A estética da Commedia dell Arte: contribuições para o ensino das Artes Cênicas

Theatrical phenomenon borned in the Italy the Comedy dell Art concerned to it climax in the XVI century and spreading itself by the word than can be sight like the theatre base modern. Lasting parallel the conventional theatre since the three hundred years, this gender influenced significativly the making theatrical in the Europe graces the popular character of its simulation turned for the improvise. In spite of treat a theatric manifestation no more existing in the present time, we understand that the Comedy dell Art was constituted in one artistic language whose esthetics centralized in the popular fanciful and in the improvise permitted a rich possibility of verbal and not-verbal communication that today can to be taken again in contemporary productions theatricals. Departing of an approach of esthetics, this work has with purpose concentrate the references esthetics that configure that one artistic manifestation such that one references can contribute for the Arts teaches in the present times. We appeal the text and image of Comedy dell Art, such this historical reference that in context, with fountain investigated that mean and if complementary in one esthetic reflection for the creation of meaning diverse and news interpretations for the purpose investigated if having with base some analysis categories such as: the actor s body, the actuations spaces and the esthetics categories such the ugly, the comic and the absurd. To investigate the Comedy dell Art esthetic in the ambit of the teach of Arts Scenics is a manner of be understand the artistic universe of three century behind that can be meant, revived, in the marking possibilities of an art teach able to incentive the critical, the appreciation, the discussion and the transgression of instituted true. Having investigated the exhibition Comedy dell Art esthetic we rebound four stich that we judge significative for we think the Arts Scenics teach, they are: the articulation between actor s body, the text and the space actuation in the play; statement what it is given between actor s body and the on-looker and the every gesture that did share of scene in a popular scenic space; a conception actor s body that transgress with the true duty socially that is capable the to admit its dimension Dionysian, creative and ambiguous in the to do theatrical; the text conception that get beyond the ambit the word writing by the dramatist and talked by actors, if spreading the other elements significance in the scene like gesture, the parody, the recent news, the gags and the word used in the day-to-day; the scenic space like a statement symbolic between actors and on-looker that make a quality of amusement pact supported by the scenic true of artist that actuate in not usual spaces bid at an auctioning degrees of participation in the building the scenic phenomenon; and the importance of esthetics categories such as the ugly, the comic and the absurd, those categories that foundation like a do scenic transgressor make a possible exchange mutual between actor and appreciator. The statement of esthetics categories in joint continuous between the body, the text and the scenic space evident themselves in doing theatrical and in the its appreciation. We believe that the reflection esthetic about the Comedy dell Art in the arts class, consider the stich detached, can favor possibilities of to share discovery, ideas, feelings and attitudes, and can permit the observation of different stich of view, establishing the statement of individual with the group in a participative and democratic form

A dança dos monstros: corpo e estética na arte e na Educação Física

The speeches about the body in interface with the technology, that fulfill the contemporary discussions, have been a stage of innumerable ethical, epistemological, aesthetic and ontological reflections. These happened bodies of the biotechnological scene also invade the dance, making several possible dialogues, making old concepts instable, opening way to revealing explorations and bringing with it implications and reflections. In this context, this research has as objective to discuss relations between body and technology in the dance; to understand the aesthetic configurations of the monster in the dance as possibility to question the body; to establish relations between the monstrous body in the dance and the conceptions of body in the Physical Education. We believe to be able to contribute for the reflection in the field of the Physical Education, since the work visualizes to extend the field of the discussions on aesthetic body and, as well as evidencing dialogues between different areas of the knowledge, as the Art and the Physical Education. From the point of view of the method, the work follows orientation of the Phenomenology for an aesthetic image appreciation of the videos in the choreographies In'perfeito and Violência of Cena 11, Dance Group that has marked new aesthetic configurations in the brazilian dance. Thus, we took for us the reflections on the "significant scenes" proposed by Bicudo (2000), to appreciate the dance of Cena 11. We emphasize that, after the identification of the Significant Scenes, it was necessary to approach these scenes from close senses, from which we detach the appearance, the space and the gesture. We evidence that, the bodies revealed by the group Cena 11, show an aesthetic that it interlaces the beauty, the ugly and the grotesque. An aesthetic of the unharmony, capable to transgress the oppositions, dialoguing with multiple antagonisms and that it amplifies the apollonian aesthetic linear rules, so predominant in the history of the dance and the Physical Education. We identify some indicatives that take us to the problematizations on an affective and anarchic body, when questioning the tyranny of the perfect corporality; the naturalization of the pain; the closed gesture in a finished and unique grammar; the standardization of feminine and masculine roles and the negation of the feeling. From these indicatives, we discuss the aesthetic of the deformed bodies of Cena 11, approaching it of the conceptions of body in the Physical Education, sometimes criticizing the rationalists and naturalistic views, sometimes dialoguing with more recent perspectives studied by researchers of this area of knowledge, which point to a reflection on the body under the optics of the sensible

Escrever o movimento: o cinema itinerante como reinvenção de uma estética do viver

La tesis parte del presupuesto que el cine ofrece la imensa capacidad de entretejer de forma compleja realidad e imaginación. Con eso sugerimos que tal cual una "escuela de vida", según la definición de Edgar Morin (2003), el cine, por medio de sus producciones y exibiciones, pude ser capaz de operar un movimiento de reinvención de una estética del vivir en el espacio de lo improbable. De ahi surge la pregunta: ¿Cómo un fenómeno artístico, estético e imagético puede realizar tal movimiento? Tomando como referencia el guión de vida del personaje de la vida real José Isaias de Lucena Filho, más conocido por Zezeco, encontramos pistas de esa reinvención. Residente de una pequeña ciudad del interior de la província de Rio Grande do Norte, llamada Ouro Branco, en la década del 1960, se desplazó hacia el centro-sur de Brasil y retornó a su lugar de partida con la idea de trabajar proyectando peliculas. De manera singular y plural, este sujeto asumió el riesgo y la incertidumbre de enfrentar determinismos sociales, climáticos y culturales para proponer nuevas simbolizaciones por medio del cine itinerante. La presencia del séptimo arte en pequeñas ciudades de hábitos rurales marcadas por la miséria, el hambre, la negligéncia, el coronelismo político y los problemas climáticos, alteró escenários, actualizó mitos y proporcionó nuevas interacciones entre los sujetos. Zezeco entró en las cifras del éxodo rural y emigró hacia Rio de Janeiro, pero su éxodo fue cinematográfico, porque le sirvió como base para la inserción de efectos especiales fantásticos y poéticos en guiones de vidas inmersas en lo trivial y lo contingente. Tal cual un cinematógrafo vivo, capturó el escenário cultural efervescente de Rio de Janeiro y lo proyectó en la pequeña ciudad de Ouro Branco y en otras ciudades del interior de las províncias de Rio Grande do Norte y Paraiba. Con ello le atribuyó un nuevo uso a la vida de su lugar de partida y de retorno. Actuó en la ambiguedad, la ambivalencia y la complejidad entre el sapiens e el demens; real e imaginario; prosa y poesia de la vida; razón y pasión; racional y simbólico; lógico y mítico. El alcance de la investigación contempla entrevistas, memória, registros manuscritos y fotografías de colección particular de habitantes de la ciudad de Ouro Branco-RN. Como referenciales teóricos principales, tenemos las obras de Edgar Morin sobre el cine y de otros autores como Giorgio Agamben y Maria da Conceição de Almeida que expanden la comprensión sobre el entreejido de realidad e imaginación, vida e ideas

Alimento como metáfora, metáfora como alimento : a arte de nutrir uma educação complexa

Cette narrative fait le parcours d une recherche et de ses reflexions ici annoncé comme une odissée gastronomique et une géografie gourmante , dont les elements interpretatifs rendent possible concevoir qu une lecture de la métaphore et de la stéthique alimentaire puissent contribuer pour penser une éducation sensible, complexe, une education guidée par une experimentation esthétique de la condition humaine, qui provoque les sens, qui permettent évoquer et récuperer les connaissances et les savoirs pertinents, et qui confirme l indissociabilité du sujet dans ses plusieurs poles : nature et culture, émotion et raison. Comme contribution epistémologique, la dissertation, cherche étendre la compréhension d études qui abordent le Corp, l Aliment, la Métaphore, l Esthétique et l Éducation, en déclanchant des relations entre les espaces académicien et cotidien, en expérimentant d autres formes de sentir, penser et d être dans le monde. Poussée par une raison gourmande, et comme dans un rituel de préparation d aliment, j opte par les rélations transversales des savoirs ; je construis un dialogue entre les auteurs de domaine de connaissances multiples, comme la Filosophie, l Antropologie, l Étologie et l Éducation, en travaillant une reconstruction de concepts. Pour la tâche de cette odissée gastronomique, je découvre l approche entre un programme, comme méthode, et un livre de recettes culinaires hermétiques. J ai choisi de construir des estratégies métodologiques qui indiquent les chemins sur les quelles l imagination, la créativité et la réinvention, non seulement puissent mais doivent servir comme des épiceries qui emprègne d odeurs, de saveurs et de couleurs la connaissance, sans laisser de côté la rigueur, principe inégociable dans une science ouverte. J ai choisi, pour m accompagner dans cet étude, des sages, des scientistes et des poètes, entre eux je fais remarquer Michel Onfray, Boris Cyrulnik, Merleau-Ponty, Edgar Morin e Conceição Almeida. Avec eux, j ai déssiné des cartes, goûté des géographies, des terres, des ciels. J ai fréquenter des histoires et des personnages concrets et imaginaires; j ai convoqué des souvenirs acumulés pendant l enfance, avec ses trames, ses textures, ses saveurs, ses parfuns, ses couleurs, ses images, ses gestes, ses mots et ses silences, où le corp devient un médiateur d accès à la connaissance. Comme artifice complémentaire pour suivre la route, je parie sur le rapport fondamental entre le corp, l aliment, la métaphore, l esthétique et l Éducation, je m utilise du Cinéma, en cherchant d apprendre dans cet art, une éxistentialité humaine par le rapport entre la vie, l aliment et les personnages. Finalement, je reaffirme l importance de nourir des affections par une formation et une manière de penser capables de conecté des connaissances d univers dinstingués, et qui contribuent pour une conscience de la condition humaine et l apprentissage d une éducation de la vie et pour la vie

CORPOREIDADE E A MELODIA DA EXPERIÊNCIA ESTÉTICA NA FORMAÇÃO HUMANESCENTE DE CANTORES-EDUCADORES

In order for this study to be developed, the central goal on our investigation was defined as analyzing and interpreting the aesthetical experiences meanings lived by singers-educators in the human formation. The interest for the aesthetical experience theme was built from my own experience for the last twelve years as a member of the School of Music Madrigal, the oldest group in the State Federal University, created for research and cultural extension with structural perspective which brings closer teachers, students and the outer community that comes from different social realities to face the challenge of combining the ability of singing, the corporeity involvement and the aesthetical experiences meanings. This paper points out the understanding of art as perceptive expression of human emotions, such as the creation of existential demand, the restructuring of oneself and the constructions which shape beauty. We seek a dense contribution of new challenges to the peculiar demand of human potential in terms of sensibility repertoire, of involvement, of expectation in magnifying the possibilities and the human and social competences. In the formation human process, we find a living field blooming with natural artistical possibilities, experimenting emotions and feelings shared in collective life, and bringing out impulses to unexpected ludic creation, establishing a powerful aesthetical ambience which highlights the symbolic and imaginary with the deepening of rich ludopoiese properties in several meanings. From the guiding principles of etnophenomenology we find structural and indispensable perspectives which contemplate values, desires, archtype images and ideas that impress originality and fertility to the study. On this path we understand the abundance of living moments of intense commitment, acquaintance, challenges, reunions and connections that stand out from fundamental aspects to freedom, autonomy, creativity and new discontinuities. This acknowledgement brings us closer to the enlighted fullness which makes us humans

Resistência e performance na arte de João Cota

Researching about the art of tell and the tales told by João Cota is somehow revisiting the oral tradition and social practice in the story-telling art. It takes into consideration the resistance this art still exerts, mainly by using the performance of oral transmission and receptiveness to tales. The study of this practice contributes to the vivacious and dynamcis permanence of this authentic and traditional storyteller of his repertory and of his form to tellin our culture. Story-telling is part of the humankind living heritage communicated by means of popular wisdom. Despite the risk of vanishing into thin air, along with their narrators, the tales still manage to resist the contemporary mass culture model. How long further will stories like the ones narrated by João Cota be able to resist to strong and stronger structures dictated by writing and other communication means? João Cota s practice in story-telling will be studied not only as a proposal to identify the presence of this practice and the oral cultural resistance but also, through the performance prospective, to identify the oral transmission and receptiveness to the tales that are part of this storyteller s repertoire. In other words: what he tells, how he tells it, and why he tells it. The advent of new technologies such as internet, through which people can easily communicate with others in different parts of the world, and the greater and greater expansion in the writing skill concept interfere the maintenance of the oral tradition elements present in João Cota s narratives and inserted in the Brazilian culture. This has become more visible in the latest decades although we still notice the living tradition and permanence of the story-telling practice in several parts of the country through their wise storytellers. Our research target will require - in each of its study stages reference to works by several theoreticians namely Paul Zumthor, Mikhail Bakhtin, Câmara Cascudo, theoreticians from the receptiveness aesthetic, from the written culture history, from oral cultures and reading practices, from tradition and the Brazilian Culture of oral story-telling. In order to get to know and draw a profile of this storyteller, we ve chosen to use the comprehensive interview method by French Sociologist Jean Claude Kaufmann. The originality in the method consists of the qualitative data put together in situ , concentrated on the storyteller s narratives/speeches recorded on tape, which will be the focal point of this study. Our analysis method is based on tireless sessions of listening to interviews out of which we gathered information related to the storyteller, his practice in telling the tales, and his repertoire

Para uma metapsicologia freudiana da experiência estética

Há muito a arte já era tema de acirradas discussões filosóficas quando do surgimento da psicanálise no fim do século XIX. Com o avanço desta e seu eventual deslocamento do campo das patologias psíquicas para as produções da cultura, superpõe-se às então produções teóricas sobre a arte um discurso que implica novas categorias do acontecer psíquico no fazer artístico. Com o conceito freudiano de inconsciente todo fazer humano passou a ser concebido como comportando a marca do ser dividido que é o homem. Julgamos a experiência estética como indissociável desse fazer. E é por apostar na singularidade da abordagem psicanalítica no campo estético que nos aventuramos a propor uma descrição metapsicológica da experiência estética. Para tanto, devemos primeiramente compreender qual o critério que Freud utiliza para o uso do conceito de sublimação, este que consideramos um conceito chave para a análise da experiência estética. A experiência é dividida ainda na experiência estética do espectador, isto é, a contemplação, e a experiência do autor, isto é, a do criador da obra.

Corpos da Ciranda: narrativas poéticas, artístico/estética da ciranda de Lia de Itamaracá

This research is a study that deals with the language of the players bodies of Ciranda (a typical dance in circle in Brazil) – more specifically the one of Lia from Itamaracá. Our interest is to observe how this body dances, communicates, writes on time and space, establishing relations that complement and help to remain in construction. Thus, in a circular way and in an energy that is transmitted with the contact of the touch of the hands, in the power of song, in a circle that can be seen from many places, but by different angles, holding on that the particularities of its subjects players/dancers/observers, and that we propose ourselves to think: who are those players bodies and how do they build the circles of Ciranda? Therefore, during the pathway of the research, we were conducted by the phenomenological method and, from this, used the concepts of lived and sensible world. Our interest in this manifestation is, also, the body that dances and insert itself in the artistic expression, meaning and opening itself to the knowledge by the experience. Therefore, we assume a conception of the body that refers itself in the merleaupontyana fenomenologic approach, in this way, in its criativity in relation to the body as a fragmented being, as it is pointed by the Cartesiana theory. In this perspective, we understand the body in its relations with the culturals, sociais, economics and artistics issues that integrates it, in others words, in the relations that helped us to better understand the body as it is. This way, this research has as main objective to present the refletions about the players body, mainly, of Lia from Itamaracá and with this body to dance, to communicate, to write itself on time and space, estabilishing relations that complement and help to stay in construction. Such a statement leads us in this work, to inquire, for example: what mobilizes those subjects on this dance? We understand that elements as the place that is always in modification, the costumes, the musicality and the change in the movimentation of the players body in each new circle, those elements are factors that activate a permanente reconfiguration that are happening in the Ciranda dance nowadays. Finally, we assert that this investigation comes in reason to the big dimension that the Ciranda has achivied in Brazil, especially in the Northeast, as the existence of few references and registers of the reseach manifestation in the academic areas. It is possible to verify, in this research, that, in reason to this spreading, the nuances of the players bodies is even more diversified and that the missing of experiences on Itamaracá island - PE, its origin has putting away the original and community, becames, more and more, a dance of others stages and squares.