Teses em Artes (Doutorado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/11380

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Cartografia do Teatro : Contexto, políticas e poéticas do teatro de grupo em Macapá
(Universidade Federal do Pará, 2023-09-24) MATOS, Bruno Sérvulo da Silva; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This research derived the construction of a thesis divided into four parts or four acts. At first, the composition of the archive on theater groups led me to the cartographic method and, possibly, to the ethnographic one. To begin the studies, it was necessary to know and write about the panorama of Amapá's theater, with the purpose of casting a critical and sociopolitical-cultural eye on the theater scenarios in Amapá. I observed that there was a huge amount of material about theater in general, but about Amapá theater groups there were none or few references. I started with bibliographic references: Elderson, MELO. Teatro de Grupo: Trajetória e prática do teatro acriano - 1970 a 2010. 2006. Samantha Agustin, COHEN. Group Theater: Trajectory and relations. Impressions of a visitor, 2010. A specific author is constantly used by any research, regarding the Amapaense theatrical activities, the professor-researcher, Romualdo Palhano, from the Federal University of Amapá. This author served as the main bibliographic support for a research that, until then, was in its twilight stage, because, although I knew that there were theatrical works in the State of Amapá, I did not know about them. Thus, I decided to change the main focus of the work and dedicate myself to an object: the theater groups in Amapá. In other words, the research stopped being exclusively bibliographical and became in loco. Cartography is a science that, traditionally, refers to the ability to elaborate maps, charts and other forms to represent and describe, in detail, or express objects, physical and socioeconomic phenomena. It is also a demarcation, or territorialization; a determination of spaces for the purpose of orientation and knowledge about these same spatial portions. Supported by these characteristics, I let the research follow its process, exploring each part that stood out, its unfoldings, however, taking care not to lose sight of the main objective: to register, to quantify, to qualify, when necessary, without forgetting its libertarian character. I realized that my research also had an ethnographic character. Ethnography, after all, is a method of the social sciences, but not only, especially anthropology, in which the main focus is a study of the cultures and the behavior of certain social groups. In the first act, I make a brief historical overview of the theatrical activities developed in the State of Amapá. I go through a more or less faithful chronology of selected images that tell how the theater, be it with the first building or in the first theatrical activities, has been appreciated, experienced, constituted in the State. In the second act, I tread the shaky ground, so to speak, of the public policies of incentive to the performing arts. Of all the acts, this is the one to which I dedicated special care, for touching on conflicting issues, for dialoguing with themes dear to public governmental and nongovernmental institutions, and for unveiling visible but silent situations, silenced by a convenient oppression. The third act is dedicated to the theatrical spaces or the places of theater. The city of Macapá has few institutional spaces, constituted as places for theater, which leads many theater groups to seek alternatives for the development of their activities. I emphasize, with this evidence, that not only places of theater are necessarily theatrical spaces. Other territories, said here to be "alternative," have emerged. The fourth act, I consider the soul of the research project. It is in it that I dedicate and concentrate my efforts to build a kind of narrative that expresses all the anxieties, joys, and struggles of the theater groups to make art, to make themselves exist, in a place where artistic valorization is so incipient. Each conversation, each description of the groups and their activities, was the unveiling of a passionate profile. Regardless of the farces and disguises, the dissonant speeches, the masks and make-up, I sought to describe and reverberate voices that scream, cry, lament, beg to be heard, but also laugh and bring and feel happiness.
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O Cineteatro territorial de Macapá e a criação de uma política cultural janarista
(Universidade Federal do Pará, 2023-06-26) FERREIRA, Frederico de Carvalho; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This doctoral research, developed in the Graduate Program in Arts at the Federal University of Pará, under the guidance of Prof. Dr. Bene Martins, conducted a study on socio-politicalcultural contexts engendered from the establishment of the Federal Territory of Amapá (TFA), focusing on Cineteatro Territorial de Macapá, between the years 1944 and 1949. The research, entitled: O Cineteatro Territorial of Macapá and the Creation of a Janarist Cultural Policy. The objectives are to highlight and reflect on the creation of a cultural policy, disseminated by Governor Captain Janary Gentil Nunes and its possible influences on the process of Amapá identity formation. This research is justified by the lack of works that address the theme and the need for more in-depth approaches to the artistic, cultural and theatrical memory of Amapa and its social and political contexts, which may have influenced its identity and cultural formation, in addition to contributing to , as a theoretical and critical contribution to future research, enabling conditions for the growth of Theater in/from the North and in/from Brazil. The central point of the study is the artistic and cultural movement provided (or not) by Cineteatro Territorial de Macapá, official space for political and cultural diffusion of TFA. In the construction process of this research, according to the proposed objectives, the formation of the TFA is investigated, since its fragmentation in the state of Pará (1943), the choice of the territorial capital and the Jornal Amapá, as a documentary source, the inauguration of the Cineteatro Territorial de Macapá (1944) and its political-cultural activities, the creation of a janarist cultural policy and the possible dialogue with the cultural movement of amapa. The study joins the line of research: Memories, histories and education in the arts, of the Graduate Program in Arts (PPGARTES-UFPA). The supporting methodologies are those of the artisticcultural field, cultural studies, in dialogue with other references, based on a qualitative analysis of the sources. Initially with a systematic reading of bibliographies on cultural policy, theatrical and audiovisual contexts established between 1944 and 1949. The consulted materials are from films, shows, artists and theatrical companies registered in Macapá-AP. It is characterized as documentary research, as it prioritizes the survey and analysis of sources that allow the interpretation of official bodies and documents, such as the Jornal Amapá and the Report of Activities of the Government of the Federal Territory of Amapá.
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Imagens na história do vestuário : cânones e sintomas na obra Três Séculos de Modas (1923)
(Universidade Federal do Pará, 2022-02-14) SOARES, Fernando Augusto Hage; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This thesis seeks to undertake an analysis of the illustrated clothing history, highlighting the role of images in this field of study. The research had as a triggering object for questions the book Três Séculos de Modas/Three Centuries of Fashions, by João Affonso, published in 1923, whose images were analyzed through symptoms present in its set of 56 authorial illustrations. The text is divided into four sections: the first is dedicated to listing the main theoretical meanings that influenced the critical and investigative process, analyzing aspects of clothing and its visual aspects, historical conceptions in the field of art and clothing, notions of anachronism and assembly as a method. From these bases, the second part deals with accessing data on the canons of clothing history, discussed by several authors, mapping a set of 35 works located in digital collections referenced for consultation, which were divided into the following categories: clothing books, costume books, prints and customs, romantic/historicist books, modern books. In the third part, the analysis of the pioneering work in Brazil is presented, presenting considerations about its diffusion, locating its characters and the book within the previous historiography, in order to carry out the analysis of its images via the assembly process, where identified symptoms were examined in the set of illustrations (by the perception of postures, gestures, objects, silhouettes), which generated the following interpretation categories: Armored; Expressive; Grace; Fashionable; Essential Woman; Comfortable; Conformist; Modern Dandy. Such categories demonstrate ways of representing emotions and mentalities about fashion in Três Séculos de Modas, which can be understood as survivals, which had their aspects discussed in the text and could be used in other research. Finally, in the last topic, a historical approach was carried out on the illustrated books of clothing history published in Brazil, highlighting some titles by Brazilian and foreign authors, moving towards the so-called visual guides, and ending the thesis with a chronological analysis that seeks to list the set of publications in this field of study in Brazil until 2019.
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Memórias das Artes Circenses de Rua em Belém-Pará
(Universidade Federal do Pará, 2024-02-29) MARTINS, Yure Lee Almeida; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This thesis proposed to think of current street circus artists in the metropolitan region of Belém as historical subjects, subjects of memory. People and artists with an origin and trajectories catapulted by artists trained in the first groups of circus schools in Brazil and Latin America (“travelers”). Street circus artists who are constantly made invisible because they choose the street as their main stage. The writing follows as a study on memory, adopting the description of the structure of a street circus show. In the first chapter, we intend to discuss memory and places of circus memory in the city of Belém, such as the Circo Mano Silva School. Highlight the peculiarities of recent circus arts in the city. Provide a contextualization of how the traveling circus takes on a new look through street circus artists in Brazil and specifically in Belém. In a second chapter I will try to present in general terms the permeability of artists, groups and troupes in the city of Belém. Highlight unique aspects of working with circus languages in the region, such as the existence of non-travelling troupes and circuses. I mainly highlight the analysis of memories and life trajectories of the subjects involved with the circus cultural movement in the city. Like the “Weekly Juggling and Circus Meeting”, a boost for the many local circus artists. As well as the “Open Stage”, a form of audience formation for the street circus in Belém, self-managed and community-based, very important for the development of street art movements, groups and collectives involved with the circus (such as Circopaíba and Circo Nós Tantos) . And finally, I present in more detail my relationship with the circus, my memories complemented by other memories, our poetics and dramaturgies.
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Paisagem na neblina da arte cinematográfica: um pacto cinéfilo do Cineclube da Associação Paraense de Críticos Cinematográficos (APCC)
(Universidade Federal do Pará, 2021-11-29) CARVALHO, Marco Antonio Moreira; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This research will focus on the history of the film club of the Association of Cinematographic Critics (APCC), due to the importance of recording, analysis and dissemination of the works developed, from creation to the present day, and establishing relationships and educational proposals for cinema interaction with the subjects included in the world. All works are sources for reviewing and creating the concepts, function and importance of film clubs, as a space for showing films and stimulating studies on the evolution of cinema as art and its varied alternatives for creating and communicating with viewers. One of the goals is to value the work of Film Clubs and update, in contemporary times, their importance as an element of cultural action and film education. It also aims to document and analyze the actions carried out by the APCC Film Club, from 1967 to 2020, through bibliographic and documentary research (newspaper articles, interviews and advertisements), as well as the activities carried out, of the cultural agents involved, of the partners who collaborated with their performance and of the spectators of the programs carried out, in this film club movement in Belém-PA. When researching the history of a film club that shared film experiences with several spectators, it is understood that the evolution of cinematographic art took several attempts to create its own language with the contribution of several artists. However, the extensive trajectory of experiments required other means of insertion for the public, such as film clubs, these created in the 1920s, in France. These film clubs were fundamental for the understanding and appreciation of other cinematographic aesthetics. From the study of the performance of a film club located in the Amazon, with greater operational adversities than in other urban centers, the intense awakening of its agents' cinephilia and the importance of understanding its history to maintain film club ideals in activity is highlighted. In order to maintain and expand the actions of cinematographic culture practiced by this film club, it is necessary to think about an expanded filmmaking that includes a greater relationship between cinema as art and its relationship with the world in proposals that develop and explain its potential as an artistic medium. educational.
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Tempo de Espera: fortuna crítica da peça de Aldo Leite
(Universidade Federal do Pará, 2022-09-13) MARTINS, Gilberto dos Santos; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971

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