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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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 Quadro de antagônicos: aplicabilidade físico-energética no processo criador da Pequena Companhia de Teatro(Universidade Federal do Maranhão, 2022-12-06) MARCONCINE, José Cláudio; ZORZAL, Ricieri Carlini; http://lattes.cnpq.br/3267683322470733; ZORZAL, Ricieri Carlini; http://lattes.cnpq.br/3267683322470733; FERRACINI, Renato; http://lattes.cnpq.br/0044553371898324; VANCONCELOS, Gisele Soares de; http://lattes.cnpq.br/8042031616735309This article aims to analyze how the Antagonistic Table (QdA) consolidates itself in the creative processes of the Pequena Companhia de Teatro (PCT), based in São Luís, Maranhão, developed and applied on its actors' preparation. We will adopt as an analysis unit for this case study the shows: Entrelaços (2009); Pai&Filho (2010); and Velhos caem do céu como canivetes (2013). As complementary methodologies, we will proceed with: a review of the method adopted by the company for actors and actresses' training and their characters' composition; detailed actors and actresses' body ways in the representations construction, considering the applicability physical energetic of (QdA), through classes training; suggestion of systematization of the actors and actresses' creative process in their characters' composition, from the training proposed by PCT. The observations and studies in the actors and actresses' dramaturgy construction will be fixed, in the beginning, in the Theatre Anthropology by Barba (1995), in the Bodymedia Theory in Greiner and Katz (2005) and in the energetic perception in Moretti (2022). The instruments of data collection are the focused and semistructured interviews with the actors and director involved on those three shows (analysis unit of this search); and this researcher's notes of personal experiences in rehearsal room. The data resources are this researcher's natural participant observation; the three shows director's performance notebooks; PCT's blog; "The QdA as a training instrument for the actor" workshop handout; videos of the three shows in full; video records of the three stage productions/training; photos of the three shows; and bibliographical research. For the analysis of the collected data we will use the Discourse Textual Analysis (ATD). The final result will be the dissertation writing, the systematization of the creative process QdA into a virtual platform and a technical demonstration.