Ziembinski – o encenador dos tempos modernos: a construção de uma trajetória na crítica de Décio de Almeida Prado (1950-1959)

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Teatralidade em frequência e intensidade: análise da matriz vocal do espetáculo Passos, do grupo Obragem de Teatro e Cia

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

A dramaturgia de Dea Lohe na peça Inocência: o hibridismo teatral na cena contemporânea

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

A arte do teatro na educação durante a infância: a percepção dos professores acerca de suas contribuições

Seeking new ways to be used in the process of teaching and learning, he turned a look at alternative lines of research, going to value the arts in education, and inside, there has been a major focus of the relationship to both the theater and education. Currently, the theater has been the subject of research in education and has been also widely used as an educational resource, and its adoption by professionals is based on studies showing the contributions of the theater to child development. The theater, while playing, artistic expression and involves imagination, creation and sociability.This paper presents child development in all its phases, the importance of games, especially the symbolic games, during this process, through the perspective of Jean Piaget, a brief history of the theater within the education and the contributions actuallyits use as methodology of teaching and learning brings to children's development of the early years of elementary school, bringing the discussion as teachers' perception about the real possibility of its use in schools as a way of teaching and learning. This research aimed to understand the dialogic relationship between theater and basic education, emphasizing its most striking features, emphasize its presence in the teaching and learning in basic education, focusing on the early years of primary education; see how the skills developed with drama can help develop cognitive, psychological, social and moral development of children, performing an initial survey on the possibilities of using the theater within the lesson plans for teachers in the first grade of elementary school and learn the opinions of professional education on theresearch subject, being held with four teachers who teach in the first years of elementary education at a public school in Santa Cruz do Rio Pardo, ...(Complete abstract click electronic address below)

O Grupo Sobrevento de teatro de formas animadas

Since prehistoric man seeks to dominate play scenes and images of their daily lives, to understand them or dominate. In the theater, the man tried to represent hunting scenes and deities. Since the first creation material representative of the gods, these objects acquire magical powers. After a long time, came the Puppet Theater, which through the use of various materials, the man concocted dolls in his image and likeness, as well as representations of animals. Subsequently, the Theater of Animated FormsVisual involved various props, like the mask, the shadow and the object. Thus, these elements can appear all together or not in the same show and are, therefore, the Theater of Animated Forms. How important human need to understand the world and events around them, the arts were needed to explain the divine and unreachable. Clumping the four languages of art: music, plastic arts, dance and theater, the Theater of Animated Forms of so characteristic of the man in search of the divine and sublime sentiments or not. In Brazil, faced with a multitude of excellent groups Theater of Animated Forms, the Sobrevento Group stands to monitor on an extensive repertoire theoretical foundation for the themes of the pieces created, and the high level of aesthetic sensitivity and artistic creation through is the dummies used in your repertoire. The objective of this study is to describe and analyze the Sobrevento Group considering the process of artistic creation, which led to the understanding of what is Theater of Visual Theater. To this end, guided interpretive anthropological approach, we conducted an ethnograph with the group

Crítica em perspectiva semiótica: o caso de Barbara Heliodora

This research aims to analyze, based on the theories of French semiotics (or greimasian), the development of the critical text by Barbara Heliodora and drama criticism, a very popular genre in journalism and therefore of great relevance for scholars in the area. The corpus of this research will analyze nine texts by the author, giving priority to her early career (texts from 1957, 1958 and 1962) and her most recent texts (two from 2007 and one from 2010). The choice for greimasian Semiotics is justified because it is a methodology that provides all the necessary elements for interpretation of textual content and its relationship both in the business of the theater and journalism

Arte e educação: um estudo sobre as contribuições de Bertolt Brecht

O presente trabalho tem por objetivo apresentar um estudo documental concernente às relações existentes entre Arte a Educação; partimos da hipótese de que a primeira consagra-se enquanto objeto de pesquisa concomitantemente a sua legitimação enquanto fonte meritória de conhecimento, principalmente no que se refere à produção material da existência humana e as intrínsecas relações político-sociais engendradas por princípios e valores econômicos. Logo, este ensaio foi edificado sobre o alicerce do legado literário de um dos maiores intelectuais do século XX reconhecido na contemporaneidade: o dramaturgo alemão Bertolt Brecht – cuja significância da produção artística se manifesta no exercício da compreensão e análise crítico-reflexiva da função social e educacional da Arte no âmago da sociedade de classes.

Cenografia teatral: uma análise dos aspectos cênicos da peça Bê-a-Bá Brasil - memória, sonho e fantasia

The main objective of this project step is the evolution of scenery matter on the occidental theater media, related to space and technical possibilities of the theatrical building and space on history of contemporary arts. The main point is that scenery must communicate with a specific matter. Something in touch with the plot speeches. Something that makes all the plot elements to communicate. Acting has an specific message to deliver, and that message is what really matter to the viewer of the show. “It’s never late to state that scenery is not a decoration, or just an interior composition. Scenery is not a painting or a sculpture: it’s an integrated art form. It’s never too repetitive to say that scenery is a result from the composition with lights, shadows, shapes, lines and volumes, in balance and on harmony as a whole, that create movement and contrast” (Dias, 2001) On the second step of the project, the objective is to analyze the building process and the scenery aspects of the “Be-a-bá Brasil” show, using illustrations, pictures and analysis data of the context the show was inserted on

Da linguagem corporal à linguagem escultórica: contribuições do método Bertazzo

This research aims at the human body as a theme that is explored in different languages by many artists. So here I intend to report the passing of reading and interpretation of the show LIVE BODY: Carousel of Species for sculptural language, so will be examined trajectory of the creative process with a brief overview of the expressive body language through dance / theater exploring ways Created with contributions from studies of Reeducation Method Body Ivaldo Bertazzo, creator, director and choreographer of the piece

Walter Bacci: desculpas e deslizes diálogo entre artista plástico e cenógrafo

Pós-graduação em Artes - IA

A Permanência do clássico mitológico em Omero, Iliade, de Alessandro Baricco

The work Homer, Iliad, by Italian writer Alessandro Baricco (be borned in 1958, in Italy), published in 2004, arose of a project of retelling of Homer’s work, aimed at the theater and which excluded the direct participation of the gods. But until which point the act of not focusing on the gods excluded the relationship between the literary with the mythological? It’s possible return to the classics excluding the presence of pagan gods? Which tripolar relationship could trace among the mythological, the literary and the theatrical in this Italian work? These are the questions that guide the undertaken study, aiming to check the sense that the elements taken from Classical Mythology engender in the produced text and in the artistic context in which it is inserted.

Afirmação do projeto ético-político do serviço social: a utilização das técnicas das manifestações artístico-culturais no debate sobre os movimentos sociais

Pós-graduação em Serviço Social - FCHS

Narrativa e encenação: um estudo sobre diálogos e monólogos em contos de Marcelino Freire

Pós-graduação em Letras - FCLAS

E. T. A. Hoffmann e Jacques Callot: a ficção da imagem

Hoffmann wrote several fairy tales, including "Princess Brambilla" (1821), which has an remarkable pictorial component: when it was published, the text went along with eight illustrations by Carl Friedrich Thiele, which were derived from original prints made by the Frenchman Jacques Callot. While Callot images portray the Italian theater of the Commedia dell'Arte, Thiele's works follow the plot of the narrative, representing the characters of Hoffmann, who disguise themselves because of the carnival that is taking place in Rome. The costumes and masks worn by the characters however do not ensure them full secrecy. Instead of a complete undercover, they lead to double meanings and double identities so that narrative levels and artistic references overlap and create an effect similar to a set of a polyphonic orchestra (which is a metaphor implied in the very subtitle, where the narrative is called a Capriccio).

Filoctetes de Sófocles: o espaço e o labor humano

This article analyses the transformations of spatial references in Sophocles’Philoctetes. As we can see, instead of being cristalized in formulas and conventions, Ancient Greek Theater has renewed itself constantly, by experiencing different ways to correlate audience and events on stage.