As formas animadas e a criatividade

Projeto de Intervenção apresentado à Escola Superior de Educação de Lisboa para obtenção de grau de mestre em Educação Artística - Especialidade Teatro na Educação

Impacto de um programa de estimulação em jogo dramático no desenvolvimento da linguagem em crianças pré-escolares

Dissertação apresentada à Escola Superior de Educação de Lisboa para obtenção de grau de mestre em Educação Artística, na Especialização de Teatro na Educação

O Grupo Sobrevento de teatro de formas animadas

Since prehistoric man seeks to dominate play scenes and images of their daily lives, to understand them or dominate. In the theater, the man tried to represent hunting scenes and deities. Since the first creation material representative of the gods, these objects acquire magical powers. After a long time, came the Puppet Theater, which through the use of various materials, the man concocted dolls in his image and likeness, as well as representations of animals. Subsequently, the Theater of Animated FormsVisual involved various props, like the mask, the shadow and the object. Thus, these elements can appear all together or not in the same show and are, therefore, the Theater of Animated Forms. How important human need to understand the world and events around them, the arts were needed to explain the divine and unreachable. Clumping the four languages of art: music, plastic arts, dance and theater, the Theater of Animated Forms of so characteristic of the man in search of the divine and sublime sentiments or not. In Brazil, faced with a multitude of excellent groups Theater of Animated Forms, the Sobrevento Group stands to monitor on an extensive repertoire theoretical foundation for the themes of the pieces created, and the high level of aesthetic sensitivity and artistic creation through is the dummies used in your repertoire. The objective of this study is to describe and analyze the Sobrevento Group considering the process of artistic creation, which led to the understanding of what is Theater of Visual Theater. To this end, guided interpretive anthropological approach, we conducted an ethnograph with the group

Era uma vez...As sete casas da infortuna: relação actor - marioneta : Relatório de estágio

O presente relatório tem como objectivo analisar a realidade de uma Companhia de Marionetas em Portugal, Teatro e Marionetas de Mandrágora, incidindo sobre a relação entre o actor, marioneta e meio envolvente (site specific) no contexto de uma prática teatral concreta, a produção do espectáculo Era uma vez ...As Sete Casas da Infortuna, no Castelo de Santa Maria da Feira. Os resultados apurados acompanham os moldes em que se procurou passar de um actor convencional para a especialização de um micromundo teatral onde a aprendizagem foi, fulcral desde o processo de construção até, à manipulação em cena num universo de trabalho particularmente árduo e específico. A minha trajectória no seio da companhia começou pela familiarização e aprendizagem informal da prática das marionetas através da observação directa dos espectáculos e de diferentes projectos da companhia. A formação feita no local de estágio (atelier da Companhia) foi outra das modalidades de formação que acompanhou o meu trajecto ao longo do estágio através da minha colaboração em projectos como Teatro nas Instituições, sempre sob a égide da divisão de tarefas e de alguma autoaprendizagem com a devida supervisão e orientação de artistas especialistas, como o Director Criativo, enVide neFelibata. O laboratório de aprendizagem prosseguiu pela mão da marionetista Clara Ribeiro que orientou a minha formação no sentido de absorver princípios teórico-práticos como o Foco, o Movimento e o Olhar para uma melhor consciencialização do universo do teatro de marionetas e formas animadas. Ainda nessa aprendizagem, a figura de alguns artistas especialistas foi fulcral, nomeadamente a da cenógrafa Marta Fernandes da Silva, que revelou ser de extrema importância ao longo do estágio pois permitiu uma verdadeira intersecção entre as componentes teórica e prática. Dessa forma pude acompanhar todo o processo de criação do Era uma vez ...As Sete Casas da Infortuna, e colaborar na construção das marionetas que iria manipular como actor - marionetista. Relativamente à questão da componente da interpretação no estágio, esta foi assumida pela encenadora - marionetista, Filipa Alexandre que, com a sua orientação, permitiu um enfoque do grupo de trabalho num processo de criação colectiva. Assim, a nível pessoal, fui movido por uma necessidade premente de descodificar o papel do actor na sua relação com a marioneta e o meio envolvente (site specific). ABSTRACT: This study aims to examine the reality of a Puppet Company in Portugal, the Puppet Theater of Mandrágora, focusing on the relationship between actor, puppet and environment (site specific) in the context of an actual theatrical practice, Once upon a time ...Seven houses of infortune, in the Castle of Santa Maria da Feira. The results obtained follow the way in which one seeks to move from one "conventional" actor to the specialization of a micro theater where learning was central from the building process to manipulation on the scene in a universe of work particularly hard and specific. My initial course within the company began with the familiarization and informal learning of the practice of puppetry through direct observation of performances and various projects of the company. The training done at the company (workshop of the Company) was one of the training arrangements that accompanied my way along the training through assistance on projects such as Teatro nas Instituições, always under the auspices of the division of tasks and due self-teaching with appropriate supervision and guidance of expert artists, such as the Creative Director, enVide neFelibata. The learning laboratory continued by the hand of the puppeteer Clara Ribeiro who supervised my training in order to absorb theoretical and practical principles as the Focus, the Movement and the Look for better awareness of the world of puppetry and animated forms. Also at this level, the figure of some specialist artists were central, such as the scenographer Marta Fernandes da Silva, who proved to be extremely important during this training, allowing a true intersection between the theoretical and the practical components. I could experience the surroundings of the creation notebook of Era uma vez ...As Sete Casas da Infortuna, and collaborate in the preparation of puppets that would handle as an actor - puppeteer. As to the question of the interpretation component on training, this was in charge of stage director - puppeteer, and the Artistic Director, Filipa Alexandre, whose instructions allowed a focus of the working group in a process of collective creation. Accordingly, to a personal level, I was urged to decode the role of the actor in relation to the puppet and the environment (site specific).

Animated Kolam Patterns

The brief for the creative work was to produce a digital backdrop that would be projected behind and enhance a dance performance. The animation needed to display a static kolam pattern that would then dissolve at a choreographed point in the performance. The dissolving mimics the fragmentation that occurs to physical kolam patterns throughout the day as people interact with the drawings. The final animated work was incorporated into Vanessa Mafe-Keane’s performance titled “Paired Back” performed at the Judith Wright Centre, Brisbane 2013 as part of “Dance. Indie Dance. Through the use of motion capture technology the process of dissolving the pattern is a direct result of the performer’s movements allowing visual and temporal connection between motion of performer and digital graphic to be observed. This creative work presented an opportunity to expand upon experiments conducted in the production of experimental visual forms undertaken at QUT using the Xsens MVN Inertial Motion Capture System. The project took on the form of an investigation into practice with a focus on the additional complexities of capturing, then applying multiple data sources into the production of animated visuals along with bringing to light the considerations taken into account when producing this type of generative art work for live performance. The reported outcomes from this investigation have contributed to a larger study on the use of motion capture in the generative arts, furthering the understanding of and generating theories on practice.

Report a review of the concepts and definitions of the various forms of relational contracting

Partnering has been defined in many ways. It can be considered as an individual project mechanism or can be considered as a long term strategy. Alliancing is normally assumed to be a long term business strategy linking together client, contractor and supply chain. Relational contracting goes further than this and brings in the whole philosophy of the value chain and the linking of the interdependent parts within the construction project as a key business objective. This document aims to review existing definitions of these three concepts and present and overview of the current state of-the-art in terms of their use and implementation. The document should be useful for all of those project team members looking to sharpen their understanding of the various concepts and will also provide a platform for debating the current state of the definitions and implementations being used in Main Roads and Public Works Departments.

Digital storytelling, podcasts, blogs and vlogs : exploring a range of new media texts and forms in English

Curriculum initiatives in Australia emphasise the use of technologies and new media in classrooms. Some English teachers might fear this deployment of technologies because we are not all ‘digital natives’ like our students. If we embrace new media forms such as podcasts, blogs, vodcasts, and digital stories, a whole new world of possibilities open up for literary response and recreative texts, with new audiences and publication spaces. This article encourages English teachers to embrace these new digital forms and how shows we can go about it.

Measuring episodic memory: A novel approach with an indefinite number of alternative forms

Both clinical practice and clinical research settings can require successive administrations of a memory test, particularly when following the trajectory of suspected memory decline in older adults. However, relatively few verbal episodic memory tests have alternative forms. We set out to create a broad based memory test to allow for the use of an essentially unlimited number of alternative forms. Four tasks for inclusion in such a test were developed. These tasks varied the requirement for recall as opposed to recognition, the need to form an association between unrelated words, and the need to discriminate the most recent list from earlier lists, all of which proved useful. A total of 115 participants completed the battery of tests and were used to show that the test could differentiate between older and younger adults; a sub-sample of 73 participants completed alternative forms of the tests to determine test-retest reliability and the amount of learning to learn.

Consonance in urban form : morphogenetic analysis of architectural elements within urban forms

"By understanding how places have evolved, we are better able to guide development and change in the urban fabric and avoid the incongruity created by so much of the modern environment" (MacCormac, R (1996), An anatomy of London, Built Environment, Dec 1996 This paper proposes a theory on the relevance of mapping the evolutionary aspects of historical urban form in order to develop a measure of evaluating architectural elements within urban forms, through to deriving parameters for new buildings. By adopting Conzen's identification of the tripartite division of urban form; the consonance inurban form of a particular palce resides in the elements and measurable values tha makeup the fine grain aggregates of urban form. The paper will demonstrate throughthe case study of Brisbane in Australia, a method of conveying these essential components that constitute a cities continuity of form and active usage. By presenting the past as a repository of urban form characteristics, it is argued that concise architectural responses that stem from such knowledge should result in an engaged urban landscape. The essential proposition is that urban morphology is a missing constituent in the process of urban design, and that the approach of the geographical discipline to the study of urban morphology holds the key to providing the evidence of urban growth characteristics, and this methodology suggests possibilities for an architectural approach that can comprehensively determine qualitative aspects of urban buildings. The relevance of this research lies in a potential to breach the limitations of current urban analysis whilst continuing the evolving currency of urban morphology as an integral practice in the design of our cities.

Cognitive assessment in closed head injury : stability, validity and parallel forms for two neuropsychological measures of recovery

Investigated the psychometric properties of the original and alternate sets of the Trail Making Test (TMT) and the Controlled Oral Word Association Test (COWAT; A. L. Benton and D. Hamsher, 1978) in 50 orthopedic and 15 closed head injured (1 yr after trauma) patients (aged 15–59 yrs). Although the alternate forms of both measures proved to be stable and consistent with each other in both groups, only the parallel sets of TMT reliably discriminated the clinical group from controls. Practice effects in the head injured were significant only for Trail B of TMT. Factor analysis of the control group's results identified Verbal Knowledge as a major contributor to performance on COWAT, whereas TMT was more dependent on Rapid Visual Search and Visuomotor Sequencing.