O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

Factor effects affecting the performance of pantaneiro horses.

Pantaneiro horses were submitted to a performance test.

MSTN, CKM, and DMRT3 gene variants in different lines of quarter horses.

and creatine kinase muscle (CKM) (g.22999655C>A) genes have been associated with optimum racing distance and muscle development and racing performance in Thoroughbred horses, respectively. Considering that, since its formation, the Quarter Horse breed has received important genetic influence from the English breed, the genes cited become important candidates for athletic performance in the racing line of the American breed. An SNP in the equine doublesex and mab-3-related transcription factor 3 (DMRT3) gene (g.22999655C>A) has been described, which is responsible for the gait phenotype in homozygous individuals. Using a sample of 296 Quarter Horses of the racing line and 68 animals of the cutting line, the objective of this study was to compare the frequencies of the three SNPs cited above between a random subsample of animals of the cutting line (n ¼ 20) and animals with extreme phenotypes for racing performance (n ¼ 20 per extreme phenotype). The MSTN SNP showed practically no variation, with the observation of only one heterozygous animal (CT) in the cutting line, suggesting that this gene has been under great selective pressure within the racing segment. The CKM gene variant studied was found to be polymorphic, but no significant associates were observed between its alleles and the different lines or groups. Two animals carrying the CA heterozygous DMRT3 genotype were identified in the group with poor racing performance and one in the cutting line, indicating that this variant can be a limiting factor for the development of greater speeds.