Navegando por Orientadores "LIMA, Wladilene de Sousa"

Agora exibindo 1 - 16 de 16

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Artes carnavalescas: processos criativos de uma carnavalesca em Belém do Pará
(Universidade Federal do Pará, 2012-06-19) PALHETA, Cláudia Suely dos Anjos; RODRIGUES, Carmem Izabel; http://lattes.cnpq.br/5924616509771424; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This paper presents carnival arts as expressions and artistic representations present in workshops and sheds of the samba schools during the production of a carnival parade, including plot synopses of texts, letters of samba plot, drawings, costumes and floats. This is a study based on my actions as carnavalesca in three samba schools of Belem: Academia de Samba Jurunense in 2005; Gremio Recreativo Deixa Falar in 2006, 2007, 2008 and 2009, and Associação Carnavalesca Bole-Bole in the years 2010 and 2011. From the record of memories, experiences and observations, I elaborate an autoethnography of my creative processes at the same time I try to contribute towards an ethnography of my creative processes of Carnival in Pará.
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O camelo, o leão e a criança que brinca: transmutações da busca de si em três atos-poéticos
(Universidade Federal do Pará, 2019-04-05) MIRANDA, Michele Campos de; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
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Capoeirando: um processo de criação em dança contemporânea induzido pela ressignificação dos movimentos básicos de Capoeira Regional
(Universidade Federal do Pará, 2011) SANTOS, Lindemberg Monteiro dos; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This research proposes a process of creating new meaning from the body movements of capoeira regional, through laboratory practices and experimental procedures for the seizure and reframing of basic body movements of capoeira regional bodies of the dancers, systematizing relations between theoretical and practical of dancers, capoeira and dance studio. Thus, the study said the problem on how to develop a creative process in dance from the signification of bodily movements of capoeira regional. The research involved this researcher and two dancers in weekly labs performed in four steps, from april 2010 to november 2011. Data were collected through written testimonials and photographs. The research results point contributions to the systematic process of creation in the field of contemporary dance.
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A casa da atriz: uma cartografia desassossegada das sociabilidades de um coletivo teatral em Belém do Pará
(Universidade Federal do Pará, 2015-06-26) PORTO, Luciana de Andrade Moreira; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
The House of Actress: A Cartography of Disquieted Sociability’s a Theatrical Collective in Belem takes over as creative principle risk up by forked paths, the investigation of daily negotiations this theater collective demands. The researcher knows for breaking initial ways of mapping must create an existential territory between the previous days and the present, to understand the need or not, the existence of home-womb. Its background research, other houses headquarters here recognized as interior geographies where locals and shelters are confused, converging memories, feelings and poetic. As an object, existing dichotomous feelings and residents in both structures (traveler and home). In the midst of the paths in between, the choice of the researcher is to be cartographer of the soul and unrest, walker and resident. When launching the path of poetic thought, discovers the traces of steps left in the boiling asphalt other foot, then it is known accompanied by other hikers in books: Gaston Bachelard saying the most precious, the have and being home; Fernando Pessoa poeticizing that existing restless wanderings in the plans of ideas and life are but a power test turn out to be; Lewis Carroll and Alice as beings who risk the new, all the time; Hilda Hist burning desires and Ítalo Calvino, in this imaginary lines, which depicts and recognizes through the fable, the habitat itself. Assuming the error and the unfinished as part of the paths taken, it precipitates a new journey.
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Casarão do boneco: experiência de um corpo relacional em um território existencial
(Universidade Federal do Pará, 2018-06-22) NASCIMENTO, Paulo Ricardo do; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
In this dissertation, I wrote about an old mansion that is home to a theater group with puppet and shared space of collective work of 37 artists / producers of diverse scenes, recipient of flows of public for aesthetic experiences in common. They are points of view, places to look at. Landscape and subject are confused on crisscrossed platforms in frequent communication. From inside the Casarão do Boneco (Big House of the Puppet), on any of the platforms, I realized that we are facing a peculiarity, a nuance in the relational scope, between the inhabitants, their spaces, the various artistic languages, the public and the city. There is an intense habitation, which causes movements with / in the Casarão do Boneco, which rearranges reality before power for ways of relating. Casarão seems to present its own qualities, components absorbed in the overlapping media that differentiate it in divers aspects and in the lines of escape, together they are dimensioned to a becoming-expressive territorializing. The gardening practiced by the logic of the forest, based on the maintenance of life for the diversity and abundance of its own resources, is the metaphor for the cultivations of its understanding. We follow some clues of the cartographic method of Gilles Deleuze and Felix Guattari and his rhizomatic thought. We glimpse the various places that define and make the Casarão a unique place, a single body being defined by the relations established between three blocks of force: its habitants, their spaces, their movements. A body, as Deleuze observes the body defined by Espinoza (2002), composed of an infinity of particles, which is elaborated on the relationships between velocities and slowness, rests and movements of these particles. It is not defined as form, but as an interactive force. A body composed of other bodies, such as the cosmogonic idea of the person marubo, or even animated such to the doll that had become a character for the manipulation of so many actors. A body hatched on maps KEYWORDS Casarão
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Contradispositivos-mapas de uma rede de espaços artísticos autopoiéticos em Belém do Pará
(Universidade Federal do Pará, 2017-06-30) TAVARES, Roseane Moraes; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This research action cartographs, through the performative inscription of maps, the poetic and management contradicts of a network of autopoietic artistic spaces of Belém do Pará, understood as autonomous units by the sui generis totality of its poetic-political composition, whose capacity to self-manage, as a strategy of resistance, survival and maturation of its doing within a cultural context of the city, dialogues with the sense that it created for itself. Independent spaces, autonomous, self-managed and intentional, are other terminologies given to what is defined here as an autopoietic art space, this being the place managed by artists who establish a poetic production with political power by promoting, autonomously, intervention practices, training And artistic experimentation that constitute as micropolitics for the city. The term autopoietic is a decline of the concept of autopoiesis, of the Chilean biologists Humberto Maturana and Francisco Varela, triggered to support a research in the difference, to the extent that the spaces are autogerem like poiese of an artist or collective in cognitive interaction with its means, producing an ecology of knowledge that singularly to machine the extent and format of its activities, creative processes, ideological discourses, ways of defining, organizing, and constituting territorialities in the city. This poiese that results in a work of art as a phenomenon of the place, makes a displacement of its strictly material sense, amplifying this doing for the relations of production and experience of space as a work. The network of autopoietic artistic spaces, in this sense, is heterogeneous, polyphonic, and communicates in a collaborative way as a systemic organism pulsed by the insurrection of bodies that find in the circuit of affections the conductive flow of their potency of life.
Acesso aberto (Open Access)
EKOAOVERÁ: um estudo sobre a territorialidade nos processos identitários das Drags Demônias
(Universidade Federal do Pará, 2019-06-20) NASCIMENTO, Juliana Bentes; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
Analyze how the city of Belém, as a subjective territory, crosses directly or indirectly the identity processes of Drags Demônias, the cultural group studied here, was the main objective of the research entitled EKOAOVERÁ: A Study on Territoriality in the Identity Processes of Drags Demônias. For that, a bibliographic study was made about the montação with a great emphasis on the theorists Roger Baker and Carlos Figari, followed by a conceptual survey and a review of terms that speak with the montação, including the studies of Judith Butler, Berenice Bento, Anna Paula Vencato among others. To deepen the research, the montação was studied as a method of body alteration based on the study of Renata Kamla on Contemporary Masking. The methodological action was based on interviews with twenty - three artists from the cultural segment, through a structured interview proposal by Maria Cecília Minayo. To finalize the methodological procedure, the data were crossed by the ethnomethodology approach, resulting in crossings of three instances of analysis: personalities, concepts and territorialities. The final analysis confirms the hypothesis that territoriality is directly related to these identity constructions.
Acesso aberto (Open Access)
Embutidos gastronômicos de estrelita e uisquisito: memorial e poética cênica de uma palhaçaria agridoce
(Universidade Federal do Pará, 2016-06-23) MELO, Priscila Romana Moraes de; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
With desire to eat, Embedded Gastronomic of Estrelita and Uisquisito: Memorial and Poetics Scenic a Bittersweet Palhaçaria is a research work and creative process that joins the pan real and invented this my cooking, using food and the kitchen environment as sources of inspiration to get to writing and scene of a Palhaçaria Bittersweet. This is by my way twelve years in the art of palhaçaria, that I've been savoring different tastes like to be a clown and be a clown, in the figures of Estrelita and Uisquisito, theater group Palhaços Trovadores of Belém do Pará, seventeen years ago in activity. This preparation shows the kitchen of a research process and scenic-poetic creation of the show Querem Caferem?, Built from the mixtures of flavors of my childhood memories, my adult experience and my artistic work. The creation of poetic writing brings a memorial of stuffed recipes of my everyday practice, artistic practice and my personal relationships. At the memorial, we draw a temperate cartography that puts boiling my charted body, taking it to the kitchen-living room test, cooked methodological processes in meetings, training and testing, experienced the antics Project “Antics Project Thursday” during the research, offering -the to the taste of the reader-dinner - the public - as well as other crossings gurgling. A project drunk in the poetic act of thinking poetry, along poetic thinkers here called my "Cucas Masters and laughter Foodies", thinkers, philosophers, poets and artists such as Virginia Kastrup, Gilles Deleuze, Felix Guattari, Isabel Allende, Dona Benta, Mario Bolognese, Alice Viveiros de Castro, Andreia Pantano and Marton Maués who bring varied delicacies to compose mixtures of flavors of a cuisine laugh: my writing and artistic-academic setting.
Acesso aberto (Open Access)
Entre marujas e marujos: recortes sobre o vestir no culto a São Benedito em Bragança (PA)
(Universidade Federal do Pará, 2021-01-07) BAENA, Graziela Ribeiro; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
The work is about the ways of dressing in the cult of Saint Benedict in the city of Bragança, Pará, Brazil. In 220 years of existence the cult was set up by conflicts with the official catholic church, but mainly by the effort of the members of the Brotherhood of the Glorious Saint Benedict of Bragança, founded in 1798. In this study the history of the city, the brotherhood and the cult are the background for a research on clothing and the importance of the dressing aspect in different moments in which the saint is honored, since the period of pilgrimage, to rehearsals, masses, processions and official dance performances.The discussion stages begin with a bibliographic survey of academic studies that have been published as books, theses or dissertations on the topic. Then, the work goes deeper in the study of the clothes used in different events of the cult of the saint. In addition, the experience inside the workplaces/houses of an artisan and a seamstress from Bragança, who manufacture clothes and acessories for the people called « marujas » and « marujas », is an important factor in the research. The workplaces, seen as a space of poetic construction, moves a writting process inspired by the act of sewing and investigated by the ethnomethodology. The climax of the research is the moment of practical experimentation described by the author, who makes her own clothes and hat, using the techniques learned from these hardworking and devout women from São Benedito. The filmed material made during the first research stages resulted in the documentary entitled "Among Marujas and Marujos", produced in the immersion held in December 2017 and which integrates part of the work in the search for a hybrid final presentation format. Having the audiovisual material as support for the development of theoretical and ethnographic thinking.
Acesso aberto (Open Access)
Entre o fundo e o meio-do-céu: uma vídeo-performance e seu memorial
(Universidade Federal do Pará, 2019-11-27) PINHEIRO, Luciana Borges; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
Acesso aberto (Open Access)
MÁQUINA-ROTA: um jogo cartográfico e suas linhas inventivas
(Universidade Federal do Pará, 2017-06-14) GARCIA, Breno Filo Creão de Sousa; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This work constitutes the tracing of creation of the card game entitled "Rota-Machine", with its composition and theoretical lines. In this experimental script, different game modalities and procedural dynamics of artistic collectives are experienced in their cartographic potentialities; Expressive machines are invented by artists of these collectives, triggering ways to experience ideas in art in a powerful way; Restlessness impels the artist-researcher to elaborate a game, operating the idea of minority in the major arcana of the tarot. In this trajectory of research, a key of poetic thinkers in literature, theater, visual arts and games is triggered; Philosophical thinkers working in the field of difference; And fictional experiences with life histories, constituting a process of individuation transverse between research and life. A molecular machine, which emits possibilities of construction and deconstruction of itself, to intensify existence.
Acesso aberto (Open Access)
Palhaçaria feminina na Amazônia brasileira: uma cartografia de subversões poéticas e cômicas
(Universidade Federal do Pará, 2014-06-05) FLORES, Andréa Bentes; AMORIM, Ana Karine Jansen de; http://lattes.cnpq.br/5875820201443540; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
My writing comes from my work as a comical woman crossing concerns about the clowns' genre and the experience of Amazonian artist. It is related to my personal need of expansios, on refrain, from loneliness, that is só present on my clowning career. On this research, I desired to map clown women who act in the Amazon, and also to understand possible meanings for female comicality from life stories of these women, and to analyse the relationships that I can find with the Amazon territory, in wich they are situaded, present in their doings. This is a playful cartography, which plays with concepts, geographies and subjects that crosses nomad meetings with clown women who work in this Amazonian territory.The writing, embodied in the constant dialogue between theory and transcribed reports of forty-one participants, can be freely visited in five parts. On the first one, the reader finds my way of life that results on the meeting with the research theme and also the way chosen to research it, discussing the cartographic assumptions that I found as epistemological possibilities. Then, there are two moments, called Bem-Te-Vis, which are based on the structure of Deleuzian plateaus. The Bem-Te-Vis focus on the overlapping powers that guide the research, the female, the comic an Amazonian. I aboard the first two concurrently, while going through historical and social constructions about the common female roles, subverted by the clown, who is naturally transgressive. The third power is discussed separately, focusing on the Amazons present in the doings of the clown women found, that help me on mainstreaming the region, apart from my political positions against lack of acess, relative to the rest of the country and the lush image widespreaded on the midia. I recognize the difference at the Amazonian clown women through repetion in transdifference, that blurs my map of regional boundaries, in becoming-minority with the territory. Between the approach of the powers, I have written na invented history for the clown, which follows a personal need a political strategy by the end of silence. At the end, the reader finds the first chapter on the dissertation, where there are considerations about the Amazonian female clowning, undoing, on scene, my suitcase, full of what I have lived at the meetings, while I aboard the landscapes of gender and territory, found in paths on this research.
Acesso aberto (Open Access)
Peça filme: o efeito cinema e a poética dos espetáculos teatrais de Saulo Sisnando
(Universidade Federal do Pará, 2012-01-27) SISNANDO, Saulo Alexandre Picanço; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This work intends to investigate the influence of the cinema on Saulo Sisnando's plays by using projections, as in the Play-Movie popPORN - sete vidas e infinitas possibilidades de corações partidos, or considering the way the film editing was added to the staging of Cartas para Ninguém Play-Movie. This work also aims at demonstrating step by step procedures for inserting film techniques into the play o misterioso desaparecimento de Deborah Rope (built along with this work), discussing the possibility of such a hybridization, which goes beyond the use of audiovisual resources (yet using it), but seizing typically film concepts as film editing, montage, close-ups, fades, cuts, plans against plans, sequences, frameworks, etc, in a way to achieve a "film effect". Besides, it also intends to analyze the Play-Movie O misterioso desaparecimento de Deborah Rope from the dramaturgical building up into the execution on stage, when, following a realistic theory of André Bazin, it will be analyzed through the film editing and plasticity of the image prism.
Acesso aberto (Open Access)
Pele de terra, minha morada: memorial da criação do ritual cênico-erótico em diálogo com a obra Magma de Olga Savary
(Universidade Federal do Pará, 2016-06-10) BARROS, Ana Carolina Magno de; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This memorial naked the creation of scenic-erotic ritual earth Skin: my home done in dialogue with the Magma work of Olga Savary. It is understood as a mapping (PASSOS; KASTRUP; ESCÓSSIA: 2009), only a sibilada mapping a snaking between spiraled artistic languages and creative movement (SALLES: 2011) writing in sibilares. Having the image as "methodological operator" (RANGEL: 2009), this research snared four elements, said scenicerotic ritual (ARTAUD: 2006), rooted in the pursuit of erotic body (BOGART: 2011) active (QUILICI: 2015) ; an essay in which digestion eroticism signs (BATAILLE: 2013), the sacred (MAÇANEIRO: 2011), myth (CAMPBELL: 1990) and Uroboros image-strength, well in a performative writing; the daily stage director, made poetry shaped images, drawings, paintings, collages and scribbles, devices used to design the staging (ROUBINE: 1998); and the daily scene, a story in the literary journal structure, which narrate the daily life of the tests and present the ritual script. In this paper I propose to strip the act of creation that unfolds in new works, a circularity that feeds back, similar to the Uroboros as an erotic ritual.
Acesso aberto (Open Access)
Retrato de picadeiros: memórias de uma trajetória de circo na Amazônia paraense
(Universidade Federal do Pará, 2013-06-02) SOUSA, Maria Virginia Abasto de; PACHECO, Agenor Sarraf; http://lattes.cnpq.br/5839293025434267; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This dissertation studies the socio-historical trajectory of circus artists in the region of Pará, in order to investigate the circumstances of the circus production in the city of Belém, based on a critical analysis of the narrative collected with the subjects: artists, troupes and companies of the urban and street circus activities Circo Broadway, Circo Mega-show, Circo Atlántico; Circo Dralion; Circo Houston, local circus masters teachers and former students and teachers of the Escola Circo Mano Silva. The research aims to explore memory as a possibility of reconstituting and update past experiences, reflecting aspects of the circus collective identity under the methodological perspective of Oral History and material Biblio-Infographic on the theme of the circus and circus activities. Taking as points of reflection theory topics of nomadism, from Michel Maffesoli, some of the concepts of habitus structure, from Pierre Bourdieu, and circus convivial sense of Ermínia Silva, who support the comprehension that the circus has its existence based on a web of relationships of affection, tensions and overruns, configuring itself as an artistic and social collective context in which the specificities in the practice of circus and the personal and professional ties have always been at the root of the processes of construction and maintenance of the activities with circus in the Pará Amazon.
Acesso aberto (Open Access)
Tá rolando o bafon! diferença e dissenso como potência em um processo de criação em dança
(Universidade Federal do Pará, 2013-04-22) LAVAND, Ana Rosangela Colares; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This research examines the concepts of difference and dissent from the configuration of power while the process of creating the dance show Tá Rolando o bafon! Experience which brought together four artists coming from different languages of art: the circus, dance, theater and performance. Difference here is understood as a game, a conceptual choreography, his moves leave the speeches of the artists participating in the process and the poetry of Fernando Pessoa, in particular those contained in his Livro do Desassossego, such choreography difference is also crossed by authors such as Michel Foucault, Gilles Deleuze, Tomaz Tadeu da Silva and Silva Boaventura Santos. The concept of dissent moves from the work of philosopher Jacques Rancière. This research should be understood as a creation in dance, creating a methodology that assumes danced, this one is based on the notions commonly used actions such as dancing to compose this theory choreographed dances such as references presented here has thoughts of dancing Helena Katz, Fabiana Dultra Britto, Thereza Rocha and Lenira Rengel.