Criação em processo no espetáculo Ethnotron-Ghetto Experimen

Este trabalho investigou o processo criativo do espetáculo Ethnotron-Ghetto Experiment, do Coletivo paraibano Tribo Éthnos, fundado na década de 1990 e ainda em atividade. A estratégia metodológica se dá através de estudos descritivos, valendo-se da teoria e prática de diversas linguagens artísticas presentes na obra apontada: artes visuais, performance, literatura e histórias em quadrinho; em ações realizadas pelo Coletivo ao longo dos anos, objetivando descrever e analisar o processo de criação do referido espetáculo de dança, através da minuciosa coleta de dados por meio de entrevistas abertas e semiestruturadas, e da pesquisa e captação de materiais audiovisuais. A Tribo Éthnos destaca-se na cena local na cidade de João Pessoa, e estadual, na Paraíba, visto que, nesse longo percurso de existência, além da preocupação em fundir muitas formas artísticas, bem como os artistas da Paraíba, aglutina pessoas que fazem arte em outros países e faz das danças urbanas algo instigante. A Tribo ainda preocupa-se com a troca de saberes através de palestras, oficinas, cursos e intercâmbios. A dissertação investiga o processo de criação dos artistas e, especificamente, dos dançarinos, utilizando-se principalmente do conceito de work in progress, proposto por Renato Cohen, e aplicado ao espetáculo estudado. Apresentam-se descrições dos movimentos coreográficos, do espetáculo de dança paraibano Ethnotron-Ghetto Experiment, de Dança de Rua da Era Funky, especificamente, com estilos como popping, waving, animation, strobing, floatine/ slidini, tiokine, trebing, breaking, waving, sliding, entre outros, visto serem estes parte integrante do processo de criação. Tais estilos remetem ao ilusionismo ou ao mimetismo, sugerindo, em seus movimentos truques, câmeras lentas, flutuações com os pés, entre outros. Segundo Valmir Vaz, o Coletivo, através do espetáculo, busca a integração dos corpos, procura uma libertação individual e sugere uma sensação de querer voar nas coreografias/cenas. Abordam-se os aspectos do processo criativo: o espaço cênico, o trabalho corporal, a sonoplastia e a roupa/indumentária. Trabalha-se o conceito do corpo virtual de José Gil no aspecto do corpo cênico

Caldo do caldo: memória do espetáculo de dança paraibano caldo da cana

This research investigated the dance piece Caldo da Cana which premiered in João Pessoa-PB, in September 1984. It problematizes theoretical and practical way to make dance history, investigating this possibility through the dance itself. Arises from the fact that the dance has specific characteristics that can not be neglected by the historical account. In this sense, it was initiated by the raising of a theoretical framework that speaks to the indicated issues and unfolds through a field study, which included collecting testimonies from people who participated in the show, documentary research, gathering material traces and finally consists a practical part by transposing elaborated historical knowledge into the body through a creative process, resulting on this moment, in the construction of a duo dance

Entre ecos e narcisos: estudo de caso sobre a prática teatral com adolescentes como atividade extracurricular numa escola de nível médio

This masters thesis discusses the studying and the teaching of drama and its implications among teenagers of the contemporary world. This paper also analyses an extracurricular project entitled Drama in the development of citizenship , which was carried out in the public state school Berilo Wanderley in Natal/RN, between 1999 and 2005 with high school students. It comprises a case study that aimed at understanding how and why they chose to take drama classes outside of the school curriculum and even after they graduated, some of them never left the school project and even started participating in the cultural and artistic context of the city of Natal quite actively, both as part of an audience as well as on artistic, political, social and pedagogical performance. The project was high significant for its participants, for the school and for the community, by creating a sense of recognition of the relevance of the pedagogical and artistic production in the public school, as it managed to yield knowledge that helped students to understand the values of group work, sharing information, collaborative assessment and, most of all, to engender actions of protagonism by the teenagers themselves within their social environments. The empirical process developed is placed in a contemporary historical context where educational paradigms shifts occur, and where categories of youth empowerment and protagonism are fundamental to the educational process in the 21st century. The objective of this study is to reflect upon the pedagogical dimension of drama classes for teenagers, aiming at providing further discussions on the role of acting classes in the construction of the personality among youngsters, thus hoping to contribute to other teaching practices, including drama and other subjects of general education

Mover/se(r) a gênese do corpo entre/corpos e seus trajetos no processo coreográfico

This paper proposes a reflection on the body between/bodies, especially in contemporary dance, in their path that starts from the choreographic construction, permeating the body of the choreographer, the dancer s body and when fulfills themselves as artistic expression, the body of the spectator. Initially discusses the body in dance as a body/space for convergence, connectedness and continuity, from the thought of the Greek philosopher Epicurus of Samos, in dialogue with the thought of Maurice Merleau-Ponty, Gilles Deleuze and José Gil. Reflect about the creation of this body/space in the relationship choreographer/dancer using as connecting thread the experiences of the author in his artistic path. Finally describes the process of creating the scenic experiment (h)áporos, which constitutes the practice scene of this dissertation, having as main objective the creation of spaces of convergence and interaction between a proponent and an affluent body that, in this move, transforms itself and the space that now cohabits / is

Determinação da toxicidade aguda e caracterização de risco ambiental do herbicida Roundup (glifosato) sobre três espécies de peixes

Considering their commercial importance, as these are the species of freshwater fish more commercialized in Brazil, their occurence in different kinds of aquatic environments (lakes, rivers and dams) and for being tolerant to a wide range of variation of various physical parameters and chemical water, the fish species Oreochromis niloticus, Cyprinus carpio and Colossoma macropomum were chosen for this study, furthermore, to test the toxicity we used the herbicide Roundup. The fingerlings of tilapia (Oreochromis niloticus), commun carp (Cyprinus carpio) and tambaqui (Colossoma macropomum) were submitted to the herbicide roundup in the following concentrations: 0.0 (control); 18,06; 19,10; 20,14; 21,18 and 22,22 mg.L-1, 0.0 (control); 13,89; 14,86; 15,83; 16,81 and 17,78 mg.L-1, and 0.0 (control); 18,06; 19,10; 20,14; 21,18 and 22,22 mg.L-1, respectively, three for 96 hours. The LC50 - 96h for O. niloticus, C. carpio and C. macropomum was 21,63, 15,33 and 20,06 mg.L-1 of the herbicide roundup, respectively. The results show that this herbicide is classified as slightly toxic to the three species. The values of dissolved oxygen, pH and temperature recorded in the aquarium control and aquarium experimental of the three fish species have remained without significant variations during the tests, which reduces the possibility of death caused by sudden variations of these parameters during the 96 hours the experiment. The values of LC50 between different species of fish were observed, noting that the species O.niloticus, C. carpio and C. macropomum showed no expressive differences. The values of environmental risk of Roundup were calculated to obtain more stringent parameters in assessing the dangerousness of those on nontargets. The risk of environmental contamination by Roundup for the Nile tilapia, common carp, and tambaqui are low for the lowest application rate (1 L.ha-1) and depths (1.5 and 2.0 m). The dilution of 100%, the highest recommended dose (5 L.ha-1) and depths (1.5 and 2.0 m) the risk is moderate for the three species. The values of the Risk Ratio (QR) were greater than 0,1, indicating that the values of the CAE and LC50 are above acceptable levels and there is a need, this study, a refinement in ecotoxicological tests