Navegando por Assunto "Teatro - Dramaturgia"

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Acesso aberto (Open Access)
CORPO – CASA – GAIOLA: O Tapete de Penélope
(Universidade Federal do Pará, 2024-12-19) LIMA, Penélope Lopes de; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
Based on the perception of life’s trajectory as a great source of dramaturgical, poetic and scenic creation; as well as the understanding of the performer's body on stage as a patchwork quilt stitched together by memories, experiences and emotions; this artistic research aims to unravel, unearth and map the patchwork-quilt body of the artist-researcher who stands for both subject and object of research. An excerpt from the childhood period in the actress's life trajectory is the base catalyst for the construction of a solo scenic experiment that explores narrative theater, showcasing her body-home-cage and sharing intimate accounts of the actress's personal dramaturgy with the spectator. By transforming the rehearsal space into a portal directed towards the past (in which photographs and writings recorded within a logbook during rehearsals are true treasures of the creation process), the actress portrays childhood moments in a retreat to her own child self through the narration of portions of the Odyssey (the epic poem attributed to Homer), conveying aspects that influence her performing body today, such as motherhood and blackness. In the crossroads between the girl and the woman, the myth. As dramaturgy of life and the performing body exert on each other, thereby boosting creation processes.
Acesso aberto (Open Access)
ESCRITA DE TEXTOS TEATRAIS : Material didático em Ambiente Online sob uma perspectiva BIPOC
(Universidade Federal do Pará, 2024-08-09) ROCHA, Danilo José Assunção da; BRITO, Márcia Mariana Bittencourt; http://lattes.cnpq.br/3710898379776654
The present work aims to develop educational material for an online course that introduces the writing of drama texts for BIPOC individuals - acronym in English referring to Black, Indigenous, and People of Color. By understanding language as a social and historical product, a vehicle for ideological representations in which materialization manifests through discourse (FIORIN, 1990), this dissertation addresses the study of ramaturgy and proposes to investigate the theme as part of the phenomenon of dramatic theater (MAGALDI, 1994) and its possibilities in conveying discourses. Grounded in the intersections between Art, Education, and Digital Technologies, the hybrid methodology action research (THIOLLENT, 2011) combines bibliographic research on drama as a textual genre, online education (KENSKI, 2012), and design (KENSKI, 2012; PAWAN, 2012) to create the didactic-dramaturgical material in digital space (ØSTERN, 2021). The development of this material, with key elements and teaching strategies to introduce the writing of theatrical dramaturgy in an open learning environment, seeks to promote access to the mentioned knowledge and democratize artistic creation, as well as contribute to perspectives related to the use of technological tools in writing.
Acesso aberto (Open Access)
Quando os Caramujos vão ao Funeral e Mira o Amor que Parte…Mira o Amor que Fica: O processo criativo para uma dramaturgia da saudade
(Universidade Federal do Pará, 2024-12-02) ROSÁRIO, Adilson Pimenta do; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
We have Dorflex, paracetamol, dipyrone, anador, original and generic cataflam.”. The creative process for a dramaturgy of longing, poetry, experience and Love in the shows When the Snails Go to the Funeral and Look at the Love that Leaves… Look at the Love that Stays. ...And for longing, what is the cure? The relationship between longing and affective heritage in art. This research arose from the need to study the creative process of two shows experienced in different periods, and by different groups in the city, to which I was present in these scenic constructions. When opening manuscripts and photo albums in a drawer, I meet again with a group of 45 young people who were part of the scenic group of the Curro Velho Foundation and I go to the reunion of directors, scriptwriters, musicians, lighting technicians, costume designers, makeup artists, set designers who were part of the theatrical productions of the shows of the Scenic Group of the Curro Velho Foundation, founded in 2002, ending the Its activities began in 2010. All productions were funded by the same foundation. The group was conceived by Professor Olinda Charone. My proposal is to analyze two shows, the first from 2003, in the staging of Quando os caramujos vai ao funeral, adapted by Neuza Titan from a short story by the French writer Jacques Prévert, for which she is the stage director. This is my first show in which I join the stage group as an actor. The second production is “Mira o Amor que Parte…Mira o Amor que Fica” (2021). Produced and performed by Espaço Artístico Cultural D.Mira. Under the stage direction of Maurício Franco. In which I am the creator of the cultural space, actor and sign the dramaturgy constructed with Wellington Romário and Luciano Cantanhêde. Both shows have an overwhelming impact on me regarding art. My crossings of memories, memories, affections that I emphasize in this writing during the processes of these collective constructions, with due attention to the constructions of the dramaturgies of the two shows, as they were written at times of loss of great loves of our lives. Neuza Titan adapts the text with a writing of an adaptation of the Amazonian woman, after the loss of her husband and after 18 years, we wrote Mira amor que parte Mira o Amor que Fica, about the loss of my mother, one of the victims of Covid. Our dramaturgies are metaphors of longing.