A palavra fora da cena: aspectos da formação da escuta em processo colaborativo teatral

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O Teatro da Memória: o Museu Histórico de Londrina : 1959-200

Pós-graduação em História - FCLAS

Repercussões do trágico e do social no teatro de Dias Gomes: leitura comparativa entre Antígona de Sófocles; O Pagador de Promessas, O Santo Inquérito e As Primícias de Dias Gomes

Pós-graduação em Letras - FCLAS

O teatro musical enquanto prática pedagógica no meio eclesiástico: ressignificando o fazer artístico na Igreja Batista da Esperança, Natal-RN

The churches in Brazil have shown themselves as a very important space in the musical training of many individuals. However, we perceive in many of them an excluding and merely performatic musical posture. Their argument is the fact that they want to give worship to the Divine Being and, for that, they must always offer their best. Besides that, the culture of the talent and the gift has provoked the selection of people in the ecclesiastical musical practices. The musical theatre, also practiced in this context, has been following the same principles. Understanding that musical practices must be accessible to all people, we have seen, through the studies of Amelia Santa Rosa, 2006 and 2012, the musical theatre, for its various possibilities, as an important tool for the music teaching in this context in an integrating, motivating, interdisciplinary and liberating way. For this reason, through an action research, this work has aimed to investigate the applicability of the musical theatre as a pedagogical practice in the context of the Igreja Batista da Esperanca (Hope Baptist Church), in Natal-RN, verifying the impact of this experience to the ones involved. In order to accomplish this, we carried out the construction of a musical with all of the ones who wanted to be a part of this research, having or not having previous musical experiences. The data collection was made through the field diary, semi-structured interviews with the cast of the musical and pictures and videos of rehearsals and presentations. The main issues highlighted were categorized and properly analyzed, which showed us how much the musical theatre can be used as a musical pedagogical tool also effective in the ecclesiastical context. Thus, another conception of artistic endeavor could be brought to churches, contributing to the inclusion of new participants in their musical practices, expanding the studies on the musical theatre and the presence of music in these spaces a bit more, causing other future studies.

Química em cena: uma proposta para formação inicial de professores de química

In educational observed difficulty in train teachers to meet the medium and higher education needs, and one reason for this is the different experiences in the training of educators in relation to those found in the classroom. So often arise criticisms related to relevance and efficiency of degree courses, as regards the performance of its natural mission, which weakens the teacher training. Thus, improving the quality of education is very dependent on the initiatives of teachers, creating teaching alternatives to strengthen their performance in school. From this reflection, it is concluded that teacher training needs new educational proposals that qualify, and so can promote the formation of his students more adequately. Among the educational proposals as alternatives to initial teacher training may use the scientific theater (TC). Considering this possibility, this work has been proposed as investigate and discuss the influence of TC combined with experimentation in the initial training of future teachers in Chemistry who participate in the Groups Fanatics chemistry Theatre (UERN) and Chemistry on Stage (UFRN). Therefore, there was, in a first stage, theatrical essays based on the theater of the oppressed, and written dramaturgical scripts, a collaborative proposal. To incorporate experimentation in chemistry to theater rehearsals, there was a systematic literature search and after content analysis, were selected categories, materials and reagents easily accessible, easy procedures and implementation with low risk of accidents and easy care chemical waste. In the second part we identified: a) the beliefs of student teachers in the use of TC ally trial for initial training of chemistry teachers; b) the influence of TC ally to trial on learning of chemical concepts of high school students who attended the shows; c) the reasons for using or not TC ally to trial by chemistry teachers who participated in the TC group and currently work in the classroom. In this study, questionnaires and interviews were used, compounds, respectively, by a Likert scale and open questions. Quantitative data were analyzed by classical statistics the media, using as centrality measures the average, the concordance argument and the average deviation. Qualitative data were discussed according to content analysis, with categories that emerged from reading the answers. These analyzes concluded that the licensees have a positive view on the use of scientific theater for disclosure of the chemical for use in the learning of chemical concepts, pedagogical and disciplinary knowledge, and to form promotion strategy for research and extension at the University. They credit improvements in their initial training on the use of scientific theater combined with experimentation. The TC provides motivation for the construction of conceptual thinking in an informal way of chemical communication, allowing the student to expand their knowledge, not only favoring the phenomenological approach, but also the construction of chemical knowledge and the internalization of scientific concepts.

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 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

Experiências formativas inovadoras na formação inicial de professores – a dramatização como estratégia indutora de práticas de planificação e de reflexão em Matemática

Actas VI Congreso Iberoamericano De Pedagogía(pp.292-298. Disponível em http://ediciones.ucsh.cl/ojs/index.php?journal=congresodepedagogia&page=article&op=view&path%5B%5D=369.

O teatro operário em Rio Grande como experiência de educação não-formal: relações de gênero na República Velha na obra “Amor e ouro”

O presente trabalho tem por objetivo analisar as questões de Gênero veiculadas a partir do teatro operário na cidade do Rio Grande, que nos anos iniciais do século XX foi um agente educativo relevante na organização do operariado local, e sua relação com a formação da consciência histórica dos sujeitos envolvidos nesta prática cultural. Para tal fim, realizar-se-á a análise da obra dramatúrgica Amor e Ouro (1906), de autoria da militante libertária Agostina Guizzardi, ativa intelectual do movimento operário, bem como de outros escritos desta e de outros militantes do operariado rio-grandino, buscando-se, assim, estabelecer um diálogo entre as muitas vozes que compunham esta prática educativa. Nesse contexto, esta pesquisa estabelecerá um diálogo entre História e Literatura, adotando como diretrizes norteadoras os pressupostos da Nova História Cultural, referencial teórico este que alargou o campo de pesquisa histórica, abrindo espaço para a inserção de novos sujeitos e outras fontes, entre elas, o texto literário.

Ciríaco de Cardoso e O burro do Sr. Alcaide : percursos de formação de um compositor de comédia musical no Portugal finissecular

O principal objetivo deste estudo foi compreender as etapas do percurso artístico do compositor portuense Ciríaco de Cardoso (1846 – 1900) e os discursos em torno de uma das suas obras mais célebres: O burro do Sr. Alcaide (1891). No primeiro capítulo procurou-se identificar e discutir os critérios que estiveram na base das opções profissionais tomadas por Ciríaco. O decurso da sua carreira leva a crer que possuía uma noção profunda das atividades que, no espaço lusófono, apresentavam maior potencial de aquisição quer de capital económico, quer de capital simbólico. É por isso que, mobilizando recursos das suas redes de sociabilidade, circula por instituições no Porto e em Lisboa mas, também, pelo lucrativo mercado teatral do Rio de Janeiro, assim como em Paris. Concentra-se no popular teatro musical – principal fonte de sustento – em paralelo com a atividade concertística e operática – forma de distinção atendendo à competitividade no mercado musico-teatral. Percebe também que a maximização do seu poder simbólico depende da legitimação alcançada pela sua associação às elites socioculturais locais, pelo que fomenta o estabelecimento de sociabilidades que se estendem inclusive às casas reais portuguesa e brasileira. Paradoxalmente, as edes mais próximas de Ciríaco estavam vinculadas a um idealismo republicano, relacionamento que exponencial proliferação de discursos dessa índole pelos media lusófonos (sobretudo a partir do tricentenário camoniano de 1880) e, por outro, pela aparente inexistência de registos que associem inequivocamente o artista ao ativismo republicano. Não obstante, é provável que Ciríaco de Cardoso tenha explorado o filão antimonárquico na programação da temporada de 1891 do Teatro da Avenida. O segundo capítulo explora a produção de O burro do Sr. Alcaide, através da análise da sua estrutura e das relações da obra com a realidade portuguesa da última década do século XIX. Embora respeite o modelo da opereta francesa, apresenta também características que poderão levar a que seja interpretada como transmissora de uma portugalidade idealizada, em linha com o nacionalismo português do último quartel do século. A ação decorre em Lisboa, cenário de interação entre personagens-tipo e caricaturas de personalidades concretas da elite sociopolítica portuguesa. Através de referências ao sebastianismo, satiriza-se o comportamento dessas elites, assim como as instituições da monarquia constitucional e a prevalência de uma visão messiânica dos governantes por parte da sociedade em geral. Faz-se a apologia da ruralidade através de tópicos musicais e de quadros onde se constrói uma imagem da música tradicional, correspondendo a uma idealização da nação – notada e enfatizada na receção pela crítica. Utiliza também outros tópicos pertencentes à paisagem sonora do público burguês, completando a expressão da urbanidade de um país onde essas duas realidades não eram ainda completamente dissociáveis. Contudo, ao não propor alterações efetivas à hierarquia da sociedade portuguesa finissecular, o desfecho da obra leva a concluir que esta terá consistido numa forma de propaganda o que, por um lado, explica o seu mediatismo e, por outro, vincula os seus autores – mais ou menos conscientes disso – às lutas políticas em curso aquando do ano da sua estreia.

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 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

Teatro, locus e Comunidade

A praxis em teatro e comunidade opera e mobiliza diferentes ciências e metodologias em viés transversal. Seu movimento busca contribuir para projetos artísticos e sociais que agregam fenômenos que instauram a compreensão de quadros de referências - estéticas e comunitárias. Para que se efetivem, há a necessidade de determinação dos espaços nos quais ocorre o ato teatral. A proposta desse artigo é, a partir da compreensão fenomenológica, investigar o uso de espaços públicos e comunitários como lócus para a ação teatral em contextos específicos. Nos exemplos das pesquisas no Brasil e Portugal dá-se conta de como essas práticas dialogam com seus grupos de interesse. A partir dos resultados, indicam-se possíveis contribuições metodológicas na formação de “Artistas Pedagogos” e sua atuação em contextos socio-educacionais.

Carotenóides: propriedades, aplicações e biotransformação para formação de compostos de aroma

Carotenoids are widely distributed in nature, providing yellow, orange or red color in a great number of vegetables, microorganisms and in some animals. Carotenoids act as biological antioxidants and seem to play an important role in human health by protecting cells and tissues from the damaging effects of free radicals and singlet oxygen. Several authors describe the oxidative cleavage of carotenoids in flavor compounds as occuring through chemical or photochemical degradations or through biotechnological processes. Biotransformation of carotenoids seems to be a reasonable alternative to produce flavor compounds since these compounds are considered 'natural' ingredients. In this work we describe the properties of some carotenoids, as well as biotechnological approaches to obtain its oxyfunctionalized derivatives.

Formação das substâncias de reserva durante o desenvolvimento de sementes de urucum (Bixa orellana L. - Bixaceae)

Annatto seeds do not germinate during early stages of their development because of insufficient reserve substances. In situ analysis showed that the principal reserves are proteins and starch, deposited in endosperm cells. During the early stages of development, the starch grains were elliptic, because amylose was the minor component. During development, these grains became more spherical due to an increase in amylose relative to amylopectin. Endosperm cells do not contain protein bodies, but they accumulate proteins dispersed in the cytoplasm. At the final stage of development the proteins became compacted due to the dehydration of the seeds wich is part of the global process of orthodox seeds maturation. Natural fluorescence revealed aromatic amino acids, principally tryptophan and tyrosine in the proteins. The seeds reached their maximum dry weight after moisture contents had declined to around 60%. At this point the seeds presented maximum germination capacity.