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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O artista da dança: Uma perspectiva de formação na cidade de São Luís
(Universidade Federal do Maranhão, 2021-12-06) PINTO, Erivelto Viana; RIBEIRO, Tânia Ribeiro Costa; http://lattes.cnpq.br/9923951943288596; FREITAS, Vanilto Alves de; http://lattes.cnpq.br/0481385796591965; OLIVEIRA, Fernanda Areias de; http://lattes.cnpq.br/8726813473492947; BORRALHA, Tácito Freire; http://lattes.cnpq.br/6354056336043839
“The dance artist: a perspective of training in the city of São Luís”, is based on my professional artistic career, and intensified in experiences, practices and in the production of contexts and environments for experimentation and study for researchers of dance and the scenic arts in the capital of Maranhão, where I highlight the festival Conecta Dança, a set of actions interested in the diversity of languages, perspectives of creation and research in the contemporary artistic universe for dance and performance, being the basis of this master's research. “The dance artist: a training perspective in the city of São Luís”, is an important topic for the field of performing arts and comes to broaden the discussion on dance training from a historical and reflective exercise on “how it happens the training of dance artists in São Luís”, so I was directed to map individual dance artists working in the city of São Luís between (2017 - 2021). As a result of social distancing, taken by covid 19, I opted for an online questionnaire called Formative Mapping of the Dance Artist in the city of São Luís, where aspects that encompass the artistic-formative dimension of the respondents were raised. It is necessary to look at the history of local dance through interviews, newspapers, blogs and event programs in dialogue with a literature of Brazilian dance researchers. The research also takes a specific look at scenic dance and situates a relevant moment in national dance driven by culture funding policies that create a series of mechanisms through public notices and sponsorships (state and national). “The dance artist: a perspective of training in the city of São Luís”, helps to understand the local performance by identifying possibilities and perspectives in the training of the dance artist in the city, such as the need for formal environments to exist in the coexistence of informal environments, coexisting, where one can discuss the curricula of these spaces and their creation (universities and technical courses), and continuing education. The hybrid formation of this artist. Questions that point to prospects for continuity and unfolding of this work. Keywords:
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/6354056336043839
This 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.
“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/9851878324360914
This 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.
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/3682376794834169
This 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.
Mediação artística na sala de aula: protagonismo juvenil na cena, suas reverberações
(Universidade Federal do Maranhão, 2023-03-03) SOUSA, Letícia Cunha de; RIBEIRO, Tânia Cristina Costa; http://lattes.cnpq.br/9923951943288596; RIBEIRO, Tânia Cristina Costa; http://lattes.cnpq.br/9923951943288596; OLIVEIRA, Ney Wendell Cunha; http://lattes.cnpq.br/3613293773224660; MATOS, Elisene Castro; http://lattes.cnpq.br/7947326047449437
Cette recherche a été développée en collaboration avec le programme d'études supérieures en arts du spectacle de l'Université Fédérale du Maranhão et vise à renforcer le rôle des jeunes dans les arts dans la formation des étudiants de 3e année, âgés de 16 à 18 ans, du Centre du Lycée du Secteur Est (Brasília-DF), basée sur la Médiation Artistique. Ceci, en tant que pratique pédagogique, est l'axe fondateur et directeur pour la réalisation de cette étude, lié aux expériences des étudiants participant à cette étude. Pour la collecte des données, les procédures de recherche bibliographique et de recherche-action ont été utilisées. La première méthode a orienté les fondements théoriques de différents auteurs et a contribué aux réflexions de cette enquête, à savoir: Ana Mae Barbosa (2005; 2007; 2018), Dominique Julia (2001), Flávio Desgranges (2008; 2010), João Barroso (2012), Jorge Larrosa Bondía (2011; 2015), Maria Lúcia Pupo (2011), Michel Foucault (1987), Michel Thiollent (1986; 2009), Ney Wendell (2011; 2014), entre autres. La méthode de recherche-action a été développée à travers des recherches sur le terrain menées entre juillet et décembre 2021, au cours desquelles le Projet Caminhos a été appliqué - développé par le chercheur de cette thèse -, un projet qui avait comme éléments motivants les œuvres artistiques Café Müller (1978) de Pina Bausch, Au temps de la pandémie (2020) de Catherine M. O'Meara et Cálice (1978) de Gilberto Gil et Chico Buarque. Les trois travaux artistiques liés à la Médiation Artistique visaient à promouvoir une expérience artistique et éducative axée sur le protagonisme des étudiants dans la production de développements poétiques et de réflexions alliées aux expériences et à la perception du monde parmi les étudiants de trois classes du Centro de Ensino Médio Setor Lesté. Il convient de noter que la recherche sur le terrain a été entreprise dans le contexte de la pandémie, dans laquelle les conséquences de l'isolement social causé par le COVID-19 ont été confrontées.
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/3682376794834169
This 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.
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/8042031616735309
This 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.
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/3682376794834169
In 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.

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