Navegando por Assunto "Figura humana na arte"

Agora exibindo 1 - 2 de 2

Acesso aberto (Open Access)
A imanência: uma dança...
(Universidade Federal do Pará, 2020-08-25) GOMES, Robson Farias; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211
This research consists of a scenic-theoretical reflection on the artistic and philosophical reverberations of thought immanently in dance, raised by dance thinker-artist Ana Flávia Mendes. This theoretical complex, called Theory of Immanent Dance, is based on postmodern choreographic and philosophical assumptions based on concepts of personality, idiosyncrasy and subjectivity. Both objectives are to update the theoretical-conceptual device of Immanent Dance with theoretical-performative openings and breaks in dance that culminate in a proposal by the Immanent Corporation. The research methodological procedure consists of a bibliographic and artistic-creative dialogue. The main theoretical references are: Ana Flávia Mendes, Gilles Deleuze, Félix Guattari, Fischer-Lichte, Santana, Rocha, Zourabichivli, Orlandi, Silva, among others. A research that questions the assumption, the imminence and the ideal designation in dance, I propose an emancipation of the creator-performer through the paths of difference.
Acesso aberto (Open Access)
Modalidades circenses e a formação da licenciatura em teatro na Escola de Teatro e Dança (UFPA).
(Universidade Federal do Pará, 2020-09-30) ASSUNÇÃO, Heloá Rodrigues; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This research deals with circus modalities in the Theater Degree course at the School of Theater and Dance of the Federal University of Pará (ETDUFPA) and aims to highlight the contribution of fundamental circus activities for the better development of body expressions and expanded knowledge. The Theater Degree course, for now, offers the disciplines of Clown and Animation Theater, in which I interned as a participating researcher and, in addition to observation and participation in classes, I interviewed students and teachers. Supported by authors from the circus area such as: Ermínia Silva, Mario Bolognesi, Eliene Benicio, Rodrigo Dupratt, Marco Bortoleto, Marton Maués, Aníbal Pacha, among others, I focus on the interweaving of circus and theater that has taken place since the beginning of the show, emphasized in the show created by Philip Astley in 1770. In this conception, the circus starts to dialogue systematically with other artistic languages. Since the creation of circus schools in 1970, the knowledge transmitted under the canvas has spread to other spaces, including academia. Through this diffusion, circus modalities start to constitute the curricula of several courses related to the performing arts and corporal practices. The research unfolds in four moments: a synthesis about the origins of the circus show and its modalities; the contributions of circus arts to the educational environment and the interweaving between the modalities already existing in the curriculum of the Degree in Theater; in addition to the affections existing in the researcher's teaching practice. The research also points out the need for the inclusion of other modalities in the initial training of the theater teacher, as desired by the interviewees.