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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Agora exibindo 1 - 8 de 8

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Alma de papel: proposta conceitual para um curta-metragem de animação stop motion em devir
(Universidade Federal do Pará, 2017) RIBEIRO, Brena Gomes; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
In this research, I present a study about the process of creating a conceptual proposal for the production of a short stop motion animation, called Alma de Papel. The various stages of this study include the experience provided by the Curro Velho Workshops, where I got in touch with the techniques and materials used in the proposal. There is also a short description about the history of Animation Cinema, with the contribution of concepts provided by authors whose analyzes approach the symbolic sphere of the history of cinema, as Arlindo Ribeiro Machado for whom the cinema materializes a millenarian movement of "representation of the imaginary", and Edgar Morin that exposes the semi-imaginary reality of man. The research methodology dialogues with the "nocturnal" face of the French philosopher Gaston Bachelard, that is, his "metaphysics of the poetic imagination" and his systematic investigation of the genesis of the poetic image based on the archetypes of the four elements of nature (air, water, earth and air), to which I add one more element (ether), besides including the influence of the Dilatador Elemental device created in the subject Movimento Criador no Ato Teórico, and the values attributed by Italo Calvino to poetry, for the systematization of this study. Sônia Rangel and Cecília de Almeida Salles appear in the investigation to talk about the creation process and its relation with the reality lived by the author. To carry out the present work, I admit, as a primary objective, to demonstrate the connection between the modus operandi of creating the conceptual proposal of a film, that is, the methodological procedures used in its making, and its consequent historical-social context experienced by its creator (s), a context that is fully amalgamated with the becoming of their imaginary.
Acesso aberto (Open Access)
Atos performativos de uma Bufonaria Matuta: Arte, cura e ancestralidade em Belém do Pará.
(Universidade Federal do Pará, 2025-06-30) NUNES, Ana Carolina Marceliano; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414; https://orcid.org/0000-0001-8277-5210
Acesso aberto (Open Access)
Dinamites dissidentes : construção (re)performática de uma autoetnografia
(Universidade Federal do Pará, 2023-07-07) ROCHA, Raphael Andrade; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414; https://orcid.org/0000-0001-8277-5210
Acesso aberto (Open Access)
Doular a voz que conta : uma experiência fenomenológica davoz como performance
(Universidade Federal do Pará, 2022-03-31) SILVA, Marluce Cristina Araújo; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
It is recognized that the art of storytelling and doulage are ritualistic processes, in which one cultivates a proper, intuitive path that guides me as a person and professional. Phenomenologically, such processes constitute the experience lived subjectively. Therefore, counting and doular make up the phenomenology of my surroundings. And it is my experience with the voice that establishes the connection with the two processes. The problem of research of this dissertation, thus, is structured, from the following question: how does my voice reveal itself, as a performance, in my art of telling history and in my craft as a doula? revealing as an object of study my voice, as performance. The objective, therefore, of this dissertation work is to elucidate about my path of being a doula and storyteller, from the discussion of voice as performance. The objective, therefore, of this dissertation work is to elucidate about my path of being a doula and storyteller, from the discussion of voice as performance. Among the theoretical foundations that will support the discussion, I will make use of the production of Paul Zumthor (1915-1995) between voice and performance, intertwining this field with bachelard's redondo phenomenology (1884-1962). Across the board, I am guided by the conception of the Sacred Feminine and the Archetype of the Great Mother, based on the writings of Clarissa Pinkola Éstes (1945-) on the intuition and wisdom of women and analytical psychology of Carl Gustav Jung (1875-1961) on archetypes, archetypal images, animus and anima. In fact, I take as a form the memorial to weave the quilt of this trajectory in these two fields of phenomenological experience, where the voice will be the great guiding thread. It is a work that is constituted in autobiographical narrative, at the same time, reflective and poetic.
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A personagem-subjétil: um estudo da (des)construção de personagens femininas em quadrinhos máquinas de guerra
(Universidade Federal do Pará, 2017-06-30) MONTEIRO, Samantha Ranny do Nascimento; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
Acesso aberto (Open Access)
A poética do contar: percursos criativos de atrizes contadoras de histórias
(Universidade Federal do Pará, 2020-12-17) PESSOA, Karla Campelo; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
My research offers a possible perspective over the poetic paths of three story-teller actresses in Belém who I have in consideration and affection, Adriana Cruz, Ester Sá e Marluce Araújo, and who guide my own artistic practices as an story-teller actress myself. The autoethnographic method cited by Versiane, Cano e Opazo is used in the whole research, which allows me to seek the dialogue among subjectivities, by giving emphasis on each artist’s sigularities, and at the same time by identifying common features among our poetic practices. As for theoretical support, I take into account the works of João de Jesus Paes Loureiro regarding amazonian artists immersed in the universe of “encantarias”; of Cecilia Salles on aspects of the creative process; of Paul Zumthor assisting my compreehension of performance and poetics of the voice; as well as the works of Clarissa Pinkola Estés where the feminine universe and the psyche of the stories we tell concern. The study was organized after data collection, that is, the actresses’ statements given in collective and individual meetings, as well as observation and analyses of their story-telling presentations in cultural spots in Belém during the year of 2019. The entire structure of the dissertation is symbolically related to the construction of the image of a yo-yo quilt on which matryoshka dolls take form and may be seen, they themselves, as a symbol of eternity, motherhood, love and friendship — moving elements of this work.
Acesso aberto (Open Access)
Travessia poética: memórias das paisagens amazônicas como potência no processo autoetnográfico de criação/reflexão artística
(Universidade Federal do Pará, 2019-09-10) CAMORIM, Germana de Alencar; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
This dissertation seeks to understand my creative process, through my perception as a participant of this culture, I use the amazonian, human and emotional landscapes as the motor scheme of the research, besides the analysis of its symbolic schemes such as the boat, the river / water and the forest and the influence of popular culture on artistic production in its relation to miriti matter and in symbolic exchanges through autoethnographic narratives and these as cultural instruments. Finally, I expose the production process in stages. 'Ethnopoetic Crossing' is based on the understanding of the particular processes of this culture, and its reflection method is autoethnography, which seeks to understand my path, through my experiences with the environment I live, or rather, I seek to understand how the amazonian, human or emotional landscapes guide my creative process, which develops through the use of some artistic techniques such as photography and screen printing, having miriti as a matter and / or support that identifies my territorial space, as well as the landscape as a reference of identity and socio-spatial awareness of belonging. In an intimate composition, as a structure of a being, where the worked images (photographs) would be a kind of physiognomy, in parallel with the human - skin, that which gives face, that goes over the body (miriti), or in a dualistic relation of geographies, human landscape within the geographical landscape, an intimate geography that carries the subjectivity of a mnemonic relationship that constitutes and built me as an artist, as a breath that gives life to these beings, these geographies. that awaken my affective memory as an artist-researcher and result in the artistic production of copyrighted objects developed in various languages and techniques, supported by miriti. The conduction of the research has been guided from established theoretical contributions and guided by the autoethnographic methodology. The theoretical framework used finds support in Bastos et al. (2016), Pizarro (2012), Loureiro (2000) and Benjamin (2012).
Acesso aberto (Open Access)
Travessias e atravessamentos: devir autopoiético de uma produtora cultural imbricada no trajeto criador do Grupo de Teatro Palha-PA
(Universidade Federal do Pará, 2018-06-26) SANTANA, Tânia Cristina dos Santos; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
Based on a poetic writing based on a narrative of itself, taking into consideration the process of knowing, knowing myself, placing myself as an observer observing and observing, implying me in the production of meanings in this investigation. Work is done under two optics of transformation, the first concerns personal transformation, Self / Self, triggering my affective memories, so that I can reflect on the actual changes I have undergone, as a permanent movement through which I have been able to recreate myself, transforming myself and changing me. The second concerns my participation in the Palha Theater Group, as a producer that links the Group to the market. As a "person" member of the group and participant in the entire creative process, contributing with the actions of strategies to achieve the same poetics, going beyond the logic of the art of merchandise to art with significance. The research brings to the light of knowledge the transforming importance of the Arts in the subjects. It analyzes the contributions on the interfaces of areas of knowledge and professional knowledge, from the scope of Art and from other formations, such as economics and cultural production. This professional as an integral part of the Group, which develops with its members, collectivized activities for the realization of the Group's artistic achievements, contextualizing the unfolding as a cultural producer imbricated in the creative poetry of the Palha Theater Group, mapping its poetic production in the period from 2002 to 2016 The course adopted in this writing places the Palha Theater Group as the background of my research, while at the same time dialoguing with my maturation course of making myself or forging a cultural producer, considering as an investigative question in this process the following question: is it possible to claim a greater value of inventive life from my autopoietic becoming as a cultural producer? To what extent can this redetermination course, as subject-researcher, be dimensioned by the affective crossings and states in this autopoietic becoming? To follow my writing in the search for answers to these questions I call: Humberto Maturana (1997, 2014) from the concept of Autopoieses, or the capacity that living beings possess in self (re) construct, from the external conditions that are submitted, placing me in the condition of "being alive" in a continuous process of structural coupling; Maurice Merleau-Ponty and the phenomenology of perception to understand my history, my essence, aware that all problems are summed up in defining essences: the essence of perception, the essence of consciousness; and Gaston Bachelard (1988, 1989, 1994, 1997) to discuss my experience with the sensitive world that led me to the world of daydreams. Bringing as a propositional writing of this dissertation the concept of "value of inventive life" of a cultural producer imbricated in the creative process of the Palha Theater Group.

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