Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Esta dissertação foi elaborada a partir do livro Rupestre Contemporâneo, Nadam Guerra e 10 anos do Grupo UM, que integrou a exposição de mesmo nome realizada em outubro e novembro de 2013 na Galeria de Arte do IBEU com Curadoria de Bernardo Mosqueira. Nesta exposição individual de Nadam Guerra foram apresentadas obras em parceria de Nadam Guerra com Leo Liz, Aline Elias, Euclides Terra, Domingos Guimaraens e Juca Amélio. O texto é construído na forma de diálogo entre os artistas do Grupo UM e convidados pensando a produção e o histórico do grupo além de temas das práticas artísticas atuais como criação coletiva, diluição da identidade, alterego, escritas de si, convergência de linguagem artísticas, arte, vida, ficção, os modos de produção e circulação da arte no mundo. Ao que se acrescenta mais duas camadas de discurso nas notas de pé de página e em comentários laterais criando um texto polifônico de teoria de artista. / This work is based on the book Rupestre Contemporâneo, Nadam Guerra e 10 anos de Grupo UM (Contemporary Rupestre, Nadam Guerra and 10 years of Grupo UM ), which was part of the exhibition with the same name held in October and November 2013 in IBEU Art gallery, curated by Bernardo Mosqueira. In this Nadam Guerras solo exhibition it has shown works in partnership with Nadam Guerra Leo Liz, Aline Elias, Euclides Terra e Juca Amélio. The text is constructed in the form of dialogue between artists from Grupo UM and guests thinking production and the group's history as well as topics of current artistic practices as collective creation, identity dilution alter ego, written themselves, convergence of artistic language, art, life, fiction, modes of production and art movement in the world. With the addition of two more layers speech in the footer notes and comments sides creating a polyphonic text of artist theory.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Esta dissertação foi elaborada a partir do livro Rupestre Contemporâneo, Nadam Guerra e 10 anos do Grupo UM, que integrou a exposição de mesmo nome realizada em outubro e novembro de 2013 na Galeria de Arte do IBEU com Curadoria de Bernardo Mosqueira. Nesta exposição individual de Nadam Guerra foram apresentadas obras em parceria de Nadam Guerra com Leo Liz, Aline Elias, Euclides Terra, Domingos Guimaraens e Juca Amélio. O texto é construído na forma de diálogo entre os artistas do Grupo UM e convidados pensando a produção e o histórico do grupo além de temas das práticas artísticas atuais como criação coletiva, diluição da identidade, alterego, escritas de si, convergência de linguagem artísticas, arte, vida, ficção, os modos de produção e circulação da arte no mundo. Ao que se acrescenta mais duas camadas de discurso nas notas de pé de página e em comentários laterais criando um texto polifônico de teoria de artista. / This work is based on the book Rupestre Contemporâneo, Nadam Guerra e 10 anos de Grupo UM (Contemporary Rupestre, Nadam Guerra and 10 years of Grupo UM ), which was part of the exhibition with the same name held in October and November 2013 in IBEU Art gallery, curated by Bernardo Mosqueira. In this Nadam Guerras solo exhibition it has shown works in partnership with Nadam Guerra Leo Liz, Aline Elias, Euclides Terra e Juca Amélio. The text is constructed in the form of dialogue between artists from Grupo UM and guests thinking production and the group's history as well as topics of current artistic practices as collective creation, identity dilution alter ego, written themselves, convergence of artistic language, art, life, fiction, modes of production and art movement in the world. With the addition of two more layers speech in the footer notes and comments sides creating a polyphonic text of artist theory.

La ciné-danse est une forme artistique hybride qui entrelace étroitement les propriétés techniques et esthétiques de la danse et du cinéma. Ce n’est pas un genre nouveau: d’une certaine manière, la ciné-danse existe depuis les tout débuts du cinéma. Mais elle est théorisée pour la première fois au milieu des années 1940 par Maya Deren qui propose aussi avec A Study in Choreography for Camera (1945) un film-manifeste qui s’est avéré déterminant pour la reconnaissance et le développement decette catégorie la plus transdisciplinaire du film de danse.Néanmoins, c’est seulement à partir des années 2000 etsurtout depuis le début des années 2010 que les festivals spécialisés se sont multipliés et que le genre a commencé à recevoir un éclairage théorique. Cette thèse contribue ainsi à ce tout jeune domaine de recherche que sont les screendance studies en proposant un premier panorama historique de la ciné-danse et en examinant certaines de ses spécificités formelles et dramaturgiques dont beaucoup n’avaient pas encore été analysées.Cette étude prend notamment le parti d’explorer la ciné-danse sous l’angle inaperçu de son hyper-sensorialité et des corporéités originales qu’elle façonne.J’y commence par retracer l’histoire plus large dans laquelle la ciné-danse s’inscrit, celle de la danse au cinéma en général et du film de danse en particulier. Puis,je propose d’esquisser plus spécifiquement l’histoire du genre. Je souligne ensuite la fécondité de l’hybridation artistiquequi définit la ciné-danse en analysant certaines de ses singularités formelles et dramaturgiques. J’examine notamment l’usage sui generis du gros plan dans ces films, la (re)matérialisation des corps à laquelle ils procèdent par un traitement hyper-sensoriel et synesthésique des images et des sons ainsi que les corporéitésétranges qu’ils créent et les implications critiques que celles-ci renferment. Enfin, je me concentre sur un aspect capital de la ciné-danse : les lieux qu’elle investit et les rapports complexes entre corps et espaces qu’elle interroge. Cette thèse brosse ainsi le portrait historique et esthétique d’un art hybride, d’un genre éminemment corporel et sensoriel et d’une pratique in situ. J’y mets au jour des oeuvres expérimentales qui explorent la capacité de ce croisement artistique à mettre en exergue la matérialité des corps ainsi que la sensorialité des films et de l’art chorégraphique. / Screendance is a hybrid artistic form which inextricably interweaves the technical and aesthetic properties of both dance and cinema. It is not a new genre: in a certain sense, screendance has existed since the very beginnings of cinema. It was first theorised, however, in the mid-1940s by Maya Deren, whose film-manifestoA Study in Choreography for Camera (1945) proved central to the recognition and development of this most transdisciplinary category of dance films. Nevertheless, it is only from the 2000s and even more-so from the 2010s onwards that specialisedfestivals have proliferated and that the genre has begun to receive theoretical attention. This dissertation is thus a contribution to the emerging field of screendance studies: it proposes a historical panorama of the genre and examines its formal and dramaturgical specificities, many of which have not yet been the object of in-depth analysis. This examination aims in particular to explore screendance from the previously unconsidered perspective of its hyper-sensoriality and the originalcorporealities it constructs.I begin by retracing the larger history within which screendance has grown that of dance in film and especially that of dance films. I then propose a more specific history of screendace proper. Next, I emphasise the fecundity of the artistic hybridisation which defines screendance by analysing certain of its formal and dramaturgical singularities. More specifically, I examine its sui generis usage of closeups, its (re)materialisation of bodies through a hyper-sensorial and synaesthetic treatment of images and sounds, as well as its strange corporealities and the critical implications they suggest. Finally, I focus on a crucial dimension of screendance: the places it investigates and its complex interrogations of the relationships between body and space. This dissertation paints a historical and aesthetic portrait of a hybrid art, an eminently corporeal and sensorial genre, a site-specific practice; it celebrates experimental works which explore the richness of an artistic cross-over and highlight the materiality of bodies as well as the sensoriality of dance and film.