Navegando por Assunto "Linguagem corporal"

Agora exibindo 1 - 6 de 6

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Defendendo o pavilhão: a dança autoral dos casais de mestre-sala e porta-bandeira das escolas de samba de Belém do Pará
(Universidade Federal do Pará, 2014-06-02) GONÇALVES, Arianne Roberta Pimentel; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
This dissertation regards to the mestre-sala (master of ceremony) and porta-bandeira’s (flag-bearer) authorial dance, as a couple, in samba schools of Belém, Pará, which take part in the activities of Pará Academy of Mestre-sala, Porta-bandeira and Porta-estandarte (standard-bearer), where I act as an instructor. The academy assisted me as field of study and methodological application for the research. The authorial dance is a proposal constituted from my choreographic composition process and movement research as porta-bandeira (flag-bearer), dancer and dance teacher. Thus, this research implies the analysis of the corporal investigation process as fomenter of signatures in the dance, which identify and distinguish the couples of “mestre-sala” and “porta-bandeira”, even facing the sharing of common repertoire of gesture. I use as methodology of this research ethnography, autoethnography and the number 3 in its symbolic and methodological dimensions in the arts’ research. The immanent dance is the main theoretical base adopted, because it supports my investigation about the authorial dance throughout application of the artistic dissection of the body. The body and movement’s investigation, the recognition and signature of the authorial dance made by the mestre-sala and porta-bandeira couples format the results reached with this study.
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Imagem mudança: um processo de transição em dança
(Universidade Federal do Pará, 2014-06-06) SOUZA, Ercy Araújo de; Mello, Ana Flávia de; http://lattes.cnpq.br/6144243746546776; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This research analyses the transcreation course between word, image and body in the choreographic creation process, regarding to develop a reflection upon this in the Contemporary Dance scene. Thus, experimentations occurred from September 2013 through March 2014, with the Grupo de Dança Moderno em Cena – GDMEC. These experimentations are considered as a methodolofy suggestion to develop and comprehend the choreographic transcreation, metaphorically associating it to the butterfly’s life cycle. It is believed that this study may assist in the considerations upon the creation process in art and, more specifically, in the dancers creative potentiality, regarding to their observation about their bodies, their images and their words in a transcreative experience under the principles of the Immanent Dance poetics, a branch of the Contemporary Dance itself.
Acesso aberto (Open Access)
Inscrições corporais: tatuagens, piercings e escarificações à luz da psicanálise
(Universidade Federal do Pará, 2010-12) MOREIRA, Jacqueline de Oliveira; TEIXEIRA, Leônia Cavalcante; NICOLAU, Roseane Freitas
This article is an attempt to apprehend contemporary discourses about the body and see this body as a space for subjective inscription. The article is the result of the interlocution among research projects that focus on the study of different types of body inscription and that are coordinated by the authors at three graduate programs. Taking psychoanalysis as the basis for our discussions, we study tattoos and scraping which, however distinct, are both seen as forms of language.
Acesso aberto (Open Access)
Musicalizando a dança : em busca de uma educação músico-corporal direcionada aos processos de criação e atuação em dança
(Universidade Federal do Pará, 2016-07-08) PINHEIRO, Débora Cardoso; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
Symphony MUSDAN mentions the initial title of this research, as are highlighted, and deals with the intention of doing musicalize dance in order to meet the musical needs of this area of knowledge, taking into account the experiences in the discipline "Music and Dance "of the Bachelor's Degree in Dance UFPA. It stands out as general objective: To investigate ways to design a teaching and learning from the study of body movement possibilities in search of a musician-body education directed to processes in dance. So, they were tested in laboratory ways of relating dance and music in one make, intertwining Movement Factors (LABAN, 1989) and Sound parameters (SCHAFER, 1991), so that some elements of music were understood through the movements of body, the dance itself. For this, the perspectives and principles of authors were applied as Klauss Vianna, Ciane Fernandes, who talk about body awareness and study of body movements; Fayga Ostrower, Lenora Lobo and Cassia Navas and Sonia Rangel, who talk about creating processes; Jaques- Dalcroze, Marisa Fonterrada, Teresa Bushman and Beatriz Ilari, who talk about pedagogies in music education; Maria Fux, Maria Mommensohn and Paul Petrella, who talk about the relationship between music and dance. In addition, Bakhtin is used as a means for you to do to understand the concept of established dialogue between the two arts. The survey found ways to appropriation by a music and dance through it, both for teachers and for students, dance artists and choreographers, so that they can consciously enjoy other possibilities of thinking their processes
Acesso aberto (Open Access)
Pele de terra, minha morada: memorial da criação do ritual cênico-erótico em diálogo com a obra Magma de Olga Savary
(Universidade Federal do Pará, 2016-06-10) BARROS, Ana Carolina Magno de; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This memorial naked the creation of scenic-erotic ritual earth Skin: my home done in dialogue with the Magma work of Olga Savary. It is understood as a mapping (PASSOS; KASTRUP; ESCÓSSIA: 2009), only a sibilada mapping a snaking between spiraled artistic languages and creative movement (SALLES: 2011) writing in sibilares. Having the image as "methodological operator" (RANGEL: 2009), this research snared four elements, said scenicerotic ritual (ARTAUD: 2006), rooted in the pursuit of erotic body (BOGART: 2011) active (QUILICI: 2015) ; an essay in which digestion eroticism signs (BATAILLE: 2013), the sacred (MAÇANEIRO: 2011), myth (CAMPBELL: 1990) and Uroboros image-strength, well in a performative writing; the daily stage director, made poetry shaped images, drawings, paintings, collages and scribbles, devices used to design the staging (ROUBINE: 1998); and the daily scene, a story in the literary journal structure, which narrate the daily life of the tests and present the ritual script. In this paper I propose to strip the act of creation that unfolds in new works, a circularity that feeds back, similar to the Uroboros as an erotic ritual.
Acesso aberto (Open Access)
Treinamento: anatomia actancial - um estudo sistematizado da cinesiologia, da biomecânica e das ferramentas didáticas das artes cênicas para o trabalho do atuante.
(Universidade Federal do Pará, 2016-06-28) RUBIANO ARROYO, Laura Janeth; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This artistic and scientific research creates a corporal expression, based on the systematic study of the anatomy and kinesiology of some theorists of the twentieth century, they are: Vsevolod Meyerhold, Etienne Decroux, Tatsumi Hijikata, Kazuo Onho, Eugenio Barba and Pina Bausch, implemented by the researcher, highlighting in the process of analysis the didactics tools focused on scenic performance of the actant, allowing to perfect the physical abilities, understood as: strength - resistance, flexibility and elasticity; aiming to reduce the injuries presented in the musculoskeletal system back. The text contains comparative studies of anatomy, made by researcher, they are linked to the concepts of actantial anatomy and pathological social adaptation. So the issues found and created during the research aim to the factor that the didactic tools of the performing arts, when included or related to anatomical peculiarities, they concern to the psychophysical and energy systems, they are caused, covered and nourished by the body in training. From these systems of training, appeared evident linked to the anatomy of movement, the injuries of the spine, the pedagogy and the didactics of the Actantial formation; in a context that integrates the psychophysical and organic qualities of Actantial training. Finally, here, it insists through the scenic language and pedagogy of Actantial training, cope with treatable the skeletal muscle back injuries, as well as prevent them in the performance, exploration, laboratory and stage work of actant.