A iluminação cênica no trabalho do ator de teatro

This research aims to investigate how the stage lighting can be articulated in the creation of theater actor process. To we reach this reflection, it is necessary to understand the space of the rehearsal room, where the actor works as a place where their function receives influences of other artists who are creating the spectacle.Collaborative processes are analyzed three Cia de Teatro Engenharia Cênica: Irremediável, 2007; Doralinas e Marias , 2009; O Menino Fotógrafo, 2011, aiming to understand the collaborative theater potentializes, the intersection and the exchange of experiences in the rehearsal room, collaborating actively for the training of persons involved in creating the show. The research proposes an investigation of how the creative process of stage lighting is gaining ground in the rehearsal room in the language of theater directing, showing mainly how is your "co-evolutionary" creation with the creative process of the actor

Criação em processo no espetáculo Ethnotron-Ghetto Experimen

Este trabalho investigou o processo criativo do espetáculo Ethnotron-Ghetto Experiment, do Coletivo paraibano Tribo Éthnos, fundado na década de 1990 e ainda em atividade. A estratégia metodológica se dá através de estudos descritivos, valendo-se da teoria e prática de diversas linguagens artísticas presentes na obra apontada: artes visuais, performance, literatura e histórias em quadrinho; em ações realizadas pelo Coletivo ao longo dos anos, objetivando descrever e analisar o processo de criação do referido espetáculo de dança, através da minuciosa coleta de dados por meio de entrevistas abertas e semiestruturadas, e da pesquisa e captação de materiais audiovisuais. A Tribo Éthnos destaca-se na cena local na cidade de João Pessoa, e estadual, na Paraíba, visto que, nesse longo percurso de existência, além da preocupação em fundir muitas formas artísticas, bem como os artistas da Paraíba, aglutina pessoas que fazem arte em outros países e faz das danças urbanas algo instigante. A Tribo ainda preocupa-se com a troca de saberes através de palestras, oficinas, cursos e intercâmbios. A dissertação investiga o processo de criação dos artistas e, especificamente, dos dançarinos, utilizando-se principalmente do conceito de work in progress, proposto por Renato Cohen, e aplicado ao espetáculo estudado. Apresentam-se descrições dos movimentos coreográficos, do espetáculo de dança paraibano Ethnotron-Ghetto Experiment, de Dança de Rua da Era Funky, especificamente, com estilos como popping, waving, animation, strobing, floatine/ slidini, tiokine, trebing, breaking, waving, sliding, entre outros, visto serem estes parte integrante do processo de criação. Tais estilos remetem ao ilusionismo ou ao mimetismo, sugerindo, em seus movimentos truques, câmeras lentas, flutuações com os pés, entre outros. Segundo Valmir Vaz, o Coletivo, através do espetáculo, busca a integração dos corpos, procura uma libertação individual e sugere uma sensação de querer voar nas coreografias/cenas. Abordam-se os aspectos do processo criativo: o espaço cênico, o trabalho corporal, a sonoplastia e a roupa/indumentária. Trabalha-se o conceito do corpo virtual de José Gil no aspecto do corpo cênico

Caldo do caldo: memória do espetáculo de dança paraibano caldo da cana

This research investigated the dance piece Caldo da Cana which premiered in João Pessoa-PB, in September 1984. It problematizes theoretical and practical way to make dance history, investigating this possibility through the dance itself. Arises from the fact that the dance has specific characteristics that can not be neglected by the historical account. In this sense, it was initiated by the raising of a theoretical framework that speaks to the indicated issues and unfolds through a field study, which included collecting testimonies from people who participated in the show, documentary research, gathering material traces and finally consists a practical part by transposing elaborated historical knowledge into the body through a creative process, resulting on this moment, in the construction of a duo dance

Entre ecos e narcisos: estudo de caso sobre a prática teatral com adolescentes como atividade extracurricular numa escola de nível médio

This masters thesis discusses the studying and the teaching of drama and its implications among teenagers of the contemporary world. This paper also analyses an extracurricular project entitled Drama in the development of citizenship , which was carried out in the public state school Berilo Wanderley in Natal/RN, between 1999 and 2005 with high school students. It comprises a case study that aimed at understanding how and why they chose to take drama classes outside of the school curriculum and even after they graduated, some of them never left the school project and even started participating in the cultural and artistic context of the city of Natal quite actively, both as part of an audience as well as on artistic, political, social and pedagogical performance. The project was high significant for its participants, for the school and for the community, by creating a sense of recognition of the relevance of the pedagogical and artistic production in the public school, as it managed to yield knowledge that helped students to understand the values of group work, sharing information, collaborative assessment and, most of all, to engender actions of protagonism by the teenagers themselves within their social environments. The empirical process developed is placed in a contemporary historical context where educational paradigms shifts occur, and where categories of youth empowerment and protagonism are fundamental to the educational process in the 21st century. The objective of this study is to reflect upon the pedagogical dimension of drama classes for teenagers, aiming at providing further discussions on the role of acting classes in the construction of the personality among youngsters, thus hoping to contribute to other teaching practices, including drama and other subjects of general education

Mover/se(r) a gênese do corpo entre/corpos e seus trajetos no processo coreográfico

This paper proposes a reflection on the body between/bodies, especially in contemporary dance, in their path that starts from the choreographic construction, permeating the body of the choreographer, the dancer s body and when fulfills themselves as artistic expression, the body of the spectator. Initially discusses the body in dance as a body/space for convergence, connectedness and continuity, from the thought of the Greek philosopher Epicurus of Samos, in dialogue with the thought of Maurice Merleau-Ponty, Gilles Deleuze and José Gil. Reflect about the creation of this body/space in the relationship choreographer/dancer using as connecting thread the experiences of the author in his artistic path. Finally describes the process of creating the scenic experiment (h)áporos, which constitutes the practice scene of this dissertation, having as main objective the creation of spaces of convergence and interaction between a proponent and an affluent body that, in this move, transforms itself and the space that now cohabits / is

Do planejamento ao replanejamento do trabalho docente no ensino superior: o que fazer quando os alunos não leem os textos indicados pelo professor?

The objective of this paper is to present an analysis of the planning and replanning of the teacher´s work in response to difficulties that occur in teacher-student interaction in the process of teaching and learning in and outside the classroom. The data was produced by means of the selfconfrontation method and the analysis is based on theoretical foundations coming from the ergonomics of teaching activity and from the clinic of activity. The results reveal that lack of reading on students´ part leads the teacher to replan the class at the very moment it is taking place, which, in spite of revealing the teacher´s experience with this kind of situation, ends up contributing to diminish the quality of the teaching and learning process.

Elementos sobre o destinatário de emergência em situação de autoconfrontação

This text presents a linguistic, discursive and psychological analysis of modes of manifestation of the phenomenon of emergency addressee in a situation of use of the self-confrontation method in an action of university teacher continuing education. The aforementioned phenomenon consists in the subject seeking to justify and validate his professional individual actions by means of practices which would supposedly be common in his work collective. The self-confrontation method consists in the subject observing himself in a video in which he appears working, with the objective of describing and explaining his activity to a researcher, who acts as a mediator of his subjective development.

Aprendizagem de um gênero de discurso e de atividade de autoconfrontação em ações de formação docente continuada na educação superior

The objective of this text is to discuss a central question in a doctorate study, in progress, about the learning of the speech genre in self-confrontation situations. This consists of a procedure, which a worker observes your own images, video recorded at the time it performs activities related to their craft; It requests that he comment on what he was doing on the images in order to clarify matters for himself and another - be it a intervenant (simple self-confrontation) or a coworker (crossed self-confrotation). (CLOT, 2008/2010). In the context of this research, the confronted workers are university teachers and students who participate in an action of teacher continuing education. The object of the research is the process of speech genre of learning self-confrontation situation, having as subject a person who conducts self-confrontations training, which initially observed the conduct of dialogues and reflections, and will gradually participating in the self-confrontation activity and becoming also forming another. The theoretical foundations of the research seeks an articulation between sciences such as the Psychology of Labor, the Cultural-historical Psychology and Linguistics. The concepts that are employed come from Clot´s theory of the Psychology of Labor, that is, from the Clinic of Activity and from the activity genre studies (CLOT, 2008/2010); they also come from the Vygotskian theory of human development, with the concepts of thinking and speech (VIGOTSKI, 1934/1998); and from the Bakhtinian dialogic principle (BAKHTIN, 1979/2011). We believe that the formation of the person conducting self-confrontation occurs through learning a gender of speech and a genre of activity.

Gerald Thomas e a (des)encenação do mundo : as paisagens visuais como grafia de intertextualidades, citações e hipertextos

This work is the result of a personal uneasy about the form and development taken by contemporaneous theater concerning its relationship with other media to create new hybrid organisms and organizing itself through new possibilities, connections, as well as with different levels of arrangements in the construction of the scene. The purpose of this research is to study the connections between the scene and the media within the context of the formation of hybrid organism wich is the key element. That stands for an aesthetic characteristic of the post-dramatic condition of contemporary theatre in Brazil. Thus, this work will investigate the concept of visual landscapes within the context of Gerald Thomas Sievers work in Brazil in the period of the first decade of twenty-first century having the play Rainha Mentira (2007) (Queen Liar, 2007) as the main empirical object of analysis, discussion and application of the framework developed in the text

O tema no processo criativo da Asmarias Companhia de Teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

A cena contemporânea aos pedaços : observação de um experimento pedagógico

We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Ceará, in 2010. Using the methodology of "pesquisa-ação", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater

A experiência no Tai Chi: possibilidades para pensar o corpo sem órgãos e a preparação do ator

Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

O ator que canta um conto: a manipulação de parâmetros musicais na voz do ator

This research started with an investigation about the theatrical speaking. Through an empirical methodology that analyzed a practical experience of creating a play and bibliographical research, the actress/researcher investigated ways to manipulate musical parameters as tools in the creation process of the actor s voice. The actress/researcher attempted to connect theory and practice, moved by the desire to find a vocal expression in theater that unfolds as living and transforming movement. This dissertation also contains the report of pedagogical experiences, in which the actress/researcher explored strategies to teach the appropriation of musical parameters in the construction of the vocal work of the actor. Considering that speaking in theater is closer to singing than everyday speech, she concluded that the actor may compose music as a music composer does in the elaborating process of building vocal scores. Therefore, she demonstrated that it is of fundamental importance a musical training in the development of the actor.