Navegando por Assunto "Dramaturgia"

Agora exibindo 1 - 7 de 7

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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)
Da casa de contato à dramaturgia do contato: experimentações e reflexões na casa Ribalta
(Universidade Federal do Pará, 2012-03-01) FERREIRA, Mayrla Andrade; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
The research points to a path of artistic experimentation, unveiled in the very first my space contact with the dance: the "house of contact," object investigation of this research that establishes connections multiple and heterogeneous of performer-creator with life stories, which are raw material smain articulate for the recognition of principles and recurrences of a drama specific particular and local, the "dramaturgy of contact." to buy the basics of such a proposition, I use theoretical and methodological rhizome of Deleuze and Guattari (1995), in their percepts and affects (1992), brokered by the triad image-time-motion of Deleuze (1992), as a strategy of theoretical and practical cut across writing. Based on the notion of body subject of Merleau-Ponty (1999) and the dramaturgy of Eugenio Barba (2010) in fabric with the phenomenology of perception and contact-improvisation were the demonstrators elements that support the principles of dramaturgy Contact aroused by the life stories of those who practice, responding to the main objective of this Research Essay. We used the following methods of data collection: survey bibliographic documents that permeated the nature of the subject studied here and their interfaces with different areas knowledge, participant observation, interviews open and collecting individual and collective sense through letters, photographs, videos, songs, drawingsand relational objects that allowed reflection and analysis constructed by mapping a timeline of the School Ribalta dance, the dance company Ribalta and triad Marlene-Beth-Mayrla, lives that exist in the House Ribalta and give any sense of this writing. Aspects conclusive resulting from this research are involved directly with the degree of impairment o frese archer with the poetry of a life project, "The Home Contact and Dramaturgy of Contact ", marks singular trans-formations of paths in a plural human diversity.
Acesso aberto (Open Access)
Máscara Búfala: Cartografia Cênica de um Corpo-Saudades
(Universidade Federal do Pará, 2025-01-17) SILVA, Bruno Rangel Viana e; SARÉ, Larissa Latif Plácido; http://lattes.cnpq.br/3313460196086035
Acesso aberto (Open Access)
Máscaras, mascarados e oprimidos: do boi de máscaras de São Caetano de Odivelas ao Teatro de rua do Bairro da Terra Firme – Belém / Pará
(Universidade Federal do Pará, 2012) SANTOS JUNIOR, Paulo de Tarso Nunes dos; COSTA, Luizan Pinheiro da; http://lattes.cnpq.br/5390750292706184; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
This research investigates and analyzes the Teatro Popular this event from the scenic and visual elements that articulate the whole aesthetic. Reflecting on the importance of theatrical masks as a symbolic element in the preparation of technical and acting for the Street Theatre. Presents the work in creating characters from the signification of the object (mask) Popular Theatre for Theatre Street, in the neighborhood of Upland, Belém-Pará. The paper addresses the creation of a collective dramaturgy, which express in their scenes, their daily working. A street theater that seeks transcendence, through solidarity toward the collective awareness of the citizen to community problems and the fight against injustice and all forms of violence.
Acesso aberto (Open Access)
O não-absoluto do real: uma leitura de Così è (se vi pare), de Luigi Pirandello
(Universidade Federal do Pará, 2015-06) SERAFIM, Lucas de Sousa
This text intended to reflect the theoretical concepts about the death of god, exposed by the philosopher Friedrich Nietzsche in A Gaia Ciência – how nuanced touch in assembling a possible death figuration of Science and Man. Moreover, it want to observe how the theories about language of philosopher Michel Foucault contributed to this nihilism, once this would be the main feature of the human condition. The proposal reflection elucidate Will be appreciated the approach critical of the text theater Così è (se vi pare), the italian author Luigi Pirandello – considering the particularities of the dramaturgical work.
Acesso aberto (Open Access)
Palavra-corpo: uma cartografia fragmentária, enigmas do livro de artista na construção dos espetáculos
(Universidade Federal do Pará, 2019-06-28) FREIRE, Bernard da Trindade Bahia; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
The following dissertation tries to analyze a cartography constructed from artistic processes experienced by me, presenting a content that converges between the real and the virtual. The analysis consists of observing the workings of creation processes that are posted on the palavra-corpo blog, in a fragmented way and create beyond these fragments other possibilities through every thing that transforms me during the trials and experiments that I breathe. This body is put through a poetic of itself through texts, photographs, sounds, images, scribbles, vídeos and other virtual interactions that lead to reading beyond the blog platform. Artistic cartography seeks to show a personal document of the processes that I am experiencing, understanding my artistic know-how and seeking to understand this virtualization that is inserted next to the body in this re-construction of the imagery created. Imaginary this, shared from what I do and show, in parts, through this body that expands in this mediatic confluence. This dissertation seeks to show the reader a research between textual reading and performance that fragmented process that I develop as na artist. The research addresses, through theoretical references, a discourse that I seek to interpret along with other artists that I recognize through the experiments in the theatrical/performative/mediatic processes that are constructed. According to the Idea recognized with media concepts that seep into the artistic work safter its creation, expanding the process of creation for future re-productions of this own idea. In this junction between the real and virtual body, I present two theatrical spectacles Reator Eterno and I(MUNDO) UBU, that show the records for a multimedia interaction, allowing another movement of creation, a continuity without demarcations and absolute ends of works through the web. The research through this fragmented cartography connects to the virtual to share records of the artistic processes that I experienced, connecting the viewer to the works through the hypertextual reading of the writing in the artist's notebook in various media. The resultis a performance of this environment that I try to describe in the discourse of this research, amplifying the senses of a body that moves on this virtuality of the present.
Acesso aberto (Open Access)
Sobrevoos e pousos sobre a dramaturgia do In Bust teatro com bonecos
(Universidade Federal do Pará, 2015-05-29) SANTOS, Adriana Maria Cruz dos; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This text focuses on the creative process of In Bust Teatro com Bonecos, puppet theatre group formed in 1996, in Belém, Pará, active until these days and a reference in Pará’s theatre, mostly when it comes to puppet theatre. The research approaches the construction of a cartography on the group’s dramaturgy, explores the procedures that induce the creation of the show, as well as points out inductor elements, which work as components in the creation of acting. The rhizomatic perspective, by Gilles Deleuze and Félix Guattari (2011), gives us support as a method to understand the group’s poetics. Aiming to let the cartographic and rhizomatic thinking conduct this work, we suggest an overview flightupon the experience of the group’s dramaturgy and we use as instrument of navigation a movement towards the connection point of its signs of processuality or artistic codifications. An action that steers the fields of aesthetic and ethics, an overview of this landscape of spectacles. To think about this dramaturgy has the purpose to observe, through the shows FIO DE PÃO – A LENDA DA COBRA NORATO, OS 12 TRABALHOS DE HÉRCULES, HUMANOS and CATOLÉ e CARAMINGUÁS, the component elements of the landscape, the multiple lines that root the artistic creation of the group, its preponderant aspects – such as the game between the puppet and the actor, the deconstruction of the actor-manipulator’s neutrality, the puppet itself as a character and the hybrid acting of both puppet and actor in the play’s scenery.