Navegando por Assunto "Teatro - Pará"

Agora exibindo 1 - 6 de 6

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A casa da atriz: uma cartografia desassossegada das sociabilidades de um coletivo teatral em Belém do Pará
(Universidade Federal do Pará, 2015-06-26) PORTO, Luciana de Andrade Moreira; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
The House of Actress: A Cartography of Disquieted Sociability’s a Theatrical Collective in Belem takes over as creative principle risk up by forked paths, the investigation of daily negotiations this theater collective demands. The researcher knows for breaking initial ways of mapping must create an existential territory between the previous days and the present, to understand the need or not, the existence of home-womb. Its background research, other houses headquarters here recognized as interior geographies where locals and shelters are confused, converging memories, feelings and poetic. As an object, existing dichotomous feelings and residents in both structures (traveler and home). In the midst of the paths in between, the choice of the researcher is to be cartographer of the soul and unrest, walker and resident. When launching the path of poetic thought, discovers the traces of steps left in the boiling asphalt other foot, then it is known accompanied by other hikers in books: Gaston Bachelard saying the most precious, the have and being home; Fernando Pessoa poeticizing that existing restless wanderings in the plans of ideas and life are but a power test turn out to be; Lewis Carroll and Alice as beings who risk the new, all the time; Hilda Hist burning desires and Ítalo Calvino, in this imaginary lines, which depicts and recognizes through the fable, the habitat itself. Assuming the error and the unfinished as part of the paths taken, it precipitates a new journey.
Acesso aberto (Open Access)
Corpos Gordos em Cena: encontros embriagados na construção de uma personagem Rodriguiana
(Universidade Federal do Pará, 2015-06-30) OLIVEIRA, Marluce Souza de; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This Master’s Thesis presents fragments of two stage actresses life story. This encounter happens in crucial moments of our lives, Wlad Lima, veteran actress as a reference, and myself, Marluce Oliveira, a learner in art. On the first act, I do record my memories and translate them into artistic and everyday life scenes. On the second act, I do describe the encounter between two fat women, with similar experiences; I highlight the poetry of the veteran actress, her professional involvement, the local where both used to work, share and built (or destroy) their dreams, the similarities identified on love, familiar and professional affairs throughout the years. This encounter was crucial for the emerging poetry of the researcher, as beginner actress - the present study, entitled “Drunk Encounter”. On the third act, I do develop a study of the play “The man who cry for only one eye”, adapted from novel “The seven kitten”, of the dramatist Nelson Rodrigues. This work had a strong effect in our lives, one as stage director and the other as actress. The study also aims the understanding of specificities and correlations of this poetic encounter between us. Encounters and convergences on family, love life, work recorded in fragments of life story of each one of them. Methodologically speaking, the research was accomplished focusing the ethnomethodology, considering opening interviews, paper analysis, individual memory and referential as needed. Supported by some referential authors like: François Dosse, Michel Maffesoli, Ecléa Bosi, and one title of “the” stage director: Actor’s Personal Dramaturgy, Master’s Thesis. In the research, I revisited memories and records of a relevant play in our lives.
Acesso aberto (Open Access)
Iracema Oliveira: Mestra da Cultura e do Teatro Popular no Pará
(Universidade Federal do Pará, 2024-04-29) JORGE, Sâmela Cristina de Souza; BEZERRA, José Denis de Oliveira; http://lattes.cnpq.br/9404514273838260
This research investigated the trajectory of the Master of Popular Culture Iracema Oliveira and the sociocultural meanings of her work with the popular artistic movement in the city of Belém do Pará. Guardian of the Bird Junino Tucano, coordinator of Pastorinha Filhas de Sion and the parafolkloric group Frutos do Pará, Iracema Oliveira presents his own methodology for transmitting knowledge, an organization of artistic processes that contribute to the understanding of popular culture as a dynamic process, built over time and crossed by politics and social changes. Methodologically, we make use of participant observation (Minayo, 2001; Whyte, 2005) and documentary research, moving between epistemologies about art, music, theater, popular culture, Amazonian cultural history, to debate identity, memory and local culture from the research phenomenon, based n questions raised by Joël Candau (2012), Stuart Hall (2006), Bezerra (2016), Fares and Rodrigues (2017) among others. As a result, we hope that the research will contribute with new perspectives on the popular art system in Pará, based on the trajectory of Master Iracema Oliveira, bringing together a potential collection of memories, which tell about her experiences of art and life, and the sociocultural meanings of popular artistic practices in the capital of Pará, historically sown and maintained in the present time by the collective desire to make, sing and dance traditions.
Acesso aberto (Open Access)
Rezando, Cantando e Dançando: na espetacularidade do estandarte da Irmandade de Carimbó de São Benedito em Santarém Novo-PA
(Universidade Federal do Pará, 2021-01-25) CRUZ, Amarildo Rodrigues da; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199
Based on Ethnocenology as the ethnoscience of studies of Organized Spectacular Human Practices and Behaviors - PCHEO - (Pradier, 1996), the research has its most sensitive look at the banner of the Brotherhood of Carimbó de São Benedito in Santarém Novo – PA. Thus, the process of construction of this work goes through the universe of popular religiosity, from sacredness to the profane, as both of them sometimes move without creating borders, (Brígida. 2016), articulate and connect in the manifestations, religiosity being the guiding thread in this cultural process, revealed in the Brotherhoods of Black Saints, in their beliefs, syncretisms and cultural absorptions in the poetic and imaginary environment of the Amazonian man. In the construction of the epistemological and conceptual structure of the research, I maintained a constant dialogue with Armindo Bião (2007) and Jean-Marie Pradier (1996), observing how spectacularity, based on ethnocenology as an ethnoscience, seeks to understand the phenomenon in the face of different areas of transdisciplinarity ; with Miguel Santa Brígida (2015), I experienced the methodological practice based on the concept of the artist-researcherparticipant, and immerse myself in the universe of religious syncretism and hybridizations and cultural identities with Massimo Cavenacci, Nestor Canclinni (2003), Stuart Wall (2003 ) and Michael Pollack (1992), still connecting me to the procession of social memories, individual and collective, inserted in the phenomenon; in Jean Chevalier (1997), Mircea Elíade (1991) and Gilbert Durand (1993), I identified that images and symbols are essays of a magical-religious symbolism that crosses the hierophany of a people that preserves their African-descendant matrices and identifications, in which Vicente Salles (1971) and Célia Maria Borges (2005) and Napoleão Figueredo (1966) clearly describe the cultural heritage of the Brotherhoods of the Rosary of Blacks; with Paes Loureiro (2005), I immersed myself in the enchantments of a magical reality, which emerge to the surface of rivers and daydreams, in the Amazonian poetic imagination; Anne Cauquelin (2005), Lúcia Santaella (1983) and Luigi Pareyson (1993) helped me to understand artistic making / thinking and its aesthetic senses that reveal, sometimes in hidden ways, the interpretation of art. In this way, the research seeks to collaborate with the understanding of an Amazonian culture that is invigorated, updated in its memories and we fall in love with each new look.
Acesso aberto (Open Access)
Teatro da fragilidade: uma cartografia respiratória com o bando de atores independentes e seu espetáculo três
(Universidade Federal do Pará, 2015-06-26) PERLIN, Sandra Terezinha; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
In the following text, I ppropose a respiratory cartography created with three sections lines: the first building a methodological way with theoretical support in Deleuze-Guattari as perspective to the second section, which is the expression in fragments of memory, a sacred ritual on the construction process of the show Três, the band of independent actors, exercising Teatro da Fragilidade. In the last section, I present the mysteries that make theater, which differ form principles because the Teatro da Fragilidade is not connected to a source, a layer that understands and explains, but a theatrical doing more likely a body without organs, touted by of artists. The methodological path was not constructed, the path takes paired with me, - path and walker mix if shuffle – memory, a sacred ritual Mnemosyne, for the expression of the show Três construction process. The relevance from of the research is to report and understand the mysteries of Teatro da Fragilidade from band rehearsals processes of independent actors, to build a show, and nominat that doing theater in the city of Belém, Pará, Brazil, from the application of the concepts of rhizome of Deleuze-Guattari a linking of dissertation writing whith a rhizomatic writing.
Acesso aberto (Open Access)
Teatro Dadivoso: ritos e atos poéticos como práticas de cuidado de si e de outres
(Universidade Federal do Pará, 2023-02-06) BAYMA, Roberta Bentes Flores; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
This thesis-plot is a work of artistic creation composed of performative research woven by between threads, lines and fibers of fragments of dramaturgical rehearsals that enact acts and rites poetics, offered in favor of ancestral and existential healing through testimonies of life and artistic residence. Written texture arising from affectations and memories, lived or invented especially for this composition, resulting from experiments and artist-therapist creation processes with Teatro Dadivoso. Warp that departed from transformative metaphor of the life cycle of moths transmuted into poetic daydreams and becoming bodies, which produced meanings about the act of artistically researching and creating. Woven in casular spaces and crossed by other voices, those who came before and produced other plots, as well as testimonial narratives by artists and spectators who acted in generous poetics. Research in art that proposed to weave a performative cartography between female folds, corners and crossroads through which the research object transited in confluence of paths with the methodological movements experienced among poetic devices. It reveals testimonial scripture that aimed to affirm in the difference acts of singular care, different from those produced in certain power-fields of knowledge, ritualized in the scenic productions Ô, de casa! Posso entrar para cuidar? and Divinas Cabeças. To this end, it established lines of dialogue with other areas of knowledge, both scientific and non-scientific. scientific, and with other scenic poetics as a way of understanding approximations and distances from the meanings produced in the rites and poetic acts of Teatro Dadivoso as practices of caring for oneself and others that trigger political, ethical-poetic and spiritual.