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...

Antenas de microfita com patch supercondutor a 212 K

This work has as main objective to study the application of microstrip antennas with patch and use of superconducting arrays of planar and linear phase. Was presented a study of the main theories that explain clearly the superconductivity. The BCS theory, Equations of London and the Two Fluid Model are theories that supported the implementation of the superconducting microstrip antennas. Arrangements phase was analyzed in linear and planar configuration of its antennas are reported factors such arrays to settings and criteria of phase and the spacing between the elements that make the arrayst was reviewed in order to minimize losses due to secondary lobes. The antenna used has a rectangular patch Sn5InCa2Ba4Cu10Oy the superconducting material was analyzed by the method of Transverse Transmission Line (TTL) applied in the field of Fourier transform (FTD). The TTL is a full-wave method, which has committed to obtaining the electromagnetic fields in terms of cross-cutting components of the structure. The inclusion of superconducting patch is made using the boundary condition, complex resistive. Are obtained when the resonant frequency depending on the parameters of the antenna, radiation pattern of E-Plan and H-Plan for the M-phase arrangements of antennas in the linear and planar configurations for different values of phase and spacing between the elements.