Cravo do canavial: "entre" o maracatu rural e a mímesis corpórea: a construção de uma dramaturgia cênica

The present dissertation has begun with an investigation about the application of the Technique of the Corporeal Mimesis, systematized by the Lume, Interdisciplinary Center for Theatrical Research of Unicamp, associated with the matrix of Rural Maracatu, specifically of the group Cambinda Brasileira (Nazaré da Mata PE), with the purpose of promote the training and the composition work of the actor. Starting from an empirical methodology, which used the analysis of practical experiences the application process of the Corporeal Mimesis and the construction of a theater play associated with bibliographical research, I could investigate possible ways of re-signification of this technique, using components related to the ritual and the game present in the popular event in question, and experience such paths through the conception of the play Cravo do Canavial

Cravo do canavial: "entre" o maracatu rural e a mímesis corpórea: a construção de uma dramaturgia cênica

The present dissertation has begun with an investigation about the application of the Technique of the Corporeal Mimesis, systematized by the Lume, Interdisciplinary Center for Theatrical Research of Unicamp, associated with the matrix of Rural Maracatu, specifically of the group Cambinda Brasileira (Nazaré da Mata PE), with the purpose of promote the training and the composition work of the actor. Starting from an empirical methodology, which used the analysis of practical experiences the application process of the Corporeal Mimesis and the construction of a theater play associated with bibliographical research, I could investigate possible ways of re-signification of this technique, using components related to the ritual and the game present in the popular event in question, and experience such paths through the conception of the play Cravo do Canavial

Cravo do canavial: "entre" o maracatu rural e a mímesis corpórea: a construção de uma dramaturgia cênica

The present dissertation has begun with an investigation about the application of the Technique of the Corporeal Mimesis, systematized by the Lume, Interdisciplinary Center for Theatrical Research of Unicamp, associated with the matrix of Rural Maracatu, specifically of the group Cambinda Brasileira (Nazaré da Mata PE), with the purpose of promote the training and the composition work of the actor. Starting from an empirical methodology, which used the analysis of practical experiences the application process of the Corporeal Mimesis and the construction of a theater play associated with bibliographical research, I could investigate possible ways of re-signification of this technique, using components related to the ritual and the game present in the popular event in question, and experience such paths through the conception of the play Cravo do Canavial

Mujer rural como actor social en los últimos diez años = The rural woman as a social actor over the past 10 years

Incluye Bibliografía

Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process

Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process

Para um teatro anatómico: O impulso mental e o impulso corporal no trabalho do actor

O presente trabalho congrega, em si, o estabelecimento de uma ligação entre as áreas científica e artística, justificando o trabalho do actor com elementos inerentes à anatomia humana e aos progressos na ciência sobre o estudo do comportamento e cérebro humanos. A arte do actor é, neste estudo, vista como uma ciência de palco desenvolvida a partir do esqueleto e do corpo em vida, atentos aos impulsos psico-fisicos, prolongando a acção quotidiana na acção extra-quotidiana. Se na ciência a menor unidade, viva, do organismo humano é a célula, este estudo reclama o impulso como a unidade mínima do teatro e, por conseguinte, do trabalho de actor. Esta análise complementa-se, perspectivando a célula vivente como o núcleo da relação entre o invisível, como processo mental, e o visível como processo e manifestação física do trabalho do actor dentro e fora do palco. ABSTRACT; The present work congregates the creation of a connection between scientific and artistic areas, justifying the actor's work through characteristic elements of human anatomy and through the scientific advances on the study of the human brain and of human behaviour. ln this study, the actor's art, is viewed as a stage science based on the human skeleton and on the living body, both conscious of the psycho-physical impulses that extend everyday action to the extraordinary action. If in science the smallest living unit in the human body is the cell, then, this study argues that the impulse is the smallest unit in theater and therefore, of the actor's work. This analysis complements itself, envisaging the living cell as the core of the relationship between the invisible, as a mental process, and the visible, as a process of physical manifestation of the actor's work in(side) and out(side) of stage.

Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process

Facteurs socioenvironnementaux associés à la prévalence des limitations d’activités au Québec

Objectifs : Cette thèse porte sur l’association entre les caractéristiques socioenvironnementales des voisinages (milieux locaux) et la prévalence des limitations d’activités (ou handicap) dans la population québécoise. Elle a trois objectifs principaux : (1) clarifier les enjeux conceptuels et méthodologiques relatifs à l’étude des déterminants socioenvironnementaux des limitations d’activités; (2) décrire les contributions respectives de la composition socioéconomique des voisinages et de facteurs contextuels à la variabilité locale de la prévalence des limitations d’activités; (3) évaluer la présence d’interactions entre la santé fonctionnelle des personnes (incapacité) et des caractéristiques des voisinages en lien avec la prévalence des limitations d’activités. Méthodes : Une analyse de la littérature scientifique a été effectuée en lien avec le premier objectif de la thèse. En lien avec le deuxième objectif, des données pour le Québec du recensement canadien de 2001 (échantillon de 20% de la population) ont été utilisées pour estimer l’association entre la prévalence des limitations d’activités et des caractéristiques des voisinages : classification urbain-rural, composition socioéconomique (défavorisation matérielle et sociale) et facteurs contextuels (qualité des habitations, stabilité résidentielle et utilisation des transports actifs et collectifs). En lien avec le troisième objectif, des données pour la population urbaine du Québec issues de l’Enquête sur la santé dans les collectivités canadiennes (2003, 2005 et 2007/2008) ont permis de tester la présence d’interaction entre la santé fonctionnelle des personnes et des caractéristiques des voisinages (défavorisation matérielle et sociale, qualité des habitations, stabilité résidentielle et densité des services). Pour les analyses associées aux deux derniers objectifs, l’analyse des corrélats de la prévalence des limitations d’activités a été effectuée à l’aide de régressions logistiques multiniveaux. Résultats : Différents éléments conceptuels et opérationnels limitent la possibilité de faire une synthèse des analyses épidémiologiques portant sur les influences socioenvironnementales sur les limitations d’activités. Les résultats des analyses empiriques suggèrent que : (1) la variation géographique de la prévalence des limitations d’activités s’explique en grande partie par la composition socioéconomique des voisinages; (2) des facteurs contextuels sont associés à cette variation géographique; (3) les mesures relatives d’inégalités sous-estiment les disparités contextuelles dans la distribution des nombres absolus de personnes ayant une limitation d’activités; et (4) l’association entre la prévalence des limitations d’activités et la défavorisation sociale pourrait varier selon la santé fonctionnelle des personnes. Conclusions : Différentes caractéristiques socioenvironnementales sont potentiellement associées aux variations géographiques des limitations d’activités au Québec. Le développement d’indicateurs socioenvironnementaux favoriserait une connaissance plus précise de l’influence de ces caractéristiques socioenvironnementales sur les limitations d’activités et des mécanismes par lesquels s’exerce cette influence. L’établissement d’un système national de surveillance des aménagements territoriaux est proposé afin de soutenir la recherche et la prise de décision. Des indicateurs locaux d’accessibilité aux transports, aux espaces publics ainsi qu’aux services de proximité devraient être priorisés. Ces aspects de l’aménagement du territoire sont susceptibles de rejoindre plusieurs enjeux de santé publique et ils ont comme autre avantage d’être inclus dans différentes orientations québécoises ciblant le vieillissement en santé et la réduction des limitations d’activités.

Rendimento de carcaça e composição química da carne da perdiz nativa (Rhynchotus rufescens)

A composição química da carne e o rendimento de carcaça de perdizes (Rhynchotus rufescens) adultas, com 12 meses, criadas em cativeiro com rações balanceadas, foram determinadas neste trabalho. Para rendimento de carcaça, após o abate e evisceração, foram feitos dois cortes: peito e coxa+sobrecoxa+dorso. Para análise química, foram retiradas três amostras de cada corte para determinação da composição centesimal da umidade, proteínas totais, lipídeos totais, cinzas e colesterol. Os valores observados mostraram um rendimento médio de carcaça de 74,4% com 36,6% de carne de peito. Os componentes químicos apresentaram para os cortes de coxa-sobrecoxa e peito, respectivamente, umidade 62,4 e 55,9%; proteínas 25,2 e 29,1%; lipídeos 1,6 e 5,6%; cinzas 1,4 e 1,2% e colesterol 234 e 70mg/100g. O excelente rendimento de carcaça, somado à composição química de sua carne, mostra o potencial desta espécie para a produção de carnes especiais.

Um retrato do marginal brasileiro mediante o trabalho do ator com as personagens de Plínio Marcos em “Navalha na carne"

This thesis presented is to research the actor's work in the construction of physical actions, according to the methodology developed by Constantin Stanislavski in his analysis of dramatic action, called "method of physical action", applied to questions of scenic representation of the Brazilian marginal, according to the look "cruel" and realistic / naturalistic Plinio Marcos playwright. Based on the circumstances given by Pliniano universe, the intention is to contribute to the reflection on the actor's work on the scene with the marginal characters in "Razor in the Flesh", highlighting some important aspects, to assist in the construction of this fictional world. You want to create conditions for the formation of an actor that leverages the scene the contradictions and conflicts of this work. The research aims from the theoretical and practical study as a methodological hypothesis, producing critical reflection from the creative process of the agent with the realization of a scenic experiment focused on psychophysical technique of this Russian pedagogue. Thus, we intend to have a look at the method of physical actions focusing on his last great contribution to the work, especially the procedure of active analysis by doing a reading from "Razor in the Flesh" through this creative scenic exercise, extending the studies concerning the actor's art. This research is a general explanation about the trajectory of Stanislavski to his encounter with the physical action, while, highlights the inconsistencies of understanding of his work around the world. Stanislavski initially developed the "method" having as a backdrop, the realist aesthetic - a dialogue relationship between reality and the scene - through a style which creates a theatrical reality, and consequently, artistic, not literally naturalistic way through an integral mimicry. That is, the representation of work in realistic theater aesthetics should be developed in order to create a theatrical reality. Stanislavski believes that theater is convention, since the actor's work on himself should encourage this second nature, scenic.

Mujer rural de América Latina: un actor social del último decenio (1975-1984) = Rural woman in Latin America: a social actor in the past decade (1975-1984)

Incluye Bibliografía

Rural women in Latin America: a social actor in the past decade (1975-1984)

Includes bibliography

LAS INSTITUCIONES ACTOR FUNDAMENTAL EN EL ANÁLISIS DEL ESPACIO GEOGRÁFICO RURAL

En el momento histórico que vivimos, frente a los resultados del proyecto neoliberal, se discute nuevamente el rol del Estado y de sus instituciones, para alcanzar un desarrollo con equidad social en los espacios geográficos de distintas escalas; por lo que este trabajo tiene como objetivo analizar precisamente a las instituciones como uno de los actores que intervienen en la transformación del espacio geográfico y por lo tanto del espacio rural, de manera concreta en México. Así el planteamiento metodológico para la realización de este trabajo consiste en partir del paradigma de la Geografía Humana de Quaini y recurrir a la historia económica, para analizar a este actor.Los resultados están vinculados, por una parte con la valoración de la participación que este actor tuvo y puede tener, dentro de un contexto histórico social y económico concreto en el espacio rural, por otra parte con el enriquecimiento metodológico que la historia económica brinda al análisis geográfico dirigido al espacio rural, para elaborar propuestas que pretendan disminuir los desequilibrios regionales que se presentan en el mismo, con base en la democracia y la equidad social.