Navegando por Assunto "Arte - Processo criativo"

Agora exibindo 1 - 5 de 5

Acesso aberto (Open Access)
CORPO – CASA – GAIOLA: O Tapete de Penélope
(Universidade Federal do Pará, 2024-12-19) LIMA, Penélope Lopes de; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
Based on the perception of life’s trajectory as a great source of dramaturgical, poetic and scenic creation; as well as the understanding of the performer's body on stage as a patchwork quilt stitched together by memories, experiences and emotions; this artistic research aims to unravel, unearth and map the patchwork-quilt body of the artist-researcher who stands for both subject and object of research. An excerpt from the childhood period in the actress's life trajectory is the base catalyst for the construction of a solo scenic experiment that explores narrative theater, showcasing her body-home-cage and sharing intimate accounts of the actress's personal dramaturgy with the spectator. By transforming the rehearsal space into a portal directed towards the past (in which photographs and writings recorded within a logbook during rehearsals are true treasures of the creation process), the actress portrays childhood moments in a retreat to her own child self through the narration of portions of the Odyssey (the epic poem attributed to Homer), conveying aspects that influence her performing body today, such as motherhood and blackness. In the crossroads between the girl and the woman, the myth. As dramaturgy of life and the performing body exert on each other, thereby boosting creation processes.
Acesso aberto (Open Access)
Corpo-Raiz: O processo de criação do bolero Interamor
(Universidade Federal do Pará, 2025-06-25) ALCANTARA, Wallesson Amaral; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
This research addresses the notion of Root Body, which is a way of thinking about ballroom dance intertwined with the life and artistic trajectory of an artist-teacher-researcher. This trajectory is permeated by different artistic experiences in ballroom dance, especially bolero, and constitutes experiences informed by Neuroscience (Marçal, 2019), with theoretical and practical foundations in Movement Ecology (Bolsanello, 2016) and Immanent Dance (Mendes, 2008), in addition to the notion of "dance as a politics of appearance" (Castelo, 2022). As a result, the poetics of Interamor are presented, along with its methodological developments, applicable both to the creation and teaching of ballroom dancing, and the social discussion triggered by the work of art
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)
Me inscreva quando sentir a minha falta: Poética da ausência na reinscrição de um acervo fotográfico
(Universidade Federal do Pará, 2025-02-06) SILVA, Paola Barros; DAMASCENO, Alex Ferreira; http://lattes.cnpq.br/8620263171962896
This thesis memorial presents the creative process behind the visual artwork and experimental photobook entitled Me inscreva quando sentir a minha falta ("Write Me In When You Feel My Absence"). Starting from the perception of my own visual absence in my family’s photographic archive, I sought to insert myself into the forgotten images stored on my mother’s Cyber-shot camera. To do so, I developed a methodology based on the concepts of Autofiction and Databending, which in this research served as technical tools for the creation of Pure Glitch images that form the visual essay belonging to the artist’s book and book-object developed. The text presents a hybrid research approach of a systematic and transdisciplinary nature, organizedin stages of theoretical research and creation and experimentation processes in the studio. With the theme of Poetics of Absence, the developed work makes use of Glitch Art aesthetics as a creative tool to elaborate the concept of Visual Metaphor of Error, thus creating a visuality expressed in images that reflect absence, deterritorialization, and complex questions surrounding memory. Through this study, I aim to contribute to the reflective arsenal of contemporary art and its relationship with works of resistance and counter-narrative, as well as to add to the body of work created by artists from the Northern and Amazonian regions of Brazil. As for the critical aspect, the study further expands on the reflection about the term Glitch Art and Autofiction as an experimental language within the field of visual arts. On a social level, the developed work sheds light on the need to recover marginalized memories, proposing a (visual and theoretical) reflection on absence and belonging, inspiring new creative and appreciative perspectives on art and memory in intersection with technology.
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.