As inter-ações entre espaço do corpo e o movimento dançado

This dissertation seeks to reflect about the relations between danced movement and body space (Kinesphere), and their contributions to the expansion of the expressive possibilities of the subject on dancing. According to Rudolf Laban there is no space that is empty, because it is always being modified and signified at every moment by the movement. Space exists because we interact with it, at the same time movement occours configuring a signifcant space that is incessantly transformed. In this sense, space, body and movement appear in this research as interconnected and interdependent. For this discussion we have as main interlocutor the studies of Rudolf Laban. The nature of this research is qualitative and descriptive. This is a context that embraces the phenomenon of dance and as such it is based on a dimension that doesn't deal with mensurability, but with the art scene, fruitful in its infinite openness to the creation of multiple significances for what has been lived. We also propose to present a report about the practical study developed in the discipline Coreologia in the licentiate course of Dance in UFRN, as well as the analysis of the interviews applied to students of this curricular component. The questions were developed in a way that lead to a reflection about the experience of those interviewed in this discipline, thus generating material for us to discuss how the students perceive dance based on the relational study between space and movement. We realize that this study may favor an understanding of the relations that the experienced movement in the act of the dance weaves along the spatiality that receives and fills our bodies, resignifying the vision of a space which is restrict to the mere place were the body moves and occupies. It also favors the reflections concerning the body that moves and creates spatiality when dancing, thereby bringing to the Performing Arts a chance to think and to experience on the expansion of the expressive gesture in dance and beyond it, led by the recognition of the principles that organize human movement pointed by Laban. It also contributes on the formation of the students in licentiate courses of Dance by questioning the ways to appropriate the contents worked in a graduation discipline as regards to the availability of the body for dance. This dissertation is divided in three parts, called Impulsos. In the First Impulso: “Primeiros Gestos Textuais”, we find an introduction to concepts and ideas of body, movement and space that permeates all the work. In the Second Impulso: "Nós", the triad body-space-motion is discussed using the metaphorical image of a knot that binds these three concepts. The third and final Impulso: "Enlaces" deal with impressions and discoveries lived during the experimentation of the principles of inter-actions studied here, in the lessons of the already mentioned discipline

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.

Vestimentas em performance: composições em modos do corpo

This research deals with the possible relationships between the body and the garment in performative scenic states across the contemporary scene, the philosophy of fashion and the philosophical arguments of profanity and dispositive. Some works were observed and cited in this dissertation, for this I conducted structured interviews with eight artists of performance, as a methodological strategy that could bring data about the experiences of this dresses and/or naked bodies on the scene, in addition to literature and revealing the action of clothing on the body as well as its influence on the subjectivities of that whom performes and the public. These relationships can be experienced in the process of creating costumes in contemporary scene naming the possibility of modes of the body, as ways that emerge and constitute as creative, discursive and aesthetic alternatives.

O corpo em Michel Onfray

This inquiry looks it to think of the body through Hedonistic Philosophy of Michel Onfray. To compose his written, the philosopher launches strong criticism to the asceticism (constituted by the philosophical tradition and by the monoteístas religions), accusing it of despise the body and the pleasure of his teachings, anchored by the Christian moral. However, his philosophy defends the hedonismo and emphasizes the pleasure as an ethical / moral beginning, which aims the other as much as the individual himself, elevating the body and his potentialities through five senses. The contemplated philosophy allowed us think on the Physical Education, area wich, traditionally, was tied to the execution of disciplinary tasks of the body, disregarding the sensibility of his pedagogic practice. In this scenery, there is an ideal of body that attacks us daily, intensified by this area, which turns in the ethical problem of the body. From then, we launch our questions: From Michel Onfray philosophy, how the body shapes between the asceticism and the hedonismo?, What are the possible implications for the Physical Education? Ruled in the method of the Hedonistic Materialism, proposed by Michel Onfray, we think about this inquiry on two central points that contemplate our categories of study to be known: Glorious body and Loose living Body. We resort to Michel Onfray´s books, as well as, interviews given by the author in magazines / newspapers to help in our inquiry intentions. For the approach ethics / esthetics in the Physical Education, we use the texts of Silvino Santin and Hugo Lovisolo. Besides, we brought the cinema dialog. We classify this inquiry as a true Odyssey that transported us to unknown places and as a return to other already visited. This travel provided teachings that will help our wisdom on how survive the life, alerting us for the worship to the body like the cultivation of ourselves, and not as search of reaching physical standards stipulated by the society in force.

Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.

Desenvolvimento e avaliação do emprego de dispositivo ajustável ao corpo para treinamento de habilidade de acesso venoso periférico no membro superior

OBJECTIVE: To dev elop and evaluate the use of a body adjustable device for training of peripheral venous catheterization for healthcare undergraduate students . METHODS: This study involved two phases: I) development of the innovative simulator and II) a controlled trial co mparing the performance of the body adjustable device in relation to the commercial simulator for the training of venipuncture skills. A total of 79 first - year medical students participated in the intervention phase, which consisted of pretest assessment, lecture on peripheral venous access, randomization into two groups according to the simulator used for training (Commercial Simulator and Experimental Simulator), real venipuncture procedure, post - test assessment and evaluation of satisfaction. RESULTS: Gr oups were homogeneous in age, sex, pre - test and post - test scores, attitudinal assessment and performance in performing the real venipuncture. Students from the Experimental Simulator group performed better on the filling of simulated records. At the end of the study, cognitive gain significantly increased in both groups. The degree of realism perceived by students was equivalent for two groups. A total of 85.7% of students rated the Experimental Simulator as good or excellent. CONCLUSIONS: Experimental simu lator proved to be a low cost alternative for the training of venipuncture skills in upper limb. The cognitive procedural and attitudinal performances of students who used the experimental simulator were similar to those observed in the group trained with commercial simulator.

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.

Corpo, movimento e aprendizagem na psicocinética de Jean Le Boulch

School teachers in the discipline of Physical Education, we find ourselves constantly in question of methodological and epistemological issues of practice. This research aims to identify human body understanding, movement and theoretical learning proposed by examining the work of Jean Le Boulch and his approach to Physical Education. We seek to indicate epistemological elements about Physical Education theory and practice, believing that this approach and dialog comes to contribute with this field of knowledge. Boulch, a French teacher of Physical Education, Medicine and Psychology, had an important influence in Brazilian Physical Education during the 1970s and 1980s. His main contribution was teaching courses and knowledge about psychomotricity. Boulch’s studies helped to build knowledge of human movement; considering his importance in people’s development and a critic to a mechanistic view of body and movement. Our reflections will be based on the concepts brought from psychokinetics presented in the bibliographic references of Le Boulch in Brazil, and other references developed by him in this country including conferences, lectures and interviews. This reflection includes the debaters of his work. We chose a theoretical approach referring to the Phenomenology of philosopher Maurice Merleau-Ponty (1999) as a methodological reference considering the influence of his thought in Le Boulch studies. This thesis examines the learning and practice of teaching the Physical Education field of knowledge. We conclude that the body being an entity that exists for itself in the world and that contact with the world starts from human movement. Ultimately, new trains of thought for the teaching of physical education can be set from the reflection of phenomenological concepts brought by Le Boulch in his theory.

Da voz que cala ao corpo que fala: o assédio moral no ambiente de trabalho como desafio para o serviço social

The changes ocurred in the world of capitalist labor, especially from the last decades of the 20th century, accentuated the process of manipulation and domination of the working class, materialized mainly through naturalization and / or trivialization of violence, conducted in the work environment. From this process, emerge the elements of bullying, that is, the embarrassing and humiliating practices which extend through time, degrading human race, and becoming fruitful object for study, debate and the intervention of the professionals of the Social Service area. Thus, we assume the perspective of analyzing the concepts and the work of social workers, whom work at people management area before the bullying in the workplace. We propose the following objectives: apprehend the settings of bullying, in the contemporary context of competitiveness and flexibility of work, as well as its implications for workers' health; characterize the background of this expression of violence at work in the municipality of Natal- RN; and analyze the powers and duties of the social worker in the process of prevention, identification and addressing of bullying in the context of work. This study consisted of a qualitative approach, based on the dialectical-critical method as soon as we adopt methodological procedures such as: theoretical knowledge, documental and field research, and performed using semi-structured interviews. The subjects of this research were nine (09) the Social Service professionals working in personnel management area, in five (5) institutions with legal and branches of different activities, located in Natal-RN. Even interviewed one (01) representative of the Public Ministry of Rio Grande do Norte Office (MPT-RN). The findings of this analysis indicate that bullying is a contemporary expression of "social question", which is presented as a demand for the Social-assistants – covered up and / or camuflage – under the guise of problems related to workers' health or mere conflicts of interpersonal relationships, that is, without any causal connection with the organization of work. The fear of losing job, not to be inserted in the labor market, and / or suffering reprisals, deepens the subject levels of the victims of bullying. Hence the importance of Social Workers are capable to understand the social reality, by preventing and combating the elements of bullying.

Um coração que pulsa fora do corpo: imagens passionais nas cartas de Frida Kahlo

Entre los años 30 y 40 del siglo pasado, México vio surgir de las cenizas de la revolución mexicana, una figura singular. Frida Kahlo es descrita hasta la fecha de hoy, por el imaginario social – en sus pinturas, en sus fotografías – como una mujer que ha marcado una época y se ha convertido en un símbolo de luchas, y esto se extiende hasta la contemporaneidad. Se ha creado en torno a la pintora mexicana, varias imágenes sociales que se describen en el juego dialógico entre sus obras y sus interlocutores. Teniendo por referencia estas afirmaciones, la investigación aquí presentada ha tomado como procedimiento realizar un análisis de seis cartas escritas por Frida a sus interlocutores amados/amantes – tres hombres con los que estuvo involucrada, emocionalmente, durante diferentes períodos de su vida – y, como objetivo, hacer un mapeo de los ethé construidos por ella en enunciados en los cuales ella "pinta" verbalmente una imagen de sí misma que se revela en las opciones léxicas elegidas para hablar de amor, de traición, de amistad, de dolor y de su estar en el mundo. Por lo tanto, hemos refinado una imagen estética e ideológica de Frida Kahlo que se cubre de pasionalidades distintas y de diversos grados dialógicos. Hay, en el recorte temporal y axiológico que hicimos para esta investigación, una mujer de naturaleza amante y que transformó ese amor en el tono de sus enfrentamientos con los interlocutores con quienes estuvo involucrada emocionalmente. Nuestro análisis está anclado en los postulados teóricos del Análisis Dialógico del Discurso (ADD), cuyo teórico base es el filósofo ruso Mikhail Bakhtin (2003, 2009, 2013) – sobre todo cuando se trata de estilo – y en la teoría de la enunciación de Maingueneau (2008, 2005) y Charaudeau (2006) – en lo que se refiere al ethos discursivo. Esta investigación se inserta en el área de Lingüística Aplicada y tiene un enfoque cualitativo-interpretativo.

Viver e esperar viver: corpo e identidade na transição de gênero de homens trans

This work seeks to understand how trans men build their identities and live the transsexual experience in the relationships they establish daily onto “man” category. It could be observed that for it they engenders a specific gender transition in the midst of male transsexuality. Despite being under a complex amalgam of relations of exploitation and disciplinary domination, ways of being man are brokered for a living and entry into spaces where they are expelled for not conform the bodies that gender norms require. It is understood that gender transition is a process at the same time of organic and prosthetic body management and the assumption of your own identity. Thus, they build a politic of identity that creatively fixes a person's category as rights holder. The "transition" is therefore to transact from nonexistence to a place of humanity. This dissertation describes how this process takes place in the experiences of the speakers, observing the practices that bring out the male, front of class positions on the labor market, access to health, hormonization and own identity. Thereby, theories that fix them as expressing female masculinities or marginal to the hegemony do not find exactitude in their lives. The research methodologically started performing "multilocated ethnographies" that gave possibilities to in-depth interviews with 15 stakeholders from the Northeast, Midwest, Southeast and South of Brazil. Between 2014 and 2015, from the applying of network technique to the first dialogues in research, it was possible to build a participant observation by the trans men’s everyday life. Wherewith I was capable to behold their own private activities, as well as their public agency amid a trans activism collective in northeast, and the follow-up actions in which they were involved during the XII Encontro Nacional em Universidades de Diversidade Sexual e de Gênero (ENUDSG) held in Mossoró/RN. Therefore, the thesis engages to describe and understand the different ways of constructing trans male gender transitions in access to transsexuality and therefore a way of explaining their own trajectories in terms of people that exist as such, even though in the midst of narratives marked by emotions linked to "not live", to suffering and dehumanization.

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Dançando a carne: uma poética do corpo no mito adâmico

In this dissertation we reflect about sensitive the dimension of the body, which enables us to participate in mythical space and set him as a potential space for artistic creation in dance, experience provider in senses for world, for life and for existence. It´s a written, thrashing some reflections on the human condition from a gaze cast upon the myth of Adam, leading us to think about the possible relationships between art and myth in contemporary times, as fields of knowledge open to creation, and semantic spaces able to assign new meanings to living through the pulsations of a body that is myth and what is dance. One of the goals of this study is set up a new point of view to analyze the Adam's myth, enabling to new interpretations, meanings and understandings from the experience in the process of creation in contemporary dance. Therefore, methodologically reference is made in the Phenomenology, or rather the phenomenological attitude proposed by Merleau-Ponty (1994), which considers the experience of the body as the primary source of knowledge. Dipping on this process of creation in contemporary dance, one artistic and choreographic work was originated, titled "The Body I am”, in contemplation of this dance that echoes the mystery, that emerges from the depths of the body, and it brings to the human surface and your world, your relationships. Realize that dance is as a sensitive guide and counselor reflections ontological and epistemological, able to validate and perpetuate the myth whereas ancestral wisdom inheritance.

Corpos da Ciranda: narrativas poéticas, artístico/estética da ciranda de Lia de Itamaracá

This research is a study that deals with the language of the players bodies of Ciranda (a typical dance in circle in Brazil) – more specifically the one of Lia from Itamaracá. Our interest is to observe how this body dances, communicates, writes on time and space, establishing relations that complement and help to remain in construction. Thus, in a circular way and in an energy that is transmitted with the contact of the touch of the hands, in the power of song, in a circle that can be seen from many places, but by different angles, holding on that the particularities of its subjects players/dancers/observers, and that we propose ourselves to think: who are those players bodies and how do they build the circles of Ciranda? Therefore, during the pathway of the research, we were conducted by the phenomenological method and, from this, used the concepts of lived and sensible world. Our interest in this manifestation is, also, the body that dances and insert itself in the artistic expression, meaning and opening itself to the knowledge by the experience. Therefore, we assume a conception of the body that refers itself in the merleaupontyana fenomenologic approach, in this way, in its criativity in relation to the body as a fragmented being, as it is pointed by the Cartesiana theory. In this perspective, we understand the body in its relations with the culturals, sociais, economics and artistics issues that integrates it, in others words, in the relations that helped us to better understand the body as it is. This way, this research has as main objective to present the refletions about the players body, mainly, of Lia from Itamaracá and with this body to dance, to communicate, to write itself on time and space, estabilishing relations that complement and help to stay in construction. Such a statement leads us in this work, to inquire, for example: what mobilizes those subjects on this dance? We understand that elements as the place that is always in modification, the costumes, the musicality and the change in the movimentation of the players body in each new circle, those elements are factors that activate a permanente reconfiguration that are happening in the Ciranda dance nowadays. Finally, we assert that this investigation comes in reason to the big dimension that the Ciranda has achivied in Brazil, especially in the Northeast, as the existence of few references and registers of the reseach manifestation in the academic areas. It is possible to verify, in this research, that, in reason to this spreading, the nuances of the players bodies is even more diversified and that the missing of experiences on Itamaracá island - PE, its origin has putting away the original and community, becames, more and more, a dance of others stages and squares.