Navegando por Assunto "Teatro"

Agora exibindo 1 - 18 de 18

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Cenas que revelam o encontro com a vida: a presença de intervenções cênicas no espaço hospitalar como provocadoras de alegria e humanização
(Universidade Federal do Pará, 2013-07-30) PINHEIRO, Patricia Mara de Miranda; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074; AMORIM, Ana Karine Jansen de; http://lattes.cnpq.br/5875820201443540
This Master Research is based on the different intervention strategies scenic in the hospital space, among the groups: Clowndoctors (SP) , The Universe as Scenic Hospital (RJ) and Infirmary of Laughter (RJ) . My goal is to identify and analyze , from the experience of the groups mentioned, the conceptions of art and health support groups in their scenic interventions in the hospital. Among the authors who dialogued, is important to highlight: Beard (2010), Masetti (2011), Foucault (2011), Deslandes (2006), Boal (1996), Boff (1999), among others. The methodological model chosen for this study was qualitativ , more specifically with the approach in the case study, according to Yin (2005) . In the stage of data collection, I used the analysis of documents and semi-structured interviews with actors and group coordinators. The analysis of the research material was based on three categories of analysis, namely: the first intervention - scenic and space, in which I found that the encounter between art and health can cause distinguished look for these aspects when interventions may appear with scenic the most varied possibilities for creations of theatrical forms, praising the work of the artist 's perception of how art can engage within the hospital. The second - setting for intervention, before the analyzes revealed a consistence of preparation, training, organization, producing quality work, in a dialogue with the world of the hospital within creative possibilities and materials, and can bring power to artistic action regarding the art of scene. And the third - actor/clown/patient, when I found that interventions materialized in meetings in the hospital, can trace a direction for a new encounter with the health, because the theater, introduced in the hospital, may be involved in a road of cure, in the sense of caution: of the space, the relationships, the others.
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COM QUANTOS NARIZES SE FAZ UMA PALHAÇA BEIJA FLOR? O desvelar dos modos de ser e de existir de Aurora Augusta.
(Universidade Federal do Pará, 2024-09-17) CORRÊA, Suani Trindade; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
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Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz
(Universidade Federal do Pará, 2021-05-31) PORTO, Luciana de Andrade Moreira; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
Cosmogonies of love: the opening of a theatrical female director’s sketchbook in the House of Actress is an affective and luminous cartography of a woman director on the process of discovery in a house-theater. Created as a dismantle, as named by Rosane Preciosa in Discreets rumours of Subjectivity, it is composed by pieces that take risks of being completely disarticulated. These writtings try to build the creative process using images and exercises stimulated by Eugênio Barba in Burning the house: the birth of a director, multiple voices wich compose and exhaust themselves. The text presentes some changes in the verb tenses, confusions, stories and dreams. Accepting Barba’s speech when he says that there is a wound in the middle of the creative process and, in addition to it, there is also Jorge Dubatti’s voice in The theater of the dead saying that we need to recognize our failures to make them better, it shows us (as science and construction of sense) a most human position and more sincere with the object written by myself: the humanity in the flesh, in the thoughts, in the wrong distances of the mistakes that many times made me just an automat of the scene. This doctoral thesis is above all, an agreément of humanity, of becoming a Doctor in a pandemic period, with all the risks that we take and of the privilege of keep thinking during this context. Even if this act is made in other ways. Eliana Bertolucci in Psychology of the sacredness and Zulma Reyo in Interior Alchemy are flames in the darkness, to take consciousness about the creative process, we shall give birth and light, illuminating unknown places, reaching out things that we don’t know how to talk. A risk conceived in three steps: Misteries of joyis about the creation through the pleasure, used as a method of writting; Cosmos came to me inspired by the people who lives with me, so it is about the interchange of presences, essays about the director’s universe in the moments of creation and Lunar conjunction is a way to constelate in the essence, as Hilda Hilst wrote in Seven songs from the poet to the angel, shows the presence of other people in the poetic, in the thoughts. Astonishment.
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Fluviografias cênicas: memórias e presenças de um corpo em travessias.
(Universidade Federal do Pará, 2021-01-20) FONSECA, Roseany Karimme Silva; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
The present work proposes the poetic-scenic elaboration of a body located in between, this understood as an intersection: between the city of Belém and the interior of Marajo island, between narrative and scene, between word and action, between memory and presence. Between, here, is available as a means of understanding the history of a researcher in her processes of physical crossings, written, recorded and retold. Amazonian authors such as Eidorfe Moreira and Joao de Jesus Paes Loureiro support the setting of this research, guiding reflections for a personal journey; there is the search for a poetics of space, as proposed by Gaston Bachelard (1993). In addition, the research dialogues with the concept of “Personal Dramaturgy”, defined by Wladilene Lima (2004) and the so-called Self Writings. In this context, the following issues emerge: 1) the body, as an organism, can be constituted in a landscape - approached in this work in the light of humanist geography? 2) can this body express itself scenically, in line with an environment, in which it lives its own journey through writings, travels and memories? 3) what are the relationships between the body, the text and other elements of the scene in the staging process? Based on these questions, the objective is to understand the condition reached by the acting body, when it crosses and is crossed as a subject / object of a poetics developed on the scene. As for the elaboration processes and their unfolding, this research is understood like a fluviographic immersion, in view of considering landscapes, margins and express flows of rivers and in the rivers taken. As a device of practice, body language and the possible states of scenic composition of an extra-everyday body are sought and the “Corpografia” highlighted by Juliano Jacopini (2016). As a methodological procedure, the fluviographies follow the idea of research in art proposed by Sônia Rangel (2009), appropriate to the line of research in Poetics and Processes of Performance in Arts. Therefore, the methodology will be immersed in the practice of scenic creation. Create, cross and dive are configured as the action verbs for the scenic act in progress, working a scenic state as a reality inscribed and made present in a body / space of identifications of the acting, resulting from their crossings
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Isso não é um poema! : das luminosidades de si.
(Universidade Federal do Pará, 2021-01-26) SOUZA JÚNIOR, Enoque Paulino de; SOUZA, Iara Regina da Silva; http://lattes.cnpq.br/7853301997403243
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Kata pessoal: treinamento psicofísico para atores/bailarinos por meio do judô
(Universidade Federal do Pará, 2012-02-29) PINHEIRO, Silvia do Socorro Luz; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
The object of this research is the judo as body practice of the actor/dancer. A hypothesis presented in this paper is that judo includes useful techniques for training the actor/dancer looking through the lens of Theatrical Anthropology. The objective is to research the judo, both technical artifice as philosophical, elements that could enrich your state pre-expressive, which is building the Personal Kata. This proposal incorporates different theoretical and practical fields: judo and theater focus on containing the principles of judo in communion with those of Theatrical Anthropology. My experience as a judo teacher was taken as reference for the study because it represents the area on the philosophical and practical foundations of judo. About methodological procedures, we chose a qualitative approach, but it has a descriptive nature, into which was conducted a bibliographic gathering. Also, the field research, involving interviews and statements; and a laboratory of training, a title of experiment. For application of this training was selected a set of techniques of judo based on criteria such as: balance, energy, contrast-stretched body, organic.
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Mestre nato em narrativas costuradas: estudo de princípios de criação dos figurinos em 'O Auto da Barca do Inferno' e A-MOR-TE-MOR
(Universidade Federal do Pará, 2012-01-27) BAENA, Graziela Ribeiro; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
According to personal account on the pathways followed by the artist known as Master Nato in the creation of theatrical costumewas possible throughout the analyzes of costumes of two plays Auto of the boat to the hell, produced by the Usina of Theatre of UNAMA, 2001, directed by Paulo Santana and A-TE-MOR-MOR, love fragments of One hundred years of solitude, performed by The Actors Training Course at the School of Theatre and Dance of UFPA, 2002, directed by Karine Jansen and Wlad Lima. To conduct a study on the production of theatrical costumes in Belem based on the experience of a professional. The experience of the Master Nato as costume designer reflects in the practice of other ones acting in this scene and shows alternatives about the act of making costumes. To trace the biography of the researched artist, identify his creation methods, to show examples of costumes designed by him. Along with the theoretical background about costume and arts, it also shows the formation of a self-taught artist, an independent creator apprentice of formal guidelines about making costumes for the scene.
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Nó de 4 pernas: a tessitura de uma experiência de teatro multimídia em Belém do Pará
(Universidade Federal do Pará, 2014-06-09) LIMA, Fábio Bezerra; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This study analyzed the theatrical play from parauara author Nazareno Tourinho entitled No de 4 Fernas (Four Legged Knot), emphasizing the third act, as well as the videos used in the homonymous theatre show, presented at Belem, state of Fara, in the year of 2012. The methodology came from my experience as costume designer and production assistant for the show, and from attending rehearsals and presentations. Choosing to work with No de 4 Fernas (Four Legged Knot) was a selection from the production of fourteen plays by Nazareno. The proposal for stage setting, multimedia theatre, allowed for a reading based on contemporary references, in a dialogue with classical authors. In dealing with dramaturgy, the classical-modern link is unbreakable. In addition to theory, the unconditional support from Nazareno Tourinho, during meetings for conversation and interviews, made this study possible. In order to contextualize the author and his work, we traced a historical panorama of the theatrical scene in Fara, listing key concepts used as support for the proposed analyses in this academic work, of which the focus is multimedia theatre supported by the cinematic taxonomy of Gilles Deleuze. The importance of this research is attested by the registration, acknowledgement, and publicizing of Amazonian dramaturgy in the scenery of Brazilian performing arts.
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Palhaçaria feminina na Amazônia brasileira: uma cartografia de subversões poéticas e cômicas
(Universidade Federal do Pará, 2014-06-05) FLORES, Andréa Bentes; AMORIM, Ana Karine Jansen de; http://lattes.cnpq.br/5875820201443540; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
My writing comes from my work as a comical woman crossing concerns about the clowns' genre and the experience of Amazonian artist. It is related to my personal need of expansios, on refrain, from loneliness, that is só present on my clowning career. On this research, I desired to map clown women who act in the Amazon, and also to understand possible meanings for female comicality from life stories of these women, and to analyse the relationships that I can find with the Amazon territory, in wich they are situaded, present in their doings. This is a playful cartography, which plays with concepts, geographies and subjects that crosses nomad meetings with clown women who work in this Amazonian territory.The writing, embodied in the constant dialogue between theory and transcribed reports of forty-one participants, can be freely visited in five parts. On the first one, the reader finds my way of life that results on the meeting with the research theme and also the way chosen to research it, discussing the cartographic assumptions that I found as epistemological possibilities. Then, there are two moments, called Bem-Te-Vis, which are based on the structure of Deleuzian plateaus. The Bem-Te-Vis focus on the overlapping powers that guide the research, the female, the comic an Amazonian. I aboard the first two concurrently, while going through historical and social constructions about the common female roles, subverted by the clown, who is naturally transgressive. The third power is discussed separately, focusing on the Amazons present in the doings of the clown women found, that help me on mainstreaming the region, apart from my political positions against lack of acess, relative to the rest of the country and the lush image widespreaded on the midia. I recognize the difference at the Amazonian clown women through repetion in transdifference, that blurs my map of regional boundaries, in becoming-minority with the territory. Between the approach of the powers, I have written na invented history for the clown, which follows a personal need a political strategy by the end of silence. At the end, the reader finds the first chapter on the dissertation, where there are considerations about the Amazonian female clowning, undoing, on scene, my suitcase, full of what I have lived at the meetings, while I aboard the landscapes of gender and territory, found in paths on this research.
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Para ter onde ir : performatividades madalênicas ou um mergulho no abismo do meu desejo profundo
(Universidade Federal do Pará, 2023-08-30) FERREIRA, Leonel Rodrigues; SOUZA, Iara Regina da Silva; http://lattes.cnpq.br/7853301997403243
"To have where to go: Magdalenian performativity or a dive into the abyss of my deep desire" is a memorial for a master's degree in arts, in which I present the artistic procedures of two performative shows by "Teatro Madalenas Company", from Belém do Pará, staged in the years 2003 and 2015, thus resulting in a new performative show. Such a poetic act articulated the artistic procedures used by the "Madalenas" company, with others that are part of my trajectory as a scene artist, mainly making use of Viewpoints, the re-signification of urban space as dramaturgy, in addition to my personal memories. For the conception of the performative show, I establish a dialogue between Viewpoints and Composition based on the studies of Anne Bogart and Tina Landau; the studies about "The invasion Theater", by André Carreira; Max Martins' poems, from the work "To have where to go" and experimentation in video art. Keywords: Theater, Performativity. Creative process, Body composition. Video art."
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Peça filme: o efeito cinema e a poética dos espetáculos teatrais de Saulo Sisnando
(Universidade Federal do Pará, 2012-01-27) SISNANDO, Saulo Alexandre Picanço; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
This work intends to investigate the influence of the cinema on Saulo Sisnando's plays by using projections, as in the Play-Movie popPORN - sete vidas e infinitas possibilidades de corações partidos, or considering the way the film editing was added to the staging of Cartas para Ninguém Play-Movie. This work also aims at demonstrating step by step procedures for inserting film techniques into the play o misterioso desaparecimento de Deborah Rope (built along with this work), discussing the possibility of such a hybridization, which goes beyond the use of audiovisual resources (yet using it), but seizing typically film concepts as film editing, montage, close-ups, fades, cuts, plans against plans, sequences, frameworks, etc, in a way to achieve a "film effect". Besides, it also intends to analyze the Play-Movie O misterioso desaparecimento de Deborah Rope from the dramaturgical building up into the execution on stage, when, following a realistic theory of André Bazin, it will be analyzed through the film editing and plasticity of the image prism.
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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.
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Recriação e atualização da cosmogonia amazônica no corpo cênico do G.R.E.S. Beija-Flor de Nilópolis
(Universidade Federal do Pará, 2011-07-01) ROSENDO, Alexandre da Conceição; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This paper purposes the comprehension and reflection on which manner occurs the corporal training of the scenic chorus of parades of the G.R.E.S. Beija-Flor de Nilópolis, through the carnival plots which compose its “amazonic triad”, such as: i “Pará – O Mundo Místico dos Caruanas nas Águas do Patu-Anu” (1998); ii “Manôa – Manaus – Amazônia - Terra santa... Que alimenta o corpo, equilibra a alma e transmite a paz” (2004) as well as; iii “Macapaba: Equinócio Solar, Viagens ao Meio do Mundo” (2008). Considering the existence of a recreated, modernized and stylized mythology in those parades, I analyze the creation process engaged, also through the scenic arts, in order to institute “spetacularization” in popular culture. Therefore, I feature the valorization and conversion process of amazonic culture in the parades of a G.R.E.S., precisely in Beija-Flor de Nilópolis. Assuming the Amazon as core, I analyze the definitions of myth and cosmogony, reflecting on amazonic culture, which has its legends, myths and imaginary transferred from its current reality and nature, and also converted through the process of corporal training into the work of the performers, who compose the parades. From this process, results the charming phenomenon of Carnival in Rio de Janeiro. Finally, this paper also tackles on the issue of theatricalization of Carnival as a basis to the establishment of the staging in the parades, as well as a process of conception of a “carnival show”.
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Revisitando o teatro de Paes Loureiro: um caleidoscópio mítico de "Ilhas da ira"
(Universidade Federal do Pará, 2009-06) SARMENTO-PANTOJA, Carlos Augusto Nascimento
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Revolução do Invisível: a sistematização de um treinamento pré-expressivo a partir do malabarismo
(Universidade Federal do Pará, 2019-07-04) SANTOS, Renan Coelho; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
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Ritual em Artaud: considerações e reconsiderações por uma poética da crueldade
(Universidade Federal do Pará, 2011-03-18) SILVA, Edson Fernando Santos da; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This dissertation analyses the propositions of French visionary Antonin Artaud, concerning his thoughts and accomplishments of ritual theatre in close connection with his lifetime. In this sense, Artaud is categorized as a liminal figure, insofar as he takes out, from his own life, relevant elements which justify the re-sacralization of the stage. From the etymological definition of „rite‟, this research allocates Artaud´s theatrical project the realm of religious rites, into which some of his concepts such as Double, Cruelty, Metaphysical, Magic and Sacred will be revealed. Also, the formula „pnp equals i in the pc context‟, applied during theatrical experimental montage of Quando a música terminar…, points out boundaries and possibilities of accomplishing ritual theatre as a liminoid activity.
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Rousseau Misantropo
(Universidade Federal do Pará, 2015-06-24) CORÔA, Pedro Paulo da Costa
The purpose of this article is to show how Rousseau, in his Letter to D’Alembert, takes up the classic debate between theatre and morals on the same grounds established by Plato. In Rousseau’s work, the debate about theatre has an objectivity that we do not find in D’Alembert’s article. Therefore, what is involved is not a difference of opinion between Rousseau and D’Alembert, but a difference in the philosophical ability to fully understand what concerns both theatre and morality.
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Teatrinhos elétricos: experiência com imagem no Marajó de florestas
(Universidade Federal do Pará, 2016-12) SENA FILHO, José