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Title: Casarão do boneco: experiência de um corpo relacional em um território existencial
Other Titles: House of the puppet: experience of a relational body in an existential territory
metadata.dc.creator: NASCIMENTO, Paulo Ricardo do
metadata.dc.contributor.advisor1: LIMA, Wladilene de Sousa
Keywords: Teatro de fantoches - Estudo de casos - Belém (PA)
Grupos de trabalho - Teatro - Estudo de casos
Issue Date: 22-Jun-2018
Publisher: Universidade Federal do Pará
Citation: NASCIMENTO, Paulo Ricardo Silva do. Casarão do Boneco: experiência de um corpo relacional em um território existencial. Orientadora: Wladilene de Sousa Lima. 2018. 90 f. Dissertação (Mestrado em Artes) - Programa de Pós-Graduação em Artes, Instituto de Ciências da Arte, Universidade Federal do Pará, Belém, 2018. Disponível em: Acesso em:.
Abstract: In this dissertation, I wrote about an old mansion that is home to a theater group with puppet and shared space of collective work of 37 artists / producers of diverse scenes, recipient of flows of public for aesthetic experiences in common. They are points of view, places to look at. Landscape and subject are confused on crisscrossed platforms in frequent communication. From inside the Casarão do Boneco (Big House of the Puppet), on any of the platforms, I realized that we are facing a peculiarity, a nuance in the relational scope, between the inhabitants, their spaces, the various artistic languages, the public and the city. There is an intense habitation, which causes movements with / in the Casarão do Boneco, which rearranges reality before power for ways of relating. Casarão seems to present its own qualities, components absorbed in the overlapping media that differentiate it in divers aspects and in the lines of escape, together they are dimensioned to a becoming-expressive territorializing. The gardening practiced by the logic of the forest, based on the maintenance of life for the diversity and abundance of its own resources, is the metaphor for the cultivations of its understanding. We follow some clues of the cartographic method of Gilles Deleuze and Felix Guattari and his rhizomatic thought. We glimpse the various places that define and make the Casarão a unique place, a single body being defined by the relations established between three blocks of force: its habitants, their spaces, their movements. A body, as Deleuze observes the body defined by Espinoza (2002), composed of an infinity of particles, which is elaborated on the relationships between velocities and slowness, rests and movements of these particles. It is not defined as form, but as an interactive force. A body composed of other bodies, such as the cosmogonic idea of the person marubo, or even animated such to the doll that had become a character for the manipulation of so many actors. A body hatched on maps KEYWORDS Casarão
Appears in Collections:Dissertações em Artes (Mestrado) - PPGARTES/ICA

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