Teses em Artes (Doutorado) - PPGARTES/ICA
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Tese 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/6379814397024971This 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.Tese 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/6379814397024971This 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.Tese Acesso aberto (Open Access) 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/5012937201849414Tese Acesso aberto (Open Access) 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/5012937201849414Cosmogonies 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.Tese Acesso aberto (Open Access) FENOMENOLOGIA TEATRAL: Da Crise ao Despertar de um Artista-Pesquisador(Universidade Federal do Pará, 2025-07-04) PARAGUASSU, Renan Delmontt Souza; MENDES, Ana Flavia de Melo; http://lattes.cnpq.br/6144243746546776This thesis investigates the articulation between phenomenological experience and poetic methodology in artistic research, from the perspective of the artist-researcher. Inspired by the narrative structure of Dante Alighieri’s Divine Comedy, the work proposes a symbolic journey through affective and conceptual territories that embody the main methodological challenges faced in artistic creation. The central question is how to develop a methodology in the arts that acknowledges and values subjectivity, poetics, and the complexity of lived experience. To this end, the thesis adopts an embodied phenomenological approach that interweaves poetic writing, critical analysis, and performative experiences. Each chapter represents the overcoming of a “sin” — metaphors for the obstacles in the creative process — and proposes conceptual displacements that culminate in the formulation of seven original concepts: Scenic Nourishment, Generous Economy of the Scene, Scenic Disarmament, Floating Dramaturgy, Creative Desire, Acting as a State of Being, and Collective Acting. The results show that integrating theatrical phenomenology with poetic writing not only produces a unique methodology but also enables the emergence of an expanded creative consciousness. It concludes that artistic research can be constituted as both an aesthetic and epistemological practice, and that the method, rather than being a fixed formula, can assume a living, relational, and open form.Tese 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/6379814397024971This 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.Tese Acesso aberto (Open Access) Poéticas Nômades: pesquisa-criação do espetáculo tentativa.doc 2.0 a partir de elementos da cena expandida e intermedial(Universidade Federal do Pará, 2020-07-27) FONSECA, José Flávio Gonçalves da; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692This thesis brings about as a key issue the accomplishment of a scenic criation process, whose the investigative drive includes considerations about the use of elements actualised both in the expanded and in the intermedial scenes. Those elements work as triggers to grasp of what we call the technopoetic. The research understand the notion of technopoetics according to its conceptual definition, derived from a creative faculty obtained by what we assume as the machinery sensibility materialization. Such ideas proceed from the proposition of techesthetic developed by Gilbert Siomondon and his discussants. The concepts are also based on ontologic aspects of technical/technological pieces of work occurred after the historical Industrial Revolution. Following the inquiries, the work contextualizes itself into the field of contemporay scenes studies, specifically concerning the types of research based on practice as Brad Hanseman’s “performative research”, Robin Nelson’s “practice as research”, Sylvie Fortin and Pierre Gosselin’s “thesis on practice-basis”, and Mireille LoscoLena’s “reserche-création”. Therefore, this research aims to develop procedures and protocols around the practice done, by means of a technopoetic materialisness and correspondent analysis. For that purpose, we put forward the perspecive at the poetics presente in the techincal object itself, here understood beyond its mere definition as an apparatus, but going further as its identity of a work of art itself. As a result of the creation inquiry, it is devised the performance tentativa.doc 2.0, a practical artistic inquiry intended to fill out hybrid territories of expanded and intermedial scenes. The research technopoetics take into account the notion of nomadism as a compositional setting off per se. Such kind of epistemological trigger brings about different senses of the nomadism, by means of its features as geographic, aethetical, and poetical, through which the performers establish a sort of game among themselves, between them and the techincal objects, and amid techincal objects and spectators. By achieving the game, the performers also compose a experience where each individual mold yourself and the other. In doing so, the circumstances become what Josette Fèral nominates performativity of technology. The undertaking come to conclude at the hability of the artist when dealing with digital devices far beyond of their digital peculiarity, by going toward the activation, development, and interchanges of perceptions within a compound exceedingly present, yet, or even because, virtual.present, yet, or even because, virtual.Tese Acesso aberto (Open Access) 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/5012937201849414This 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.Tese Acesso aberto (Open Access) 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/0000-0001-8277-5210This 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.