Um olhar sobre “Água Suja” e o “Moleque”: tradição, fé, cultura e teatralidade

This thesis addresses two spectacles: “Moleque tão Grande Otelo” and “Água Suja”, in which both have had my participation as producer and actress. The spectacle “Moleque tão Grande Otelo” reveals the racial-ethnic questions that surrounds the play and permeates the artist’s life whose name is the same. The play deals how the actor Grande Otelo life events’ had implied in his art, the facts that marked his career and they are shown at the spectacle, the reason why to articulate: art, life, fantasy and reality. Aiming to unveil the actor, I refer it to my history as an actress and the roots’ similarity to Sebastião Bernardes de Souza Prata, who became Grande Otelo to the world. In the staging of “Água Suja”, we also expose familial and religious memories and experiences of a people that overflow faith in a real spectacle, which takes place every year, in August, in our region, more specifically in Romaria – MG. While creating “Água Suja”, we experienced the act of keeping a promise and believing in the saint’s miracle, thus this experience is told in the spectacle and investigated in this study.

Entre as tramas da indústria da moda: argumentos sobre o trabalho escravo contemporâneo na sociedade de consumo

Even after its abolition, the slave labor still exists in the world. In a new socio-historic context, the shackles and slave quarters have been left behind, nowadays the workers are tempted, subjected to degrading conditions and have their rights retrenched. The contemporary slave labor has been emerging as subject of research in the Organizational Studies since the early 2000s, calling attention to many gaps to be filled about the way organizations all around the world use this practice. Contemporary slave labor is found in many and various economic activities, since coal to textile industries or even stores. In this dissertation, we have incorporated the consumption dimension to the field of Organizational Studies, discussing the modern slavery, aiming to understand the consumers’ point of view about this topic, that is, we have researched the consumers’ interpretations concerning the slave labor in the fashion industry. Our objective is to analyze consumer’s argumentative construction in the decision of buying or not products made by industries from the fashion field that were denounced because of slave labor usage. We have adopted fashion industry as research focus because it obscures the reflection of the consumers that feel like in a new world while shopping, a world of beauty and fantasy, seeking their own satisfaction. Furthermore, the Brazilian fashion industry is one of the biggest of the world (ABIT, 2015), with a huge symbolic strength in the country. We have realized a qualitative research using semi-structured interviews with 35 consumers to identify their arguments according to the criteria defined by Liakopoulos (2002): data, propositions, guarantees, supports and refutations. The data are the statements used by the interviewees categorically, that is, those which are clear in the interviews. The propositions are what qualifies and justifies the used data. The guarantees are related to the nature of the data, they are what gives the sense to the data and are introduced implicitly in the interviewee speech. The supports are universal premises introduced in order to legitimate the arguments. The refutations, when present, counter the used arguments. As results, we’ve found consumers who developed arguments pro-consumption and anti-consumption and who have defended ideas about the responsibility of different actors for the existence of this practice and for the fight against it. From these two categories: (1) pro-consumption – consume despite the complaints and (2) anti-consumption – don’t consume, because of the accusations; we have identified the following argumentative lines: skepticism, faultfinding and moral engagement. By the end, we have presented the interviewees’ argumentative construction and the obtained results.

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.