Navegando por Assunto "Teatro de rua"

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Acesso aberto (Open Access)
1900 – O RANGER DA LIBERDADE: A memória como indutora de performances de rua
(Universidade Federal do Pará, 2020-12-04) SANTOS JUNIOR, Paulo César Sousa dos; BEZERRA, José Denis de Oliveira; http://lattes.cnpq.br/9404514273838260
This dissertation memorial presents and analyzes the creative process 1900 – o ranger da Liberdade, a set of performances developed by Zecas Coletivo de Teatro, in the streets of the metropolitan region of Belém do Pará in 2019. The research aimed to highlight the importance and multi-layered significance of scenic performances works, as a practicaltheoretical process, in interface with the studies of history and social and cultural memory, starting with the postulates of Le Goff (2013), Nora (1993), Candau (2011), and Assmann (2011). On language issues, we proposed a reflection on the relationship between the theater and the performance from the “in-between” perspective found in Bonfitto (2013) and Féral (2015); and about the specificities of performance language based on Cohen (2013), Goldberg (2007), Glusberg (2009), Schechner (2006; 2010), and Pavis (1996; 2017). From this universe, we approach the notion of experiencing the street in the relationship amongst performers, passers-by, and the city, dialoguing with the discussions about street scenic practices, proposed by Carreira (2007; 2009; 2011; 2012; 2020), Teles and Carneiro (2005). As results, we point out: a) the accomplishment of eight street performances; b) the proposition of the instigation method and creation device, organized during the research, beginning with the studies of Rangel (2015) and Sales (2011) over the creative process as an Arts research methodology, Cypriano (2015) about the power of creative processes in performance and Ribeiro ( 2019) on the concept of the place of speech; c) memory as an inducer of street performances, as a basis for the creation of dealienating artistic works that, in a dialogue between past and present, performatively expose issues that enhance respect for differences.
Acesso aberto (Open Access)
Máscaras, mascarados e oprimidos: do boi de máscaras de São Caetano de Odivelas ao Teatro de rua do Bairro da Terra Firme – Belém / Pará
(Universidade Federal do Pará, 2012) SANTOS JUNIOR, Paulo de Tarso Nunes dos; COSTA, Luizan Pinheiro da; http://lattes.cnpq.br/5390750292706184; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
This research investigates and analyzes the Teatro Popular this event from the scenic and visual elements that articulate the whole aesthetic. Reflecting on the importance of theatrical masks as a symbolic element in the preparation of technical and acting for the Street Theatre. Presents the work in creating characters from the signification of the object (mask) Popular Theatre for Theatre Street, in the neighborhood of Upland, Belém-Pará. The paper addresses the creation of a collective dramaturgy, which express in their scenes, their daily working. A street theater that seeks transcendence, through solidarity toward the collective awareness of the citizen to community problems and the fight against injustice and all forms of violence.
Acesso aberto (Open Access)
Três vestidos fazem pra se apresentar: um estudo sobre o vestir no espetáculo O Auto do Círio
(Universidade Federal do Pará, 2012-12-18) MOREIRA, Francisco Edilberto Barbosa; RODRIGUES, Carmem Izabel; http://lattes.cnpq.br/5924616509771424; AMORIM, Ana Karine Jansen de; http://lattes.cnpq.br/5875820201443540
They make three dresses to the presentation: a study about dressing in the scenic show O Auto do Círio is presented in three sessions, titled dresses. In the First Dress: the first Autos do Círio's street poetics, the actor is the creator of his/her dressing. In the Second Dress: cloth, costume and fancy dress there is made a presentation of these cardinal concepts and also the making of these creative process with colaboration of the carnival creators, known as carnavalescos. The Third dress: the fancy dress-costume of Auto do Círio argues about the creative processes of actor, costume designer or carnavalesco as conceiver and creator of the costume in the scenic show analyzed. From the analysis I propose a new concept to this dressing which is named as fancy dress-costume.