Orientador: Marcio Aurelio Pires de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T08:50:20Z (GMT). No. of bitstreams: 1 Otani_Daves_M.pdf: 2021538 bytes, checksum: f066bd0aa6d98f435f9c224ee348006a (MD5) Previous issue date: 2005 / Resumo: O Ator em Jogo é uma reflexão pessoal sobre aspectos do processo criativo em dois espetáculos teatrais encenados pelo grupo Boa Companhia: PRIMUS (adaptado do conto "Comunicado a uma Academia", de Franz Kafka) e MISTER K. E OS ARTISTAS DA FOME (adaptado do conto "O artista da fome", de Kafka). Utilizando a experiência prática da capoeira, que serviu como matriz criativa nessas duas montagens, em cada uma a seu modo específico, faço uma reflexão a partir de um diário que relata experiências relacionadas a apresentações de PRIMUS em uma excursão pelo Brasil e a montagem de MISTER K. nas cidades de Campinas e Erlangen (Alemanha). Essas experiências proporcionaram uma volta a conceitos de Stanislavski, que são rediscutidos por Kusnet, e que se referem a princípios da construção e apresentação do corpo espetacular. A capoeira permitiu refletir sobre possíveis processos limitadores da compreensão da personagem, essa investigação se apóia no conceito de interdição do corpo, segundo Ana Maria Freire e na pedagogia do oprimido, segundo Paulo Freire. É uma busca de um olhar cuidadoso para minhas próprias atitudes dentro do processo criativo que se limitariam em virtude de um modelo global de opressão à livre expressão do corpo. Desse modo, ela ampliou a compreensão viva do sentido de jogo para mim no fazer teatral / Abstract: The Actor Playing is a personal reflection about the aspects of the creative process in two theatrical plays, staged by the group Boa Companhia (Good Company): PRIMUS (adapted from Franz Kafka's short story, "A Report to an Academy") and MR. K E OS ARTISTAS DA FOME (Mr. K. AND THE HANGER ARTIST, also adapted from Franz Kafka's short story: "The Hunger Artist"). Using the practical experience of the capoeira, that served as a creative matrix in these two theatrical plays, each one in its specific way, I make a reflection based on a diary that reports experiences concerning PRIMUS, during an excursion in Brazil, as well as the work on MR. K. E OS ARTISTAS DA FOME, in the cities of Campinas (SP/ Brazil) and Erlangen (Germany). These experiences turned me back to Stanislavsky's concepts that are rediscussed by Eugênio Kusnet, addressing the principles of the construction and presentation of a spectacular body. The capoeira allowed us to reflect upon possible limiting processes of the understanding of the character. This inquiry is supported by the concept of interdiction of the body, according to Ana Maria Freire and Paulo Freire's "pedagogy of the oppressed" (as presented in his book Pedagogia do Oprimido). It is a search of a careful look for my own attitudes inside the creative process, which would be limited due to a global model of oppression to the free expression of the body. In this way, it gave me a widely understanding of the sense of the play in the theatrical role / Mestrado / Mestre em Artes

Orientador: Cassiano Sydow Quilici / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T01:13:56Z (GMT). No. of bitstreams: 1 Lima_JoiceRodriguesde_M.pdf: 3838227 bytes, checksum: 91eab61b548ada8dfdb6c84bd84f56f8 (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa propôs maneiras de trabalhar com atores a partir de imagens fotográficas, abordando as necessidades implícitas ao ato de olhar a fotografia. Para tanto, cinco atrizes participaram da realização de procedimentos que envolveram a observação destas imagens e de situações cotidianas, como parte do treinamento do ator. A metodologia abrangeu também o estudo e a compreensão da obra da artista francesa Sophie Calle, no que diz respeito às suas fotografias e aos fatores relacionados a seus processos criativos. Dessa forma, uma série de procedimentos foram definidos e experimentados, no sentido de ampliar a percepção do ator no momento da observação. Com isso, foi possível constatar que o "olhar", no sentido de observar, proporciona a movimentação de afetos e memórias que participam da e colaboram com a criação do material de trabalho do ator. / Abstract: The goal of this research was to investigate the work method with actors from photographic images observation, when the intention is the theatrical creation from the actor perspective. For this, five actresses participated on the practical research implementation through the photographic images observation and everyday situations, as part of actor training. The methodology also covered the understanding of the French artist Sophie Calle job, with regard to her photos and factors related to her creative processes. Thus, a series of procedures have been defined and tested in order to broaden the perception of the actor at the time of observation. So, it was established that the "look" (in order to observe) provides the handling of feelings and memories that participate in the material creation of the actor's work and collaborate with it. / Mestrado / Mestre em Artes

Orientador: Sara Pereira Lopes / Anexo 1 DVD-R: Curta-metragem Talita, Registro da partitura de ações da Clarissa: Exercicio n.2 / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-13T19:27:44Z (GMT). No. of bitstreams: 1 Ribas_MarianeMagno_D.pdf: 1815540 bytes, checksum: 7cb392739ddb202e7828dfe5c96606ef (MD5) Previous issue date: 2009 / Resumo: O texto que se constitui a seguir é uma extração dos processos empíricos com a imaginação do ator, trabalhada como ordenadora da presença cênica - ator e espaço . O trabalho desenvolvido e observado, em laboratório, teve como foco o processo criativo do ator; a partir do trabalho com as imagens apresentadas, atingir aquelas que emergem como conteúdo do agir e como meio de organização do tempo e do espaço, e ainda, como procedimento eficaz para que o ator possa evocar o seu próprio dizer. A partir destas formas de experimentação, aquilo que se configura como corpoator foi resultante do processo de preparação denominado nãoator - preparações específicas que criaram sustentáculos e ampliaram a consciência do ator sobre o corpoator e sobre seu ofício ; resultando da experiência um outro olhar denominado nãodireção / Abstract: This text is an extract of empirical processes with the imagination of the actor worked as orderer of the theatrical presence - actor and space. The work developed and observed, in laboratorial, had as a focus the creative process of the actor; departing from the work with the images presented, touch those that emerge as content of the action and as a means of organizing time and space, and also, as a effective procedure that allows the actor to evoke his own saying. Departing from these forms of experimentation, that which builds up as bodyactor resulted from a preparing process named nonactor - specific preparations that created a sustaining and broadened the conscience of the actor towards his bodyactor and over his office ; which resulted in another view named nondirection / Doutorado / Doutor em Artes

Orientadores: Sara Pereira Lopes, Cassiano Sydow Quilici / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T01:09:10Z (GMT). No. of bitstreams: 1 Pla_DanielReis_D.pdf: 1130575 bytes, checksum: 5ec83424cb508b936e3b9990e4827873 (MD5) Previous issue date: 2012 / Resumo: Este trabalho procura discutir a relação entre meditação budista e treinamento de atores. Há mais de um século o budismo tem sido objeto de estudo de acadêmicos da Europa e América. Ao longo desse período um vasto material foi produzido e disponibilizado falando sobre a filosofia, a religião e as práticas culturais ligadas as diferentes tradições budistas. Especialmente os estudos de Varela e Wallace apontam para uma abordagem mais ampla do diálogo dessa tradição com a ciência, aprofundando o debate acerca das suas contribuições para áreas como a neurologia, a neuropsicologia e a epistemologia científica. Também no âmbito da pesquisa em teatro os estudos interculturais e interdisciplinares cresceram ao longo do último século e, entre eles, o budismo começa a ganhar importância. Na maioria desses estudos, porém, o foco tem sido orientado pelo instrumentalismo, uma perspectiva que define a validade de uma explicação a partir do seu uso, não importando tanto o quê das coisas, mas o como elas funcionam. Nessa direção muitas investigações têm sido orientadas por uma sobrevalorização da "técnica" e por um discurso cientificista, abordando as diferentes tradições a partir de critérios de uso. Este texto se propõe a explorar algumas das perspectivas que os estudos sobre a meditação budista podem trazer para o pensamento acerca do treinamento de atores como prática de formação. Assim, esse trabalho busca responder questões ligadas à prática do diretor e professor de teatro, vinculando-se a uma linhagem de artistas como Grotowski e Stanislavski que vêem no ator o elemento principal dessa arte, na organicidade um de seus fundamentos, e que acreditam que o processo formativo em teatro envolve um tipo de ação pedagógica que ultrapassa a sala de ensaio, apontando para o desenvolvimento integral do indivíduo / Abstract: This work proposes a discussion regarding buddhist meditation and actor's training. For more than a century buddhism has been object of study for scholars from Europe and America. Along this period a large amount of researches regarding to philosophy, religion and cultural practices linked to buddhist tradition were produced and made available. Specially Varela's and Wallace's studies point out to a deeper approach of the dialog between this tradition and science, going further into the debate about its contribution for areas such as neurology, neuropsychology and scientific epistemology. Also in the performing arts research the intercultural and interdisciplinaries studies have been growing up along the last century, and among it the buddhism has gaining importance. Despite that the most of those researches has been oriented by instrumentalism, an approach that validates the explanations by use criteria no considering about the study object's nature but only how it works. In this way most of those studies has preferred a discourse centered in the technique and scientificist vocabulary. This text explores some of the possible perspectives that the Buddhist studies bring for the thought about the actor's training as formative process. In this way its focus is answer questions regarding to the director and performing arts teacher craft, being linked to a lineage of artists as Grotowski and Stanislavski who sees the actor as the center of this art, the organicity as the fundamental principle, and who believes that the formative process in performing arts are concerned to an artistic and pedagogic action which surpass the boundaries of rehearsal space, pointing to the integral development of the individual / Doutorado / Artes Cenicas / Doutor em Artes

In this thesis by published work nine works are presented, prefaced by a Critical Summary and Review which discusses the genesis of the work and its theoretical presuppositions, and evaluates their contribution to knowledge. The work includes both sole-authored and collaborative writing. This published work adopts a social constructionist approach to knowledge in health and welfare. The first work explores critical approaches to child development and their relevance to professional practice. Subsequent work adopts a post-Wittgensteinian approach to language as practical activity, exploring how practitioners such as social workers and nurses do 'case work1 , making knowledge about people, events and situations in their talk and writing and, in doing so, enact the institutional order. An exploration of the ways in which practitioners construct their practice in reflective writing is a significant focus within several pieces of work. Attention is paid to what social actors (patients/service users and professionals) do in their interactions and communicative practices. Thus, talk and text are not treated as simple vehicles for conveying literal, factual descriptions but as the means by which moral adequacy is portrayed and authentic versions of events are established. These analyses draw inspiration from a variety of sources including micro sociology, discursive psychology and narrative analysis, emphasizing the practical-moral aspects of health and welfare practice in which the production of identity, for example as a caring practitioner, plays a key part. The published work has a strong practice orientation and the implications for professional education are highlighted throughout. 'Reflexive awareness' is promoted as a means by which health and welfare VIprofessionals may challenges tendencies to take practice for granted. By engaging in the processes of making the familiar strange, it is argued that better understandings of practice can be achieved and a stance of 'respectful uncertainty' deployed.

The purpose was to investigate attitudes of successful full-time performing classical singer-actors toward career concerns of the music profession. Five research problems were formulated to: (1) describe attitudes toward control of work conditions; (2) describe attitudes toward entrapment; (3) describe attitudes toward dependency; (4) report attitudes concerning current practices of training the solo singer; and (5) identify commonalities among the subjects regarding demographic, the attitudes described in problems one through four, and demeanor during the interviews.

Au fil des siècles, l’arbitrage s’est développé et s’est imposé comme une véritable justice, reconnue par les parties au litige et par les États. Vanté pour sa célérité et son adéquation aux besoins du commerce international, l’arbitrage a pris un tour décisif avec la mondialisation et l’intensification des transactions commerciales internationales. Malheureusement, comme le dit l’adage « il n’y a pas de rose sans épines », l’arbitrage n’a pas que des roses, il a également ses épines. En effet, l’évolution de cette activité juridique a donné lieu à des dérives. Les pratiques frauduleuses se sont multipliées ces dernières années dans le secteur et le problème de conflits d’intérêts se pose de façon de plus en plus aigüe. Face à cette situation, il est important de rappeler à la communauté arbitrale, tout d’abord, les principes sacro-saints qui gouvernent cette justice. Ensuite, mesurer l’efficacité voire l’effectivité de ces principes dans le contexte des dérives actuelles. Ce qui nous amène à nous demander enfin, si le droit de l'arbitrage international peut-il permettre seul d'endiguer les dérives arbitrales actuelles ou bien peut-on ou doit-on faire appel à d’autres normes de conduites morales comme l’éthique pour renforcer ce droit ? Si oui, dans quelle mesure cela est-il possible ? / Over the centuries, arbitration has developed and had imposed itself has a true justice, recognized by the different parties in a dispute and the countries. Touted for his quickness and his international trade appropriateness’ needs, arbitration has taken a decisive turn with globalization and the intensification of international commercial transactions. Unfortunately, as the old saying goes “there is no rose without a thorn”, arbitration does not only have roses it also has thorns. Indeed, the evolution of this legal activity has given rise to drifts. Fraudulent practices have multiplied in recent years in the sector and the issue of conflict’s interest arises in an increasingly acute manner. To face with this situation, first of all, it is important to remind to the arbitration community, the sacrosanct principle that govern this justice. And then, measure the effectivity or even the effectiveness of these principles in actual context of deviations. This finally leads us to ask, whether if international arbitration’s law can by itself solve actual arbitration deviations or can other moral standards, such as ethics, be used to reinforce this right? If so, to what extent is this possible?

Identifying how policy proposals are selected by policy-makers is an important question for scholars. This thesis evaluates the use of discourse and the role of actors in the exchange of ideas to support interprofessional collaboration (IPC) among Ontario’s regulatory colleges. A variation of discourse analysis was developed, based on the seven areas of reality that are constructed by language, to evaluate the interactions between state and policy actors. I argue that actors did not appear to engage in meaningful discourse because the state established the parameters of the consultative processes, which suggests the expert consultative processes were tools to legitimize the policy process for Bill 179. The state appears to have increasingly greater control of both the content and context of policy- making in this field. Further evaluation of the interactions between health professional organizations and the state is needed to better understand the importance of discourse in the health policy process.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-07-26T12:20:40Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO (2016.04.28) - CARLOS EDUARDO DE SOUSA GALVÃO.pdf: 1448322 bytes, checksum: 8bd0ff9b9626ff7b3e02f7d3b1587375 (MD5) / Made available in DSpace on 2017-07-26T12:20:40Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO (2016.04.28) - CARLOS EDUARDO DE SOUSA GALVÃO.pdf: 1448322 bytes, checksum: 8bd0ff9b9626ff7b3e02f7d3b1587375 (MD5) Previous issue date: 2016-04-28 / O não atendimento das crescentes demandas sociais, por parte do Governo ou do mercado de forma isolada, tem proporcionado a geração de novas relações sociais entre os setores organizacionais e a sociedade, reconhecendo que apenas com a participação social de todos os problemas sociais poderão ser minimizados. Dentro deste contexto, emergem as inovações sociais como alternativa à resolução dos problemas e melhoria da qualidade de vida nas comunidades. Embora o processo seja uma das dimensões menos estudadas dentro da temática inovação social, existem modelos que a contemplem, inclusive a relacionando à dimensão atores. Contudo, o protagonismo dos atores no processo de inovação ainda se mostra um campo a ser aprofundado, sobretudo em regiões de baixo índice de desenvolvimento, sendo esse o objetivo desta dissertação. Para isso, a partir do referencial teórico utilizado como norteador, foram criadas categorias de análise que permitem compreender o processo de inovação social, com foco no papel desempenhado pelos atores da inovação social, e os fatores que a influenciam. O caso selecionado para estudo foi o projeto Jovens Radialistas do Semiárido, localizado no município de Picos (PI), que promove a inclusão dos jovens na sociedade, por meio da educação profissionalizante. Os dados primários da pesquisa foram coletados por meio de entrevistas semiestruturadas e observação não participante. Já os dados secundários foram coletados por meio da pesquisa documental e sites, permitindo a triangulação de dados. Foi utilizada no tratamento dos dados a Análise de Conteúdo (Bardin, 2011). A análise dos resultados permitiu identificar os papéis desempenhados pelos atores em todas as fases do processo, possibilitando a compreensão do protagonismo no processo de inovação social. / Failure to meet the growing social demands by the government or from isolation market has enabled the generation of new social relations between organizational sectors and society, recognizing that only the social participation of all social problems can be minimized. In this context, emerging social innovation as an alternative to solving problems and improving the life quality in communities. Although the process is one dimension less studied within the thematic social innovation, there are models that contemplate, including relating it to the actor’s dimension. However, the role of the actors in the innovation process still shows a field to be thorough, especially in low development index regions, which is the aim of this dissertation. For this, from the theoretical background as a guide, categories were created that allow to understand the process of social innovation, focusing on the role played by actors, and the factors that influence. The case selected for study was the Young Broadcasters of the Semiarid Region project, located in the city of Picos (PI), which promotes the inclusion of young people in society through vocational education. The primary research data were collected through semi-structured interviews and participant observation. As for the secondary data were collected through the analysis of documents and sites, enabling data triangulation. It was used in the processing of the data content analysis (Bardin, 2011). The analysis identified the roles played by actors at all the process stages, enabling the understanding of the role of the social innovation process.

Les années 2000 ont marqué un fort regain d’intérêt pour l’alimentation, porté aussi bien par les consommateurs que par certains acteurs publics, qui se consacrent progressivement à la question alimentaire. Cette tendance est en partie liée aux dysfonctionnements et aux crises ayant affecté le système alimentaire agro-industriel dominant. En réaction, les initiatives de relocalisation de la production et de la distribution alimentaires se sont multipliées dans les territoires, visant au développement de « systèmes alimentaires alternatifs ». L’intérêt récent porté à ces systèmes, qui reposent bien souvent sur les circuits courts, a cependant conduit à négliger certains acteurs intermédiaires des systèmes alimentaires tels que les acteurs du commerce et de la distribution. La place de ces acteurs au sein des systèmes alimentaires, tout comme leurs compétences spécifiques, peuvent pourtant leur conférer un rôle privilégié au sein des territoires, pour favoriser l’accès des consommateurs à une alimentation de proximité. Les évolutions à l’œuvre en matière alimentaire conduisent à de nouveaux modes de coordination entre acteurs des territoires. Cette thèse étudie ainsi l’émergence d’une gouvernance alimentaire à l’échelon territorial. Elle interroge, en particulier, le caractère intégrateur des processus de gouvernance alimentaire territoriale, en se consacrant à un type d’acteur spécifique : les acteurs du commerce et de la distribution. Dans un premier temps, l’analyse de trois dispositifs publics alimentaires territoriaux, à Nantes, Lyon et Figeac, nous permet de décrire les processus de gouvernance alimentaire territoriale à l’œuvre, tout en mettant en évidence certaines difficultés liées à l’appréhension de la thématique alimentaire par les acteurs publics sur les territoires. De plus, au regard du rôle réduit que jouent les acteurs du commerce et de la distribution au sein de ces dispositifs, le caractère intégrateur des processus étudiés semble limité. Dans un second temps, nous adoptons une entrée « territoriale » par l’étude du Grand Clermont, qui permet d’aborder les pratiques des acteurs du commerce et de la distribution en matière de relocalisation alimentaire. Cette approche met en évidence les types d’interactions que les acteurs du commerce et de la distribution peuvent entretenir avec les acteurs publics territoriaux, et les enjeux autour desquels se jouent ces interactions. Plus généralement, nous mettons en lumière les difficultés liées à l’identification des acteurs du commerce et de la distribution par les acteurs publics territoriaux, du fait d’une méconnaissance, parfois teintée de défiance, entre ces acteurs. L’intervention des acteurs du commerce et de la distribution dans certains champs alimentaires (économie locale, nutrition, etc.) permet néanmoins d’envisager leur potentielle intégration aux processus de gouvernance alimentaire territoriale. Finalement, cette thèse propose une lecture des freins ou blocages à la mise en œuvre de processus de gouvernance alimentaire territoriale, à partir de l’exemple des acteurs du commerce et de la distribution. Elle illustre notamment le rôle spécifique des acteurs publics territoriaux dans ces processus, en tant que porteurs de démarches alimentaires territoriales, et fédérateurs des acteurs de l’alimentation. Par ailleurs, l’investissement de certains champs alimentaires par les acteurs du commerce et de la distribution, y apparaît comme un levier potentiel à l’émergence d’une gouvernance alimentaire territoriale. / Food became a subject of major interest since the 2000’s, for consumers as well as for public actors, who gradually address food issues. This phenomenon is mainly related to the recognition of dysfunctions and crisis prevailing in the agro-industrial and dominant food system. Consequently, food production and distribution re-localization initiatives multiplied, aiming at developing “Alternative Food Networks” (AFNs). However, the recent focus on these networks, frequently based on short food supply chains, has led to leave aside some intermediary actors in the food systems, such as food distributors. Food distributors include independent retailers (butchers, grocers, etc.), supermarket chains, wholesalers and new emerging forms of retailing. Distributors are central to the food systems and perform specific functions, allowing them to play a special role in food system re-localization.The recent dynamics in the food sector has brought new interactions within the food system, bringing out issues of change in food governance mechanisms. Thus, this thesis studies the emergence of a food governance at a territorial level. We particularly examine the integrative nature of territorial food governance processes, studying one specific actor: food distributors.First, we analyzed three French case studies in Nantes, Lyon and Figeac, describing the ongoing governance processes, but also some of the difficulties related to addressing food issues by public actors. The integrative nature of food governance processes seems limited, regarding the absence of food distributors and retailers in these processes. Then, we conducted a “territorial” work by studying a territory, the “Grand Clermont” in Auvergne, to analyze food distributors’ practices regarding local foods. This approach highlights the types of interactions established between food distributors and public actors, but also the issues at the heart of these interactions. More generally, we describe the difficult identification of food distributors by public actors, mostly due to a lack of knowledge – and sometimes to mistrust – towards these actors. However, food distributor’s intervention in some food sectors (i. e. local economy, nutrition, etc.) can help thinking their potential integration to territorial food governance processes. Finally, this thesis outlines the main obstacles and constraints to the implementation of territorial food governance processes, from a distributor’s perspective. In particular, it highlights the specific role territorial public actors play in these mechanisms, initiating public food programs and federating stakeholders around food issues. Moreover, food distributor’s intervention in various food sectors can be seen as a potential way to build a territorial food governance.