Teses em Artes (Doutorado) - PPGARTES/ICA
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Navegando Teses em Artes (Doutorado) - PPGARTES/ICA por Orientadores "ALENCAR, Cesário Augusto Pimentel de"
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Tese Acesso aberto (Open Access) Os amigos que desconheço : performance(s) do caminhar e a guerrilha dos cuidados no Antropoceno(Universidade Federal do Pará, 2022-06-22) MOTA, Artur Dória; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692Os amigos que desconheço is a process of creation artistic and poetic conceived as a walking performance where the walk is compose as a fundament and quality of guerilla and put into pratice as a care of thought and action in relation to the emergency and permanency of the Anthropocene. If the Anthropocene, the epoch geology of man, when the man became a geological strenght, indicates a time inexorable of intensification of the catástrofes in the whole planet, how it´s possible to walk-live between catastophes? And what can walking make us see and create as a line of flight and desertion in relation to the way we have lived, especially in the face of collapsed structures that are large urban centers? Thus, this artistic path is pronounced through the impacts and metamorphoses that affect the performer-walker in a world that quickly and violently runs over new premises to life. Shoes, in this sense, are the starting point that guide him in the plot of this process-path. They appear as spectral images that suggest tragedies. Footwear on the streets: what do they say about the bankruptcy of the world and what can they suggest about stories and/or situations that arouse sensitivities and/or care that strengthen us and/or point to other paths? To think of them in these terms, I performed a way of going and making myself towards them; I'm your friend, I told them. Along with them, this process expanded – even giving rise to consequent performative series – and being sculpted through countless lines of writings and literary densities, between grafts and strata of thought, poetic fragments and theoretical and/or imagery insinuations, who speculate and discuss, in their own way, about the ways and possibilities of walking and, therefore, of existing, in a world that is increasingly hostile to the body and bodies.Tese Acesso aberto (Open Access) Dança Sensorial: metodologias de ensino e aprendizagem e sua aplicação em um processo de criação em dança para pessoa com deficiência visual(Universidade Federal do Pará, 2022-02-08) MOTA, Alves Mota; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This paper aim to create teaching and learning sensorial methodologies applied to a dance project developed with visually impaired dancers. The concepts that support this research are: the háptico from Ingold (2015) e Deleuze e Guattari (1977) and the Phénoménologie de la Perception from Merleau-Ponty (2011). The poetical process of creation happened in the Dance-theater School of the Federal University of Pará (ETDUFPA). The experimentation laboratories were executed considering two major areas: 1. The háptica dance and 2. The sonorous body, both based on the dance experience of the subjects of this research and the exploitation of their remaining senses, as well as the application of the resulting methodologies from experimentation laboratories in the spectacle Corpus Sensorialis. The analysis has two subjects, a blind dancer (man) and a low vision dancer (woman). The approach used is the hermeneutical-phenomenological. The field research is grounded by the study case. For data collection it was used audiovisual recordings, photographs; semi structured interviews and recorded statements, collected during the laboratories and spectacle. The poetical and theoretical research, the basis of this study, brought as a possibility planning and performing dance from an háptica and sonorous perception. The creation laboratories highlighted the urgency in considering the real necessities of the visually impaired dancers. From these experiences, emerged some sensorial methodologies when planning and performing dance with visually impaired dancers. These methodologies are based on their bodily experiences. The methodological propositions, tested in the creation laboratory, were applied in the spectacle Corpus Senrorialis and it demonstrated a way of planning and performing dance that contemplate the reminiscence senses of visually impaired dancers. In addition, it fostered a more autonomous performance form the dancers that developed significantly sensorial perceptions.Tese Acesso aberto (Open Access) Poéticas Nômades: pesquisa-criação do espetáculo tentativa.doc 2.0 a partir de elementos da cena expandida e intermedial(Universidade Federal do Pará, 2020-07-27) FONSECA, José Flávio Gonçalves da; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This thesis brings about as a key issue the accomplishment of a scenic criation process, whose the investigative drive includes considerations about the use of elements actualised both in the expanded and in the intermedial scenes. Those elements work as triggers to grasp of what we call the technopoetic. The research understand the notion of technopoetics according to its conceptual definition, derived from a creative faculty obtained by what we assume as the machinery sensibility materialization. Such ideas proceed from the proposition of techesthetic developed by Gilbert Siomondon and his discussants. The concepts are also based on ontologic aspects of technical/technological pieces of work occurred after the historical Industrial Revolution. Following the inquiries, the work contextualizes itself into the field of contemporay scenes studies, specifically concerning the types of research based on practice as Brad Hanseman’s “performative research”, Robin Nelson’s “practice as research”, Sylvie Fortin and Pierre Gosselin’s “thesis on practice-basis”, and Mireille LoscoLena’s “reserche-création”. Therefore, this research aims to develop procedures and protocols around the practice done, by means of a technopoetic materialisness and correspondent analysis. For that purpose, we put forward the perspecive at the poetics presente in the techincal object itself, here understood beyond its mere definition as an apparatus, but going further as its identity of a work of art itself. As a result of the creation inquiry, it is devised the performance tentativa.doc 2.0, a practical artistic inquiry intended to fill out hybrid territories of expanded and intermedial scenes. The research technopoetics take into account the notion of nomadism as a compositional setting off per se. Such kind of epistemological trigger brings about different senses of the nomadism, by means of its features as geographic, aethetical, and poetical, through which the performers establish a sort of game among themselves, between them and the techincal objects, and amid techincal objects and spectators. By achieving the game, the performers also compose a experience where each individual mold yourself and the other. In doing so, the circumstances become what Josette Fèral nominates performativity of technology. The undertaking come to conclude at the hability of the artist when dealing with digital devices far beyond of their digital peculiarity, by going toward the activation, development, and interchanges of perceptions within a compound exceedingly present, yet, or even because, virtual.present, yet, or even because, virtual.