A poética do corpo não-verbal: um olhar para a comicidade em cena

Throughout our history as an actor, director and teacher, we appreciate comedic performances they proposed a dialogue with the public through the body language of the performers whose performances abdicate the use of speech of the actors. This way of representing, in the silence of the stage, caught our attention and sparked our curiosity about the subject, which is directly related to the poetic constructions of the body on the scene. Before initial readings on the subject, we begin to understand that for a long time in human history, especially in the West, understanding body was constructed from various epistemological looks disregarded the body as a unit, an incarnation of the subject in all . This kind of thinking, reflecting the philosophy of modernity, reverberated strongly about the aesthetic issues of art making, here specifically in Theatre. For several centuries the theatrical make up molded from various aesthetic elements, but ignoring the potential of embodiment of the artist, ie the theatrical text, for example, was considered for a long time, as the main element of the scene and gave little emphasis on dramaturgy elaborate body. With the emergence of reflections on the subject, brought especially from the early twentieth century, the perception of the body as a creative element and creator, also began to gain ground. Over time artistic practices began to glimpse the creative possibilities of the body, including rethinking its relationship with the text written with the spoken word. And as part of these new reflections on the body in the creation process, we proposed this research, we have entitled "A poetics of non-verbal body: a look at the comic on the scene." In our research on this subject, also seek to understand how the corporeality of the actor may give us clues to realize / build nonverbal body and comical scene. From this perspective we can analyze how could the construction of a comical and non-verbal dramaturgy from the phenomenology of laughter. And with that look, we want to point out some aspects and procedures, arising from reflections on corporeality and comedy, that constitute, among other possible, non-verbal construction methodology scenic.

Escritura nômade e tédio em "Harmada", de João Gilberto Noll

In the context of poetic productions of modernity and postmodernity (Hutcheon, 1999), this paper, from the concept of nomadism (Deleuze, 2012), together with the philosopher Derrida's notion of writing (2009), has the objective to study Harmada the novel (1993), written by artist Joao Gilberto Noll, the aspect of Nolliana nomadic scripture and boredom towards deconstruction of the Romanesque style. The narrative focus on introducing a transit fiction, promoted by nomadisms scripture of the wandering narrator who, in the work constitution, will the conduct of language, a plot that invades the body of the characters full of boredom and foreigners themselves, moving in fragmented and fluid spatiality of narrating. In this perspective, the research is limited with theoretical and methodological foundation in poststructuralist discussions in relation to considerations of literary aesthetics and concerning the thinkers-teóricos- critics: Derrida (2009), Deleuze (1995), Foucault (1996, 2001), Barthes (1977), Svendsen (2006). Against the background of critical understanding, the nomadic writing Harmada interlace in three stages: first, in the author's language; Second, the characters, the narrator-protagonist leading, unnamed, living overwhelming crises and painful existential ambiguity, placed through the artist's metaphor failed under the sign of "missing" while searching for other possible artistic ways of being in the world; and, finally, the nomadic reading instance as presentification effect (GUMBRECHT, 2010) for a reader experimentation. Finally, our work addresses the relationship between the nomadic scripture and the experience of boredom as a strategic power in the literature do Noll gear.

Entre Grande Otelo e Sebastião: tramas, representações e memórias

A versão impressa está dividida em volume 1 e 2.

As paisagens nas pinturas de Ido Finotti: reflexões artísticas e históricas

This research studies the landscape paintings of the artist Ido Finotti, specifically the Brazilian cerrado vegetation and rivers landscape paintings, in the region of Triângulo Mineiro, mainly Uberlândia and the surrounding cities as Uberaba and Araguari. The artist produced the landscape paintings from 1947 to 1980. This study searches to understand the poetic in the paintings and identify the elements that the artist chose to create the visuality of landscape to build a regional identity. Therefore, it links the artistic and historical reflections with the general ideas about the landscape painting in the Universal History of Art and in the Brazilian History of Art through the main landscape painters. First, this work shows the trajectory of the artist Ido Finotti and the two phases of his paintings: as a decorative painter of walls from 1920 to 1940, then as an oil painter artist on canvas. Second, the national and foreign authors studied were from several fields: Visual Arts, History, History of the Art, Philosophy and Geography, but had produced literature on the idea and the subject of landscape in the painting. The initial reading was about some workmanships of Ido Finotti, which included 142 landscapes paintings; interviews; articles, periodicals and magazines collected; documents, brochures and catalogues gathered. The comparison between the written and visual sources made possible the textual construction of this research.

Responsabilidad social y debate artístico en el día de hoy. Los artistas enfrentados al conflicto armado en la antigua Yugoslavia (1989-2008)

This dissertation is concerned with a period unfortunate for the citizens of former Yugoslavia, but influential for its artists, who used their feeling of responsibility to leave valuable testimonies about their time. The research began in 2007 for the purposes of obtaining an advanced academic degree and was entitled Responsibility of the Artist Facing Social Conflicts: the Case of Yugoslavia (1989–2003). A part of it was presented in 2008, at the Women’s Worlds Congress held at Complutense University in Madrid (in cooperation with my mentor Dolores Fernández Martínez). This dissertation implied a broader scope of research on the topic of Social Responsibility and Artistic Debate Today. Artists in the Face of Armed Conflict in Former Yugoslavia (1989–2008), thus aiming to study the case of Serbian visual artists under Milosevic (1989–2000) and later, during the democratization of the Serbian society. The period in focus ends in 2008, except for the works in the group Monument where it stretches up to 2012.

O ensino de arte pós-moderno na arte de Daniel Francisco de Souza

This thesis presents a research that links cultural history and visual culture in a sociobiographical approach. It gives a “political treatment” to the educational experience in the transition of art teaching from the modern to the postmodern. By taking into account my experiences as an educator and the poetic practice in Daniel Francisco de Souza’s visual art, I propose a dialogue with his art and a series of visual narratives this artist/student produced at the time of his education and recently. Such visual narratives were taken as research source and research subject. They were created in a rural setting in dialogue with formal art teaching in two phases: 1992–6, when Daniel Fran cisco attended elementary school in the rural area of Uberlândia, MG; and 2008–10, when he attended Visual Arts graduation at Federal University of Uberlândia city. I analyze historical processes related to art and teaching, from the early sixteenth century to the present times, to realize residues in students’ poetic experiences. I relate Brazilian educational public policies with experi- ences in that rural school. I try to show the extent to which our educational practices triggered experiences — from ones common to intense ones — and promoted forms of “emancipation-knowledge” or “regulation-knowledge” and how the “selective tradition” was and how art predetermined history images gave way to everyday visual references, pointing to the “broad field” of visual culture. I make an effort to show Daniel Francisco’s work as an adult by tak- ing it according to different approaches. In a poetic reading, first, I emphasixe the material and the symbolic in his art. In a second look, I approach his work through the intertwining experiences of three characters from different times and places that participated in the making of his art: the artist farmer, the artist teacher and the teacher researcher. I assume the existence of a mutual cultural incompleteness in these three characters; which means that parts of their “structures of feeling” built on the interrelationship among them are part of the artist’ work as a historical content decanted. Thirdly, I demonstrate how the artist sees his place as a key re ference to his poetic creation. His work does not reflect the rural bucolic as something untouched. In showing the difficulty in distinguishing the archaic residual, I identify emerging issues in his work. I conclude that the artist — Daniel Francisco — and the researcher — myself — present maverick features: both are scavengers; their productions approach the working with scraps in art and in the academy; even momentarily, they live in exile in the warmth of the borders or the edges, from where one sees the center clearly. In these spaces, when certain structures and normative codes enter into coalition, they fragment pre-established strategies and stimulate the creation of survival tactics.

Cobayes de la relève : l’artiste et le chercheur à la rencontre de l’expérience

Essai / Essay

Na-no-body : De l’oubli du corps sensible en nanomédecine

Essai / Essay

Publics, visibilité et reconnaissance en art contemporain : étude du cas de Ai Weiwei

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Cobayes de la relève : l’artiste et le chercheur à la rencontre de l’expérience

Essai / Essay

Na-no-body : De l’oubli du corps sensible en nanomédecine

Essai / Essay

Víctor Erice en la Escuela Oficial de Cinematografía. Elogio de la incomunicación

Aunque Víctor Erice es uno de los directores españoles más estudiados del cine español, sus trabajos en el Instituto de Investigaciones y Experiencias Cinematográficas, que más tarde pasará a llamarse Escuela Oficial de Cinematografía, no se han analizado en profundidad. Salvo su práctica de tercer curso, Los días perdidos, el resto de los cortometrajes y los guiones escritos se han considerado obras menores, piezas sin importancia relevante o directamente títulos extraviados. Sin embargo, estos trabajos se encuentran en buen estado en el archivo de la Escuela Oficial de Cine custodiado por la Filmoteca Española. De Víctor Erice se conservan cuatro cortometrajes y cinco guiones cinematográficos para piezas breves. En este artículo, resumen de una investigación realizada sobre dicho material inédito, se quiere mostrar cómo estas obras presentan un valor en sí mismas y deben ser analizadas como parte importante de la filmografía de este autor. En todos estos trabajos, sin dejar de ser ejercicios de escuela, se muestra la mirada de un cineasta pleno. Así, existen elementos que serán clave en el posterior universo temático y estético de Víctor Erice. Además, el creador aborda como problemática central de sus prácticas el tema de la comunicación humana, o más propiamente el de la incomunicación. En los guiones y los cortometrajes cata­logados de la etapa en la EOC se observa cómo Erice, influenciado en parte por Michelangelo Antonioni, investiga estéticamente el modo de narrar y mostrar los procesos que conducen a la incomunicación y al aislamiento de sus protagonistas.

Marinetti y el modelo de artista moderno

El objetivo de este artículo es analizar la figura del artista a comienzos del siglo XX a través de los textos y las ideas del poeta italiano Filippo Tommaso Marinetti. Partiendo sus teorías de las bases del decadentismo, Marinetti genera un modelo de artista en el que ejercen gran influencia conceptos como el genio y la libertad artística, muy asociados al Romanticismo, pero al que añade nuevos elementos de gran relevancia para la coyuntura política y social de su época. Entre estos, estarían aquellos que vincularon al artista futurista con la política de su tiempo, con el fascismo y con los modos de comunicación con el cada vez más importante público de grandes masas. Obsesionado con la idea de progreso, Marinetti aspira a crear un nuevo artista capaz de generar un nuevo mundo que introdujera definitivamente a Italia en la modernidad.

Features combination for art authentication studies: brushstroke and materials analysis of Amadeo de Souza-Cardoso

This work presents a tool to support authentication studies of paintings attributed to the modernist Portuguese artist Amadeo de Souza-Cardoso (1887-1918). The strategy adopted was to quantify and combine the information extracted from the analysis of the brushstroke with information on the pigments present in the paintings. The brushstroke analysis was performed combining Gabor filter and Scale Invariant Feature Transform. Hyperspectral imaging and elemental analysis were used to compare the materials in the painting with those present in a database of oil paint tubes used by the artist. The outputs of the tool are a quantitative indicator for authenticity, and a mapping image that indicates the areas where materials not coherent with Amadeo's palette were detected, if any. This output is a simple and effective way of assessing the results of the system. The method was tested in twelve paintings obtaining promising results.

Connections between Modern and Postmodern art and fashion.

This paper undertakes to construe the affinities and divergences in the genres of art and fashion throughout the 20th century through the use of particular visual and theoretical examples, examined at greater length in a more extensive study of ‘The relationship between the artist and the fashion designer in the twentieth century’ (Vettese, 2005). Examination of the 20th century has revealed two particular periods – ‘Modernism’ and ‘Postmodernism’ – that were evident and fitting to this analysis. The research is a summation of these findings, where the differences and affinities in the mechanisms of 20th century art and fashion, including imposing messages and innovation in Modernism and the mixed messages, recycling and commercial aspects of Postmodernism, are disseminated.