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

O jingle e outras práticas culturais dos vendedores de rua de Aracaju/SE

This masters dissertation constitutes in a mapping with base in a field research carried in the streets of commercial center and adjacencies of the Aracaju city, capital of Sergipe state, located in Brazilian‟s Northeast. This is a study about the jingle and others social practices found in the day-by-day of streets by the streets sellers. There is a clear intention of consider the pregão singed by sellers of the street how a jingle that is produced, transmitted and accepted in a means social, characterized how cultural manifestation study. Thus, this ethnography aims to observe the use of the jingle and other cultural practices carried out by street vendors, showing how they are produced, disseminated and consumed in everyday life, as a way to do it. These practices that occur in cities since ancient times continue to occur in all Brazilian cities, including the capital cities, although in some cases, some of them such as the jingle, they get more scarce. Specifically aimed at rescuing the memory of these cultural practices, considering them as "tactics" of practitioners, a resistance of street vendors, individuals, "ordinary" real "anonymous wanderers" in the face of pressure from a dominant force and uneven. In this perspective, the present study is based on the theories of Certeau (1990, 1996) and Coradini (1995) on daily life in the cities, seeking to demonstrate how street vendors engage in a "diverted", subversive, selling its products, creating and using the jingle and other similar relationships that are part of common culture, introducing itself as "ways of doing" that are appropriate or re-appropriated, consumed or accepted in joints over time and within the "anthropological urban spatiality

Maracatus Solar e Reis de Paus: tradição e modernidade no carnaval de rua em Fortaleza

This is an ethnographic and comparative study of the Maracatus Solar (2006) and Reis de Paus (1960), whose aim was to verify what is ancient and traditional in the new maracatu practiced by the guild Solar and conversely, what is new or modern in the old maracatu ritualized by guild Reis de Paus. It is worth noting that through this case study it is also intended to ethnographically observe and better understand the processes of ruptures and continuities between modernization and tradition, and the relationship between the global and the local. The communication system, the dancing, the music, the costumes and the loas (letters) were analyzed using the technique of participant observation as well as secondary materials such as newspapers, blogs and magazines. The interviews were open, non-directive, but recorded to facilitate understanding the speech of revelers. The research has shown that all the symbolic elements of aesthetic expression of the maracatu are permeated by clashes of historical contexts and of political representation, which, in another instance, also enunciates a fight of micro-community resistance regarding the renewal process and the social development that plague modern megalopolis. It is In this interim, between modernity and tradition that today it can be spoken about the existence of hybrid identity in the maracatu regarding a context mediated by the overall above mentioned values and customs specific of the new generations. However, one can not deny that the forms of negotiations with modernity also require the establishment of a link with the specific singularity of a popular culture that is not excluded, but also should not get invaded by the idea of authenticity. Therefore, performing this study was above all an opportunity to understand also the community life in the city outskirts, understanding society, culture and everyday social relations maintained between humans that produce and make it all happen. The Solar and Reis de Paus do not join in opposition between themselves nor by their similarity. What is most striking among them is the renewal of a tradition that reinvents itself in the form of popular representation across the street parade

Nos tempos do blackout: cena musical, práticas urbanas e a ressignificação da Rua Chile, Natal-RN

This study aims to analyze the process of resignification of Chile Street, in Natal, from the development of a music scene in the late 1990s. Chile Street, as part of the Historic Centre of Natal, had its images constructed from the discursive practices and everyday life of its regular visitors, leading to a series of symbolic and imaging transformations throughout the twentieth century. Initially transformed into glamorous space as a result of urban actions of the new republic of Albuquerque Maranhão, in the early twentieth century, Ribeira and Chile Street, specifically, came to be seen as bohemian area, during the war time"; followed by a marginal phase, it was eventually transformed into the main rocker area of Natal, with the development of a musical scene in the second half of the 1990s. This music scene, its practices, economic interests, cultural events and identity ties created among their practitioners made Chile Street, "in the time of Blackout night club", an "alternative" space. As the historic centers, inserted in the logic of postmodern city marketing, both spaces are dynamic in their practices, as in their images, Chile Street also suffered changes in its meanings and symbols, around the year 2000 when the alternative-underground space became a pop space, where people from various parts of the city began attending its events and places, transforming it into a point of very heterogeneous sociability

Identidade, espaço e tempo: negociações de sentido sobre a "gente de rua"

This research examines the street children s identity construction processes. Recently, the research about this population has focused on the socialization processes that organize their everyday, their situations of interaction, the meanings of their social practices, their street experience. The concept of identitary forms gives coherence to the set of these phenomena, articulating them theoretically, in order to describe their life conditions and details of their trajectories. This research utilized an ethnographic approach with a group of 11 street people, 9 of them boys and girls 16-18 years old, during 3 months. It included participant observation, informal and formal interviews, that resulted in young s narratives of lifestory. These narratives were interpreted according to the principles of positioning analysis and the Labovian Analysis model of oral narratives of personal experience. The observation of interaction among the studied group and other groups has showed that their social practices, supported on many particular bodily technologies, recreate space and time of these interactions semantically, as mediation of meaning negotiations among groups. Such meanings transform again the environment of these interactions, disclosing interpretative systems by means of which the groups apprehend this interaction in a particular way. These street children s bodily technologies imply identitary forms based on scarcity and abandonment, paradoxicalally related to their self-concept. The analysis of narratives revealed diversity and complexity in the meanings assembly for their street experience; it showed that the semantic arrangements reconstruct the temporal experience, creating a moral climate for each lifestory, and determining more or less aperture of identitary forms to change. The study concludes that space and time, builders of interaction regimes, produce identitary forms; that the narratives and the social practices of the studied group are sustained upon a master discourse that opposes the meanings of the home and the life in the streets

As Faces e os Disfaces da Informalidade no Capitalismo Conteporâneo: Um Estudo do Comércio de Rua em Pau dos Ferros/RN

This paper discusses the expression of informality in contemporary capitalism. Thematic of relevance to the analysis of the reality of work today and the logic that moves the capital, its real presence in the lives of individuals. The street trading of Pau dos Ferros town, popularly known as "street market" was chosen as the search space. The main objective is to seize and examine the articulations and logic, present in the configuration of the street trading of this city, located in the state of Rio Grande do Norte, explaining the functionality of informality for capitalist accumulation, but also for the reproduction of segments of the working class. Our analysis is based in the perspective of totality, trying to grasp the historical determinations of the phenomenon in focus. It includes the analysis of the mechanisms used by the capital to reproduce itself in the current historical context, which has been implicated in the composition of the labor markets of different countries and in various forms of exploitation to which workers in general are subject. It also means discussing the development of capitalism in Brazil, the logic that permeates its dependence, and especially the use of over-exploitation of labor, as a lever for internal accumulation. The course of investigation consisted of theoretical research to form the basis of theoretical and methodological analysis and to outline the context in which our research object is inserted, and field research conducted in two phases: systematic observation, which allowed to map traders features and the infrastructure of commerce, and the conduction of interviews with key informants. The material collected was scrutinized according to analytical scheme inspired by the content analysis. Among the main considerations developed from the research process we include: the street trading of Pau dos Ferros remains shrouded in the majority sale of agricultural products, this demonstrates the structural characteristics of the region. However, the supply of this product is no longer restricted to the excess of small local producers. The presence of the dealer changed the distribution of the product, streamlining it. In parallel, business practices are developed, practices in which traded goods (industrial) reflect the moment of capitalist restoration, a larger business network. The reflections also made it possible to show that street trading follows developing on the basis of informal work, which gains functionality to the system, as it is configured as a space commonly used to drain part of the production, of industries (clothing/shoes), especially if the distribution is considered as an essential element of the complex process that aims at capital appreciation. This activity has been functioning as a place of employment and income generation for the subjects who are away from formal employment, masking, this way, unemployment, moreover, they allow them to continue as consumers. Such expressions reflect the ability and the logic of capital to expand and aggregate into so many realities. It is underway today, the logic that has led many workers to join the project of domination of capital, by the illusory chance to become capitalists. The aim has been to turn the subject into a consumer and the worker an enterprising

"Em cada esquina um poeta, em cada rua um jornal": a vida intelectual natalense (1889-1930)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES

“Acham que brotamos das fontes dessa cidade?”: uma etnografia sobre o cotidiano de sobrevivência de pessoas em situação de rua em Nata/RN

Through participant observation, held in the administrative region east of Natal / RN, this research aimed to understand about the daily life of men and women living on the streets in the city. How they relate to the space where they live? In this relationship, which uses and survival strategies triggered by this social segment? These were some of the questions that guided this research, in order to highlight the specificities of this way of life and the possible consequences that such a situation could reverberate. In this sense, there was an effort to keep up with people on the streets, their itineraries and seize their narratives. Along the search path - which took place intermittently between the years 2011-2015 - attended spaces of occupation and traffic of this population group in the street, as well as insert me and got involved in events, forums, seminars, meetings and subject of joints on the streets as a political movement (MNPR / RN). They are considered in this study as people on the street to those who occupy the street as their main space of survival and ordering of daily life: in the streets sleep, feed themselves, meet the physiological and hygienic needs, and is where draw sustenance. The street is taken in this research in its broadest sense, including all possible places relatively protected from the cold, rain and exposure to violence, thus includes both open and public spaces: as squares and parks; but also closed and private places: hostels, abandoned warehouses, prisons, etc. It was observed that in none of these spaces guys on the street are established in a fixed manner, in contrast, they experience the roaming, which in part is due to urban systems - which tends to stigmatize them and delete them places - and the very need to survive, because while living in the street differentiated practices are triggered, and these differ from the dominant mode of sedentary life.

“Acham que brotamos das fontes dessa cidade?”: uma etnografia sobre o cotidiano de sobrevivência de pessoas em situação de rua em Nata/RN

Through participant observation, held in the administrative region east of Natal / RN, this research aimed to understand about the daily life of men and women living on the streets in the city. How they relate to the space where they live? In this relationship, which uses and survival strategies triggered by this social segment? These were some of the questions that guided this research, in order to highlight the specificities of this way of life and the possible consequences that such a situation could reverberate. In this sense, there was an effort to keep up with people on the streets, their itineraries and seize their narratives. Along the search path - which took place intermittently between the years 2011-2015 - attended spaces of occupation and traffic of this population group in the street, as well as insert me and got involved in events, forums, seminars, meetings and subject of joints on the streets as a political movement (MNPR / RN). They are considered in this study as people on the street to those who occupy the street as their main space of survival and ordering of daily life: in the streets sleep, feed themselves, meet the physiological and hygienic needs, and is where draw sustenance. The street is taken in this research in its broadest sense, including all possible places relatively protected from the cold, rain and exposure to violence, thus includes both open and public spaces: as squares and parks; but also closed and private places: hostels, abandoned warehouses, prisons, etc. It was observed that in none of these spaces guys on the street are established in a fixed manner, in contrast, they experience the roaming, which in part is due to urban systems - which tends to stigmatize them and delete them places - and the very need to survive, because while living in the street differentiated practices are triggered, and these differ from the dominant mode of sedentary life.

O ator na rua: uma expressividade caótica

Ce travail a recherché sur le processus de préparation corporel\vocal\énergique de l’acteur pour la rue. Notre quête principale c’est comprendre les processus qui l'acteur se déplace afin de développer une énergie à la scène dans la rue. C'est cette énergie qui est mis en place et se rapporte à le passant\spectateur? Qui attire l'attention de passant\spectateur? Serai l'histoire? Le code vestimentaire ou être une expressivité dynamisée? Serai une énergie présente dans le corps de l'acteur qui se relacione avec les passants? Comme l'acteur se rapporte à l'espace urbain? Pour tenter de répondre à ces questions, nous allons utilisé certains principes de la physique moderne, tels comme: la Théorie Quantique et le Principe d'Incertitude, autan la Théorie du Chaos. Le théâtre jouée dans les rues, surtout par le biais de longs prolongements de construction scénique, cependant, lorsque présentée au public, est prise par les autres causalités, car étant situé sur la rue, l'acteur devient assujettie à cet espace et ne peut pas nier la possibilité des faits qui peuvent se produire. Selon la physique quantique l'énergie se propage dans un espace vide, la quantité d'énergie physique étant échangé dans la rue, ce qui entraîne le moment magique où les corps des acteurs, des échanges constants avec les spectateurs, en permettant le saut quantique: le spectacle théâtral de la rue.

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

As Mídias Segundo Mafalda

MUNIZ, Euzébia M. P. T. ; MACHADO, Diolene B. ; BULHOES, Juilana A. D. As mídias segundo Mafalda. RUA. Revista Universitária do Audiovisual, v. v.2, p. p.01, 2012.

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

Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence

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