Dissertações em Artes (Mestrado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/6806

O Mestrado em Artes, em 2008 foi autorizado pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) com funcionamento no Programa de Pós-Graduação em Artes (PPGARTES) do Instituto de Ciências da Arte (ICA) da Universidade Federal do Pará (UFPA).

Navegar

Agora exibindo 1 - 5 de 5

Acesso aberto (Open Access)
Criança de um planeta chamado Combu: modos de aprender e ensinar arte, vida e amor
(Universidade Federal do Pará, 2018-12-21) SILVA, Adriele Cristine Silva da; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592
Acesso aberto (Open Access)
Escola de Teatro e Dança da Universidade Federal Pará: memória e história do ensino do teatro em Belém do Pará (1962-1970)
(Universidade Federal do Pará, 2019-09-26) SANTOS, Ana Maria da Gama; BEZERRA, José Denis de Oliveira; http://lattes.cnpq.br/9404514273838260
Analyzing about the socio-cultural meanings of performing arts teaching at the School of Theater and Dance of the Federal University of Pará (ETDUFPA) is the fundamental point of this research. The study aims to understand the process of actor qualification and the practice of theater teaching in the Paraense Amazon and its historical meanings, through documentary analysis, considering the influences and transformations of theater teaching in the Paraense capital, through ETDUFPA, since its foundation in 1962 until the year 1970, bringing the historical continuity of teaching to the present day. Methodological support involves documentary research, through the survey of official documents produced by the school; and periodicals, photographs and interviews with Carlos Eugênio Marcondes de Moura and Cláudio de Souza Barradas, teacher and former student / founder who participated in the implementation of the Actor Training course, and the trajectory of the School of Theater in the period mentioned above. The theoretical dialogues are made with the studies of memory, based on the reflections proposed by Halbwachs (2013), Nora (1993) and Pollak (1992); with the brazilian / paraense theatrical studies of Bezerra (2013), Faria (2012), Jacobbi (2012), Magaldi (2004), Prado (2008) and Salles (1994). Thus, the current investigation arises from the need to tell this story, because these memories are on the fringes of the studies already done, and the urgency to debate the historical meanings of the establishment of a drama school in Belém, created to qualify actors and actresses of the city. Therefore, this master's research will contribute to the historiography of Brazilian and Pará theater, in dialogue with the field of arts education.
Acesso aberto (Open Access)
Escritos sobre a gravura contemporânea em Belém
(Universidade Federal do Pará, 2017-08-22) SOBRAL, Armando Sampaio; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This research addresses the field of historiography of art. It analyses the artistic printmaking movement in Belém in the period between the 1980s, when the first projects aimed at promoting printmaking education in the region emerged, and 2001, when the resumption of the movement began. The milestones of this resumption were the implementation of the printmaking department at Fundação Curro Velho – an initiative that brought to Belém a teaching model inspired by art collectives and printmaking public studios, and the creation of autonomous spaces, such as the Atelier do Porto and the Aparelho, which are social entities that are currently responsible for producing and including Belém printmaking in the contemporary art scene. This study examines the roles played by autonomous spaces in the establishment of new printmaking production flows in the city as well as the effectiveness of actions conducted by collectives as social organizations proposing new fields in which art experiences are shared. In this journey, a new generation of artists emerged. Their proposals, which identify with graphics, indicate trends that mark the cartography of printmaking produced in Belém today. Various artists are mentioned; however, the works of five of them were actually analyzed: Jocatos, Alexandre Sequeira, Elaine Arruda, Pablo Mufarrej, and Ronaldo Moraes Rêgo. The last chapter includes photos and critical essays on printmaking written in the period corresponding to its resurgence in Belém, between 2003 and 2016.
Acesso aberto (Open Access)
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).
Acesso aberto (Open Access)
Vídeo aderência: território intervalar de reflexão e experimentação
(Universidade Federal do Pará, 2012-02-28) LIMA, Melissa Barbery; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
This paper examines the territory of video art, developing a review and reflection from established concepts within a temporal line and territorial, where video art is the main theme, relating as its historical perspective, as its language and technical , forming a journey from some experiences in artistic projects from my self. With a focus on works in which small forms of life are discussed and serve as a guide for reflection Art and Life. As a result of this analysis and critical essays from the conceptual clash with the works studied, we instituted a territory interval that we conceptualize as Video adherences.