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.

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.

Junho de 2013: o mês que não começou

This work aimed to analyze the so called June Journeys which happened in Brazil in 2013, in an effort to establish a proper ontology for cyberspace that goes beyond old dichotomies that put men and techniques in polar opposites, making difficult to perform a constructive – and not merely pessimist – analysis of the crossroads between politics and technology. This analysis uses as basis and methodological guidance the Theory of Actor-Network (ANT or TAR) widely used in social studies of science and technology to overcome these dichotomies and allow the analysis of networks, so that is clear the political instability that arises in this context which profoundly changes the political game.

Caminhos da professoralidade no Curso de Dança da UFU: impasses e desafios na construção da identidade profissional

Teacher identity is a subject of study and discussion in the academic world whichhas become an object of attention of researchaddressing teaching and teacher formation. Life history, initial and continuing formation, the meaning of teaching to the teacher, and also pedagogical practice are all contributing factors to teachers’ professional identity. The present study is a proposal developed in the research field of Educational Knowledge and Practice, and its main focus lies in university teaching. Higher education teaching in the context of a dance course, and the issues and challenges of constructing teachers’ professional identity are presented. Thus, my main questions were: what is the teaching path followed by newly hired dance teachers in the Federal University of Uberlândia? How is teaching identity developed in these new teachers’ professional socialization process? What kind of educational knowledge is (re)produced and mobilized by teachers when they join university teaching? In order to answer these questions, my objectives are: to analyze the teaching path of the newly hired dance teachers of the Federal University of Uberlândia; to investigate how their teaching identity is built within their professional socialization process; and identify the kinds of educational knowledge they (re)produce and mobilize as soon as they become university teachers. The present research comprises a qualitative data analysis from previous studies on the subject, having as starting point relevant bibliographic research, followed by an identification questionnaire and an interview conducted with the newly hired dance teachers. The construction of teaching identity is related to objective and subjective conditions involving a teaching job and how the teacher perceives this identity as constantly evolving. Hence I understand the importance of personal and institutional incentives to prepare studies which raise or problematize issues specific to this area, contributing to extend the debate over higher education professionals’ formation, in particular that of dance course teachers on national scope.

Entre Grande Otelo e Sebastião: tramas, representações e memórias

A versão impressa está dividida em volume 1 e 2.

Luz-personagem: o jogo de manipulação da iluminação cênica em cenas cômicas

This research has as a central point of discussion the relationship between the action and the stage lighting, directed to scenes in which, from the exchange between actor and professional lighting, you can develop comic situations. The particularity of these scenes is the involvement of lighting as presentification feature a character in the scene, made possible by game created with the actor. In order to develop this discussion, the author divides the text into three chapters, the first being a memorial of his artistic career and his creative processes, enabling the reader to situate the paths taken by the author for the study. Then discusses possible relationship between performance and lighting, pointing situations where the two are directly related. Finally, an analysis and comparison of two comic scenes in which the actor play with the lighting suggests a character through presentification lighting on the scene. Leads the discussion to the conclusion, proposing the term light-character to set the lighting feature, suggesting characters in the scene.