A sala de aula em cena: uma pesquisa em ensino do teatro a partir da experiência docente

At first moment we present a reflection about the history of theater and later a contextualization of didactic movements oriented to scenic arts. Through at the constant dialogue with authors of areas involving education, theatre, corporeality and music was possible analyzing, develop and criticize a education work under my responsibility involving fourteen classes. At the second moment will occur a critical self about the quality of theater classes his contents and methodologies. The technique will be at side of the emotion and together develop skills aimed at tracing paths for theater developed at a classroom of a especific private school in Natal-RN. At the third moment one class is chosen for analyze of the academic research and many experiments happen after this decision, initiated and sensitized through of the music with a significant look at the corporeality and prioritizing the theater as content in ninth grade - elementary school two. At the conclusion is possible see that learning is mutual and the theater can become life routine as well as the arts in general and when all arts will be regularized into the national educational system for public and private schools we will have more susceptible humans and more intellectual capacity

A travessia do trágico no romance d A Pedra do Reino de Ariano Suassuna

The present work seeks to investigate and discuss about the Greek Tragedy s elements at Ariano Suassuna s romance called τ Romance d A Pedra do Reino e o Principe do Sangue do Vai e Volta, connecting it directly to mythic, epic, poetic, and romances aspects at his work. The romance has as the protagonist the backcountry Pedro Dinis Quaderna. Quaderna is a character which is simultaneously popular, elitist, enigmatic, naive, and an intellectual man that has a great erudition. Quaderna is a character that seeks, by using the Literature, to reestablish a Brazilian backcountry kingdom which he s supposedly the king, always trying to empathizes the Brazilian northeast region like if it was a nation apart. By impressing a national personality to the Brazilian northeast , Quaderna tries to become an epic poet just like Homer, denoting a strong influence of the Epopee. Quaderna, just like many characters of Greek Tragedy, has at his family past time a lot of tragic circumstances. These facts that ocurred to his relativos like the your uncle Pedro Sebastião Garcia Barreto s death, the disappearement of his cousin Sinésio, and the contest between the brothers Arésio and Sinésio, and others aspects, remind us remarkable influences, beyond the Epopee, of the Greek Tragedy. By reading the romance we may notice many similarities between Quaderna s trajectory and Greek Tragedy heroes. To make an analysis about the tragic aspects at Suassuna s work, we need to dialogue with many theoreticals that have written about the tragic and comparate with many parts of Suassuna s with classics character s texts of Greek Tragedy. At the following chapters we seek to provide romance s elementaries notions, as well as tragic notions, the dialogue with mythics aspects and the tragic and epic aplicability at Suassuna s work

A arte de conduzir-se pelo ensino de teatro: realidades e ficções de alunos-diretores em Camarão

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Circuito regional de performance BodeArte: encontros, coletividade e porítica na performance do Rio Grande do Norte

This dissertation aims to look into the structure of the event Circuito Regional de Performance BodeArte1 to think how it collaborate with its proposal providing theoretical points to relevant questions to the comprehension of Brazilian performance art in contemporaneity, since its conceptual format until its occurrence and practical limitations. From this proposition the dissertation is organized into three chapters guided for the following aspects: the resumption of the events encompassed on the occurrence of Circuit BodeArte as well as a tabulation of the data reunited in its history, the presentation of its conceptual choices, and the metaphors conducted by the use of the term performance and how they can lead us to the idea of a performance-as-BodeArte. The methodological structures moved for this organization are qualitative, and have been formed from printed materials, texts, festival programs, blog, videos, photos, interviews, lectures and forums, plus our own memory as a producer and performer of the event, looking through these set points of the epistemological organization contained on the proposal of the Circuito, expanding and discussing them. This way this research moves between the propositions of this event in its three editions, promoting discussions that dialogue with concepts such as the emergence of Steve Johnson (2004), the metaphors of thought proposed by Christine Greiner (2005), the idea of performance hacker of Maria Beatriz de Medeiros (AQUINO, et al., 2012), as well as other propositions presented by Jan Swidzinski (2005) and Eleonora Fabião (2012)

Para transvalorar a dança contemporânea: potências de dança no (do) corpo-artista

Tanto no contexto acadêmico quanto no artístico e mercadológico, é crescente a discussão sobre o espaço de conceituação da dança contemporânea e suas fissuras, que deixam de abarcar esta ou aquela manifestação artística ou mesmo acaba por abarcar aquelas manifestações que não se encaixam em outros espaços de conceituação. No presente trabalho objetivamos a investigar, a Dança na Contemporaneidade, para além do que se entende por dança contemporânea, em sua capacidade de atravessar os espaços de conceituação já estabelecidos, para implicar em uma pluralidade de fazeres. Objetivamos também pensar a potência que a Dança imprime no corpo do artista criador, pensando também como este se comporta no espaço de entre linguagens . A dissertação que aqui se apresenta encontrou enquanto estratégia metodológica o recurso da metáfora, partindo das ideias de travessia, cartografia e cidades invisíveis para a construção do pensamento sobre o corpo do artista e suas relações com as diferentes linguagens artísticas, tomando por base uma retomada das experiências estéticas e artísticas de sua proponente. Dialogando experiências práticas e referenciais teóricos, inicialmente tratamos da dança contemporânea em seus problemas de classificação que apontam para a necessidade de um pensamento contemporâneo em dança, que pense as manifestações artísticas em seus pontos convergentes, e não nos divergentes que as situam sob diversas nomenclaturas. No capítulo seguinte discutimos a possibilidade de contaminação entre as linguagens artísticas a partir do próprio corpo-artista. Discorremos também sobre a dança enquanto agenciamento e resposta aos impulsos resultantes da relação com o espaço e outros corpos, pensando como o corpo do vivente se organiza nesta relação de compartilhamento de experiências. Mostrando uma potência do corpo artista criador que se dedica à transvaloração das fronteiras entre as linguagens para a organização do seu fazer. Por fim, apontamos para a diversidade na metodologia de processos de criação que variam de acordo com as possibilidades técnicas e necessidades estéticas de cada artista criador

A iluminação cênica no trabalho do ator de teatro

This research aims to investigate how the stage lighting can be articulated in the creation of theater actor process. To we reach this reflection, it is necessary to understand the space of the rehearsal room, where the actor works as a place where their function receives influences of other artists who are creating the spectacle.Collaborative processes are analyzed three Cia de Teatro Engenharia Cênica: Irremediável, 2007; Doralinas e Marias , 2009; O Menino Fotógrafo, 2011, aiming to understand the collaborative theater potentializes, the intersection and the exchange of experiences in the rehearsal room, collaborating actively for the training of persons involved in creating the show. The research proposes an investigation of how the creative process of stage lighting is gaining ground in the rehearsal room in the language of theater directing, showing mainly how is your "co-evolutionary" creation with the creative process of the actor

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

Percursos para novas imagens: a produção audiovisual por não videntes

The purpose is to write a reflection on the audiovisual production by the visually impaired. The starting point for this research was a documentary video production workshop offered by the Instituto de Educação e Reabilitação de Cegos do Rio Grande do Norte - IERC / RN, with the participation of blind people with low vision and sighted employees of the institution. The research approach follows the precepts of complex thinking, where work is woven into the network, along with the researched. The theoretical framework is based on the theory of French sociologist Edgar Morin, and other important thinkers for this work, namely: Erving Goffman, Paulo Freire, Michel Foucault, Edward Said, Jacques Aumont, Phillpe Dubois, as well as scholars who think and theorize about his own condition and conduct discussions on the issue of blindness: Francisco Jose de Lima, Evgen Bavcar Jacques Lusseyran and Joana Belarmino. The research was formulated based on the statement in the interest of respondents to understand and produce visual images using video as a tool. In this sense, the methodology adopted approaches of action research in constructing the text and dialogue with the participation of those involved in the project. The technique of gathering the information was based on ethnographic description describing the dynamics of the workshop, the relationships between participants, relationship to the other that sees and the manner of operation of equipment. The main focus is the relationship based on dialogue of information, attitudes and ways of knowing from experience and capacity developed and obstacles for blind people to produce visual images using other benchmarks, such as touch, smell and time dimension and space, and add references that give new meaning to the guidelines based on visuality of ministering to the workshop. It is also held to discuss aspects related to the concept of image with sociological reflection about the audiovisual production made by blind people socially constructed and perpetuated by what Edgar Morin called cultural imprinting. Thus we attempted to walk the route with its obstacles and achievements in the production of new images that were seen

Luz e sombra: uma interpretação de suas significações imaginárias nas imagens do cinema expressionista alemão e do cinema noir americano

The present investigation proposes an approach of light and shadow and their imaginary significations in the images of both German expressionist movie and the American noir movie, whose aesthetic experience is expressed through a contrasting bright/dark photography, loaded with symbolism. The interpretation of the imaginary significations of this imagistic material is based on Gilbert Durand´s imaginary anthropological theories that deal with a myriad of symbols gathered according to their semantic isomorphism and linked to more general structures named as Daily and nightly Image Regime . There come to gravitate, around such regimes, symbols attached to division and purification, ascensional and spectacular, with imaginary significations homological to Light and Good, and symbols associated to night, fall and animalism, isomorphic of Shadow and Evil

Formas e função do discurso do outro no gênero monográfico

The present work investigates related discourse in rewriting discursive practices, at monographic works specifically at the theoretical foundation section. Focalizing some discursive strategies of voice management (direct and indirect discourse and modalization voice) we detach the introduction way and function of cited discourse. To do so, it were analyzed eighteen monographic works: nine of them final graduation works and other nine specialization works seeing that each works belonging to the same student, in two different stages, in the period from 2003 in graduation conclusion to 2005 in the end of specialization course. The data reveal that the monographic writer/student emphasizes the use of direct discourse in graduation works while in specialization works there was an emphasis at indirect speech. The analysis the way they introduce cited discourse pointed out that writer/student in graduation course such as specialization student make meaningless constructions when they do not use discendi verbs, they demonstrate difficulties inarticulate citing discourse with cited discourse. In what is related to functions of cited discourse we verify that the student/writer, in both stages or levels give emphasis to the function maintain an assertion, indicating that other s discourse serve mainly as a resource of authority just because that this function reveals the absence of a dialog between student writing and cited discourse. In a general way, the forms of other s discourse claim a form of writing that is found starting from a sequence of cited discourse in what student/writer voice in graduation and specialization comes to text surface just few times, but most of the times, the student takes other s words as they were themselves, every time there is an overlap of author/source

Murilo Rubião: enlaces eróticos, fantásticos e absurdos

The present research intends to propose a reading in a new dimension of the fantastic (weird) literature and, especially, of its Brazilian more representative author, Murilo Rubião. At the beginning with concepts and associations with the erotic, starting from the myth of Eros and Psique and developing relations with Georges Bataille's theory on the theme. Afterwards, other associations are made, now with relation to the own fantastic literature. With the essence of this literature, examples of the traditional close to the contemporary. A last, association is made with the absurd literature. The contemporary man as being object and its configuration represented in the field of the dreams and its possibilities. At the end of the work, a "post scriptum" suggests a more imersive reading of tales in the entire that appeared broken into fragments along the research

Alternância no uso dos modos indicativo e subjuntivo em orações subordinadas substantivas: uma comparação entre o português do Brasil e o francês do Canadá

The purpose of this work is to analyze the use of the indicative mood, instead of the subjunctive prescribed by the normative grammar, in complement clauses introduced by the conjunction que in Brazilian Portuguese. Contexts of use of the subjunctive according to grammatical prescription, and contexts of fluctuation on the use of that verbal mood were analyzed, in an attempt to investigate what interferes on the choice of the mood by the user of the language. This study is based on North-American Functional Linguistics theoretical perspective, oriented to analyzing language in use, in the light of the principles of grammaticalization and markedness. The results obtained support that the contexts that favor the indicative over the subjunctive are those composed by a complement clause functioning as a direct object the unmarked clause of all complement clauses and by a verb on the main sentence that belongs to the semantic field of low certainty, corresponding to the epistemic sub-mode the unmarked category of the deontic sub-mode. The results indicate that pragmatics and semantics factors influence the language user on the choice of the verbal mood. This research also presents comparative data on the use of the indicative mood in place of the subjunctive in Brazilian Portuguese and Canadian French, aiming to providing suggestions on language teaching