O tema no processo criativo da asmarias companhia de teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

O tema no processo criativo da Asmarias Companhia de Teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

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

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

Fé & Cia. LTDA: consumo religioso na sociedade contemporânea

The present work is an exercise of analysis from the cultural exercises related to movie high one of its raised status more with the deity, the human being surrenders it Religion leaving puzzleds the prophets of its end. The purpose of this work is to show that the religious phenomenon is one of the essential components of the socialization human being. The religious dimension, although to have been kept out of society in modernity - it was cybernetics, is an indispensable compassing to guide the human being in the discovery of its true existencial direction. For this, to attenuate the legacy without appropriate title, overwhelming and despairing of the producing and consumer goods society, it is indispensable to add as basic part to the practical one of the religion. And this practice is specify at the acquirement as of commodities objects , than it is to they are consecrate, exercising um magical power under the assistants from the religion. The fair religious Expo Religious, like the Expo Crest (fair as of commodities and service of the Evangelist) and the one Expo Catholic (fair as of commodities and service of the Catholics), appears at the I initiate from the century 21 at the association Brazilian about to cater the litigation of the market religious at every their segments. The and objective of this research is bring forward those two fairs in the format as of Expo and your contribution at the dynamic from the religion crest at the association he acts

Antonin artaud: a crueldade pelos desenhos e autorretratos

Antonin Artaud, a name that reminds us of areas ranging from theater to poetry, linguistics to psychoanalysis, is a multipurpose name that transits as poet, painter, writer, actor, screenwriter, playwright and theater director. Artaud s route is raw material for researchers of various hues interested in a life and work that allows panning in different fields of knowledge. It raises the question of language and manipulation of signals in terms of magical forces and the relationship maintained through them with the cosmos and the divine. Artaud searches through a language of signals, gestures and objects that express themselves by objective forms and the use of words as solid objects. For him, the language of words must give way to the language of signals, whose objective aspect is what strikes us most immediately. Our work indicates the possibility of realization and recognition of the aesthetic of cruelty present in the writing drawings of artaudian s work, realizing thus, that art as a record of culture hence as double of life allows us a more critical and transforming look to the society, thinking about the aesthetics of cruelty as Artaud proposes and thinks cruelty: as appetite for life. Our dialogue held during the construction of this journey has the company, besides the one of Antonin Artaud, other authors such as Jacques Derrida, Gilles Deleuze and Felix Guatarri, among others which, during the hike and framing of this route help us to think about the aesthetics of cruelty in an Artaudian perspective

Política, canção e teatro: o conto Aqueles Dois de Caio Fernando Abreu reverberando no cotidiano brasileiro

Quand on se plonge sur l‟oeuvre de Caio Fernando Abreu, on est forcement mené à faire une profonde analyse social qui résulte dans une grande bataille entre l‟amour, la société et la politique. Cette Memoire de Master, Politique, chanson et théâtre : Le conte « Ces deux-là » de Caio Fernando Abreu répercute au quotidien brésilien, montre que la plongé faite ici cherche à analyser, à partir d‟une perspective comparative, les angles observés par l‟auteur dans son oeuvre écrite pendant les années de la Dictature Militaire brésilienne, l‟influence des Beatles et du musicien/poète Caetano Veloso avec le mouvement du Tropicalismo. Dans ce travail, on observe le rôle du narrateur au sein du développement du conte comme représentation de la société irrémédiable et comme cette narrative s‟ajuste en mode théâtral. La lecture de cette memoire est basée sur l‟analyse du conte « Ces deux-là », du livre Fraises Moisies, et l‟influence de la musique Strawberry Fields Forever, des Beatles chez l‟écriture de l‟auteur, ainsi que les discussions sur les images présentent dans la narrative comme la structure essentielle pour le processus du montage du spectacle homonyme par la Cia. Luna Lunera, Minas Gerais, à partir du mécanisme de la traduction, du littéraire au scénique, appuyée sur les idées de Patrice Pavis

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

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

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