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...

A estética da Commedia dell Arte: contribuições para o ensino das Artes Cênicas

Theatrical phenomenon borned in the Italy the Comedy dell Art concerned to it climax in the XVI century and spreading itself by the word than can be sight like the theatre base modern. Lasting parallel the conventional theatre since the three hundred years, this gender influenced significativly the making theatrical in the Europe graces the popular character of its simulation turned for the improvise. In spite of treat a theatric manifestation no more existing in the present time, we understand that the Comedy dell Art was constituted in one artistic language whose esthetics centralized in the popular fanciful and in the improvise permitted a rich possibility of verbal and not-verbal communication that today can to be taken again in contemporary productions theatricals. Departing of an approach of esthetics, this work has with purpose concentrate the references esthetics that configure that one artistic manifestation such that one references can contribute for the Arts teaches in the present times. We appeal the text and image of Comedy dell Art, such this historical reference that in context, with fountain investigated that mean and if complementary in one esthetic reflection for the creation of meaning diverse and news interpretations for the purpose investigated if having with base some analysis categories such as: the actor s body, the actuations spaces and the esthetics categories such the ugly, the comic and the absurd. To investigate the Comedy dell Art esthetic in the ambit of the teach of Arts Scenics is a manner of be understand the artistic universe of three century behind that can be meant, revived, in the marking possibilities of an art teach able to incentive the critical, the appreciation, the discussion and the transgression of instituted true. Having investigated the exhibition Comedy dell Art esthetic we rebound four stich that we judge significative for we think the Arts Scenics teach, they are: the articulation between actor s body, the text and the space actuation in the play; statement what it is given between actor s body and the on-looker and the every gesture that did share of scene in a popular scenic space; a conception actor s body that transgress with the true duty socially that is capable the to admit its dimension Dionysian, creative and ambiguous in the to do theatrical; the text conception that get beyond the ambit the word writing by the dramatist and talked by actors, if spreading the other elements significance in the scene like gesture, the parody, the recent news, the gags and the word used in the day-to-day; the scenic space like a statement symbolic between actors and on-looker that make a quality of amusement pact supported by the scenic true of artist that actuate in not usual spaces bid at an auctioning degrees of participation in the building the scenic phenomenon; and the importance of esthetics categories such as the ugly, the comic and the absurd, those categories that foundation like a do scenic transgressor make a possible exchange mutual between actor and appreciator. The statement of esthetics categories in joint continuous between the body, the text and the scenic space evident themselves in doing theatrical and in the its appreciation. We believe that the reflection esthetic about the Comedy dell Art in the arts class, consider the stich detached, can favor possibilities of to share discovery, ideas, feelings and attitudes, and can permit the observation of different stich of view, establishing the statement of individual with the group in a participative and democratic form

O Corpo na experiência do ator: diálogos entre teatro e Educação

En esta investigación se refleja en la experiencia como actor / profesor / narrador en el escenario y en el aula, tener en cuenta tanto la experiencia del cuerpo en el evento teatral. Mi interés es cómo podemos hablar de la experiencia como actor / profesor / narrador de la actitud fenomenológica a la que apunta el filósofo francés Maurice Merleau-Ponty, observando cómo el cuerpo propensas a estos la comunicación sensible y ofrece una forma diferente de pensar en el cuerpo teatro y la educación. Con este fin, la experiencia de la creación del personaje en el show Gurdulu "Matrióchka: una historia dentro de la historia", Ensign Grupo de Teatro y el trabajo como profesor de teatro IFRN - Campus Central de Navidad permitió la comprensión de estos del cuerpo. En el recuento de mi viaje como una actriz / maestro / narrador cuenta que el cuerpo es profundo y es atemporal suficiente. Pero no sólo el cuerpo individual del cuerpo que está unido a un cierto mundo, donde la experiencia es algo que se puede decir, es historia. La historia está en la institución a su vez, un fenómeno de expresión que una fructífera tradición y abre el horizonte de la vida, el deseo, el encanto, el arte, la poesía y el conocimiento

Espaço inventado: o teatro pós-dramático na escola

Com a publicação da lei n. 9394/96, a arte integra-se ao currículo do ensino básico como área de conhecimento. Neste ensaio, problematiza-se essa nova condição da arte na escola, refletindo a particularidade da experiência artística em relação às outras disciplinas, de modo a não se descaracterizar o que é próprio dela. A partir do entendimento de que a presença da arte é provocadora de mudanças, busca-se observar aquilo que, na escola, é necessário ser tocado por ela. Esse olhar investigativo flagra uma cena de destruição, com problemáticas muito próximas daquelas expressas pelo teatro contemporâneo. Com isso, sugere-se aproximar a realidade escolar de formas do teatro pós-dramático, com o intuito de inventar espaços que possam vir a ser coletivos e que acolham o que se chamou de trocas de intimidades. Dessa aproximação, reitera-se o conceito de conhecimento como invenção, defendido por Michel Foucault, e detecta-se a necessidade de elaborar uma atitude docente que seja provocativa e crie ações educativas de tipo estratégico.

Convergência de linguagens nas artes visuais: cinema, vídeo, teatro e internet

Pós-graduação em Artes - IA

O teatro de Tadashi Suzuki e o ator como eixo de sua poética cênica

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Teatro de objetos: um olhar singular sobre o cotidiano

Pós-graduação em Artes - IA

O teatro político de rua praticado pelos coletivos ALMA e Dolores: estéticas de combate e semeadura

Pós-graduação em Artes - IA

Teatro narrativo em Borandá e em Nuestra Señora de las Nubes

Pós-graduação em Artes - IA

A dramaturgia do trabalho no teatro paulistano contemporâneo

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Tempo de jejuar e resistir: a presença do kung-fu no treinamento do ator : a experiência extracotidiana no teatro vocacional em proposição épica

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Projeto Comédia Popular Brasileira da Fraternal Companhia de Arte e Malas-Artes (1993-2008): trajetória do ver, ouvir e imaginar

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Investigações acerca do uso da narrativa no teatro contemporâneo

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

Alfredo Mesquita: Teatro e crítica na São Paulo de 1940 a 1960

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

Heleny Guariba: luta e paixão no teatro brasileiro

Pós-graduação em Artes - IA