Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence

Seleção e formação de coleções de obras raras: da ordenação do saber á prática cultural

MEDEIROS, Ana Luiza. Seleção e formação de coleções de obras raras: da ordenação do saber à pratica cultural. In: CONGRESSO BRASILEIRO DE BIBLIOTECONOMIA, DOCUMENTAÇÃO E CIÊNCIA DA INFORMAÇÃO, 24., Maceió, 2011. Anais... Maceió: FEBAB, 2011.

Configurando a cidade contemporânea em Natal : os processos espaciais em Ponta Negra

This dissertation is about the spatial configuration in Natal and processes in the Ponta Negra neighborhood today. Ponta Negra has undergone a number of critical social and spatial changes due to tourism development after the 1990s. It is of special interest to consider the intensification of real estate investment after 2000, when the new airport terminal, located in the neighboring municipality of Parnamirim, was in use. Ponta Negra is the place where most tourists go to, so attracting considerable public investments. New agents of transformation have produced change in the neighborhood as well. The present study aims at analysing the spatial processes in this part of the city. Here, the spatial configuration that resulted from extended real estate investments, both public and private, in recent years, is analysed in detail. The study identifies the multually differentiated, however internally homogenous areas. The concepts of production of space, contemporanean urban development and spatial dynamics are discussed. The research is based on document analysis and field work. Results were plotted to maps and tables. A detailed analysis of the spatial processes in the Ponta Negra neighborhood is undertaken as a conclusion, considering the contemporanean global scenario

Leitora-criadora: a experiência situada na construção dramatúrgica

This study has the purpose of investigating the term reader-creator , on the textual aspects of the dramatical works A Morte nos Olhos , A Memória Ferida and Na Outra Margem (2010) by Antonia Pereira Bezerra. In this sense, we propose an analysis of these works based on author‟s life experience as creative matter for a autofictional narrative, highlighting the relations between the autobiographical elements (LEJEUNE, 2008; DOSSE, 2009) and fictional elements in the construction of dramatic narratives. The theoretical analysis pervades the studies fields of Reception Aesthetics (ISER, 1996), memory (RICOUER, 2007) and narrative (RICOEUR, 2010), evidencing the relation between the author and the pursuit of her memories and life experiences, the matter to elaboration of writing. Then we intend thinking a reader-creator of herself, that at the same time she seeks in her memories the biographic aspects to her narrative, she converts this reality with the insertion of fictional elements from the imagination (SARTRE, 2008)