Navegando por Orientadores "MARTINS, Benedita Afonso"

Agora exibindo 1 - 20 de 20

Acesso aberto (Open Access)
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.
Acesso aberto (Open Access)
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.
Acesso aberto (Open Access)
Corpos Gordos em Cena: encontros embriagados na construção de uma personagem Rodriguiana
(Universidade Federal do Pará, 2015-06-30) OLIVEIRA, Marluce Souza de; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This Master’s Thesis presents fragments of two stage actresses life story. This encounter happens in crucial moments of our lives, Wlad Lima, veteran actress as a reference, and myself, Marluce Oliveira, a learner in art. On the first act, I do record my memories and translate them into artistic and everyday life scenes. On the second act, I do describe the encounter between two fat women, with similar experiences; I highlight the poetry of the veteran actress, her professional involvement, the local where both used to work, share and built (or destroy) their dreams, the similarities identified on love, familiar and professional affairs throughout the years. This encounter was crucial for the emerging poetry of the researcher, as beginner actress - the present study, entitled “Drunk Encounter”. On the third act, I do develop a study of the play “The man who cry for only one eye”, adapted from novel “The seven kitten”, of the dramatist Nelson Rodrigues. This work had a strong effect in our lives, one as stage director and the other as actress. The study also aims the understanding of specificities and correlations of this poetic encounter between us. Encounters and convergences on family, love life, work recorded in fragments of life story of each one of them. Methodologically speaking, the research was accomplished focusing the ethnomethodology, considering opening interviews, paper analysis, individual memory and referential as needed. Supported by some referential authors like: François Dosse, Michel Maffesoli, Ecléa Bosi, and one title of “the” stage director: Actor’s Personal Dramaturgy, Master’s Thesis. In the research, I revisited memories and records of a relevant play in our lives.
Acesso aberto (Open Access)
A crise da palavra no centro do drama: uma leitura de Eu sei que vou te amar de Arnaldo Jabor
(Universidade Federal do Pará, 2012) MATOS, Bruno Sérvulo da Silva; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
Literature and cinema are two distinct fields of sign production whose relationship may become possible because of visuality present in both languages. It is not today that the film makes use of other languages and/or other signs to the construction, reconstruction, creation and recreation film, causing thus the emergence of a hybrid material. However, at present, this process of influence/exchange also occurs in the opposite way: if before the film is worth of literature as hipotexto this time, the literature can make use of cinema for its creation narrative-verbal. The corpus of analysis will be the film and novel by I KNOW THAT I WILL LOVE YOU filmmaker, writer, journalist and critic whose works explore Arnaldo Jabor language cinematic art form and can also, at the same time developing his literary and poetic nature, thus demonstrating that literature can be influenced by the cinema. The references are included for analysis in semiotic studies that permeate the film and literary theory. Far will, therefore, analysis of language (literary and filmic) employed by the director/writer and his final artistic product.
Desconhecido
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.
Desconhecido
A luva e o machado: Capitu entre a arte, a televisão e a indústria cultural
(Universidade Federal do Pará, 2012) PAULA, Leandro Raphael Nascimento de; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This dissertation has as its object of study the relationship between art, television and cultural industry offering a critique of the concepts of mass culture and cultural industry and an analysis of an empirical object, the microarray Capitu. The theoretical base is Cultural Studies, Aesthetics and the Critical Theory of the Frankfurt School to propose a different perspective to the study object, which is usually viewed from common preconceptions of cultural hierarchy that puts art on a pedestal and see any cultural traffic as a kind of deformation of the canon.
Desconhecido
Mala sem fundo: processos de criação lúdico – poética da artista Heliana Barriga
(Universidade Federal do Pará, 2013-09-30) BARRIGA, Cecília Pereira; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
The thesis is a study about directions the artist Heliana Barriga took in her playfull and poetic creation. This investigation aproaches as well the concept of playfulness regarding the comprehension as a distinctive feature of the human being in order to develop himself and to find new ways of expression and social interaction, through the art. The research is based on identification, representation and analysis of a set of active experiences with the poetry of the artist-educator, writer, composer and accordionist, in continual dialog with the others in the context of art, playfulness, education and poetry.
Acesso aberto (Open Access)
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.
Acesso aberto (Open Access)
Mestre nato em narrativas costuradas: estudo de princípios de criação dos figurinos em 'O Auto da Barca do Inferno' e A-MOR-TE-MOR
(Universidade Federal do Pará, 2012-01-27) BAENA, Graziela Ribeiro; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
According to personal account on the pathways followed by the artist known as Master Nato in the creation of theatrical costumewas possible throughout the analyzes of costumes of two plays Auto of the boat to the hell, produced by the Usina of Theatre of UNAMA, 2001, directed by Paulo Santana and A-TE-MOR-MOR, love fragments of One hundred years of solitude, performed by The Actors Training Course at the School of Theatre and Dance of UFPA, 2002, directed by Karine Jansen and Wlad Lima. To conduct a study on the production of theatrical costumes in Belem based on the experience of a professional. The experience of the Master Nato as costume designer reflects in the practice of other ones acting in this scene and shows alternatives about the act of making costumes. To trace the biography of the researched artist, identify his creation methods, to show examples of costumes designed by him. Along with the theoretical background about costume and arts, it also shows the formation of a self-taught artist, an independent creator apprentice of formal guidelines about making costumes for the scene.
Acesso aberto (Open Access)
Modalidades circenses e a formação da licenciatura em teatro na Escola de Teatro e Dança (UFPA).
(Universidade Federal do Pará, 2020-09-30) ASSUNÇÃO, Heloá Rodrigues; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This research deals with circus modalities in the Theater Degree course at the School of Theater and Dance of the Federal University of Pará (ETDUFPA) and aims to highlight the contribution of fundamental circus activities for the better development of body expressions and expanded knowledge. The Theater Degree course, for now, offers the disciplines of Clown and Animation Theater, in which I interned as a participating researcher and, in addition to observation and participation in classes, I interviewed students and teachers. Supported by authors from the circus area such as: Ermínia Silva, Mario Bolognesi, Eliene Benicio, Rodrigo Dupratt, Marco Bortoleto, Marton Maués, Aníbal Pacha, among others, I focus on the interweaving of circus and theater that has taken place since the beginning of the show, emphasized in the show created by Philip Astley in 1770. In this conception, the circus starts to dialogue systematically with other artistic languages. Since the creation of circus schools in 1970, the knowledge transmitted under the canvas has spread to other spaces, including academia. Through this diffusion, circus modalities start to constitute the curricula of several courses related to the performing arts and corporal practices. The research unfolds in four moments: a synthesis about the origins of the circus show and its modalities; the contributions of circus arts to the educational environment and the interweaving between the modalities already existing in the curriculum of the Degree in Theater; in addition to the affections existing in the researcher's teaching practice. The research also points out the need for the inclusion of other modalities in the initial training of the theater teacher, as desired by the interviewees.
Acesso aberto (Open Access)
Nó de 4 pernas: a tessitura de uma experiência de teatro multimídia em Belém do Pará
(Universidade Federal do Pará, 2014-06-09) LIMA, Fábio Bezerra; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This study analyzed the theatrical play from parauara author Nazareno Tourinho entitled No de 4 Fernas (Four Legged Knot), emphasizing the third act, as well as the videos used in the homonymous theatre show, presented at Belem, state of Fara, in the year of 2012. The methodology came from my experience as costume designer and production assistant for the show, and from attending rehearsals and presentations. Choosing to work with No de 4 Fernas (Four Legged Knot) was a selection from the production of fourteen plays by Nazareno. The proposal for stage setting, multimedia theatre, allowed for a reading based on contemporary references, in a dialogue with classical authors. In dealing with dramaturgy, the classical-modern link is unbreakable. In addition to theory, the unconditional support from Nazareno Tourinho, during meetings for conversation and interviews, made this study possible. In order to contextualize the author and his work, we traced a historical panorama of the theatrical scene in Fara, listing key concepts used as support for the proposed analyses in this academic work, of which the focus is multimedia theatre supported by the cinematic taxonomy of Gilles Deleuze. The importance of this research is attested by the registration, acknowledgement, and publicizing of Amazonian dramaturgy in the scenery of Brazilian performing arts.
Acesso aberto (Open Access)
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.
Acesso aberto (Open Access)
O peixe vivo na Amazônia: um mundo-açu nas canções da Banda Cravo Carbono
(Universidade Federal do Pará, 2011-02-24) MONTEIRO, Keila Michelle Silva; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This research focuses on the urban music band Cravo Carbono that played in Belém, Pará in late 1990 and early 2000 with emphasis on the album Peixe Vivo, released in 2001. This album features on its compositions various literary features and musical genres that articulate into a hybrid and unique musical product. The research basically contextualizes the band socially and culturally to study its product, which literary and musical elements are endowed with "traditional", "modern", "local", "global" that dialogue together. The objective of this research is, from this background, to reveal some elements of multiculturalism, especially in the poetic text and the music on some tracks of the album Peixe Vivo. Issues such as the various identities that cause doubts in the current society and the multiculturalism, typical in the process of cultural hybridization that is presented in the Amazon, are treated under an ethnomusicological look.
Acesso aberto (Open Access)
Quando os Caramujos vão ao Funeral e Mira o Amor que Parte…Mira o Amor que Fica: O processo criativo para uma dramaturgia da saudade
(Universidade Federal do Pará, 2024-12-02) ROSÁRIO, Adilson Pimenta do; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
We have Dorflex, paracetamol, dipyrone, anador, original and generic cataflam.”. The creative process for a dramaturgy of longing, poetry, experience and Love in the shows When the Snails Go to the Funeral and Look at the Love that Leaves… Look at the Love that Stays. ...And for longing, what is the cure? The relationship between longing and affective heritage in art. This research arose from the need to study the creative process of two shows experienced in different periods, and by different groups in the city, to which I was present in these scenic constructions. When opening manuscripts and photo albums in a drawer, I meet again with a group of 45 young people who were part of the scenic group of the Curro Velho Foundation and I go to the reunion of directors, scriptwriters, musicians, lighting technicians, costume designers, makeup artists, set designers who were part of the theatrical productions of the shows of the Scenic Group of the Curro Velho Foundation, founded in 2002, ending the Its activities began in 2010. All productions were funded by the same foundation. The group was conceived by Professor Olinda Charone. My proposal is to analyze two shows, the first from 2003, in the staging of Quando os caramujos vai ao funeral, adapted by Neuza Titan from a short story by the French writer Jacques Prévert, for which she is the stage director. This is my first show in which I join the stage group as an actor. The second production is “Mira o Amor que Parte…Mira o Amor que Fica” (2021). Produced and performed by Espaço Artístico Cultural D.Mira. Under the stage direction of Maurício Franco. In which I am the creator of the cultural space, actor and sign the dramaturgy constructed with Wellington Romário and Luciano Cantanhêde. Both shows have an overwhelming impact on me regarding art. My crossings of memories, memories, affections that I emphasize in this writing during the processes of these collective constructions, with due attention to the constructions of the dramaturgies of the two shows, as they were written at times of loss of great loves of our lives. Neuza Titan adapts the text with a writing of an adaptation of the Amazonian woman, after the loss of her husband and after 18 years, we wrote Mira amor que parte Mira o Amor que Fica, about the loss of my mother, one of the victims of Covid. Our dramaturgies are metaphors of longing.
Acesso aberto (Open Access)
Sobrevoos e pousos sobre a dramaturgia do In Bust teatro com bonecos
(Universidade Federal do Pará, 2015-05-29) SANTOS, Adriana Maria Cruz dos; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This text focuses on the creative process of In Bust Teatro com Bonecos, puppet theatre group formed in 1996, in Belém, Pará, active until these days and a reference in Pará’s theatre, mostly when it comes to puppet theatre. The research approaches the construction of a cartography on the group’s dramaturgy, explores the procedures that induce the creation of the show, as well as points out inductor elements, which work as components in the creation of acting. The rhizomatic perspective, by Gilles Deleuze and Félix Guattari (2011), gives us support as a method to understand the group’s poetics. Aiming to let the cartographic and rhizomatic thinking conduct this work, we suggest an overview flightupon the experience of the group’s dramaturgy and we use as instrument of navigation a movement towards the connection point of its signs of processuality or artistic codifications. An action that steers the fields of aesthetic and ethics, an overview of this landscape of spectacles. To think about this dramaturgy has the purpose to observe, through the shows FIO DE PÃO – A LENDA DA COBRA NORATO, OS 12 TRABALHOS DE HÉRCULES, HUMANOS and CATOLÉ e CARAMINGUÁS, the component elements of the landscape, the multiple lines that root the artistic creation of the group, its preponderant aspects – such as the game between the puppet and the actor, the deconstruction of the actor-manipulator’s neutrality, the puppet itself as a character and the hybrid acting of both puppet and actor in the play’s scenery.
Acesso aberto (Open Access)
Teatro da fragilidade: uma cartografia respiratória com o bando de atores independentes e seu espetáculo três
(Universidade Federal do Pará, 2015-06-26) PERLIN, Sandra Terezinha; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
In the following text, I ppropose a respiratory cartography created with three sections lines: the first building a methodological way with theoretical support in Deleuze-Guattari as perspective to the second section, which is the expression in fragments of memory, a sacred ritual on the construction process of the show Três, the band of independent actors, exercising Teatro da Fragilidade. In the last section, I present the mysteries that make theater, which differ form principles because the Teatro da Fragilidade is not connected to a source, a layer that understands and explains, but a theatrical doing more likely a body without organs, touted by of artists. The methodological path was not constructed, the path takes paired with me, - path and walker mix if shuffle – memory, a sacred ritual Mnemosyne, for the expression of the show Três construction process. The relevance from of the research is to report and understand the mysteries of Teatro da Fragilidade from band rehearsals processes of independent actors, to build a show, and nominat that doing theater in the city of Belém, Pará, Brazil, from the application of the concepts of rhizome of Deleuze-Guattari a linking of dissertation writing whith a rhizomatic writing.
Acesso aberto (Open Access)
Tem palhaça na rua-rio? Tem sinsinhô! : Vivências de palhaçaria e educação popular no Porto do Sal
(Universidade Federal do Pará, 2019-02-23) LIMA, Alana Clemente; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
It has the clown on the street-river? Yes, it has sir is a research-literary that investigates the relationship between the clowning and the practice of popular education in the context of the Ter.Ser project, art and popular education, developed in the community of Porto do Sal, in the neighborhood of Cidade Velha in Belém do Pará. The project, social, artistic and political, is organized through a popular school with regular activities in the community and specific artistic-political interventions. The research, based on the phenomenology of Gaston Bachelard and on the phenomenology of the look of Alfredo Bosi, is structured as bibliographical and field, immersing in the poetic work of Manoel de Barros and in the literary work Peter Pan for the construction of the literary-scientific writing. I start from my trajectory as an educator-researcher-clown and I go through these three looks to discuss the experiences of the research, since I position myself as a researcher-participant. The work is divided into three notebooks driven by three guiding verbs: look, play and hope. These verbs and notebooks are interdependent and interconnected by narrative writing that always establishes continuity, bringing direct references to the work of James Barrie - Peter Pan - from the summary to the final considerations of the work. In the initial considerations - In search of the land of never - I contextualize my trajectory from the relationship with the play, presenting the elements of the work of Barrie and Manoel de Barros that talk with the research and in this context I invite the reader to fly with me in this search. In the notebook 1 - Look, titled The second to the right, then direct until tomorrow morning, I present the perspective of the three looks that I assume in the research, educator-researcher, bringing the poetic and real images constructed from the contact with the community of the Porto do Sal, is the presentation book of the place and the educational practice of the project, where he studied in. In the notebook 2 - Playing, titled Powder of pirlimpimpim, I cross the births of my clown Xulipa Margarida and the relation with the play, the game, the clownery and the theater of invasion, looking for references of Alice Viveiros de Castro, Marton Maués, Romana Melo , Andréa Flores, André Carreira, Johan Huizinga, and Tizuko Kishimoto. The notebook 3 – To Hope, also called With a little fairy dust the lost girl begins to fly, brings the flight of the educator-researcher clown to the land of never and to the universe of the clowning and popular education in the community of the Port of Sal Interlacing theory and stories of experiences, it is the notebook that builds the crossings of all the way of the flight until here. In the place of the final considerations, Since all this happened a long time ago, the reflections on the experiences, the popular education and the production of knowledge in arts organize in this point, that intends to always leave the window open for the flight from the many neverlands always exist. From this, close your eyes, think of good things that the powder of pirlimpimpim will show us the way!
Acesso aberto (Open Access)
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
Acesso aberto (Open Access)
Tramas invisíveis: bordado e a memória do feminino no processo criativo
(Universidade Federal do Pará, 2019-06-24) SOUSA, Juliana Padilha de; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
The present work, part of reseach line “Theories and Epistemic Interfaces in Arts”, discusses the relationships between creativity and the embroiderer at the same time, in domestic and family life. Studying a technique that, lived at the border of the academic grade for so long, and has multiple functions and multiple practices, requires a calm and patient analysis. As a line of research that encourages the approach of knowledge, this master’s thesis refers to other scientific contexts such as social sciences, psychoanalysis, history, memory and design. The relationship of studies in the historiography of art and of embroidery, women, memory and identity, the study tries to understand the compIex composition of the contemporary embroiderers through interviews, building dialogues about the invisibility of being a woman in the art worlds and the questions that surrounds their creative processes. By analyzing feminist insertions in contemporary art, it is revealed embroidery as a practice fulfilled with symbology. The thesis is divided into Back and Front, highlighting the intrinsic duality that makes up the practice and its delicate and subversive nature. It is also a purpose of the work to think and create new borders, materialized in an artist's book and an album of embroidered photos, "The Album of the Yarns" and "The Invisible Album", experiments that arise from the scientific writing, to weave new spaces of memories and existence /resistance.. To recover the history of the feminine art it is required a long and extensive, however this research is only partial, within a limited space, time and pont of view.
Acesso aberto (Open Access)
Vozes sapatilhas: narrativas orais de professores de balé clássico, o revelar de suas trajetórias pedagógicas
(Universidade Federal do Pará, 2013-03-28) DERGAN, João Carlos Cunha; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971