Doutorado em Performances Culturais (FCS)

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Viva o Zé Pereira! Viva o Carnaval! Vida e Formas expressivas na Obra de Arte de Francisco Corrêa Vasques
(Universidade Federal de Goiás, 2024-05-03) Faria, Marcelo Fecunde de; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo; Camargo, Robson Corrêa de; Gonçalves, Jean Carlos; Marzano, Andrea Barbosa; Oliveira, Vânia Dolores Estevam de; Souza, Silvia Cristina Martins de
This thesis proposes to reconfigure the historical and scenic trajectory of the comic thing in O Zé Pereira Carnavalesco, written and produced by Francisco Corrêa Vasques (1839- 1992) and acted on the stage of the Teatro Fênix Dramatica in Rio de Janeiro in 1869. The documentary corpus of this research consists of Vasques’ comic scenes written from 1839 to 1892, statements produced in periodicals on the database of the Brazilian Digital Library (National Library), and the images and literary texts that reflect the context and scope of Vasques’ work beyond his lifetime. The universe of the Brazilian theater and that of Carnaval in its constant changes help the analysis aimed at this work, evincing the relation of Vasques’ scene with the carnival party and the popular manifestations that emerged in the scenes with their parodies and songs. Traits that are fundamental in building characters, scripts, and a way of staging in search of carnivalized laughter. The theoretical axis of this research is based on references in the theories of Bakhtin’s Circle and its understandings of dialogy and carnivalization, in dialogue with Nicolas Evreinov’s (1879-1953) fundamental concept of theatricality. Initially, this research addresses the cosmology of carnivalization and its essential conception of the memory of the genre, reflecting on how works of art may be able to enable different readings in its time and in several periods in view of its dialogical nature and artistic essence. This narrative focuses on the figure of Francisco Corrêa Vasques and his creations, contemplating his stylistics and enunciative choices in the Brazilian sociocultural environment. Throughout this study, the researched statements show that the aforementioned comic scene and its great technical simplicity became a success with the public and reverberated in historical time, creating a network connecting past and future and being the target of comments from chroniclers, journalists, and literary critics decades later, entering the Carnaval musical culture itself. This cosmology enables us to understand that theatrical performance becomes an evaluative and dialogical event that expands, ricochets, resonates, sings in a longer time, gathers traces and signs of its readers, and creates new waves of expressive possibilities. This inventory leads us to the comings and goings of the relation between art, context, and its processes. Carnaval, the ultimate symbol of joy and the state of opposition between the normativity of everyday life and the other life that emerges in this party, entered the Brazilian theater, transforming it and re-signifying new directions. Thus, in addition to its inventory, this research celebrates and echoes the encounter of theater with Carnaval and life and vice versa, problematizing the work of art in the ravines of its time. And long live Zé Pereira!
O karate no imaginário social: performances entre arte e luta
(Universidade Federal de Goiás, 2024-03-22) Santos, Lucas Monteiro Dos; Silva, Valéria Cristina Pereira da; http://lattes.cnpq.br/5755146027054522; Silva, Valéria Cristina Pereira Da; Rocha, Cleomar de Sousa; Reinato, Eduardo José; Dalla Déa, Vanessa Helena Santana; Chaveiro, Eguimar Felicio
This research synthesizes years of theoretical and practical action surrounding an oriental martial art, karate. The research problem revolves around the contextualization of karate with the concept of performances and the construction of the social imaginary in relation to karate. Specifically, it addresses how cultural productions such as books, magazines, photographs, films, anime, and manga have influenced the conception of karate. The general objective of this research is to elucidate karate as a performance, with specific objectives of: contextualizing Uechi-ryu karate and addressing its historical and technical concepts, relating the practice of karate to the concepts of theatricality, discussing concepts of the social imaginary that are related to the practice of karate. The methodology used is bibliographical research, employing the concept of cultural performance studies as a methodological lens and interdisciplinary research proposal. It was observed that karate is directly related to the concept of performances, both theoretically and practically. Various cultural productions have been important in the construction of karate's social imaginary, some of which are closer to reality and others which exaggerate the martial art, making this social imaginary present approximations between elements of fantasy and reality.
Plínio Marcos: do texto à tela
(Universidade Federal de Goiás, 2024-05-15) Almeida, Alcione Gomes de; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Abdala Júnior, Roberto; Mari, Marcelo; Moura, Paulo Vieira de; Leão, Raimundo Matos de
This paper introduces the renowned author Plínio Marcos focusing on themes of interest such as culture, performance, and cultural performances. The introduction aims to provide a concise yet consistent approach to his life and career, thus discussing his influence on Brazilian culture over the decades and nowadays. The discussion initially considers the temporal framework, and remarks emerge regarding the analysis’ corpus. Plínio's theatrical success attracted filmmakers, leading to adaptations of his plays, short stories, and scripts into movies, including Navalha na carne (1970, 1997), Dois perdidos numa noite suja (1971, 2003), Nenê Bandalho (1971), A rainha diaba (1974), Barra pesada (1977), Barrela: escola de crimes (1994), Querô (2006). The primary purpose of this paper is to systematically analyze the cinematographic corpus in chronological order, prioritizing the adaptations of Plínio’s theatrical plays due to their role in the dramatist’s career. This approach facilitates the equilibrium of this extensive work. When it comes to the Plinian universe, it is essential to observe the social role a character plays; their origins; the relationships built; the dialogues’ linguistic selection; the environment where the plot evolves; the progress of the conflict. Accordingly, there are differences between the films and the original text - suppression, complementation, and update, with the Brazilian society and its period characteristics during filming as a horizon, in addition to the Brazilian film industry, which impacts the production, promotion, and reception. A case in point is the CivilMilitary Dictatorship (1964-1985), which, among other authoritarian policies, implemented violent restrictions on society, the Arts, artists, and other professionals in the field. The results of this investigation corroborate with other authors: the singularity, relevance, and power of Plínio Marcos in Brazilian culture in any period. The Santista author strongly opposed the suppression of the Arts and freedom of speech during the Military regime. He was at risk for isolation and became a prominent resistance figure even after political liberalization, without ever soothing his ideas and dissenting voice. His legacy’s endurance and relevance for contemporary society is a consensus. The theoretical base of Mikhail Bakhtin (1988, 2010, 2011, 2014, 2019, 2020) is essential for the effective development of film analysis, considering the ideas provide density for the adaptation’s study and, therefore, viable possibilities to observe and comprehend cinematographic language. When applying the Bakhtinian repertoire to the films, several concepts are valuable to filmmaking characteristics, the stance of the creators, researchers, and the public, as well as the themes explored, expanding beyond an analytical and critical examination. Thus, the analysis of the corpus is primarily supported by: otherness; the self/other; responsible act; non-alibi; the ethical and the aesthetic; the world of theory; the world of culture; dialogism; responsive understanding; discourse genres; theoreticism (critique of the objectification of historicity that constitutes life); refraction; polyphony; ideology; chronotope (involves spatial and temporal relations, originates from the Greek words crónos, meaning time, and tópos, meaning space).
Café bordado: saberes tradicionais na busca por poéticas compartilhadas
(Universidade Federal de Goiás, 2024-07-12) Silva, Maria Tereza Gomes da; Guimarães, Leda Maria Barros de; http://lattes.cnpq.br/1491866271915819; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva , Renata de Lima; Monteles, Nayara Joyse Silva; Chaud , Eliane Maria; Dea , Vanessa Helena Santana Dalla; Fratti, Rodrigo Graboski
La presente tesis doctoral es el resultado de la investigación sobre los procesos de producción artística en los que la materialidad de la obra es la propia acción vivida en una experiencia compartida, en la que se propone un desplazamiento de la idea de autoría individual hacia una co lectividad. Más específicamente, se abordan las experiencias vividas en la comunidad Kalunga, de los municipios de Teresina y Cavalcante, en el estado de Goiás, y también la interlocución con mujeres bordadoras, tanto del quilombo como de otras localidades del centro-oeste. Para la realización de este estudio, se toma como base una trayectoria de inves tigación y participación con las artes plásticas, que abarca la actuación docente y la práctica artística, la memoria de las experiencias en el qui lombo y, finalmente, el contacto con las bordadoras, que se refiere tanto al seguimiento de sus rutinas de trabajo, a la escucha de sus narrativas como también a una experiencia creativa compartida.
Gesamtkunstwerk - A obra de arte total - de Richard Wagner (1813-1883) e a criação da imagem simbólica no drama O Anel do Nibelungo
(Universidade Federal de Goiás, 2024-03-21) Silva, Allan Lourenço da; Pianta , Carlo Machado; Santos, Nádia Maria Weber; http://lattes.cnpq.br/3929583037339642; Santos, Nádia Maria Weber; Silva Filho, Almir Ribeiro da; Vieira, Karine Ramaldes; Oliveira, Vânia Dolores de; Camargo, Robson Corrêa de
This doctoral thesis presents the results of my research developed in the doctoral course of the Postgraduate Program in Cultural Performances, Interdisciplinary Area of the Faculty of Social Sciences of the Federal University of Goiás. The general objective was to understand the process of materialization/concretion of conception of Gesamtkunstwerk as an aesthetic phenomenon in the drama The Ring of the Nibelung, produced by Richard Wagner, in 1876, in Bayreuth, Germany. The core of the research lies in the following question: in what way the production of Gesamtkunstwerk – concept of Total Work of Art – manifested itself as a phenomenon in the creation of the symbolic image in the work of Richard Wagner and in his proposal for operatic aesthetic reform, consolidating it. whether in the drama? I used an exploratory methodology, dedicating myself to reading and analyzing theses, articles, books, magazines, newspapers and images, in order to find pertinent materials that could elucidate the process of creating Gesamtkunstwerk in the drama The Ring of the Nibelung. I started from the hypothesis that Richard Wagner's Gesamtkunstwerk materializes in drama. It is through the elaboration of the drama that its proposal is configured as a concrete aesthetic phenomenon. Thus, I sought to broaden the understanding of the creation of the symbolic image in drama, exploring its poetic and dramatic potentials, based on the Wagnerian conception of Gesamtkunstwerk. The research carried out allowed me to conclude that the image, in Wagner, is not dissociated from time and space, nor is it restricted to the field of ideas; it presents itself in a tangible/concrete way. According to the thesis, Richard Wagner, when conceiving Gesamtkunstwerk, sought to develop it through the creation of an image that materializes in and as drama.
Corpos dissonantes: próteses, performances e imaginário
(Universidade Federal de Goiás, 2024-02-16) Bandeira, Ana Paula Neres de Santana; Dalla Déa, Vanessa Helena Santana; http://lattes.cnpq.br/4747115499551611; Dalla Déa, Vanessa Helena Santana; Bordini, Andréia de Lima; Costa, Vanderlei Balbino da; Lima, Marilini Dorneles de; Christino, Daniel
The movement for more social inclusion has brought in creased visibility to people with disabilities in various everyday contexts. Some disabilities, such as intellectual and sensory impairments, may go unnoticed, while physical disabilities, being more visible, draw attention and challenge cultural norms about the perfect body. The presence of these dissonant bodies using prosthetics or assistive technologies often elicits reactions and questions, highlighting the complexity of perceptions regarding bodily diversity and constructing a whole repertoire that shapes the imagination of both people with and without disabilities. This thesis explores the construction of this imagination through representations of the bodies of individuals with physical disabilities in artistic, sports, and social performances. The research emphasizes technological advancements in prosthetics and assistive technologies, challenging conventional conceptions about the lives of these individuals. Inspired by a music video by artist Viktoria Modesta and a performance at the 2016 Paralympics, the thesis examines how these representations impact the collective imagination. The methodology includes studies of cultural performances, interviews with different groups (individuals with and without disabilities, artists, and athletes with disabilities), and analyses of prosthetized bodies. Cultural performance studies, based on Turner and Schechner, elucidate the construction of imagination in everyday interactions and in artistic and sports events, categorizing ethical, aesthetic, and scientific dimensions interpreted through both the canonical and dissonant perspectives on people with disabilities. Dialogue with Turner reveals the social barriers faced by these individuals, while Schechner's approach highlights the presence of performance in sports and the arts. Through a content analysis of the interviews conducted, the work examines the relationship between bodies and prosthetics, identifying them as elements that influence collective perception and the formation of stigmas and social norms. Le Breton's sociological approach highlights the body as a social, cultural, and symbolic phenomenon. Authors such as Thomson, Goffman, and Malu Fontes contribute to understanding human corporeality and its symbolic representation in society. The conclusion emphasizes the persistence of prejudiced and stigmatizing attitudes, underscoring the importance of active listening to understand the diversity of imaginaries about the body with a disability and promoting inclusive narratives to build a more just and equal society.
Corpos e gritos de desencurralamento: performances como expressão das territorialidades geraizeirinhas
(Universidade Federal de Goiás, 2023-12-07) Souza, Jonielson Ribeiro de; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Salgado, Ricardo de Seiça Alves; Lopes, Jader Janer Moreira; Veloso, Jorge das Graças; Corrêa Júnior, Sebastião Rios
This work presents a reflection on the relationships between theatrical performances by Gerazeiras children and adolescents and the ways of being and living in their communities in contexts of socio-environmental conflicts. Combining ethnography and theater, this research seeks to understand how children and adolescents are involved in these processes and how such relationships would be expressed in theatrical performances performed by them, which leads us to call this methodological proposal a performative ethnography. To this end, observant participation in the communities involved, provided by the author's experience in struggle processes or everyday events, combined with practices such as walks through their territories, are added to theatrical initiation workshops for children and adolescents taught by the author.
As performances das Folias de Reis e suas clivagens no campo e na cidade no município de Morrinhos/Go
(Universidade Federal de Goiás, 2023-10-11) Machado, José Henrique Rodrigues; Souza, Geórgia Cynara Coelho de; http://lattes.cnpq.br/4911717849806520; Souza, Geórgia Cynara Coelho de; D’Abadia , Maria Idelma Vieira; Souza, Julierme Sebastião Morais; Amaral , Roberto Antônio Penêdo do; Oliveira, Rodrigo Cássio
This research is linked to reflections on the Folias de Reis in the city of Morrinhos/GO. With the problem raised about this mode, and in what terms and cleavages, late capitalism and modern sociability are presented in/from the festivities of the countryside and the city, presented as a general objective to understand the possible differences, coincidences and determinations in the ritual, in the performance of the folios and their ritual, considering late modernity and modern sociability as influenced by the (dis)continuity and transformation of tradition. That said, an ethnographic survey of city and country leaves will be carried out, and their common, discrepant and convergent rites/acts will be verified. With the need to also capture unique markers of the performances of the festivities, the countryside and the city, in order to understand the countryside and the city as transformers of an invented tradition. The intention is still to document the founding symbolism existing in the ritual of the festivities and its imbrications in the tradition invented in the countryside and in the city and its possible variants, in the municipality of Morrinhos/GO. We will use Raymond Williams' theories that will demonstrate the relationships we need, with the purpose of understanding how late capitalism and modern sociability, theories brought by João Emanuel Cardoso de Melo, the object of this research, form a line of meaning. Here we will research the Folias de Reis, the rituals, the ambience, and to do so we will use, to illuminate this research, the concepts brought about culture by Peter Burke and his load of meaning on the breadth of the theme; Cultural Circularity by Mikhail Bakhtin; Representation, by Roger Chartier; Identity, by Stuart Hall; Memory, by Boaventura de Souza Santos; Invented Tradition, by Eric Hobsbawm. The methodology used was qualitative research, at an exploratory level. Derived from an ethnographic method, of an interdisciplinary nature, of a bibliographic nature, with field research, in which 59 festivities were visited, whose focus is on the social relations between devotion, the agents (devotees) and all the communities that receive the festivities described in order to highlight a dynamic scenario between Country and City and their divisions, always seeking to achieve maximum security from a visual point of view, and to frame what was seen in theories, taking into account the strength of the festivities of the festivities in Morrinhos/Go.
Psicanálise e arte: performances do eu em Jogo de cena
(Universidade Federal de Goiás, 2023-09-22) Ferreira, Ezequiel Martins; Nogueira, Lisandro Magalhães; http://lattes.cnpq.br/6994570742767643; Nogueira, Lisandro Magalhães; Bezerra, Cláudio Roberto de Araújo; Nunes, Alexandre Silva; Amaral, Roberto Antônio Penêdo do; Christino, Daniel
The proposal to relate the theories of Cultural Performances with Psychoanalysis was carried out based on the film by director Eduardo Coutinho, Play of Scene, taken, here, as a film within the limits of the documentary that carries traces of performance art, and evokes elements that point to the subjectivity behind the characters. In this, the objective is to elucidate the way in which this subjectivity appears in Coutinho's device, where the register of the imaginary prevails. The concepts of narcissism and the image of I are taken, and, extracted from the participants' testimonies, the significant extracts that are repeated and that point to a failure, at the same time that it expresses, as a mask, a another scene, in which something beyond the imaginary appears. Thus, as a result, the proposal given in the invitation, which is to crystallize an image of I in the form of characters, stumbles upon the reality of the scene itself.
Performatividade tecnológica: a emergência de uma nova cultura na saúde
(Universidade Federal de Goiás, 2023-07-21) Santos, Mayler Olombrada Nunes de; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Hildebrand, Hermes Renato; Moreira, Wendel Santos; Christino, Daniel; Nascimento, Hugo Alexandre Dantas do
The present study aimed to discuss the role of technology in the development of a performativity that transforms the health area and favors the emergence of a new culture. The theoretical framework used includes contributions from Philosophy, Technoscience, Anthropology, Data Science, Medicine and Cultural Performances, among others, evidencing the interdisciplinary character of the topic addressed. An analytical and comparative methodology was used, with bibliographic data collection, analysis of computational algorithms used in the health area and critical reflection for the elaboration of a new thesis on the subject. The work shows how the human being is endowed with a body that undergoes a datafication process, where the generated data feed artifacts and systems that acquire their own ontological status, establishing a human-machine dialogic relationship. The importance of this study lies in the discussion about the transformations that society is subjected to when incorporating new digital tools, especially in health, emerging a new culture that will guide the future. The present work evidences a reordering of the health field from the technological performativity, which provides efficiency, quality and safety gains, in addition to promoting a collaborative and patient-centered posture, providing an adequate environment for the emergence of a new Medicine, fruit of of the fusion of Science and Art, Technique and Poetics.
Cuidado com aquele bizarra! Performatividades desobedientes de gênero na artevida de corpas dissidentes do binário
(Universidade Federal de Goiás, 2023-02-28) Martins, Ricardo Marinelli; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Fornari Diez, Carmen Lúcia; Oliveira, Victor Hugo Neves de; Cardoso, Thereza Cristina Rocha; Silva , Larissa Maués Pelúcio
The proposal of this research was to produce a self-oreographic cartography of Princess Ricardo Marinelli and between crossing it with the selfographies of two other non-binary artist subjectivities (Stefano Belo and Cali Ossani), betting on a poetics and a narrative of the meeting. For this we resorted to the methodological parameters of cartography (Deleuze-Guarri, 1995, 1996, 1997a, 1997b; Rolnik, 1996, 2018; Barros, 2015; Aguiar, 2010). Along with this, we resorted to “performative research”, in which we find support to actually build selfographically thinking (Haseman, 2015). The challenge has always been to bring the possibilities of academic writing closer to those of art creation, daunting the boundaries between art, science and what we call life. In this endeavor helps us the theory of gender performance (1990) developed by philosopher Judith Butler in the 1990s and pointing out the performative character of the genre, the theory is based on three main points: 1. The concept of performative acts of language, by John Austin (1990); 2. The understanding of citation, of Jacques Derruda (1991; 2004); and finally, 3. Understanding of performance recognized in its dimension of production of the real. Along with this conceptual elaboration, we were interested in realizing how the intersection of these performative dimensions happen in the gesture, the choreography of the materiality of the body, and therefore, in the processes of subjectivation, especially to perceive and make visible what we are calling performance kuir. In this context the proposal of the contrarssexuality of Paul Preciac (2014) to understand and explain that I am part of a flood of bodies that re/exist challenging the binary genre and its compulsory dynamics. A horde that is not afraid to inhabit the uncertain, the little defined, the blurred, the strange. An swarm that does not swallow the alleged truth that humanity is divided solely between men and women. And so I have no choice but to update their survival strategies daily and daily. And we are spiraling time, connecting with ancestments and producing unthinkable future. In the midst of bizarre and chaos.
A performatividade do fio e da linha nas aulas de artes visuais
(Universidade Federal de Goiás, 2023-02-13) Silva, Marcia Inez da; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Silva, Elsieni Coelho da; Freitag, Vanessa; Hartman, Luciana; Costa, Marcelo Henrique
This research is a reflection on the performativity of the "thread and the line" in the teaching of the Visual Arts and intends to raise the debate about art as a field of research and teaching experience. The justification for the work lies in the relevance of reflecting on the teaching-learning process of the curricular component Art, in the early years of elementary school, by teachers without specific training based on the aesthetic codes of erudite art, which may imply vague conception of art and even lack of repertoire. Thus, the research is guided by the general objective: to reflect on the performativities of yarn and line in the teaching of Visual Arts, through workshops taught by me, using these materials with children from the early years of elementary school, experiencing the acts of embroidery, crochet, sew, weave and patch. In addition, I point out that it also aims to map artists and traditional textile collectives from Brazil and Latin America, investigating textile art in the production of intercultural audiovisual narratives through workshops, talking about performances, emotions and memories with the thread and the line in their daily lives, in a decolonial and transgressive perspective. In this sense, the research problem is the questioning about how my teaching practice, as regent, in the early years of elementary school, in the teaching of arts, can be transformative, not mechanical, based on dialogue, with a significant aesthetic experience, from the visualities present in the daily lives of students. Thus, when investigating performativities with yarn and line, I discuss the symbolic representations about the stories and affections of subjects who, using needles and cloths, produce scenes and plots, with hybrid creative processes that unite performance, interventions and technologies in the criticism of gender, aesthetic, ethnic-racial and social issues, as references for an art teaching. I also reflect on the importance and challenge of teacher training to promote a transgressive visual arts education with ample possibilities to teach the various aesthetic codes from a decolonial perspective, in plurality, for self-knowledge and social transformation. The research methodologies used were: field research with collectives and textile artists; action research with children aged 8 to 11 years at the Olegário Moreira Borges Municipal School (Goiânia), in ten workshops in the teaching of visual arts, involving TICS with the production of photographs and videos in the process of teaching and learning. Faced with the emergence of social isolation, which occurred due to the COVID-19 pandemic, the workshops were conducted in a hybrid way, in a mix between face-to-face and remote, which also generated reflections on teaching. As a result of the workshops in the teaching of visual arts, it was possible to experiment with threads and lines and reflect on the various developments caused by intercultural dialogues, based on the aesthetics of everyday life, permeated by digital technologies; and it was also possible to see that the textile poetics of artists and collectives of Latin American production brought to light problematizing questions about gender, ethnic-racial relations, identity and belonging, enabling literacies, image interpretations, writings and debates about the lived world. Thus, this research addresses art as experience, touching the lives of students and teacher, providing us the learning that thought and actions provoke reactions; and these, if thought and reflected, generate transformations, enable us to act differently, changing our lives and that of others. Finally, the lesson remains: learning to teach to look and think is to promote transgression and change through education.
Lygia Clark e Nise da Silveira: o processo criativo como ato terapêutico à luz da psicologia analítica de Jung
(Universidade Federal de Goiás, 2022-03-25) Xavier, Luana Lopes; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Santos, Nádia Maria Weber; http://lattes.cnpq.br/3929583037339642; Santos, Nádia Maria Weber; Camargo, Robson Corrêa de; Maciel, Roseli Martins Tristão; Andrade, Émile Cardoso; Dias, Luciene de Oliveira
Esta tesis tiene como objetivo comprender los fenómenos como procesos psicológicos que se basan en la relación arte-vida. La obra de Lygia Clark (1920-1988), artista brasileña, y las obras de Nise da Silveira (1905-1999), psiquiatra brasileña, se remontan al proceso creativo como un acto terapéutico, porque son propuestas que trabajan la conexión del ser humano con naturaleza a través de la estructuración de la psique. En este sentido, el Movimiento Neoconcreto (1959) entra en escena como promotor del arte brasileño contemporáneo, un movimiento a partir del cual se origina una nueva concepción del espectador que conducirá a la experiencia del cuerpo y el símbolo en la obra de Lygia Clark. En este sesgo, discutimos el trabajo de Nise da Silveira, quien, a su vez, originalmente enumera el símbolo en el proceso creativo / terapéutico en el tratamiento de los esquizofrénicos para reformular la visión del inconsciente a través del arte. A la luz de la Psicología Analítica de Carl Gustav Jung, psiquiatra suizo, postulamos formas de entender el proceso psicológico como un acto de restablecimiento de la conexión primordial hombre-símbolo, típico de la condición humana. Para esto, recurrimos a varias discusiones y referencias teóricas para establecer posibilidades de pensar sobre el campo terapéutico, el cuerpo y el símbolo. Finalmente, esta tesis pretende crear un nuevo campo para ser explorado dentro del alcance de las representaciones culturales, para pensar en el proceso creativo como un acto terapéutico y cultural.
A performance do ator-personagem na cinematografia de narrativa híbrida brasileira: processos criativos, ritualidades e transformações
(Universidade Federal de Goiás, 2023-02-14) Ventura, Cristiane Moreira; Penafria, Manuela Maria Fernandes; ttp://lattes.cnpq.br/5502283410812953; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Souza, Geórgia Cynara Coelho da; Talga, Jaqueline Vilas Boas; Pessuto, Kelen; Baggio, Eduardo Tulio
In the last decade (2010-2020), we have been following the emergence of a Brazilian cinematography, which uses in its strategy of performing the actor-character and his life stories in the construction of a hybrid narrative, which oscillates between fiction and the documentary. Many of these films are built from real characters who perform situations that are specific to them or close to their daily lives, together with fictional situations. Such procedures have become recurrent in Brazilian independent and post-industrial cinema. Observing this phenomenon, we have the following hypothesis: the presence of these actor-characters in the films provokes a series of transformations, both in the actor-characters and in the narrative structures, in the modes of cinematographic production and mainly in the ways of making documentary. As a methodological path, we undertook a historicization of hybrid cinema in the Brazilian context, through bibliographical research, we investigated the relationships between the inheritance of the representation of the other in documentary, in view of decolonial thinking. We use the comparative methodology of filmic constellations to establish approximations with regard to the procedures for making these films, observing the affinities and affectations of this cinematographic community. And, in order to understand the transformations that take place with the actor-character when starting in the cinematographic rite, we conducted in-depth interviews with directors, members of the technical team and with actors from six different films. Still, we carried out an ethnography of a hybrid film set in order to examine the praxis of the entire creative process of this form of realization, in order to understand the needs, difficulties and potential of this cinema, which through the ethics of invention, of performance of itself, it projects a new possibility of narrative and life. As a result of this research, we hope to provoke reflections on the teaching of filmmaking, as well as on the formulation of notices to promote audiovisual production.
Um olhar para as performances culturais na midiatização do ritual da novena a Nossa Senhora do Perpétuo Socorro durante a pandemia da Covid-19
(Universidade Federal de Goiás, 2023-01-13) Costa, Christiane Gonçalves; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Christino, Daniel; Nogueira, Lisandro Magalhães; Silva, Wagner Bandeira da; Arbués, Margareth Pereira; Veloso, Sainy Coelho Borges
This paper brings a look at the mediatization of the ritual of the Novena in honor of Our Lady of Perpetual Help during the Covid-19 Pandemic, which goes through the concepts of the media-tization of religion and cultural performances regarding the theories of ritual and drama. The objective is to describe the scenario of the novena, its origin since the 14th century, and its continuity worldwide, in specific, in the Sacrosanct Minor Basilica of Our Lady of Perpetual Help, in Goiânia, Goiás, and how this scenario changed during the COVID-19 pandemic. With this, was sought to scrutinize the traces of cultural performances, observing how this ritual is char-acterized, as well as the relationship that the population and the faithful have with the rite, their beliefs, and how this behavior was changed, during the period of physical isolation, required by the pandemic of COVID-19. The research content was produced in the light of theoretical studies of cultural performances, theology, particularly Mariology, and the mediatization of religion. The data analysis was done qualitatively, by online research methods, based on observations of noted behaviors, during rituals, before the pandemic, and in social media, during the pandemic period.
As performances do carimbó “pau e corda”: entre batuques e partilha de saberes
(Universidade Federal de Goiás, 2022-08-29) Costa, Elyane Lobão da; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Silva, Renata de Lima; Gabbay, Marcelo Monteiro; Oliveira, Joana Abreu Pereira de; Guimarães, Vinicius Oliveira Seabra
The present thesis has as its object the carimbó, as a Cultural Performance. This is a field research, which understands the importance of Collective Memory for the transmission of knowledge. Around this Ancestral Manifestation, there is an exchange of knowledge that is shared between mestres and carimbozeiros, and between mestres and sympathizers, thus marking the cultural identity of these subjects. This cultural manifestation is expressed as music, dance, leisure, religiosity and work, and must be analyzed from different perspectives, thus realizing its symbolic character. From the analysis of the memories of the carimbozeiros masters, it was noticed that the carimbó remains alive through resistance, through the transmission of knowledge through generations and through Non-Formal education, thus being a field of social, political, historical and cultural disputes, thus demarcating the identity of the subjects individually and collectively. The barracões are collective and privileged spaces in which this process of knowledge sharing takes place, thus contributing to a broad training of subjects, focused on citizenship, and the training process plays a fundamental role in safeguarding this cultural asset of an immaterial nature.
Eu jogo. Eu, jogo. A relação humano x máquina nas narrativas de RPGs eletrônicos
(Universidade Federal de Goiás, 2022-05-04) Ribeiro, Raquel de Paula; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Christino, Daniel; Oliveira, Flávio Gomes de; Nogueira, Lisandro Magalhães; Melo, Marcilon Almeida de; Oliveira, Rodrigo Cássio
This research has as a main proposal the discussion and analysis of the electronic RPG and the relation they provide between the machines or game gadgets and players, also the way these players, when performing their role in game put themselves in more than one space, remaining constantly at a liminary state. In addition to that, this research will pass through important issues about the being and the world around built by players, articulating in the same level real (or physical) environments and digital (or virtual) environments and the perception the player has of both, as the contribution they have to one another’s change, from player to game, from game to player. An important issue to be considered when talking about the player’s self-perception is the issue of other players if there is another player or many others sharing the same space and narrative and the difference it would make in this player’s perception when the other player is a human or a machine. Also, to consider the influence of culture, art, subjectivity, and technology in this player’s perception. The main objective of this thesis is to bring light to entertainment narratives contained in electronical RPG games and the way human stand and act when confronted with them. To achieve that goal, this thesis researches the games The Elder Scrolls V: Skyrim e Xenoblade Chronicles X.
Cinema encruzilhada: as performances culturais e o campo do filme documentário
(Universidade Federal de Goiás, 2022-09-05) Gama, Alessandra Regina; Alexandre Sobrinho, Gilberto; http://lattes.cnpq.br/1858272036657626; Nogueira, Lisandro Magalhães; http://lattes.cnpq.br/6994570742767643; Nogueira, Lisandro Magalhães; Machado, Irene de Araújo; Dennison, Stephanie Rhona; Bezerra, Claudio Roberto de Araújo; Satler, Lara Lima
In this work we are interested in investigating, in the light of cultural performances, ways of representations of the Afro-Brazilian cosmovision, in documentary films that contribute to aesthetic and political reflections about representational practices of Candomblé and Afro-diasporic cultures. In this context, similarity, difference and otherness, therefore, identity issues, are mixed with symptoms historical racial groups that sediment representational practices of stereotyping. We start from the assumption that the points of contact between the performances cultural and documentary, crossed by the Afro-Brazilian cosmovision, configure an aesthetics of the crossroads and, thus, articulate codes, texts, gestures and symbolic systems, which create meanings and, consequently, elaborate responses to representational practices. To address the problem presented, we started the theoretical reflections approaching the relations between cultural performances and the field of documentary film from the crossroads perspective, which highlights the epistemic linkage of behaviors and narratives coherently aesthetic and policies, based on the perspective of the Afro-diasporic cosmovision. The studies on representational policies help us to think about the power embedded in the notion of representation as a creative act that challenges stereotypes through counter-strategic intervention and inversion movements. We are interested in establishing an opposing view of the colonialist discourse from which the historical and cultural formation of the peoples of the West derives. To that end, we invest in studies by authors of the main reference bases: Leda Maria Martins, Diana Taylor, Richard Schechner, Victor Turner, Fernão Ramos, Bill Nichols, Stela Bruzzi, Cláudio Bezerra, Manuela Penafria, bell hooks, Robert Stam, Stuart Hall, Beatriz Nascimento and Muniz Sodré. From the articulation invested in the notion of cinema crossroads, we move on to the filmic analysis of the documentary series carried out by the Society for the Study of Black Culture in Brazil – SECNEB: Orixá Ninu Ilê (1978), Iyá-Mi-Agbá (1981) and Egungun (1982). The result is an analysis of images and sounds that compose a cinematography interested in the dispute of modes of representation, based on the proposition of a decolonized look about the images and sounds of Afrodiasporic cultural performances.
Artes integradas: a Arte na construção do conhecimento
(Universidade Federal de Goiás, 2022-06-06) Monteiro, Aline Folly Faria; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Iavelberg, Rosa; Campos, Gilka Martins de Castro; Aquino, Thais Lobosque; Alcantara, Luz Marina de
This research intends to study theoretical models that work and research the integrated arts. The work intends to emphasize historical, conceptual-philosophical, pedagogical and methodological aspects that structure the artistic integration, in addition to seeking relationships with the Brazilian educational context today, investigating the adequacy to our reality. From the literature review of authors such as the philosopher John Dewey, who is considered the precursor of integrative thinking (1859-1952), with Art as Experience ([1934] 2010) and Experience and Education ([1938] 1976); Elliot Eisner (1933-2014), The arts and the creation of mind (2002) and What can education learn from the arts about the practice of education? ([2002a] (2008) and Howard Gardner (1943 -) with the work Multiple Intelligences ([1983] 2011). North American authors who research and practice the integrated arts were also brought in to dialogue and present concrete theoretical-practical possibilities, such as Bresler (1995; 2007), Burnaford et al (2001; 2007); Aprill (2010), Marshal (2014; 2015), Deasy (2003), among others. A deepening of the question requires that the propositions be analyzed from the understanding of concepts such as interdisciplinarity, transdisciplinarity and integration, differentiating from the concept of integrated arts. Thus, we highlight the studies on interdisciplinarity and integration based on the works of Ivani Fazenda (1941-), Hilton Japiassu (1934-2015) and Julie T. Klein (1944 -), among other authors. The paradigm shift, which is so necessary, is highlighted in the study of complex thinking, transdisciplinarity and the various levels of reality, based on the works of the philosopher Edgar Morin (1921-) The well-made head: rethinking reform, reforming the thought (2004), from the work of Basarab Nicolescu (1942-) in his The manifesto of transdisciplinarity (1999) and Maria Cândida Moraes and Saturnino de La Torre (undated) with the work Sentipensar: fundaments e strategies to re-enchant education (2004), among other authors, as a way of clarifying integrative practice and understanding the relationship between thought and action. This work also brings reflections from what was recently established by the document of the National Common Curricular Base (BNCC), which introduces the integrated arts in a simple and decontextualized way and without pointing out any theoretical basis that can establish its practice, giving rise to imprecise interpretations, the that does not contribute to their development in the educational framework. Ana Mae Barbosa (1936 -), among other authors, will be important to contextualize art in Brazil and the integrative processes that occurred, but that soon dissipated. Authors of Cultural Performances such as Schechner (2006; 2011), Robson Camargo (2006) among others, present an interdisciplinary theoretical contribution, highlighting important points in the practice of integrated arts. Finally, this work also presents the scarcity of research on the subject and some aspects that can structure artistic integration, outlining a form of integrative practice and planning as a proposal for the integrated arts within Brazilian schools.
Deusas que riem: performance-sagrada e ancestralidade feminina a partir do arquétipo das pombagiras
(Universidade Federal de Goiás, 2022-08-02) Miranda, Helder Carlos de; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Oliveira, Victor Hugo Neves de; Lobo, Andréa Maria Favilla; Alvim, Valeska Ribeiro; Souza, Aguinaldo Moreira de
This work is aimed at developing, analyzing and ref lecting on a practical artistic proposal that that dialogues with aesthetic, philosophical and social knowledge belonging to Af ro-Brazilian religions. The study carried out permeates intersections between the theatrical comic (laughter in the theater) and the feminine deities of Candomblé and Umbanda, especially the Pombagira entity. It addresses a practical and theoretical investigation of aesthetic and poetic elements carried out by these deities. Currently, several artistic experiments have been promoted as a ref lection of the Af ro-Brazilian culture, both as a movement for the preservation of culture, as well as a process of cultural resistance in the f ight against racism. In line with these perspectives, it was developed through experience and participation with Companhia do Intéprete and in sacred rituals in Umbanda yards, as well as through interviews with the pai & mãe-de-santo f rom the Ilê Ase Igba Ty Oya Balé Umbanda yard. The results were analyzed through the creation, realization and analysis of the sacred performance “Laughter and Ancestry: The Feminine”. This sacred perf ormance was carried out based on f ield research, especially based on the archetype of the Pombagira entity in the dialogue with the experiences already def ined by the collective of artists of Companhia do Intérprete with laughter and theatrical comic. By living and experiencing attributes of black culture and religiosity, it is clear that, with them, it is possible to compensate for creative practices. These practices, in addition to contributing to the anti-racist struggle and Af ro-Brazilian resistance processes, can extrapolate hegemonic, white and European-centered references.

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