Teses em Artes (Doutorado) - PPGARTES/ICA
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Navegando Teses em Artes (Doutorado) - PPGARTES/ICA por Orientadores "ALMEIDA, Ivone Maria Xavier de Amorim"
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Tese Acesso aberto (Open Access) A caminhada como modo de existir na Festa de São Marçal: poéticas moventes, espetacularidades e geração de outros mundos possíveis em São Luís/MA(Universidade Federal do Pará, 2022-01-31) FONSÊCA, Danielle de Jesus de Souza; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414This writing explores the modes of existence experienced by the playful bodies that walk at the Festa de São Marçal, in São Luís, capital of Maranhão. The party, also known as Encontro de Bois de Matraca, takes place annually on June 30, São Marçal day, in the neighborhood of João Paulo. Based on this festive and walking context, the research looks for other ways of making and saying epistemic ones attentive to the wisdom of the streets (SIMAS, 2019) amidst the inventions produced by the groups of Bumba meu boi. In this context, I elaborated turns, whirls, crosses and ruminations, generating the methodological proposition of ethnowalk, a notion that has epistemic and affective proximity to the motive of thought in ethnocenology (SANTA BRÍGIDA, 2016, 2015; BIÃO, 2009, 2007). It is through the ethnowalk that I perceive the strength of the aesthetic, devotional, ritualistic, poetic and political processes nurtured in the Festa de São Marçal, mainly of the playing body in its movements and gestures settled in spiral time (MARTINS, 2021). In addition, the ethnowalk made emerge, as a methodological event, my status as a walker-ethno-researcher, which is when I walk in a festive immersion with the intense desire for the crossroads, folds, crevices and edges of the spectacular phenomenon and for the encounters generated from the to be together collectively (MAFFESOLI, 2014; 1998). The study also seeks to know the tactics elaborated (DE CERTEAU, 1994) by the slow men (SANTOS, 1996) and their bodies generated (JACQUES E BRITTO, 2006) in the urban and walking environment of São Marçal as a festive experience that generates microresistance. The pandemic context and the new typologies of partying also moved this investigation, which is about the inventiveness employed and the expansion of the festive model, deeply affecting by the pandemic. Therefore, the research aims to understand how walking activates inventive ways of existing, transforming the festive landscape of São Marçal into a space - physical and virtual - of emotional exchanges, nomadic creation and generation of other possible worlds (KRENAK, 2019; ROLNIK, 2019).Tese Acesso aberto (Open Access) COM QUANTOS NARIZES SE FAZ UMA PALHAÇA BEIJA FLOR? O desvelar dos modos de ser e de existir de Aurora Augusta.(Universidade Federal do Pará, 2024-09-17) CORRÊA, Suani Trindade; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414Tese Acesso aberto (Open Access) Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz(Universidade Federal do Pará, 2021-05-31) PORTO, Luciana de Andrade Moreira; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414Cosmogonies of love: the opening of a theatrical female director’s sketchbook in the House of Actress is an affective and luminous cartography of a woman director on the process of discovery in a house-theater. Created as a dismantle, as named by Rosane Preciosa in Discreets rumours of Subjectivity, it is composed by pieces that take risks of being completely disarticulated. These writtings try to build the creative process using images and exercises stimulated by Eugênio Barba in Burning the house: the birth of a director, multiple voices wich compose and exhaust themselves. The text presentes some changes in the verb tenses, confusions, stories and dreams. Accepting Barba’s speech when he says that there is a wound in the middle of the creative process and, in addition to it, there is also Jorge Dubatti’s voice in The theater of the dead saying that we need to recognize our failures to make them better, it shows us (as science and construction of sense) a most human position and more sincere with the object written by myself: the humanity in the flesh, in the thoughts, in the wrong distances of the mistakes that many times made me just an automat of the scene. This doctoral thesis is above all, an agreément of humanity, of becoming a Doctor in a pandemic period, with all the risks that we take and of the privilege of keep thinking during this context. Even if this act is made in other ways. Eliana Bertolucci in Psychology of the sacredness and Zulma Reyo in Interior Alchemy are flames in the darkness, to take consciousness about the creative process, we shall give birth and light, illuminating unknown places, reaching out things that we don’t know how to talk. A risk conceived in three steps: Misteries of joyis about the creation through the pleasure, used as a method of writting; Cosmos came to me inspired by the people who lives with me, so it is about the interchange of presences, essays about the director’s universe in the moments of creation and Lunar conjunction is a way to constelate in the essence, as Hilda Hilst wrote in Seven songs from the poet to the angel, shows the presence of other people in the poetic, in the thoughts. Astonishment.Tese Acesso aberto (Open Access) Teatro Dadivoso: ritos e atos poéticos como práticas de cuidado de si e de outres(Universidade Federal do Pará, 2023-02-06) BAYMA, Roberta Bentes Flores; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414This thesis-plot is a work of artistic creation composed of performative research woven by between threads, lines and fibers of fragments of dramaturgical rehearsals that enact acts and rites poetics, offered in favor of ancestral and existential healing through testimonies of life and artistic residence. Written texture arising from affectations and memories, lived or invented especially for this composition, resulting from experiments and artist-therapist creation processes with Teatro Dadivoso. Warp that departed from transformative metaphor of the life cycle of moths transmuted into poetic daydreams and becoming bodies, which produced meanings about the act of artistically researching and creating. Woven in casular spaces and crossed by other voices, those who came before and produced other plots, as well as testimonial narratives by artists and spectators who acted in generous poetics. Research in art that proposed to weave a performative cartography between female folds, corners and crossroads through which the research object transited in confluence of paths with the methodological movements experienced among poetic devices. It reveals testimonial scripture that aimed to affirm in the difference acts of singular care, different from those produced in certain power-fields of knowledge, ritualized in the scenic productions Ô, de casa! Posso entrar para cuidar? and Divinas Cabeças. To this end, it established lines of dialogue with other areas of knowledge, both scientific and non-scientific. scientific, and with other scenic poetics as a way of understanding approximations and distances from the meanings produced in the rites and poetic acts of Teatro Dadivoso as practices of caring for oneself and others that trigger political, ethical-poetic and spiritual.Tese Acesso aberto (Open Access) O teatro precisa de teatro? territorialização, (des)territorialização e (re)territorialização do movimento teatral em Belém do Pará nas conexões e trânsitos periferia-centro-periferia (1980 a 2000)(Universidade Federal do Pará, 2023-06-29) FURTADO, Paulo Roberto Santana; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414; https://orcid.org/0000-0001-8277-5210This thesis investigates processes of (de)territorialization and (re)territorialization of the contemporary theater movement in Belém do Pará, from the periphery-center-periphery connection and transits of artists and groups. Critical reflection on space-time and theatrical movement in the city of Belém – does theater need theater? – from the point of view of geography, using as references the theorists who guide the understanding of theater making, Milton Santos, Marcos Aurélio Saquet, Valdir Roque Dallabrida, Rogério Haesbaert, Yi-Fu Tuan, where the theme was investigated from the perspective that the nature of the theatrical place is important to reflect the theatrical making. As an artist and founder of the PALHA Theater Group, I metamorphosed into an amphibious snake, between water and land, changing skin and submerging to address the trajectory of artists and groups, their scenic experimentation, and their relationship with the place of action, periphery-center-periphery and subjectivity of doing, time, and place. However, I needed to return to the surface and remain irate for a long time to understand the price of depth and try to specify certain principles of cohesion that unified the superficial images of this trajectory lived by the time of making theater and its reordering, from the maturation of a phenomenon still defined in a “groping” way, as globalization, whose main objective in making the comparison is to try to understand a contemporary phenomenon that has captured everyone: the acceleration of historical time, because to speak of the questions of time and modernity would then be to reflect about how this process influenced and influences the artistic making of these artists and groups, resistant and survivors. Dialoguing with theatrical philosophy, the history of theater and theatrical studies, in line with theories and epistemic interfaces, in inter and transdisciplinary connections with other areas of knowledge.