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) A atriz da diáspora: um estudo sobre a poética-política de Zélia Amador de Deus(Universidade Federal do Pará, 2020-08-28) BANDEIRA, Maria Ceci Leal; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211The following work aims to analyze, using as basis the concept of diaspora of black people's performative body, by Zélia do Amador de Deus, the actress and director's artistic path and her poetic-politic character. The research was divided, aiming to make it possible to analyze its three main characters: Catirina, character from the work Coronel de Macambira, by Joaquim Cardozo (1998); Suely, character from the play Quarto de Empregada, by Roberto Freire (1993); and a nameless character, presented in the work Theastai Theatron. The reflexion that leads the research is done based in feminism as perspective of critical and theoretical analysis for the categories of stratum, genre, ethnicity, as stabilised theoretically by the philosopher Angela Davis (2016) and the battle against epistemicide, line of thinking relocated by the philosopher Sueli Carneiro (2005). By tracing Zélia Amador de Deus' artistic path, it is possible to find a new way to perceive the diaspora of black people's performative body and their descendants by the performative bias that represents the political-socio-cultural crossings that still continue to differentiate this body. Considering that it is a subject that begins in the body and does not detach itself from it, the analysis departs from the body and its main three characters, in order to demonstrate not only the artistic evolution of the actress, but mainly the political and existential development of a black woman in Amazon.Item Acesso aberto (Open Access) Cantos de aparições: Cantos diversos de diversos cantos(Universidade Federal do Pará, 2020-10-01) MEIRA JUNIOR, Paulo de Araújo; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211Item Acesso aberto (Open Access) CASA DE BONECA: Arte e Decolonialidade(Universidade Federal do Pará, 2023-11-06) FREITAS, André Luis Pereira de; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211This research starts from the doll house toy/object, referring to both a European toy and the stately homes of the city of Belém, to discuss the concepts of epistemicide and coloniality of power as a plan for a violent colonization based on the myth of modernity, culminating in an urbanization that is still praised today, but which cost the destruction of people and knowledge. In the first chapter I talk about the first motivations for working on a theme related to a doll's house. My games with Maria, since she was young, and I discuss the importance of play for children. In the second chapter I deal with a methodological issue, the need to build research based on decolonial thinking. To do this, I try to clarify concepts such as coloniality, colonialism, decolonization and decoloniality. In the third chapter I deal more specifically with the dollhouses that were produced: the first is a replica of the church of Saint Alexandre, representing the role of the church and Christianity in the colonization scheme; the second house is a replica of the Palacete Bolonha, a symbol of the Gomiferous period and the Belle Epoque; the third house is a replica of the mansion where PPGarte operates; and I deal more specifically with the experience of being black at university. In the final considerations I work with the decolonization of curricula. Inserting doll houses in a didactic proposal. Reflecting on the possibility of working with houses in schools based on law 10.639/2003 and law 11.645/08.Item Acesso aberto (Open Access) Construindo memórias: produção de álbum objetoartisticográfico ilustrando a vida e morte das memórias de uma família libanesa em Belém(Universidade Federal do Pará, 2021-01-28) SOUZA, Patrícia Abud; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211The present research seeks to understand the affective involvement that a family descendant of immigrants has with their photographs, through the memories that they carry, taking as a support for the artistic work the process of mourning and forgetting. For this, it was necessary to make a historical overview of Lebanese immigration in Brazil and Pará, through bibliographic research and journalistic photographs, in addition to identifying how important the preservation of memories is in a family group. Throughout this research I try to establish a dialogue between authors such as José Alberto Buchabiqui and Assaad Zaidan that deals with Lebanese immigration; Edgar Morin and Henry Bergson who talk about the issue of individual memory, loss of individuality; related to the issue of death, Maurice Halbwachs and Fernando Catroga as the basis for collective memory, already Philippe Aries, João José Reis, Charles Feitosa, Roland Barthes, Maria Eliza Borges, Boris Kossoy, Jay Ruby, Michel Vovelle and Koury deal with related issues funeral customs, including art and the history of photography, Yosef Hayim Yerushalmi talking about forgetfulness; and, finally, how the mourning process can be worked within art, through studies by Hanna Segal and Sigmund Freud.Item Acesso aberto (Open Access) A imanência: uma dança...(Universidade Federal do Pará, 2020-08-25) GOMES, Robson Farias; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211This research consists of a scenic-theoretical reflection on the artistic and philosophical reverberations of thought immanently in dance, raised by dance thinker-artist Ana Flávia Mendes. This theoretical complex, called Theory of Immanent Dance, is based on postmodern choreographic and philosophical assumptions based on concepts of personality, idiosyncrasy and subjectivity. Both objectives are to update the theoretical-conceptual device of Immanent Dance with theoretical-performative openings and breaks in dance that culminate in a proposal by the Immanent Corporation. The research methodological procedure consists of a bibliographic and artistic-creative dialogue. The main theoretical references are: Ana Flávia Mendes, Gilles Deleuze, Félix Guattari, Fischer-Lichte, Santana, Rocha, Zourabichivli, Orlandi, Silva, among others. A research that questions the assumption, the imminence and the ideal designation in dance, I propose an emancipation of the creator-performer through the paths of difference.Item Acesso aberto (Open Access) Vestígios na tela: Dança floresta, corpo situado em Improviso(Universidade Federal do Pará, 2025-02-26) CASTRO, Roberta Suellen Ferreira; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211The Videomaker, as well as the Editor, are recent modalities in the art of dance, and it is necessary to trace studies for what comes gradually, emerging as a dance artist, who in action interpellates himself with the video in a relationship of immersion and exploratory contact with space, camera, computer and other bodies. Without a script and under conditions of real-time composition, in the filming and editing stages, the artist handles dance skills and abilities, generating an intensive somatic field of fragility and uncertainties, since she produces gestures and positions with the camera in motion. The change in action requires constant attention to be careful with the camera and the movements it performs. It is the artist himself who conducts the imagetic production that comes from the process of capture and editing, where another dance originates with its cuts, connections and unfoldings, forming a body that is interpellated by a first dance, which is not the first, but only a vestige of another dance, which is made in the selection of the movable frames in the post-production process. Based on the choreographic production "Dança Floresta", carried out in 2021 by Cia Experimental de Dança Waldete Brito, this study aims to investigate subjectivities of the dancing body, based on the relationship that the multimedia artist of Videodança establishes with the medias in the context of the Amazon. The research starts from the following questions: What is the nature and subjectivities of contemporary dance? What moves the Videomaker who dances and improvises in the forest space? How to analyze/investigate subjectivities of the dancing body through the images of the Videomaker in contact with the performercreator in dance, when they compose in real time? Qualitative in nature and from the perspective of the participating researcher, the production of data comes from the analysis of videos, images and a semi-structured questionnaire. Situated on the thin line between fields of knowledge, the research points out as a result a possible path of video production. Although it permeates the technical means, the image produced comes from the capture and intertwining of subjectivities that multiply on the screen, it points to a highly complex technology, which, although it appropriates the camera device, is managed by human nature, an organic gear endowed with sensitivity, perception and particular desires. These mechanisms not only guide the process of choreographic creation but also subvert the order of what has been employed as technological innovation. Thus, the dancing body does not place it self at the service of these utensils, but dialogues with them, becoming the technology itself embodied by the creative act.