Navegando por Assunto "Processo criativo"

Agora exibindo 1 - 10 de 10

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A casa de Marlene
(Universidade Federal do Pará, 2018-06-29) NASCIMENTO, Suely da Silva; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This memorial presents the research “Marlene’s House”, which I developed in the Academic Master of Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará. family and affective memories, in which photos, videos, audios, writings, feelings and emotions merge. The course is divided into moments experienced before and during the academy. I report the contribution of the disciplines and the production of articles. I talk about the construction of this poetics perceived in this path and tale about the day to day of the making of the research. My way of doing poetry, my mother’s schoolbook as the image that generates this whole process, the experimentation of creating an artist’s book and the photograph of my mother’s house complete this memorial. As well as my thoughts that there is still a significant poetic material to be worked on, in the future.
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CORPO OCUPANTE AUTOCRIADOR: Diálogos possíveis entre fazer artístico e diversidade sexual e de gênero
(Universidade Federal do Pará, 2023-12-28) SILVA, Juanielson Alves; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211
This thesis is born from the desire to understand artistic practice, especially those that engage in direct dialogue with sexual and gender diversity, as processes that take place in the realm of Art & Life and, therefore, through insurgencies and insubordinations, generate possible paths for the tensioning of the device of violence and surveillance of gender and sexuality, that is, LGBTfobia/homophobia. To this end, I explore the notion of artistic self-creation (LAVAND 2021) as a research trajectory, focusing on a series of artistic experiences that transit between creative processes and community experiences, which can be read as LGBTQIAPN+ artistic practices, experienced by me between 2019 and 2023. As theoretical support, I dialogue with three main artist-researchers from the Pará Amazon and some key concepts of their theories practices: Ana Flávia Mendes (2010) and the "Immanent Body", Mayrla Andrade Ferreira and the "Creator Inhabitant" and Rosangela Colares Lavand (2021), with the aforementioned "Artistic Self-Creation", as well as authors from the field of gender and sexuality studies such as Daniel Borrillo (2016), Regina Facchini(2003), among others, to materialize lines of force between this research and its social function as an artivist for human rights, specifically the right to existence of the LGBTQIAPN+ community with its folds and intersections. Thus, as a thesis, I argue that the act of thinking-through-art is capable of tensing the cis-heteropatriarchy by inventing other modes of existence through the artistic self-creation present in LGBTQIAPN+ artistic practices, in which there is a body that occupies and incessantly creates itself, being a process in which the artist is implicated in and with the poetic act in which, at the same time that it transforms itself, transforms the world. A body that, in its artistic creations and feats, is also in the process of creating itself. A Self-Creating Occupying Body
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Dinamites dissidentes : construção (re)performática de uma autoetnografia
(Universidade Federal do Pará, 2023-07-07) ROCHA, Raphael Andrade; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414; https://orcid.org/0000-0001-8277-5210
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Farinha poética: a coreocartografia familiar de um rito artístico
(Universidade Federal do Pará, 2019-06-24) SILVA, Juanielson Alves; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
This research aims to present and understand the creative process of the Artistic rite Poetic Flour (Rito Artístico Farinha Poética), through theoretical and practical dialogues, as a production of artistic and academic knowledge. By artistic rite is meant the moment in which the scenic product of this research is delivered to the public. In order to construct the work of art and arrive at this moment, I used a strategy I call familiar coreocartography (Coreocartografia familiar) - a methodological proposal for dance research inspired by cartography (DELEUZE, 1995) in dialogue with the creation processes (SALLES, 2006), an experience which unveils the (re)encounters of this interpreter-creator in dance with his family, his history and his dance, thus becoming a broad network of artistic, epistemological and life connectives, a map of a family of knowledge willing to shared. In the realization of the work research, the procedures of preparing flour as metaphors for creation in dance, I observe the processes of "semiotic conversion" (LOUREIRO, 2007) of the gesture in "contemporary dance" (ROCHA, 2016) and highlight the relevance of subjectivity as the value needed for scenic creation. As a result, it is verified that the research treated in this memorial transcends the reflections on the resources and procedures of scenic construction Artistic rite Poetic Flour (Rito Artístico Farinha Poética) and advances in the sense of seeing the construction of this Rite as a process of healing and reunion that is based on life situations and of art, intimate relations with one of the social contexts of my hometown, a context that my family lives during the production of cassava flour
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Fazendo a pele no auto do círio: processos criativos da maquiagem da comissão de frente
(Universidade Federal do Pará, 2019-06-27) VASCONCELOS, Iam Nascimento; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199
This research seeks to understand as creative artist-researcher-participant of Auto do Círio the creative processes of makeup of the Front Commission revealed in the spectacularity of this scenic phenomenon of singular dimensions as dramatic courtship. Armindo Bião (2008), Jean-Marie Pradier (1995) for the approach to Spectacularity, Theatricality, Cultural Matrices - Aesthetic Matrices, and Theoretical and Methodological Matrices in Ethnocenology, as Ethnoscience of Arts and Forms of Spectacle. Michel Maffesoli for Emotional Communities. In the study of the imaginary Paes Loureiro (2010) in his proposition of Semiotic Conversion as a conceptual key to understanding the poetics of Amazonian culture. For the Creative Processes approach, Sônia Rangel (2015) and Philip Hallawell (2010). As a dominant ethnocenological premise, we privilege in the methodological procedures the multiple internal experiences in the research phenomenon, giving relevance to the wisdom of practitioners and their trajectories in the show, through photographic records, videos of the creative process of self makeup and choreography, as well as semi interviews structured. These audiovisual records compose a documentary titled Auto Etnodocumentario indissociated from this reflection contributing, as a makeup artist, to the construction of knowledge that springs from the complexity and richness of spectacular street practices in the contemporary Amazon
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Lapidação criadora na joalheira contemporânea da Amazônia: processo criativo de um designer de joias
(Universidade Federal do Pará, 2017-06-22) DUARTE, Jorge José Pereira; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199
This research investigated from my experience as a designer, the creative process of jewelry in the Polo Jeweler of Pará. From the notion of Creative Lapidation, we seek to understand the factors of creative induction that inspire the act of creation of these artifacts, starting from theoretical research Integrated in the artistic practices of the author himself, and the Creative Path, proposed by artist-researcher Sonia Rangel. I present a reflection based fundamentally on notions of Ethnocenology and Comprehensive Sociology, reflecting on the function of jewelry in the contemporary context. The approaches of these two theoretical lines go beyond authors in common, such as Michel Maffesoli and Renata Pitombo Cidreira: premises such as attention focused on social complexity and its relations with the individual, and the importance of the experience and involvement of the author in the phenomenon investigated. By observing the formal elements present in the works, it was possible to deepen and discuss the Creative Lapidation and its Powers, relating them to Ethnocenology (Jean Marie-Pradier, Armindo Bião and Miguel Santa Brigida), Studies of Culture (Paes Loureiro), and Creative Processes (Sonia Rangel and Fayga Ostrower), aimed at a proposal of reflection on the Creative Stoning in contemporary jewelry design in the Amazon.
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Memórias de um autor em construção: reinvenção de processos criativos como fonte de aprendizado
(Universidade Federal do Pará, 2012-06-25) SILVA NETO, Alberto da Cunha e; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074; AMORIM, Ana Karine Jansen de; http://lattes.cnpq.br/5875820201443540
This paper presents a mapping of four creative process experienced by the researcher, conducted with the aim of understanding the acquired knowledge about the art of acting and how it was built from these practices. Based on the notion of memory as a reinvention of living, using the concept of Amazon behavior as methodology, and from the theoretical framework on the psychophysical actions as the basis for the work of the actor, was made a critical analysis of techniques, procedures and constructive methods used or produced in these process, which results in the invention of these methods from a current look. The result of this research extends the researcher‟s view about the actor, dilated to understand the mind of the actor as a source of fluid sheet stock psychophysical, generating knowledge that can be applied in future performances, theatrical directions, and the other practices in theatre theory and interpretation teaching, and contribute to the theoretical studies about the actor from the experience of creation.
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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.
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Tramas invisíveis: bordado e a memória do feminino no processo criativo
(Universidade Federal do Pará, 2019-06-24) SOUSA, Juliana Padilha de; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
The present work, part of reseach line “Theories and Epistemic Interfaces in Arts”, discusses the relationships between creativity and the embroiderer at the same time, in domestic and family life. Studying a technique that, lived at the border of the academic grade for so long, and has multiple functions and multiple practices, requires a calm and patient analysis. As a line of research that encourages the approach of knowledge, this master’s thesis refers to other scientific contexts such as social sciences, psychoanalysis, history, memory and design. The relationship of studies in the historiography of art and of embroidery, women, memory and identity, the study tries to understand the compIex composition of the contemporary embroiderers through interviews, building dialogues about the invisibility of being a woman in the art worlds and the questions that surrounds their creative processes. By analyzing feminist insertions in contemporary art, it is revealed embroidery as a practice fulfilled with symbology. The thesis is divided into Back and Front, highlighting the intrinsic duality that makes up the practice and its delicate and subversive nature. It is also a purpose of the work to think and create new borders, materialized in an artist's book and an album of embroidered photos, "The Album of the Yarns" and "The Invisible Album", experiments that arise from the scientific writing, to weave new spaces of memories and existence /resistance.. To recover the history of the feminine art it is required a long and extensive, however this research is only partial, within a limited space, time and pont of view.
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Travessia poética: memórias das paisagens amazônicas como potência no processo autoetnográfico de criação/reflexão artística
(Universidade Federal do Pará, 2019-09-10) CAMORIM, Germana de Alencar; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
This dissertation seeks to understand my creative process, through my perception as a participant of this culture, I use the amazonian, human and emotional landscapes as the motor scheme of the research, besides the analysis of its symbolic schemes such as the boat, the river / water and the forest and the influence of popular culture on artistic production in its relation to miriti matter and in symbolic exchanges through autoethnographic narratives and these as cultural instruments. Finally, I expose the production process in stages. 'Ethnopoetic Crossing' is based on the understanding of the particular processes of this culture, and its reflection method is autoethnography, which seeks to understand my path, through my experiences with the environment I live, or rather, I seek to understand how the amazonian, human or emotional landscapes guide my creative process, which develops through the use of some artistic techniques such as photography and screen printing, having miriti as a matter and / or support that identifies my territorial space, as well as the landscape as a reference of identity and socio-spatial awareness of belonging. In an intimate composition, as a structure of a being, where the worked images (photographs) would be a kind of physiognomy, in parallel with the human - skin, that which gives face, that goes over the body (miriti), or in a dualistic relation of geographies, human landscape within the geographical landscape, an intimate geography that carries the subjectivity of a mnemonic relationship that constitutes and built me as an artist, as a breath that gives life to these beings, these geographies. that awaken my affective memory as an artist-researcher and result in the artistic production of copyrighted objects developed in various languages and techniques, supported by miriti. The conduction of the research has been guided from established theoretical contributions and guided by the autoethnographic methodology. The theoretical framework used finds support in Bastos et al. (2016), Pizarro (2012), Loureiro (2000) and Benjamin (2012).