Dissertações em Artes (Mestrado) - PPGARTES/ICA
URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/6806
O Mestrado em Artes, em 2008 foi autorizado pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) com funcionamento no Programa de Pós-Graduação em Artes (PPGARTES) do Instituto de Ciências da Arte (ICA) da Universidade Federal do Pará (UFPA).
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Item Acesso aberto (Open Access) Bubuiologia: pensando dibubuísmo como estética e metodologia em uma prática teatral(Universidade Federal do Pará, 2018-06-29) ANDERSON, Andreh Sampaio; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This work has, as its main goal, the analysis of the research process that generated the play “Ó”, based on the drama Oxygen (Кислород), from Ivan Vyrypaev (1974 -) and on the homonymous film. Through the process, the Amazonian concept of dibubuism, crafted by João de Jesus Paes Loureiro, is expanded, modified and used as theatre methodology and aesthetical pillar, permeating dramaturgical decisions, acting routes, soundtrack choices, stage lighting decisions and all the tonus of the play’s directing. Crossed by such dibubuism, rehearsals routines, production challenges, staging strategies and aesthetical options are described and exposed as tools for the understanding, not only of the Russian drama, but also as how the concept of dibubuism could be used beyond the scene, as an academical research methodology. It is ambitioned that its qualities might be understood, respecting all the specificities inherent to the bubuia, considering its virtues as well as its flaws, trying to imagine a situation where the researcher-artist could be better served by a dibubuist approach.Item Acesso aberto (Open Access) Corpo Universo: uma poética das constelações compositivas como estudo e reflexão do corpo na atuação teatral(Universidade Federal do Pará, 2019-06-27) PARAGUASSU, Renan Delmontt Souza; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692The research Body Universe: a poetic of the compositive constellations as study and reflection of the body in theatrical acting has as objective understand what happens in my Body/Me along the moment of acting. To do so, I venture myself as a artist-researcher, I come to understand that acting is phenomenon experienced by the actor during their creative works, that occurs inside and outside the scene. The search for this comprehension took me to dive in lived artistic memories and experiences as actor, also I had to observe, in terms of equivalent feelings, what goes on with other people that I work with and others that I have watched. The investigation is fundamental, theoryc-methodologicaly, in Phenomenology, the science the investigate the experience of consciousness since its basic levels, the sensitive, the most elaborate, and the conscious itself. Tooked as authors in this field of knowledge, the German Georg Hegel(1770-1831) and the French Gaston Bachelard (1884-1972), because he was interested in conscience of the phenomenon of creation and scenic acting immersed in the field poetic artistic, the Merleau-Ponty (1908-1961) to reflect about the present space of my Body/Me and its scenic significance from the relationship with other bodies actors/spectators, the French philosopher and sociologist Henri-Pierre Jeudy (1945-) for discussion of body as object or artistic support. On the creative processes, the Brazilian professor Sonia Rangel (1948-) helps me to understand the process as an fountain of recreation and fomentation of several layers in creation, having the memory as propeller of revisitations. In The study about the art of the actor, the Russian actor, pedagogue and director Constantin Stanislavski (1968- 1936), the also Russian actor Richard Boleslavski (1989-1967) and the director and actor Eugenio Kusnet (1898-1975) they contribute for the discussion where technique and sensibility, conscious and unconscious walk helping handing each other during the act of acting, the Italian director Eugenio Barba (1995) for the processes and rules the influence the culture and daily in which the actor is living, the polonaise director Jerzy Grotowski (1933- 1999) and the Brazilian actor Carlos Simioni (1958-) for the understanding of the importance of training as continuous preparation of the body as foundation to the creation. I decided to focus on a methodology based on the research phenomenon. with allows the construction and reflection of the poetical work starting from the multiple internal experiences, focusing on the material that comes from the conscience in front of the practices and trajectories on plays, articulating with the psychophysical training.Item Acesso aberto (Open Access) Corpos convergentes: visualidade da performance na arte e no cotidiano(Universidade Federal do Pará, 2012-03-02) VALENTE, Danielle Calazans; COSTA, Luizan Pinheiro da; http://lattes.cnpq.br/5390750292706184; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This research analyses the Performance object as a phenomenon to be revealed through a thorough examination of diverse forms of its occurrence, both in daily life as in art. The objective is to investigate, the actualization of this phenomenon in the visual arts and daily life, by noting the similarities of performances in these areas, thus allowing the performative act move across borders in many different variants of the concept and practice of its occurrence. Also, the dissertation emphasizes, above all, the body as the base element of poetic practice.Item Acesso aberto (Open Access) Cravelhas reguladoras: um procedimento psicofísico direcionado à formação do violinista(Universidade Federal do Pará, 2021-05-19) RABELO, Maria Isabel dos Anjos Veiga; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This research proposes the achievement of methodological processual ways in order to improve the learning, development and practice of the violinist, considering its constant formation and willingness to performative circumstances, when understood by event referent to musical execution towards the spectators. Suggests, at rush, illustrative analogies of the state of the performer musician defined in metaphorized stages, which syntesis, entitled Cravelhas Reguladoras (turning pegs), is conceived as the processual tool of integral relevance of the other elements linked together and comprehended in the tetrahedon figure. In this sense, the turning pegs go towards the general goal of incursion, whatever is to investigate the procedures aimed at the aforementioned search for a psychophysical potency on the scene, integrating the musician’s organism on it’s psychophysical properties. The methodology mixed three main procedures: literature’s revision embracing the musical and theatrical language, using the term psychophysicality and the concept of “recurrent principles” of Eugenio Barba; self-report of violinist experience and as student during the psychophysical training with the purpose of domaining the scenic presentification; case study with semi-structured interviews with Music Bachelor’s students in Belém do Pará with violin habilitation. In this narrative stage, specific points were substantially answered before the questions about the need of a violinist’s preparation, enabling it to a musical performance without blockades. The investigation has the theorical support of David Roland (2001), Sonia Ray (2015), Barry Green (1987) e Eugenio Barba (1991).Item Acesso aberto (Open Access) Dançaeira: a Capoeira como procedimento para a construção de um processo criativo em Dança Contemporânea(Universidade Federal do Pará, 2012-02-29) SILVA, Andreza Barrroso da; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This research aims at the survey of common aspects between Capoeira and Contemporary Dance. From the perspective of creative processes in Dance e those that occur in Capoeira, the analysis encompasses some specific objectives. They are: the scrutiny of the body during the improvisation through Capoeira; the perception of capoeirista´s body in relation to other bodies and outside space, during performing; the identification of impulses that may come from Capoeira, by considering its application of them in Contemporary Dance as well. The methodological procedures are based on autobiographic corporeal discourses, which in their turn, starts from empirical hypotheses borned of my own body as capoeirista and dancer. The theoretical perspectives sustain selected concepts such as those of Eugenio Barba, Jerzy Grotowski, Marcel Mauss and Merleau Ponty, in this order. Also, the accomplishment of this research allows connections between Capoeira and creative processes in Contemporary Dance, in a sort of artistic mode baptized as Dançaeira. Finally, such connections struggle for figuring out an expressive and personal artistic body made out of both artistic languages interwoven.Item Acesso aberto (Open Access) Desdobrando a dança imanente: imanência, organicidade e técnica na construção de uma poética cênica(Universidade Federal do Pará, 2011-02-28) SOUZA, Luíza Monteiro e; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692The present research brings in its core notes referring to the continuity of the theoretical and practical aproaches concerning the work developed by Companhia Moderno de Dança (CMD). Aiming at unwinding of the matters treated on Ana Flávia Mendes’ doctorate thesis, artistic director of the group, it has been observed, then, the poetic construction of CMD from other aspects related to the research object. The focus resides on the chaining of three keyconcepts which guide the reflexions and analysis prepared during the investigation process. This triad, composed by the notions of immanence, organicity and technique, sustained the development of experimentations with the CMD dancers in order to verify the possibilities of investigation and research in dance, whose process had as a starting point the subjectivities of the dancers intertwined in it. The conceptual interrelation between these notions was the basis for the development of artistic experimentarions based on immanence as first stimulus for the application of experimentental laboratories for practical and theoretical purposes, in order to promove an activation of different states of the body, given the implications of these corporal states with the results raised in the process.Item Acesso aberto (Open Access) Fluviografias cênicas: memórias e presenças de um corpo em travessias.(Universidade Federal do Pará, 2021-01-20) FONSECA, Roseany Karimme Silva; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692The present work proposes the poetic-scenic elaboration of a body located in between, this understood as an intersection: between the city of Belém and the interior of Marajo island, between narrative and scene, between word and action, between memory and presence. Between, here, is available as a means of understanding the history of a researcher in her processes of physical crossings, written, recorded and retold. Amazonian authors such as Eidorfe Moreira and Joao de Jesus Paes Loureiro support the setting of this research, guiding reflections for a personal journey; there is the search for a poetics of space, as proposed by Gaston Bachelard (1993). In addition, the research dialogues with the concept of “Personal Dramaturgy”, defined by Wladilene Lima (2004) and the so-called Self Writings. In this context, the following issues emerge: 1) the body, as an organism, can be constituted in a landscape - approached in this work in the light of humanist geography? 2) can this body express itself scenically, in line with an environment, in which it lives its own journey through writings, travels and memories? 3) what are the relationships between the body, the text and other elements of the scene in the staging process? Based on these questions, the objective is to understand the condition reached by the acting body, when it crosses and is crossed as a subject / object of a poetics developed on the scene. As for the elaboration processes and their unfolding, this research is understood like a fluviographic immersion, in view of considering landscapes, margins and express flows of rivers and in the rivers taken. As a device of practice, body language and the possible states of scenic composition of an extra-everyday body are sought and the “Corpografia” highlighted by Juliano Jacopini (2016). As a methodological procedure, the fluviographies follow the idea of research in art proposed by Sônia Rangel (2009), appropriate to the line of research in Poetics and Processes of Performance in Arts. Therefore, the methodology will be immersed in the practice of scenic creation. Create, cross and dive are configured as the action verbs for the scenic act in progress, working a scenic state as a reality inscribed and made present in a body / space of identifications of the acting, resulting from their crossingsItem Acesso aberto (Open Access) Kata pessoal: treinamento psicofísico para atores/bailarinos por meio do judô(Universidade Federal do Pará, 2012-02-29) PINHEIRO, Silvia do Socorro Luz; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692The object of this research is the judo as body practice of the actor/dancer. A hypothesis presented in this paper is that judo includes useful techniques for training the actor/dancer looking through the lens of Theatrical Anthropology. The objective is to research the judo, both technical artifice as philosophical, elements that could enrich your state pre-expressive, which is building the Personal Kata. This proposal incorporates different theoretical and practical fields: judo and theater focus on containing the principles of judo in communion with those of Theatrical Anthropology. My experience as a judo teacher was taken as reference for the study because it represents the area on the philosophical and practical foundations of judo. About methodological procedures, we chose a qualitative approach, but it has a descriptive nature, into which was conducted a bibliographic gathering. Also, the field research, involving interviews and statements; and a laboratory of training, a title of experiment. For application of this training was selected a set of techniques of judo based on criteria such as: balance, energy, contrast-stretched body, organic.Item Acesso aberto (Open Access) Mulheres em mim: trajetória dançada do corpo metafenômeno(Universidade Federal do Pará, 2017-06-20) SILVA, Anna Cecília de Oliveira; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This writing reports the theoretical-practical investigation of the creative process called "Women in me". The study is born within the scope of dance and seeks to understand how the body, understood as a pulsating organism of the researcher, can be modified in its psychophysical state during the accomplishment of methodological artifices useful to laboratorial experiences of creation, being called for this body metaphenomic research, According to the meaning applied to the term by José Gil. The material presented in the memorial, based on occurrences insurged during the investigation, covers contents that refer, above all, to the progression of the artistic work developed, addressing themes derived from the composition of poetic routes, the operationally applied methodological procedures, the relation of the body to the Space and body preparation. To this end, authors such as Brazilian linguist Cecília Salles, Mozambican philosopher José Gil, Brazilian actor and theoretician Renato Ferracini, Polish director Jerzy Grotowski, dance researchers, Patrícia Leal and Ana Flávia Mendes, among other scholars, To subsidize such speeches. The exploration intends to indicate, instead of adopting, imposition or imposition of paradigms directed towards the ways of achieving a creative process in dance, considering the place where the researcher speaks, the interpreter-creator.Item Acesso aberto (Open Access) Por onde se vê: a performance na dança na cena contemporânea(Universidade Federal do Pará, 2011-03-02) GOMES, Erika Silva; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692Instigated for the new artistic productions, especially experienced at the dance universe , I throwed myself at the challenge to research which ways these artists have been tracking, what work instruments they have been using and mostly what the ideas that make them search for transformations look like. In this direction, I choose as study object the spectacle “Por onde se vê” from the Waldete Brito Experimental Dance Company of which I am part, and for which have danced on its first version. Therefore I included myself as objetc of study too. My inquire in this resarch aims to analyze the language of the performance in this spectacle, - whose theoretical referencial is based in the thoughts of authors as Renato Cohen and Roselee Godlberg - where it had as hypothesis that the use of this language could be a track in what the construction of these unusual and instigating artistic productions is closely concerned. The text points out some contributions brought from this border art so as to extend the creative universe in the scene. The used methodology was based on a descriptive qualitative boarding, by means of the data collected during interviews standardized and structuralized with the director and the interpreters on the process of creation and the accomplishment of the four versions of the spectacle, as well as the reports of the spectators envolved into it.Item Acesso aberto (Open Access) Recriação e atualização da cosmogonia amazônica no corpo cênico do G.R.E.S. Beija-Flor de Nilópolis(Universidade Federal do Pará, 2011-07-01) ROSENDO, Alexandre da Conceição; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This paper purposes the comprehension and reflection on which manner occurs the corporal training of the scenic chorus of parades of the G.R.E.S. Beija-Flor de Nilópolis, through the carnival plots which compose its “amazonic triad”, such as: i “Pará – O Mundo Místico dos Caruanas nas Águas do Patu-Anu” (1998); ii “Manôa – Manaus – Amazônia - Terra santa... Que alimenta o corpo, equilibra a alma e transmite a paz” (2004) as well as; iii “Macapaba: Equinócio Solar, Viagens ao Meio do Mundo” (2008). Considering the existence of a recreated, modernized and stylized mythology in those parades, I analyze the creation process engaged, also through the scenic arts, in order to institute “spetacularization” in popular culture. Therefore, I feature the valorization and conversion process of amazonic culture in the parades of a G.R.E.S., precisely in Beija-Flor de Nilópolis. Assuming the Amazon as core, I analyze the definitions of myth and cosmogony, reflecting on amazonic culture, which has its legends, myths and imaginary transferred from its current reality and nature, and also converted through the process of corporal training into the work of the performers, who compose the parades. From this process, results the charming phenomenon of Carnival in Rio de Janeiro. Finally, this paper also tackles on the issue of theatricalization of Carnival as a basis to the establishment of the staging in the parades, as well as a process of conception of a “carnival show”.Item Acesso aberto (Open Access) Retrocedendo processo: dissecando a simbologia pessoal do ator no processo de criação do espetáculo "O tudo anexo"(Universidade Federal do Pará, 2017-06-28) RIVERA, Ramón Bentes Machado; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692The present memorial corresponds to the descriptive part, as much as to the glimpses, that guided poetic options of the scenic monologue O tudo anexo, whose methodological principles of creation correspond to the investigation of a personal symbology of the actor. Such principles, as we have examined, tend to enable the artist of the scene to reach a creative state nourished by a shared symbols located in the collective unconscious. Among the principle, we consider Joseph Campbell's notion of creative mythology. Another methodological or transformative principle is that of the individuation of Jungian analytic psychology, where symbols arising from the unconscious play a fundamental role in the maturation of the individual's psyche. Structurally, the above-mentioned scenic monologue is complemented by pictorial and poetic memorials, both of which raising questions, proposing diagnoses and defining parameters to the use of the actor's personal symbology in the scenic creation. In the case of the poetic memorial, imagistic and written correspondences in the creative process are explored in order to contribute to understanding, through metaphors, the expression of creative principles approached. Concerning the ways of creation, they are based on the symbolic experience, its transformative and numinous pertinences, its nuances in relation to the actor's work and the scenic staging, as well as the specific qualities of its specificities, difficulties and flows that gave light to the dramatic, sonorous, spatial, and scenic composition. Among the theoretical references, we highlight Friedrich Nietzsche (1844-1900), mainly concerning the understanding of this German philosopher about the philosophy of instinct and its criticism of the overestimation of the concept of consciousness, Polish director Jerzy Grotowski (1933-1999) and the creative principles of his experiments with his Laboratory Theater phase, which, altogether, were called the Poor Theater, and Gilbert Durand (1921-2012), when related to his notions of symbolic imagination, an relevant term for this French philosopher, and here drawn upon for its potential for elucidating elementary and urgent symbols, situated in the collective imaginary, in the mythologies and in the individual amplitudes, among other effectuations.Item Acesso aberto (Open Access) Revolução do Invisível: a sistematização de um treinamento pré-expressivo a partir do malabarismo(Universidade Federal do Pará, 2019-07-04) SANTOS, Renan Coelho; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692Item Acesso aberto (Open Access) Ritual em Artaud: considerações e reconsiderações por uma poética da crueldade(Universidade Federal do Pará, 2011-03-18) SILVA, Edson Fernando Santos da; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This dissertation analyses the propositions of French visionary Antonin Artaud, concerning his thoughts and accomplishments of ritual theatre in close connection with his lifetime. In this sense, Artaud is categorized as a liminal figure, insofar as he takes out, from his own life, relevant elements which justify the re-sacralization of the stage. From the etymological definition of „rite‟, this research allocates Artaud´s theatrical project the realm of religious rites, into which some of his concepts such as Double, Cruelty, Metaphysical, Magic and Sacred will be revealed. Also, the formula „pnp equals i in the pc context‟, applied during theatrical experimental montage of Quando a música terminar…, points out boundaries and possibilities of accomplishing ritual theatre as a liminoid activity.Item Acesso aberto (Open Access) Treinamento: anatomia actancial - um estudo sistematizado da cinesiologia, da biomecânica e das ferramentas didáticas das artes cênicas para o trabalho do atuante.(Universidade Federal do Pará, 2016-06-28) RUBIANO ARROYO, Laura Janeth; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This artistic and scientific research creates a corporal expression, based on the systematic study of the anatomy and kinesiology of some theorists of the twentieth century, they are: Vsevolod Meyerhold, Etienne Decroux, Tatsumi Hijikata, Kazuo Onho, Eugenio Barba and Pina Bausch, implemented by the researcher, highlighting in the process of analysis the didactics tools focused on scenic performance of the actant, allowing to perfect the physical abilities, understood as: strength - resistance, flexibility and elasticity; aiming to reduce the injuries presented in the musculoskeletal system back. The text contains comparative studies of anatomy, made by researcher, they are linked to the concepts of actantial anatomy and pathological social adaptation. So the issues found and created during the research aim to the factor that the didactic tools of the performing arts, when included or related to anatomical peculiarities, they concern to the psychophysical and energy systems, they are caused, covered and nourished by the body in training. From these systems of training, appeared evident linked to the anatomy of movement, the injuries of the spine, the pedagogy and the didactics of the Actantial formation; in a context that integrates the psychophysical and organic qualities of Actantial training. Finally, here, it insists through the scenic language and pedagogy of Actantial training, cope with treatable the skeletal muscle back injuries, as well as prevent them in the performance, exploration, laboratory and stage work of actant.