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Teses em Artes (Doutorado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/11380

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Acesso aberto (Open Access)
Os amigos que desconheço : performance(s) do caminhar e a guerrilha dos cuidados no Antropoceno
(Universidade Federal do Pará, 2022-06-22) MOTA, Artur Dória; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
Os amigos que desconheço is a process of creation artistic and poetic conceived as a walking performance where the walk is compose as a fundament and quality of guerilla and put into pratice as a care of thought and action in relation to the emergency and permanency of the Anthropocene. If the Anthropocene, the epoch geology of man, when the man became a geological strenght, indicates a time inexorable of intensification of the catástrofes in the whole planet, how it´s possible to walk-live between catastophes? And what can walking make us see and create as a line of flight and desertion in relation to the way we have lived, especially in the face of collapsed structures that are large urban centers? Thus, this artistic path is pronounced through the impacts and metamorphoses that affect the performer-walker in a world that quickly and violently runs over new premises to life. Shoes, in this sense, are the starting point that guide him in the plot of this process-path. They appear as spectral images that suggest tragedies. Footwear on the streets: what do they say about the bankruptcy of the world and what can they suggest about stories and/or situations that arouse sensitivities and/or care that strengthen us and/or point to other paths? To think of them in these terms, I performed a way of going and making myself towards them; I'm your friend, I told them. Along with them, this process expanded – even giving rise to consequent performative series – and being sculpted through countless lines of writings and literary densities, between grafts and strata of thought, poetic fragments and theoretical and/or imagery insinuations, who speculate and discuss, in their own way, about the ways and possibilities of walking and, therefore, of existing, in a world that is increasingly hostile to the body and bodies.
Acesso aberto (Open Access)
Ânima trama: dança e artes mágicas como processo de autocriação.
(Universidade Federal do Pará, 2021-02-01) LAVAND, Ana Rosangela Colares; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
Se trata de una tesis memorial que tiene como espacio de investigación el proceso de creación de la obra de danza contemporánea Ânima Trama, adoptando como lema la dimensión femenina familiar de la investigadora y su relación con la poética femenina, prácticas artesanales que utilizan tejido, línea y aguja. La investigadora dice ser una araña tejedora y asume como cuerpo de investigación sus ocho patas, que son dimensiones de percepción y análisis de la obra, espacios donde se difunde el proceso de creación. La metodología de la investigación se entiende como una red laberíntica, una metáfora de la producción de conocimiento en el arte, una red porque el material que la compone es orgánico, visceral y de carácter sutil, ya que proviene del cuerpo de la investigadora, y un laberinto por sus múltiples posibilidades de recorrido. , donde perderse es siempre una posibilidad. El hilo conductor de la investigación es el hilo de la vida aquí representado por el cordón umbilical y a partir de esta idea del linaje femenino, su dimensión mágico-religiosa y sus fabricaciones, la investigadora presenta la noción de autocreación, pues afirma que al crear la obra experimenta una serie de interrogantes y ajustes de coherencia frente al mundo y a sí misma, comenzando a crearse a sí misma, siendo así un proceso de creación de la obra y de auto-creación
Acesso aberto (Open Access)
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
Acesso aberto (Open Access)
Caminho Sonoro: O corpo em escuta performativa
(Universidade Federal do Pará, 2024-12-01) AMÉRICO, Waléria.; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761; https://orcid.org/0000-0001-8917-1348
The Sound Path deals with the relationship between body and landscape, using displacement as a space for artistic creation. The body in front of the river-forest horizon aimed to develop sonorities over the duration of the path. Procedures of listening to the soundscape, drawing scores and collaborating with people and natural beings make up the performances or sound transmissions. The reflection starts with the writing of experimental between places and the practice of listening to the soundscape in the north of Brazil, in the capital Belém, located in the state of Pará. The experience of the body in the Amazonian territory blossomed into art actions in resonance with the Samaúma tree species.
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/5012937201849414
Acesso aberto (Open Access)
Dança Sensorial: metodologias de ensino e aprendizagem e sua aplicação em um processo de criação em dança para pessoa com deficiência visual
(Universidade Federal do Pará, 2022-02-08) MOTA, Alves Mota; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This paper aim to create teaching and learning sensorial methodologies applied to a dance project developed with visually impaired dancers. The concepts that support this research are: the háptico from Ingold (2015) e Deleuze e Guattari (1977) and the Phénoménologie de la Perception from Merleau-Ponty (2011). The poetical process of creation happened in the Dance-theater School of the Federal University of Pará (ETDUFPA). The experimentation laboratories were executed considering two major areas: 1. The háptica dance and 2. The sonorous body, both based on the dance experience of the subjects of this research and the exploitation of their remaining senses, as well as the application of the resulting methodologies from experimentation laboratories in the spectacle Corpus Sensorialis. The analysis has two subjects, a blind dancer (man) and a low vision dancer (woman). The approach used is the hermeneutical-phenomenological. The field research is grounded by the study case. For data collection it was used audiovisual recordings, photographs; semi structured interviews and recorded statements, collected during the laboratories and spectacle. The poetical and theoretical research, the basis of this study, brought as a possibility planning and performing dance from an háptica and sonorous perception. The creation laboratories highlighted the urgency in considering the real necessities of the visually impaired dancers. From these experiences, emerged some sensorial methodologies when planning and performing dance with visually impaired dancers. These methodologies are based on their bodily experiences. The methodological propositions, tested in the creation laboratory, were applied in the spectacle Corpus Senrorialis and it demonstrated a way of planning and performing dance that contemplate the reminiscence senses of visually impaired dancers. In addition, it fostered a more autonomous performance form the dancers that developed significantly sensorial perceptions.
Acesso aberto (Open Access)
DATUM - Interface eletrônica como meio de expressão da experiência
(Universidade Federal do Pará, 2023-10-27) CARVALHO, Márcio Lins de; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This thesis addresses the experience of creating an experimental electronic game (game, for mobile devices, cell phones) called “DATUM” (work in process) developed from and during the doctorate period. These writings and their annexes address three different and complementary perspectives: the first on reflections on method and artistic creation in the academy; the second on the theoretical conceptions derived from the artistic creation of electronic games; the third on the sub-processes and hazards of game development; in addition to these, the thesis is also composed of the game itself. Taking these perspectives, the thesis proposes to experiment with the image, in the abstract sense, using a dynamic of building constellations to incite the projection of images by connecting stars; and the virtual with its interactive possibilities within a three-dimensional space.
Acesso aberto (Open Access)
Encantaria-corpo: processos de criação e poéticas em dança
(Universidade Federal do Pará, 2022-01-17) SOUZA, Luiza Monteiro e; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
This research-creation is affiliated with the line of research Poetics and Processes of performance in Arts of the Graduate Program in Arts at the Federal University of Pará (PPGARTES/ICA/UFPA). Its main objective is to carry out immersion and emergence experiences (EIEs) based on the encounter between immanent dance (Mendes, 2010), “encantarias” (Loureiro, 2008) and the notion of poetry (Cotê, 2015). Proposing to underline theoretical-artistic interactions emerging from the creation process, the EIEs are the research methodology from which the procedures of experimentation, creation, reflection, as well as poetics in dance, are born. The processes of artistic creation take as inspiration the magical worlds submerged in Amazonian rivers: the “encantarias’, a kind of transcendental dimension where the enchanted beings who poetize the existence of these rivers live. The idea of an enchanted depth in the river is found in this research with the immanent dance, establishing as the main theoretical-practical proposition the notion of “encantaria of the body”, which had been applied together with the Companhia Moderno de Dança collective, aiming to stimulate creative processes. The research results are the scenic work Na Beira, the videodances Poesia Submersa, Vamos falar de poesia?, Nas águas do invisível, Onde estará o além das coisas?, Dar-se em Vertigem, Ecos das Entranhas e Seres de Si and this memorial text.
Acesso aberto (Open Access)
A encruzilhada de Zé Pelintra com três Mestres-Salas paraenses: por uma ancestralidade artística
(Universidade Federal do Pará, 2024-02-26) GONÇALVES, Arianne Roberta Pimentel; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199
This research deals with the poetic establishment of the notion of Ancestralidade Artística based on the crossed dimensions between Zé Pelintra – the great streetwise ancestor of Umbanda – and the Mestre-sala, an emblematic artist of the Brazilian carnival of the samba school, in the mythical, sacred and artistic relationship of the ancestral spectacularity of samba. It is a crossroads-research of Afrocentric epistemological construction and decolonial guerrilla that proposes deconstructions of framed and hierarchical perspectives established to the body. Exu is the great epistemological ancestor, a transgressive and moving force, the crossroads as a motive power for the crossings and the streetwiseness as a philosophy and poetics of the researched streetwise-men. Zé Pelintra and Mestre-sala are enchanted bodies, men of the street, from the terreiro and samba, so called by the observation of the diverse and deep relationships of these spaces-territories in their poetics. The research presents its own iconography, with specific symbols and meanings linked to the fundamentals of Umbanda's Sacred Writing, the riscado signs, and the danced riscado of the mestres-salas Nando Elegância, Bené Brito and Fábio de Cássio, three “entities”, black, afro-religious, famous masters of the carnival of Pará, subjects protagonists of the research that evidence the spectacularity of the riscado in the Amazon. The Ethno-Crossed-Methodology is an authorial creation of the research, based on the process of sensitive listening to the phenomenon, supported by Ethnocenology as the main theoretical-methodological basis and by the ancestral immersions and artistic creations of the exuistic researcher as a woman, mother-artist-flag bearer.
Acesso aberto (Open Access)
Escritos Vagalumeantes: Mo(vi)mento de Etá em processo de transcriação vagalumeante
(Universidade Federal do Pará, 2021-12-21) SOUZA, Ercy Araújo de; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
A fireflying written. The following actions are my experiences-memories-creations from the childhood to present times. Read it as you look at a firefly flying in the darkness nearby the Xingu River, at Altamira, city in the state of Pará, Brazil. From this standpoint arises a trigger to think about the transcreation and interpretations of what can be light, dark, path, enchant, mystery, frustration, mo(ve)ment, imagination and (trans)creation in my artistic practice, in my dance. For this purpose, the current time cross this process because the world is researching for a cure for COVID-19 virus as long as we are all looking cure for mental diseases both individually and collectively. I believe that actions and thoughts about cure can be enabled through artistic perspectives, yet, paradoxically, we are going through a moment of even greater devaluation, socially and individually, of art. I would even say by us artists, who often do not see the artistic relevance in the healing, historically recognized in humanity. As we are blind to seeking survival by means that they put us in a state that is alien to the artistic body and trapped in a biological body, and so we seek to survive and heal ourselves by other means than making-thinking the Art of/for/in the body. Not accepting the changes, differences and collective movements in the face of a disease, sickens us as much as contamination by a virus in the blood. A fireflying written is a mo(ve)ment and an observation. This is the perception of infinite lights and darks amongst the chaos of uncertainty presented in a living process such as mine. All of this with an artistic group called Companhia Moderno de Dança, establishes itself in the embodiment of a collective practice in its making-thinking of a multiple and uniqueness body named Etá, metaphorically created for this research crossed by media and affective possibilities. The results were generated by the memorial composed of six booklets and a poetics called Vagalumear (to firefly), which consisted of four videos.
Acesso aberto (Open Access)
Experiência de existir na pesquisa em artes como ato poético: o ponto de dobra e a ativação artística, lamber a cidade.
(Universidade Federal do Pará, 2023-11-27) BARBERY, Melissa; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This artistic-critical memorial is in the Research Line dedicated to the Artist Researcher and addresses the experience of existing in arts research as a poetic act. The journey undertaken by this experiment unfolds through the concept of Fold Point and the artistic activation of Licking the City. In the initial experiments, this videographic urban intervention was directly influenced by Vicente Cecim's text "Caught in the Act Against the Night / Cural Manifest" (1983) and the book/catalog "Uprisings" (Didi-Huberman, 2017). As a result of the path taken by the artist, it is believed that the presence of the artist-researcher in the university is a fundamental practice for a unique perspective on the relationship between art and society.
Acesso aberto (Open Access)
Hilda Híbrida Outro Eu: Filme Ensaio
(Universidade Federal do Pará, 2022-02-09) GALVÃO, Galvanda; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
Acesso aberto (Open Access)
INTERURBANO: a criação de uma exposição de arte e tecnologia em Belém-PA
(Universidade Federal do Pará, 2022-01-11) OLIVEIRA NETO, Raymundo Firmino de; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This study addresses the process of creating three interactive installations about the space of the city of Belém in the field of Art and Technology. In the research, electronic modifications were made in analog industrial objects appropriated as symbols of larger structures that involve the city’s dynamics in artistic installations, with aesthetic messages about the urban, river and forest space of Belém. Among the installations, there is a telephone that simulates connections with distant birds; a tap, that spurts reports from city’s residents about their relationship with water; and, an umbrella that reproduces soundscapes as it moves through space. The memorial contains the work's triggering ideas and the lines that sew the network that connects academic concepts to practice, the outside of the city to the inside of the gallery, the past and the present, the analog and the digital, the aesthetic and the communicational, art and life. The research involved reflection about the poetic use of technologies for sensory experiences with augmented space in interactive interfaces. The project had the collaboration of several professionals from different areas for its realization, as well as the participation of residents of the city. In addition to the installations Telephone, Umbrella and Tap that were mounted in the Long-Distance Call exhibition, the memorial describes the work Sound Waves that was developed after the exhibition as an offshoot of the research.
Acesso aberto (Open Access)
MULHER-CASA-CIDADE: A(fia)ções performáticas de uma artista fronteiriça-jurunense-afro e indígena religiosa- ‐feminista em escrituras com escritoras brasileiras em um olhar periférico a partir da Amazônia paraense
(Universidade Federal do Pará, 2022-08-29) BARROS, Ana Carolina Magno de; SARÉ, Larissa Latif Plácido; http://lattes.cnpq.br/3313460196086035
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/0024366223698692
This 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.
Acesso aberto (Open Access)
Poéticas paridas: a dança como política de aparecimento
(Universidade Federal do Pará, 2022-11-24) CASTELO, Caroline de Cássia Sousa; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
This memorial thesis, divided into a poetic-series, aimed to understand dance as a policy of appearance from the processes of dialectical creation (thesis, antithesis and synthesis): Cinderela (2018), Nas Brenhas (2020) and Subterrânea ( 2021). The first two deliveries were poetic births from the life stories of the Grupo de Mulheres Prostitutas do Estado do Pará, a pioneer association in the human rights militancy of prostitutes in Brazil, which has been active since 1990. The creation of the works : Cinderela, Nas Brenhas and Subterrânea reveal narratives about Love, motherhood, violence, militancy, work, about orgasms and displeasures within the prostitute. Through the metodological paths and veins. I assume myself as a creator- intabitant (FERREIRA, 2012) in walkability (SPECK, 2013), immersing myself as a creator of life/dance with the street, finding on street corners and crossoroads authors such a Judith Butler (2018), André Lepecki (2012), Di Monteiro (2016), Bia Medeiros e Natasha de Albuquerque (2016), Thereza Rocha e Márcia Tiburi (2012), Juliana Moraes (2013), among so many others Who helped me to think of the street and dance as a policy of apperance of a disappearing people. To immerse yourself is also to immerse yourself in the uterus, in the intimate, in th secrets of the lives os those Who live there, of processes thar are created in the anxiety of what is lived, moved to “make it appear”
Acesso aberto (Open Access)
Saburo (三郎)
(Universidade Federal do Pará, 2020-12-16) ONO, Ricardo Harada; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
The present work is the result of a research in the line of Poetics and Processes of Performance in Arts, thus intending to be an artistic work. Substantiation of a creative act, it presents its genesis based on the intersection of different reference layers: history, memories, emotions and affections, technical and empirical knowledge, in short, different components of my cognitive universe. The result is divided into two volumes, the art-object itself, which is revealed through comics, and this memorial, which presents the mode of operation and concepts generated by the intersections of these plans / layers. The work, the result of the creative process, narrates a period of my grandfather’s life, from the years leading up to his arrival in the Amazon to his last days, having, as a background, the history of Japanese immigration, and the group to which he belonged. It narrates his motivations and the challenges faced in the face of adaptation in Brazil and, in parallel, what are the consequences on the history of his descendants.
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/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.
Acesso aberto (Open Access)
Território móvel: poéticas da criação a partir de memórias e cibermemórias
(Universidade Federal do Pará, 2021-01-13) RABELLO, Rafaelle Ribeiro; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This work linked to the Research “Poetics and Processes of Performance in Arts” presents the various movements of a poetic experimentation, through the appropriation of photographic images of my own and an old family photo album, configuring the path of my creation process. The way process, mediated by a mobile device, comprised stages contaminated by memories, desires, complexity and a journey around the multiplicity of the image and resulted in the presentation of two photographic series. Throughout the memorial, the operational layers of construction of this research will be elucidated - what had been experienced, what had been materialized and what had been conceptualized. The outcome of these three instances delineates the plot of a Poetic Project configured by crossings such as the return, the rhizome and resonances directing me to what I call mobile territory
Acesso aberto (Open Access)
Travessia: Do íntimo ao político: A memória como agente de resistência na produção de livro de artista
(Universidade Federal do Pará, 2025-03-21) GIUSTI, DESIREE COSTA; MANESCHY, ORLANDO FRANCO; http://lattes.cnpq.br/6198572031091761