No fio da meada: um estudo acerca da precarização do trabalho na indústria têxtil

In line with the process of financialization and globalization of capital, which has intensified in all latitudes of the globe, the world of work is permeated by his determinations arising and also has been (re) setting from numerous changes expressed by example, in the unbridled expansion of temporary forms of work activities, and flexible outsourced by the growth of informality, forming a new morphology of work. However, regardless of how these forms are expressed in concrete materiality, there is something that unifies: all of them are marked by exponentiation of insecurity and hence the numerous negative effects on the lives of individuals who need to sell their labor power to survive. Given this premise, the present work is devoted to study, within the framework of the Brazilian particularities of transition between Fordism and Toyotism, what we call composite settings of the conditions and labor relations processed within the North river- textile industry Grande. To this end, guided by historical and dialectical materialism, we made use of social research in its qualitative aspect, using semi-structured interviews, in addition to literature review, information retrieval and use of field notes. From our raids, we note that between the time span stretching from the 1990s to the current year, the Natal textile industry has been undergoing a process of successive and intense changes in their modus operandi, geared specifically to the organization and labor management causing, concomitantly, several repercussions for the entire working class.

A experiência no Tai Chi: possibilidades para pensar o corpo sem órgãos e a preparação do ator

Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas