PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS – PPGAC
URI Permanente desta comunidadehttps://tedebc-teste.ufma.br/handle/tede/3439
O estabelecimento de um mestrado acadêmico visa propiciar uma atuação concreta e dinâmica da UFMA no estudo do Teatro e das demais artes da cena, contribuindo assim com avanços em áreas conexas como Artes Visuais, música. Neste sentido, o programa proporciona a configuração da UFMA como um núcleo de intercâmbio com outras instituições do Brasil e favorece a melhoria da qualidade do ensino oferecido não só na
área de Artes Cênicas, como também em áreas afins.
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Navegando PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS – PPGAC por Autor "BORRALHO, Tácito Freire"
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Item O ator brincante: um brinquedo-treinamento nos passos do boi(Universidade Federal do Maranhão, 2021-11-30) CUTRIM, Lauande Aires; VASCONCELOS, Gisele Soares de; http://lattes.cnpq.br/8042031616735309; VASCONCELOS, Gisele Soares de; http://lattes.cnpq.br/8042031616735309; FERRACINI, Renato; http://lattes.cnpq.br/0044553371898324; BORRALHO, Tácito Freire; http://lattes.cnpq.br/6354056336043839This study aims to reflect on the procedures for training actors and creating shows developed within the scope of Santa Ignorância Cia. de Artes, in São Luís (MA) between 2009 and 2019, based on the corporeality of Bumba meu boi players. It is structured according to six main parts of the game's plot and articulates its formulations based on theoretical concepts, editing books from the corresponding period, interviews with the players involved, and audiovisual recording of technical demonstration. It follows a qualitative approach of ethnoecological nature. The research subject presents its implications with the play and with the Bumba meu boi , contextualizing his 'terreiro' from the perspective of the player, the actor, and the player actor. It takes the five elements of the experience in Turner (2015) as a mediator of the procedural steps called training-toys, which consisted of: learning dances in different accents; the use of rhythm and its variations as ways of accessing interior images; the construction and deconstruction of physical matrices for the actor's dramaturgy; the organization of games, training, and games (training toys) that have arisen over the years and enable their expression in performance. Based on procedural revelations originated in group theater, this study proposes objective steps for those who wish to follow the paths of actor training in the perspective of techniques codified by the manifestations of popular culture, standing out for the decolonial proposal of a Brazilian corporal alphabet experienced in the Maranhão.Item Contos que o tempo conta: uma experiência de espetáculo com ator em máscara(Universidade Federal do Maranhão, 2023-09-22) SILVA, Rogério Vaz da; BORRALHO, Tácito Freire; http://lattes.cnpq.br/6354056336043839; BORRALHO, Tácito Freire; http://lattes.cnpq.br/6354056336043839; SANTOS, Ivanildo Lubarino Piccoli dos; http://lattes.cnpq.br/3371038837189854; MARTINS, Gilberto dos Santos; http://lattes.cnpq.br/2495541083851823; RIBEIRO, Tânia Cristina Costa; http://lattes.cnpq.br/9923951943288596The research in question presents the description and analysis of the procedures that were developed due to the creation, assembly and a presentation of the theatical show “Contos que o Tempo Conta”, produced by Company Oficine of Theater, from São Luís, Maranhão, presented in the year of 2019, in the scenic language of Mask’s Theather. I developed a study whery I try to dialou with the most representative foreign and national theorists, on the subject, even incurring in the universe of popular culture. With the intention of better situating the development of the research, I bring, after a reflection on the mask in the theater and groups that use them in their productions, the description, albeit succint, of the history and production of COTEATRO, up to the presente day, culminating in the investigation of the spectable object of study in this work.Item Máscaras e masmorras: um estudo da máscara como elemento de transição do RPG de mesa para o palco(Universidade Federal do Maranhão, 2023-03-03) DELGADO, Ricardo Vinícius de Carvalho; ZORZAL, Ricieri Carlini; http://lattes.cnpq.br/3267683322470733; BORRALHO, Tácito Freire; http://lattes.cnpq.br/6354056336043839; BORRALHO, Tácito Freire; http://lattes.cnpq.br/6354056336043839; ZORZAL, Ricieri Carlini; http://lattes.cnpq.br/3267683322470733; FONTENELLE, Plínio Santos; http://lattes.cnpq.br/7231046240258549; FONSECA, Michelle Nascimento Cabral; http://lattes.cnpq.br/3682376794834169This work seeks to study the mask as a transitional element from the table RPG to the stage, in a proposal that we call stage RPG, that is, the adaptation of an RPG table for a scenic staging. To support the proposal, we study the game as a common point of origin for theater, games and animated forms, also analyzing how aspects of war games and interpretative aspects arrive at the tabletop RPG; and analyzing points of contact between theater, RPG, performance and ritual, bringing the mask as a key point of the relationship, which, due to its malleable character and easy use and removal, can show in itself all the alignments and changes that a character of RPG passes during the campaign. For experimentation, we used the D&D 5E RPG system, opting for the campaign The Lost Mine of Phandelver. The random character creation method was used, resulting in four varied and ready-to-play characters. At the end of the campaign, it was analyzed that four masks would be made, each with two stages: One referring to the beginning of the campaign and another referring to the end. The masks were produced in cardboard, using spackle, papier froissé, wire and paint, with photos of the first and second stages.Item O teatro de animação e o espetáculo “a canga”(Universidade Federal do Maranhão, 2021-11-26) CARTÁGENES , Silvana Raposo; BORRALHO, Tácito Freire; http://lattes.cnpq.br/6354056336043839; BORRALHO, Tácito Freire; http://lattes.cnpq.br/6354056336043839; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971; SANTOS, Ivanildo Lubarino Piccoli dos; http://lattes.cnpq.br/3371038837189854; FONSECA, Michelle Nascimento Cabral; http://lattes.cnpq.br/3682376794834169In this dissertation I develop an analysis of the Animation Theater present in the show A Canga organized by the Laboratório de Expressões Artísticas group (LABORARTE), in the category of Theater of Actors and Puppets. I take as documentary support for the development of this analysis, fragments of notes from my observations and reports from artists, technical agents of the promoting entities and leaders of social movements that participated in the work in question and that expose the origin and materiality of the structure of the Theater of Dolls of this show. I try to understand its dramaturgy, the doll's aesthetics and political issues present in this work. The research in question reveals how the participation of this spectacle took place with the social movements that acted as support to rural workers and served as an instrument of resistance and confrontation against landlord oppression. Qualitative methodology was applied, performing a descriptive/explanatory case study based on personal and documentary records found, complemented by reports collected in online conversations and testimonials via messaging application, necessary adaptations due to the Covid 19 pandemic. This work intends to contribute to the testimony of the importance of this type of show production for the history of the Animation Theater in the heart of the Scenic Arts of Maranhão.