Conduções cênicas: A “Açon” e o movimento através dos princípios e procedimentos metodológicos de Gilles Gwizdek

The research identifies and describes the principles and methodological procedures of the director Gilles Gaetan Gwizdek on the transposition of the dramatic text to the space of representation through action and movement. Besides that, it presents the results of the experiment in two different labor camps and conducting modes: the no-actor student, inserted into the basic education, and the actor-student, inserted in higher education. Through the scenic paths encountered by the director, the individuals were could find their own ways and verify, through the scenic conductions, how such methodological procedures can achieve a pedagogical thinking about the actor's work. As theoretical referential, were studied the artists-educators: Jacques Copeau, in what sensitizes to the use of dramatic text, and Jacques Lecoq, it approaches of the physical use of the actor's body to the theater. The concepts about theater of the scholars in theater: Constantin Stanislavski, Eugênio Barba, Meyerhold, Eugênio Kusnet, Bertold Brecht go through the theoretical revisions of the thinkers: Odete Aslan, Patrice Pavis, Ney Piacentini, Lúcia Romano, Flávio Desgranges e Anne Bogart, in what affects their practical experiences and conceptual about the text, the action and the movement. It was analyzed also the practical experience based on the principles and methodological procedures of Gilles director, in rehearsals and performances of students in the ninth grade of the primary school the Basic School of the Federal University of Uberlândia - ESEBA, as also, of the students of the sixth, seventh and eighth period, of the Theater Graduation in the same university. From this analysis, it was proposed an interrelation between the theoretical and practical works, done by reading of the artists-educators about movement and Gilles Gwizdek in his work process. The research suggests that, from the movement, the student can build autonomously a character through the experience of small movements of the body. Thus, this student would increase his relationship between stage and audience, and consequently, he would cause a possible state of "seduction" of the spectator to the spectacle.

Esgotamento do padrão de acumulação de capital e política econômica brasileira: do II PND aos anos 2000

This work aim to show that the reach to the limits of capital accumulation, which is showing its first signs since the 60 s, has and still is exercising great importance in Brazilian economic policies. In the first chapter, we establish a reference to what is understood as the limit of capital accumulation after World War II and how the accumulation process drives itself to its own limits. In the following chapters, we detach the importance of the reached limit to the most relevant moments of Brazilian economic policy. Since the IIPND, when the first signs of influence raise in Brazilian economy, passing through the stabilizing attempts during the 80 s and 90 s and the emergence of the pro-market State in Brazil, until the 00 s, when macroeconomic prudence took shape and delimited the conduction of the country s economic policy, we will show how the limit of capital accumulation has played an important role.