Navegando por Assunto "Arte - processo criativo"

Agora exibindo 1 - 6 de 6

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)
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.
Acesso aberto (Open Access)
Fluviografias cênicas: memórias e presenças de um corpo em travessias.
(Universidade Federal do Pará, 2021-01-20) FONSECA, Roseany Karimme Silva; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
The present work proposes the poetic-scenic elaboration of a body located in between, this understood as an intersection: between the city of Belém and the interior of Marajo island, between narrative and scene, between word and action, between memory and presence. Between, here, is available as a means of understanding the history of a researcher in her processes of physical crossings, written, recorded and retold. Amazonian authors such as Eidorfe Moreira and Joao de Jesus Paes Loureiro support the setting of this research, guiding reflections for a personal journey; there is the search for a poetics of space, as proposed by Gaston Bachelard (1993). In addition, the research dialogues with the concept of “Personal Dramaturgy”, defined by Wladilene Lima (2004) and the so-called Self Writings. In this context, the following issues emerge: 1) the body, as an organism, can be constituted in a landscape - approached in this work in the light of humanist geography? 2) can this body express itself scenically, in line with an environment, in which it lives its own journey through writings, travels and memories? 3) what are the relationships between the body, the text and other elements of the scene in the staging process? Based on these questions, the objective is to understand the condition reached by the acting body, when it crosses and is crossed as a subject / object of a poetics developed on the scene. As for the elaboration processes and their unfolding, this research is understood like a fluviographic immersion, in view of considering landscapes, margins and express flows of rivers and in the rivers taken. As a device of practice, body language and the possible states of scenic composition of an extra-everyday body are sought and the “Corpografia” highlighted by Juliano Jacopini (2016). As a methodological procedure, the fluviographies follow the idea of research in art proposed by Sônia Rangel (2009), appropriate to the line of research in Poetics and Processes of Performance in Arts. Therefore, the methodology will be immersed in the practice of scenic creation. Create, cross and dive are configured as the action verbs for the scenic act in progress, working a scenic state as a reality inscribed and made present in a body / space of identifications of the acting, resulting from their crossings
Acesso aberto (Open Access)
Isso não é um poema! : das luminosidades de si.
(Universidade Federal do Pará, 2021-01-26) SOUZA JÚNIOR, Enoque Paulino de; SOUZA, Iara Regina da Silva; http://lattes.cnpq.br/7853301997403243
Acesso aberto (Open Access)
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.
Acesso aberto (Open Access)
Puta, Pistoleira, Dona de Cabaré: a espetacularidade do corpo-cavalo-travestido de Dona Rosinha Malandra no Templo de Rainha Bárbara Soeira e Toy Azaka. Icoaraci/Pa.
(Universidade Federal do Pará, 2021-01-19) CARVALHO, Ana Claudia Moraes de; SANTA BRIGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
Through winding lines of aerial thoughts conceived by a butterfly-writer, I write about the body-horse of Dona Rosinha Malandra, Umbandist Left Entity. Dona Rosinha incorporates in Rosa Luyara, a Saint's Mother who is a transsexual from the Belém’s periphery, which is the preponderant factor for the development of libertarians and crossroads epistemologies, of immoral nature, whose poetic crossings were experienced by the actress-researcher-bacante, in the affective crossroads of the Amazonian Umbanda. Based on the poetic image of the vulgar-butterfly, the methodology developed in this thesis was configured in a process involving sweet deaths for new transformed lives. Through an ethno-affective method. Pupas, hot vulvas, cocoons, self-estrangements in the understanding of the house-cosmos perfumed with snake perfumes, which is the central force of a body-horse-transvestite. Prostitute, Gunslinger, Cabaret Owner reveals mysteries, secrets of a malandra worldview belonging to a present time, for the social empowerment of a community. As an epistemological contribution to the academy, I develop the notion of body leaning, which is configured in an epistemo-methodological proposal of a body in the process of creation. A butterfly-thesis. This study is a feminist thesis, with transformative, transgressive and deliciously imoral content. The research aims to raise ardent butterfly flights, based on ethnocenological notions of Armindo Bião e Miguel Santa Brigida, in the images of Barchelard, in the imaginary of Durand and in the sensitive thought of Maffesoli to prepare the paths to be walked in an identity construction of gender, community and artistical epistemic freedom