DISSERTAÇÃO DE MESTRADO - PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS – PPGAC
URI Permanente para esta coleçãohttps://tedebc-teste.ufma.br/handle/tede/3440
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Navegando DISSERTAÇÃO DE MESTRADO - PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS – PPGAC por Autor "FONSECA, Michelle Nascimento Cabral"
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Item “E eu não sou palhaça?! dramavivências de palhaças das regiões Norte e Nordeste do Brasil”.(Universidade Federal do Maranhão, 2021-11-04) NASCIMENTO, Andressa Passos do; FONSECA, Michelle Nascimento Cabral; http://lattes.cnpq.br/3682376794834169; FONSECA, Michelle Nascimento Cabral; http://lattes.cnpq.br/3682376794834169; PARIS, Andreia Aparecida; http://lattes.cnpq.br/5463561875258649; BRONDANI, Joice Aglae; http://lattes.cnpq.br/9851878324360914This research presents questions about gender and notions that make the creations of women clowns viable, allowing us to reflect and discuss the creative paths of the art of clowning made by women, using as a study instrument works by clowns from the North and Northeast regions of Brazil. Using theories such as Regina Horta (1995), Alice Viveiros de Castro (2005), Lélia Gonzalez (1984), Conceição Evaristo (2008) and Ermínia Silva (1996), as well as authors Mário Bolognesi (2003) and Tristan Remy (2016), who helped in the systematization of this study. Therefore, this study proposes to analyze the origins and development of the scene creation process of six clown women. In the context of this investigation an intersection is made between theory and artistic practice, constructing the term "drama experience" to refer to these works, as well as register them, in order to expand the references about clowning done by women, especially those from the North and Northeast regions. This research also highlight the emergence of the gender debate in the study of clowning, as a theoretical instrument that allows an academic and social approach, inserting the figure of the clown as a subject of history.Item O ENCONTRO: do acontecimento a um olhar atento o espetáculo O Miolo da Estória.(Universidade Federal do Maranhão, 2021-09-29) CONCEIÇÃO, Raylson Silva da; RIBEIRO, Tânia Cristina Costa; http://lattes.cnpq.br/9923951943288596; RIBEIRO, Tânia Cristina Costa; http://lattes.cnpq.br/9923951943288596; MOSTAÇO, Edelcio; http://lattes.cnpq.br/5151925947504672; FONSECA, Michelle Nascimento Cabral; http://lattes.cnpq.br/3682376794834169'THE ENCOUNTER: from the event to a closer look – the show O Miolo da Estória' is the result of a study that was affected by the Covid-19 pandemic. Due to the pandemic, people have been quarantined as a sanitary measure. This measure caused significant changes in the progress of the research aiming to study the reception of the theatrical spectacle "Ensaio Sobre a Memória" by Marcelo Flecha. Given these circumstances, it was necessary to change the approach of the research to study the analysis of the theatrical show 'O Miolo da Estória' placing myself as a researcher and subject of this research since I reflect on my sensory experiences during the reception of this show that occurred in 2013. For this, I focus on two methodologies: first, the method of self-ethnography, when I rescue my memory by dialoguing with the studies of Santaella and Merleau-Ponty on perception, Dewey and Larrosa on experience, and Artaud, Boal, and Dubatti about the event underlying this study. Then, I used ethnography while performing a technical analysis of the play using the tools of analysis of plays presented by Pavis. As tools, I acted through observation and used a notebook of records, interviews, digital platform Zoom, WhatsApp, and Instagram. This work contributes on studies of shows held in São Luís. These plays mustn't discard the role of the researcher as the subject of the research itself. Also, this work helps to emphasizing the importance of popular culture and customs of local society, which are full of stories and beliefs inherited by generations that survive to the present day.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 noiva: performance e performatividade no retrato(Universidade Federal do Maranhão, 2021-12-07) THEISS, Fabricio; OLIVEIRA, Fernanda Areias de; http://lattes.cnpq.br/8726813473492947; OLIVEIRA, Fernanda Areias de; http://lattes.cnpq.br/8726813473492947; MIRANDA, Maria Brígida de; http://lattes.cnpq.br/6580699080518678; FONSECA, Michelle Nascimento Cabral; http://lattes.cnpq.br/3682376794834169This work seeks to reflect on the construction of male subjectivities from the empirical relationship of my body with the male gender. What draws this relationship and triggers this research is a portrait, entitled The Bride Man, produced by me and an artist friend in 2012 to ritualize my relationship with my partner. This artistic object permeates the creations and events of this research that are reflected in three phases, which I call: PERFORMANCE ONE, PERFORMANCE TWO and PERFORMANCE THREE. In PERFORMANCE ONE, I present the events surrounding the conception of the portrait The bride man and the events that led me to compose two artistic performances: Private Prison, created in 2018; and The Bride Man, created in 2019. PERFORMANCE TWO exposes the creative path of the performative action entitled Smell of Dead Butterflies, in which I dedicated myself to writing and corresponding letters with artists, friends, researchers, strangers, etc., sharing personal happenings and the research reverberations. PERFORMANCE THREE reflects on the unfolding of the performative action Wedding Nights, carried out in the social media application Tinder, through the creation of the Bride, 38 profile. The events narrated during this performative journey were analyzed based on theories involving Gender Studies, Performance Studies and Feminist Theory, dialoguing mainly with the works of the authors Audre Lorde, bell hooks, Eleonora Fabião, Judith Butler, Luciana Lyra, Margareth Rago,Virginie Despentes, Ailton Krenak, Boaventura de Souza Santos, Cassiano Quilici, Michel Foucault, Paul B. Preciado and Richard Schechner. Through the discussions woven around the artistic creations, this research exposes tensions that are implied in normative social practices that aim to maintain patriarchal structures, such as gender and marriage,manufacturers of political fictions that interfere in our ways of being and relating in the world. The field of performing arts is, in this investigation, understood as an infiltration channel for micropolitical actions that generate possible paths for the transformation of the self and of the social daily life.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.Item O Teatro do Oprimido e a performance ruidosa: Dimensões estético-políticas na relação entre o acontecimento teatral e espect-atrizes e espect-atores(Universidade Federal do Maranhão, 2023-04-14) PRETTO, Sá de Moraes; FONSECA, Michelle Nascimento Cabral; FONSECA, Michelle Nascimento Cabral; TEJADA, Fabiane; PANAMBY, EltonThis research aims to analyze how the processes of composition and co-authorship between spect-actresses/spect-actors and the theatrical and performative event in Coletiva Ruidosa Alma and Teatro do Oprimido take place. In this approach, we consider as an object of study the relational performances of both scenic practices and that rely on the performance of spectators as creative vectors of scenic action. The research focuses on the theory systematized by the Brazilian playwright Augusto Boal (2012), in his writings on the Theater of the Oppressed, the studies by Bárbara Santos (2019) and Dodi Leal (2019), which present new approaches to TO and the scenic-performative experiments developed by the collective Ruidosa Alma in the theater and performance production scenario. The research intends to reflect on the potential of practices that encompass the spectator's action as a constituent element of the scenic phenomenon, collaborating for the construction of an expanded scene and for other understandings about theater making and the role of the spectator.