Programa de Pós-Graduação em Artes - PPGARTES/ICA

URI Permanente desta comunidadehttps://repositorio.ufpa.br/handle/2011/6805

O Programa de Pós-Graduação em Artes (PPGARTES) é um programa do Instituto de Ciências da Arte (ICA) da Universidade Federal do Pará (UFPA) e em nível de Mestrado acadêmico teve a sua primeira turma constituída no ano de 2009 e o primeiro Processo Seletivo para o Doutorado acadêmico se deu no primeiro semestre de 2016.

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Agora exibindo 1 - 13 de 13

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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.
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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
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A caminhada como modo de existir na Festa de São Marçal: poéticas moventes, espetacularidades e geração de outros mundos possíveis em São Luís/MA
(Universidade Federal do Pará, 2022-01-31) FONSÊCA, Danielle de Jesus de Souza; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
This writing explores the modes of existence experienced by the playful bodies that walk at the Festa de São Marçal, in São Luís, capital of Maranhão. The party, also known as Encontro de Bois de Matraca, takes place annually on June 30, São Marçal day, in the neighborhood of João Paulo. Based on this festive and walking context, the research looks for other ways of making and saying epistemic ones attentive to the wisdom of the streets (SIMAS, 2019) amidst the inventions produced by the groups of Bumba meu boi. In this context, I elaborated turns, whirls, crosses and ruminations, generating the methodological proposition of ethnowalk, a notion that has epistemic and affective proximity to the motive of thought in ethnocenology (SANTA BRÍGIDA, 2016, 2015; BIÃO, 2009, 2007). It is through the ethnowalk that I perceive the strength of the aesthetic, devotional, ritualistic, poetic and political processes nurtured in the Festa de São Marçal, mainly of the playing body in its movements and gestures settled in spiral time (MARTINS, 2021). In addition, the ethnowalk made emerge, as a methodological event, my status as a walker-ethno-researcher, which is when I walk in a festive immersion with the intense desire for the crossroads, folds, crevices and edges of the spectacular phenomenon and for the encounters generated from the to be together collectively (MAFFESOLI, 2014; 1998). The study also seeks to know the tactics elaborated (DE CERTEAU, 1994) by the slow men (SANTOS, 1996) and their bodies generated (JACQUES E BRITTO, 2006) in the urban and walking environment of São Marçal as a festive experience that generates microresistance. The pandemic context and the new typologies of partying also moved this investigation, which is about the inventiveness employed and the expansion of the festive model, deeply affecting by the pandemic. Therefore, the research aims to understand how walking activates inventive ways of existing, transforming the festive landscape of São Marçal into a space - physical and virtual - of emotional exchanges, nomadic creation and generation of other possible worlds (KRENAK, 2019; ROLNIK, 2019).
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COM QUANTOS NARIZES SE FAZ UMA PALHAÇA BEIJA FLOR? O desvelar dos modos de ser e de existir de Aurora Augusta.
(Universidade Federal do Pará, 2024-09-17) CORRÊA, Suani Trindade; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
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Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz
(Universidade Federal do Pará, 2021-05-31) PORTO, Luciana de Andrade Moreira; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
Cosmogonies of love: the opening of a theatrical female director’s sketchbook in the House of Actress is an affective and luminous cartography of a woman director on the process of discovery in a house-theater. Created as a dismantle, as named by Rosane Preciosa in Discreets rumours of Subjectivity, it is composed by pieces that take risks of being completely disarticulated. These writtings try to build the creative process using images and exercises stimulated by Eugênio Barba in Burning the house: the birth of a director, multiple voices wich compose and exhaust themselves. The text presentes some changes in the verb tenses, confusions, stories and dreams. Accepting Barba’s speech when he says that there is a wound in the middle of the creative process and, in addition to it, there is also Jorge Dubatti’s voice in The theater of the dead saying that we need to recognize our failures to make them better, it shows us (as science and construction of sense) a most human position and more sincere with the object written by myself: the humanity in the flesh, in the thoughts, in the wrong distances of the mistakes that many times made me just an automat of the scene. This doctoral thesis is above all, an agreément of humanity, of becoming a Doctor in a pandemic period, with all the risks that we take and of the privilege of keep thinking during this context. Even if this act is made in other ways. Eliana Bertolucci in Psychology of the sacredness and Zulma Reyo in Interior Alchemy are flames in the darkness, to take consciousness about the creative process, we shall give birth and light, illuminating unknown places, reaching out things that we don’t know how to talk. A risk conceived in three steps: Misteries of joyis about the creation through the pleasure, used as a method of writting; Cosmos came to me inspired by the people who lives with me, so it is about the interchange of presences, essays about the director’s universe in the moments of creation and Lunar conjunction is a way to constelate in the essence, as Hilda Hilst wrote in Seven songs from the poet to the angel, shows the presence of other people in the poetic, in the thoughts. Astonishment.
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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
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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
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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.
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Teatro Dadivoso: ritos e atos poéticos como práticas de cuidado de si e de outres
(Universidade Federal do Pará, 2023-02-06) BAYMA, Roberta Bentes Flores; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
This thesis-plot is a work of artistic creation composed of performative research woven by between threads, lines and fibers of fragments of dramaturgical rehearsals that enact acts and rites poetics, offered in favor of ancestral and existential healing through testimonies of life and artistic residence. Written texture arising from affectations and memories, lived or invented especially for this composition, resulting from experiments and artist-therapist creation processes with Teatro Dadivoso. Warp that departed from transformative metaphor of the life cycle of moths transmuted into poetic daydreams and becoming bodies, which produced meanings about the act of artistically researching and creating. Woven in casular spaces and crossed by other voices, those who came before and produced other plots, as well as testimonial narratives by artists and spectators who acted in generous poetics. Research in art that proposed to weave a performative cartography between female folds, corners and crossroads through which the research object transited in confluence of paths with the methodological movements experienced among poetic devices. It reveals testimonial scripture that aimed to affirm in the difference acts of singular care, different from those produced in certain power-fields of knowledge, ritualized in the scenic productions Ô, de casa! Posso entrar para cuidar? and Divinas Cabeças. To this end, it established lines of dialogue with other areas of knowledge, both scientific and non-scientific. scientific, and with other scenic poetics as a way of understanding approximations and distances from the meanings produced in the rites and poetic acts of Teatro Dadivoso as practices of caring for oneself and others that trigger political, ethical-poetic and spiritual.
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O teatro precisa de teatro? territorialização, (des)territorialização e (re)territorialização do movimento teatral em Belém do Pará nas conexões e trânsitos periferia-centro-periferia (1980 a 2000)
(Universidade Federal do Pará, 2023-06-29) FURTADO, Paulo Roberto Santana; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414; https://orcid.org/0000-0001-8277-5210
This thesis investigates processes of (de)territorialization and (re)territorialization of the contemporary theater movement in Belém do Pará, from the periphery-center-periphery connection and transits of artists and groups. Critical reflection on space-time and theatrical movement in the city of Belém – does theater need theater? – from the point of view of geography, using as references the theorists who guide the understanding of theater making, Milton Santos, Marcos Aurélio Saquet, Valdir Roque Dallabrida, Rogério Haesbaert, Yi-Fu Tuan, where the theme was investigated from the perspective that the nature of the theatrical place is important to reflect the theatrical making. As an artist and founder of the PALHA Theater Group, I metamorphosed into an amphibious snake, between water and land, changing skin and submerging to address the trajectory of artists and groups, their scenic experimentation, and their relationship with the place of action, periphery-center-periphery and subjectivity of doing, time, and place. However, I needed to return to the surface and remain irate for a long time to understand the price of depth and try to specify certain principles of cohesion that unified the superficial images of this trajectory lived by the time of making theater and its reordering, from the maturation of a phenomenon still defined in a “groping” way, as globalization, whose main objective in making the comparison is to try to understand a contemporary phenomenon that has captured everyone: the acceleration of historical time, because to speak of the questions of time and modernity would then be to reflect about how this process influenced and influences the artistic making of these artists and groups, resistant and survivors. Dialoguing with theatrical philosophy, the history of theater and theatrical studies, in line with theories and epistemic interfaces, in inter and transdisciplinary connections with other areas of knowledge.
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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).
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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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