A poética do corpo não-verbal: um olhar para a comicidade em cena

Throughout our history as an actor, director and teacher, we appreciate comedic performances they proposed a dialogue with the public through the body language of the performers whose performances abdicate the use of speech of the actors. This way of representing, in the silence of the stage, caught our attention and sparked our curiosity about the subject, which is directly related to the poetic constructions of the body on the scene. Before initial readings on the subject, we begin to understand that for a long time in human history, especially in the West, understanding body was constructed from various epistemological looks disregarded the body as a unit, an incarnation of the subject in all . This kind of thinking, reflecting the philosophy of modernity, reverberated strongly about the aesthetic issues of art making, here specifically in Theatre. For several centuries the theatrical make up molded from various aesthetic elements, but ignoring the potential of embodiment of the artist, ie the theatrical text, for example, was considered for a long time, as the main element of the scene and gave little emphasis on dramaturgy elaborate body. With the emergence of reflections on the subject, brought especially from the early twentieth century, the perception of the body as a creative element and creator, also began to gain ground. Over time artistic practices began to glimpse the creative possibilities of the body, including rethinking its relationship with the text written with the spoken word. And as part of these new reflections on the body in the creation process, we proposed this research, we have entitled "A poetics of non-verbal body: a look at the comic on the scene." In our research on this subject, also seek to understand how the corporeality of the actor may give us clues to realize / build nonverbal body and comical scene. From this perspective we can analyze how could the construction of a comical and non-verbal dramaturgy from the phenomenology of laughter. And with that look, we want to point out some aspects and procedures, arising from reflections on corporeality and comedy, that constitute, among other possible, non-verbal construction methodology scenic.

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

Interface cena e tecnologia : composições cênicas mediadas

Based on the presupposition that the arts in the West always counted on resources, supports, and devices pertaining to its time context, an reflection is intended regarding the scenic compositions mediated by digital technologies do. Such technologies are inserted in the daily routine, also composing artistic experiments, thus playing a dialogical role with the art/technology intersection. Therefore, the proposal is to investigate what relationships are established in the contemporary theatrical scene from the contagion by digital technologies, aiming at establishing this parallel through a dialogue with the authors discussing the subject, and also based on the group practices having technological resources as a determinant factor in their plays. Furthermore, a reflection should be made on the scene that incorporates or is carried out in intermediatic events, analyzing how digital technologies (re)configure compositional processes of the plays by GAG Phila7, in the city of São Paulo/SP. For such, the dissertation is organized in three sections comprising four moments, to wit: brief overview of the field, contextualization, poetic analysis and synthesis. Qualitative methods are used as the methodological proposal: semi-structure interview, note and document taking (program, website, playing book, disclosure material for advertising text, photographs, and videos). Within the universe of qualitative research, it works with the epistemological perspective of the Gadamer philosophical hermeneutics. The possibilities allowed by the double virtual (Internet/web) generated a type of theater with another material basis and new forms of organization and structure, being possible to perceive that such technological advances and the arts are mutually contaminated, generating a dislocation in the logics of theatrical composition, movement beginning with the artistic vanguards, gradually intensified, thus offering new possibilities of constructions and hybridization of the of the most different possible types. Experiment ―Profanações_superfície de eventos de construção coletiva‖, idealized by Phila7 is inserted in this perspective. Object of the discussion of such research, the experiment works with possible poetics arising from the intersection with the digital technologies, aiming at identifying and problematizing the challenges from the technological evolution and expansion in a scenic context

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

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

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 recepção da criança com deficiência intelectual ao texto literário na educação infantil

The focus of this thesis is children's reception to literary texts starting from literary livelihood in an inclusive literary context, looking for the possible evidences that are present in the construction as reader/hearing of literature. Based on a study case, we search the ways of participation of a child (girl) with intellectual deficiency in situations of offering and reception of literary texts, looking for the understanding and explication of some aspects of her processing and the building up of an initial reader. The data were taken starting from observations in moments of reading and story-telling in the period from November to December/2008 and May to June/2009 in a public school of children education, in Natal- Brazil, in which there was a registered student showing intellectual deficiency associated to Down syndrome. As research tools we used: field diary, interview scripts and video recordings. The analyses were based on research from Amarilha (2001, 2006a, 2006b), Bettelheim (2007), Coelho (2008), Iser (1996), Jauss (1979, 1994), Luria (1990a, 1990b), Vygotsky (1991, 1993), Wallon (2007, 2008) amongst others. The research showed that although expressing little verbalization and limited levels of attention, body attitudes, movements and talks of the child under investigation, denounced engagement and rendition to the sonority of the texts shared. These data gives us traces that, under a mediating action, the child with intellectual limitation can turn into a reader/hearing subject of literature, developing a sensitive and a selective attitude towards the literary text. Amongst other aspects, we identified that (1) a conception of deficiency present through the school that recognizes his/her potential of developing and learning (2) the situation of sharing, that favours a relation with the texts through the other, and (3) the relevance of orality providing the semantic paths that help the child in the building up of meaning, presenting themselves as fundamental to her/his viewing of the literary text, and, therefore, the formation of the reader. Thus, recognizing her/his capacity and possibilities, we think it is important to guarantee to the child with intellectual deficiency, a space towards interaction with the fictional text in which the child can learn and live its ludic and interactive character, to enjoy its hearing abilities, benefiting, then, from the aesthetic experience lived, mainly, in collective situations mediated through the more experient reader and shared with her/his different pairs. The research shows yet that, looking after conditions that guarantee a comfortable environment to the story hearings in the classrooms that focus on children education, being aware of a selection and the prosody of stories, the didactic contract, the attention to individual reactions, enlarge the possibility of any child deficient or not to enjoy her/himself as reader/ hearing subject of literature, engaged in its richness and magic

Fontes primárias da história do vácuo e da pressão atmosférica na sala de aula: cartas e jornais históricos em articulação com o livro-texto do ensino médio

The use of the History and the Philosophy of Science (HPS) for the teaching of science and scientific subjects has been advocated in recent decades. It has been pointed out that the History of Science could make for a deeper learning of scientific concepts, since it would promote a contact with the problems which that knowledge has set out to solve. Furthermore, historical episodes would serve to put the discussions about the nature of scientific knowledge into context. With a view to explore those potentialities, the literature in the field has sought to identify the challenges and obstacles for the didactic transposition of subjects from the History of Science. Amongst many aspects, the deficiencies in the training of teachers, so that they can work with the insertion of HPS in the classroom have been highlighted. Another aspect that has been mentioned to be a challenge has to do with the didactic transposition of the Primary Sources, that is, of the original texts on the History of Science. The Primary Sources have significant potentialities: making a connection possible between scientists and concepts, showing the difficulties faced during scientific endeavors, perceiving the role of mistakes as obstacles to be surpassed, not as defeat, etc. On the other hand, there has been little exploration of these concepts in an educational context, due to their own peculiarities. The original texts are often hard to understand and their interpretation demands knowledge of the historical and scientific context in which they were written, as well as skills pertaining to the conduction of research in the field of the History of Science. With this scenario in mind, the research towards this Professional MSc degree starts from the challenge of elaborating and discussing proposals which could enable the didactical transposition of the Primary Sources. We have worked specifically with Primary Sources on the History of the Vacuum and of the Atmospheric Pressure, because of the insertion of these subjects in the Brazilian High School curriculum, in connection with the didactical textbooks. "Historic Journals" were made up from clippings of the original historical texts, as was a Didactical Unit, which takes the usual textbooks as a basis and contemplates using the Journals and the entire Primary Sources in High School. At last, we have elaborated and implemented a course designed for the preparation of teachers and for being an opportunity for the discussion of the feasibility of putting these kinds of proposal into practice

O silenciamento no texto jornalístico e a construção social da realidade

This research analyses the silencehood use by the A República journal (Natal/RN), today not being distributed, during the Second World War. Its objective is to unveil the production condition of the news texts, and it was observed that the use of silencehood as a speech strategy with its implications that falls upon the way of behaving and thinking of the society, all that time, influencing the reader in the construction of his image of the reality. During the coverage of the conflict by the local journal it was possible to also observe different speech marks that represented the change in attitude of the Brazilian Government, responsible for the control of what was spread as news. The country lived the dictatorship of the New State and as the war went on the government changed its speech, according to political, social and economical interest s thoughts being played, silencing themes in the name of the national security. We admit as research material journalistic texts that refer to the main facts that occurred during the six years of the world conflict and that is why we used as theoric-metodological support the Speech Analysis