated – William Forsythe. Next I investigate the social, political and artistic constructions which are designed by this choreographer in order to develop his references about the conception, performing and composing of ballet in the contemporaneity. In this perspective I also investigate the material that registers this period of his career: the CD-ROM Improvisation Technologies. I present the organization of the CD together with the description and analyses of the technology and the studies developed in the field of Labanian Choreutics as well as the description and analyses of all of the categories presented in its first edition, which has influenced the creation of the material. This work problematizes ballet as a web of meanings of our time, presenting the dancer as researcher of his choreographic practice.
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    Ritual em Richard Schechner e Victor Turner: aspectos de um diálogo interdisciplinar
    (Universidade Federal de Goiás, 2015-11-06) Costa, Grasielle Aires da; Camargo, Robson Corrêa de;; Camargo , Robson Correa de; Dawsey , John; Hartmann, Luciana
    This work aims to analyze the concepts of ritual developed by Richard Schechner and Victor Turner. This is realized through the definition, analysis and discussion of the concepts looking for the dialog between Schechner and Turner. The research was developed by reading and analysing the major volumes published by these authors, what is Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors and From Ritual to Theater by Turner and made by Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual and Performance Studies. Was not found any work like this. It is an inedited and presented an important review on Schechner‟s and Turner‟s written. The ritual concept needs this multiplicity look to take a new breath and look up different sea-lines. This job has a methodological richness because points out precisely the fact that the research belongs analyse the field "between" the theatre and anthropology. It is not remand to any discipline and the same time belongs to all of them. This is a bibliographic study what can provide theoretical support for various research fields.