Navegando por Assunto "Fenomenologia e arte"

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Acesso aberto (Open Access)
Corpo Universo: uma poética das constelações compositivas como estudo e reflexão do corpo na atuação teatral
(Universidade Federal do Pará, 2019-06-27) PARAGUASSU, Renan Delmontt Souza; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
The research Body Universe: a poetic of the compositive constellations as study and reflection of the body in theatrical acting has as objective understand what happens in my Body/Me along the moment of acting. To do so, I venture myself as a artist-researcher, I come to understand that acting is phenomenon experienced by the actor during their creative works, that occurs inside and outside the scene. The search for this comprehension took me to dive in lived artistic memories and experiences as actor, also I had to observe, in terms of equivalent feelings, what goes on with other people that I work with and others that I have watched. The investigation is fundamental, theoryc-methodologicaly, in Phenomenology, the science the investigate the experience of consciousness since its basic levels, the sensitive, the most elaborate, and the conscious itself. Tooked as authors in this field of knowledge, the German Georg Hegel(1770-1831) and the French Gaston Bachelard (1884-1972), because he was interested in conscience of the phenomenon of creation and scenic acting immersed in the field poetic artistic, the Merleau-Ponty (1908-1961) to reflect about the present space of my Body/Me and its scenic significance from the relationship with other bodies actors/spectators, the French philosopher and sociologist Henri-Pierre Jeudy (1945-) for discussion of body as object or artistic support. On the creative processes, the Brazilian professor Sonia Rangel (1948-) helps me to understand the process as an fountain of recreation and fomentation of several layers in creation, having the memory as propeller of revisitations. In The study about the art of the actor, the Russian actor, pedagogue and director Constantin Stanislavski (1968- 1936), the also Russian actor Richard Boleslavski (1989-1967) and the director and actor Eugenio Kusnet (1898-1975) they contribute for the discussion where technique and sensibility, conscious and unconscious walk helping handing each other during the act of acting, the Italian director Eugenio Barba (1995) for the processes and rules the influence the culture and daily in which the actor is living, the polonaise director Jerzy Grotowski (1933- 1999) and the Brazilian actor Carlos Simioni (1958-) for the understanding of the importance of training as continuous preparation of the body as foundation to the creation. I decided to focus on a methodology based on the research phenomenon. with allows the construction and reflection of the poetical work starting from the multiple internal experiences, focusing on the material that comes from the conscience in front of the practices and trajectories on plays, articulating with the psychophysical training.
Acesso aberto (Open Access)
Dragão de luz: uma poética sobre a experimentação de iluminação cênica do espetáculo santo anjo do senhor
(Universidade Federal do Pará, 2019-07-05) LISBOA, Marckson Davi de Moraes; SOUZA, Iara Regina da Silva; http://lattes.cnpq.br/7853301997403243; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
This research deals with spectacle’s light trials of Santo Anjo do Senhor, from Companhia Cênica de Cínicos of Belém of Pará. As an artist-illuminator-researcher, I seek to investigate the potential of non-theatrical equipment, devices and lighting materials, and the interaction of these scenic resources with the actor and the space within an experimental staging. The research develops by Gaston Bachelard's Phenomenology of Imagination to analyze the light of the spectacle as a phenomenon through the bias of daydream. For this, I summon Gilbert Durand’s imaginary conception, the Antonin Artaud’s scenic proposal, provocations of Eugenio Barba, propositions of Patrice Pavis and perceptions of scenic lighting of Roberto Gil Camargo, Cibele Forjaz, Francisco Turbiani e Iara Souza, further, explanations of Cecilia Salles and Sonia Rangel on creation processes to compose a methodology based on the Dragon myth, as poetic image. In the research, I visit both Chinese mythology and the imagery poetry of the tale Os dragões não conhecem o paraíso by Caio Fernando Abreu, to approach the development of scenic lighting over four-year seasons of the spectacle.
Acesso aberto (Open Access)
FENOMENOLOGIA TEATRAL: Da Crise ao Despertar de um Artista-Pesquisador
(Universidade Federal do Pará, 2025-07-04) PARAGUASSU, Renan Delmontt Souza; MENDES, Ana Flavia de Melo; http://lattes.cnpq.br/6144243746546776
This thesis investigates the articulation between phenomenological experience and poetic methodology in artistic research, from the perspective of the artist-researcher. Inspired by the narrative structure of Dante Alighieri’s Divine Comedy, the work proposes a symbolic journey through affective and conceptual territories that embody the main methodological challenges faced in artistic creation. The central question is how to develop a methodology in the arts that acknowledges and values subjectivity, poetics, and the complexity of lived experience. To this end, the thesis adopts an embodied phenomenological approach that interweaves poetic writing, critical analysis, and performative experiences. Each chapter represents the overcoming of a “sin” — metaphors for the obstacles in the creative process — and proposes conceptual displacements that culminate in the formulation of seven original concepts: Scenic Nourishment, Generous Economy of the Scene, Scenic Disarmament, Floating Dramaturgy, Creative Desire, Acting as a State of Being, and Collective Acting. The results show that integrating theatrical phenomenology with poetic writing not only produces a unique methodology but also enables the emergence of an expanded creative consciousness. It concludes that artistic research can be constituted as both an aesthetic and epistemological practice, and that the method, rather than being a fixed formula, can assume a living, relational, and open form.