A ideologia da encenação: uma análise dos aspectos cênico/ideológicos da encenação produzida pela indústria cultural

The research that led to this dissertation adopted a set of scenic/ideological aspects inherent to the productions of the Culture Industry as its object of research. The intellectual output of Theodor W. Adorno and Max Horkheimer underscored the approaches on this subject, since it provides the same set of scenic/ideological features to be explored because, according to the authors, scenes produced by the culture industry are linked to the dominant ideology, since they act in favor of maintaining the status quo. The first objective was the definition this set of features inherent to the scene produced by the culture industry, through the exploration of literature produced by Adorno and Horkheimer, so it was possible to define a set composed of nine elements: Construction of characters as characteristic types; Stereotypes; Naturalization of Stereotyped language; Simplistic playwriting; Reuse dramatic formula; Love and sexuality as themes of plots; Utilization of tragic element; Objetive representation; Approximation of fiction and reality. The second goal was the analysis of scene produced by the culture industry nowadays, so that it was possible to verify if any scenic/ideological aspects indicated by Adorno and Horkheimer in the mid-twentieth century were present among the productions from this beginning of the twenty-first century. Through the analysis of three soap operas produced in Brazil in 2012, it was found that the nine scenic/ideological aspects as indicated by Adorno and Horkheimer appeared in the observed productions. Additionally, a new scenic/ideological feature, not indicated by Adorno and Horkheimer is present: the merchandising

Rituais de resistência: experiências pedagógicas tapeba

The work aims to investigate some of the educational actions developed in the differentiated Tapeba schools (CE), in their pedagogical practices. The reading of these practices as ritual of ethnic cultural resistance is accomplished by the approach of studies of experience and performance in the anthropology, as well as, the analytical perspective suggested by the dramaturgy ideas and social drama. So, taking a critical approach of the school, that conceives it, while time space privileged of possibilities of political social change, this work searches to notice the means of achievement of a differentiated education. I aim at, with that, to observe the ritual moments and performáticos of the pedagogic practices of Tapeba while important political-symbolic expressions of your collective experiences, looking at the process of construction of legitimacy of the school differentiated as scenery of creation of pedagogic rituals of resistance. Then, the Cultural Fair, Tapeba Indian Games, the Walking of Tapeba Indian`s Day and Carnauba Party by one side and the Cultural Classes, by another, promote a re-thinking on the experiences of Tapeba ethnicity, distinguishing also, in this process of identity affirmation, the political pedagogical role fulfilled by land re-taking. Finally, this work makes clear that Tapeba prove to be individuals with rights and at the same time they want to legitimate their differentiated school practices, Tapeba construct the meaning of their social actions in the educative and in other aspects of their communitarian living as well

O treinamento como processo de investigação do ator-criador

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

A formação da historiografia teatral brasileira (1888-1938): consonâncias e dissonâncias

Pós-graduação em Artes - IA

Tiros de Movimento-Imagem: estudo de um processo artístico e pedagógico de Cristiane Paoli Quito

Pós-graduação em Artes - IA

A metáfora do Bogatyr: o corpo acrobata e a cena russa no início do século XX

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

Panos e lendas: três décadas de histórias

Pós-graduação em Artes - IA

O corpo cômico em jogo: um estudo acerca da improvisação do palhaço

Pós-graduação em Artes - IA

Os palhaços nas manifestações populares brasileiras: Bumba-meu-boi, Cavalo-marinho, Folia de Reis e Pastoril Profano

Pós-graduação em Artes - IA

A vida como ela é: um fenômeno comunicacional

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O teatro inovador de Natália Correia

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

O zoológico existencialista de Edward Albee

Pós-graduação em Estudos Literários - FCLAR

Uma poética da dualidade: identidade e intertextualidade no teatro de José Régio

Pós-graduação em Estudos Literários - FCLAR

Notas sobre o conceito de existência autêntica

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Plínio Marcos e a marginalidade urbana paulista: história e teatro (1958-1979)

Pós-graduação em História - FCLAS