Made available in DSpace on 2016-04-26T18:10:34Z (GMT). No. of bitstreams: 1 Vanja Poty.pdf: 5479517 bytes, checksum: e0aae55b08f935f0a51b626b021c7f22 (MD5) Previous issue date: 2010-12-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Based on the critic of the creative processes, the way it is developed by Cecilia Salles (1998 and 2006), this project aims to reflect the ways of Odin Teatret creative organization and its director Eugenio Barba. This discussion is based on the research of the body treatment in the training of its actors, the technique notion and Theatre Anthropology proposal by the group, and a review of its forty-six years of history on the staging of Andersen's Dream, held in 2004. The methodology consisted of literature review, rehearsal analysis, public work demonstrations, performances and interviews. We also approached the communication aspects, physical and symbolic procedures in the construction of the scene, with their restrictions and trends. We will stand out the unfinished, the flow, throw nonlinearity and the mobility of this object, through the debate about the collective dimension of the poetic project and about the part of the director as creator and private spectator of the so called collaborative process. The means of mass communication monopolize the life of society, and exactly because of this we see the scene as a dialogic and nonlinear form of active communication between artists and audience "awakening" the imaginative capacity. From this proposition, we intended to also address the dream and the rite as powers for promoting creation and to question how these work in the scenic construction of the ensemble. As theoretical bases fundamental for such intent, we used investigations of the material imagination concept proposed by Gaston Bachelard (1988, 1990, 1991, 1993 and 1998); analysis of Adriana Mariz (2007) of the construction procedures of the Odin Teatret; studies of Eleazar Meletínski (2002) about the myth and literary archetypes through his approach of the analytical psychology of Carl G. Jung; laboratories theaters of Jerzy Grotowski, Constantin Stanislavsky and Vsevolod Meierhold; the ritual scene of Antonin Artaud; and finally, the archaic practices of self-care reflected in research by Michel Foucault (2006) / Fundamentado na crítica de processos criativos, da maneira como é desenvolvida por Cecília Salles (1998 e 2006), o presente projeto visa refletir sobre as formas de organização criativa do Odin Teatret e de seu diretor Eugênio Barba. Esta discussão tem como base a pesquisa do tratamento dado ao corpo na formação de seus atores, a noção de técnica e de Antropologia Teatral proposta pelo grupo, e a revisão de seus quarenta e seis anos de trajetória a partir da encenação O Sonho de Andersen, realizada em 2004. A metodologia consistiu em pesquisa bibliográfica, análise de ensaios, demonstrações públicas de trabalho, espetáculos e entrevistas. Foram abordados os aspectos comunicacionais, corporais e simbólicos dos procedimentos construtivos da cena, com suas restrições e tendências. Destacamos o inacabamento, o fluxo, a não linearidade e a mobilidade deste objeto, por meio da discussão sobre a dimensão coletiva do projeto poético e sobre o papel do diretor como criador e espectador particular do chamado processo colaborativo. Os meios de comunicação de massa monopolizam a vida da sociedade, e exatamente por isso encaramos a cena como uma forma dialógica e não linear de comunicação ativa entre artistas e público de despertamento da capacidade imaginativa. A partir desta proposição, pretendeu-se também tratar o sonho e o rito como potências fomentadoras da criação, e interrogar como estes atuam na construção cênica do ensemble. Como suportes teóricos fundamentais de tal intento, recorremos às investigações do conceito de imaginação material proposto por Gaston Bachelard (1988, 1990, 1991, 1993 e 1998); à análise de Adriana Mariz (2007) sobre os procedimentos construtivos do Odin Teatret; aos estudos de Eleazar Meletínski (2002) sobre o mito e os arquétipos literários por meio de suas aproximações e embates com a psicologia analítica de Carl G.Jung; aos teatros laboratórios de Jerzy Grotowski, Constantin Stanislavski e Vsevolod Meierhold; à cena ritual de Antonin Artaud; e, por fim, às práticas arcaicas do cuidado de si refletidas na investigação apresentada por Michel Foucault (2006)

This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor. / Masters Thesis

Made available in DSpace on 2016-04-28T14:16:40Z (GMT). No. of bitstreams: 1 Antonio Rodrigues de Oliveira.pdf: 545352 bytes, checksum: ac08c69a64ea40e5a486db97de237973 (MD5) Previous issue date: 2009-05-20 / Secretaria da Educação do Estado de São Paulo / This dissertation is related to the analysis of the work De Los Metales Art and its influence in improving the knowledge of mineralogy and metallurgy. As the original Spanish, this work was translated by us, based on terms used in mining at the end of the sixteenth century and early seventeenth century. This work highlighted by the disclosure and publication in several languages, bringing an improvement and development in the metallurgy, in all countries working with mining of gold and silver. With it, the newly discovered American colonies also have great influence, because at the time were the largest suppliers of gold and silver to European countries. Written by Álvaro Alonso Barba, established some relationships between texts of previous mining and contemporary to it, since he came to explain and improve points until then were not very clear. We talk about the technical work Barba, showing the improvement he succeeded in mining and in favor of silver, with greater recovery and less expense. Some aspects of social problems, political and financial that occurred between the Spanish colonies and Spain at the end of the sixteenth century are also studied with the aim of showing the environment in which this work was produced and to check its influence / Esta dissertação está relacionada com a análise da obra Arte De Los Metales e sua influência na melhoria do conhecimento da mineralogia e metalurgia. Sendo o original em espanhol, esta obra foi por nós traduzida, com base em termos utilizados na mineração no final do século XVI, início do século XVII. Esta obra destacou-se pela divulgação e publicação em vários idiomas, trazendo um aprimoramento e desenvolvimento para a metalurgia, em todos os países que trabalhavam com mineração de ouro ou prata. Com ela, as colônias americanas recém-descobertas também sofreram grande influência, pois eram na época as maiores fornecedoras de ouro e prata para países europeus. Escrita por Álvaro Alonso Barba, estabeleceu algumas relações entre textos de mineração anteriores e contemporâneos a ela, haja vista que veio explicar e melhorar pontos que até então não estavam muito claros. Abordaremos os trabalhos técnicos de Barba, evidenciando a melhoria que ele conseguiu na mineração e no benefício da prata, com maior aproveitamento e menor gasto. Alguns aspectos sobre os problemas sociais, políticos e financeiros que ocorriam entre as colônias espanholas e a Espanha no final do século XVI são também estudados com o objetivo de mostrar o ambiente em que foi produzida esta obra e para verificar sua influência

As we speak, analogue film is being phased out of the international film industry. The medium that once reigned in capturing and projecting our world's light and the flow of time, has now been rendered obsolete and replaced by digital media technology. However, analogue film remains, and has come to be increasingly used and investigated in contemporary art. In my essay, I examine how our aesthetic perception of analogue film is changing with this shift to digital film technology. How do we experience analogue film – now that it is both on the verge of disappearing from society and is put in contrast to its digital successor? My investigation is based on the thesis that analogue film is now in a state of change. By analyzing three contemporary artists I attempt to discern how this change is aesthetically articulated, and trace alternative forms of continued existence for analogue film. The British artist Tacita Dean, the Italian artist Rosa Barba and the Swedish artist Alexander Gutke all work with film in their own way, and also in the context of the changed status of analogue film today. Furthermore, I examine the possibility that these artists form an active part of a continuous reshaping of analogue film, which is taking place in the fracture created in this shift to digital media technologies.

Fundação de Amparo a Pesquisa do Estado de Minas Gerais / The focus on this work is based on the Orixá´s Dance developed by Augusto Omolu in a transcultural perspective that combines the principles of formation that belongs to Eugenio Barba´s Theatrical Anthropology and utilized by actors and dancers. Here, I present the results of this Field research that occurred on Salvador (Bahia´s State Capital) on the first semester of 2010. It is divided in four parts: The First part begins ―Through me‖; Experiences; living (among others); tensions; I present those impressions, sensations of a personal process with a large amount of subjectivity. I also made an analysis and presented in the process of my artistic development and social-psicophysical. It goes from body weirdness (strangeness of body´s behavior) and methods, to the creation (incorporated) of my own way to participate and execute the gestures and methods normally used on physical preparation. On second part of this research, I present the master´s speach using transcriptions of his classroom allowing to observe and understand the way he absorved and reorganized the theatrical antropology and how he applies it on body´s principles that were absorved from candomblé´s dance. In the third part "Orixá´s dance; Theatrical Anthropology; Actor/ Dancer - Triangulo love" I present the theatrical Anthropology´s concept over the Eugenio Barba´s Speach (teachings) such as some of his followers regarding to energy, dilatation, body issues, resistance and training. On fourth part I present a brief historiography of cultural formation on Brazilian´s Candomblé, and pinpoint their nations natural providers as responsable for an authentic Brazilian religious and artistic culture. At the end of this work I defend the legitimacy and consistence of Master Augusto Omolu´s proposal, that elaborated a Dance technique that offers social - psicophysics and artistic conditions to researchers and artists to analyse and develop several works through a Brazilian Dance with an Africa Essence and begining. / O foco da presente dissertação é a Dança dos Orixás elaborada por Augusto Omolu na perspectiva da experiência com os princípios de formação do ator/bailarino encontradas na Antropologia Teatral de Eugênio Barba. Neste trabalho a experiência tem papel central como metodologia e também como abordagem: a pesquisa se fez em campo. O presente trabalho se divide em quatro partes. Na primeira parte através do eu; experiências; com-vivências; apreensõe apresento as impressões, sensações de um processo que foi pessoal com grande carga de subjetividade. Apresento, também, análises do meu processo de desenvolvimento artístico e sócio-psicofísico. Na segunda parte apresento as falas do mestre usando as transcrições de suas aulas que tornam possível ver e entender como ele absorveu e reorganizou os princípios da Antropologia Teatral e por outro lado como os aplica nos princípios corporais absorvidos na dança do candomblé. Na terceira parte Dança dos Orixás; Antropologia Teatral; Ator/ Bailarino Triângulo Amoroso apresento os princípios da Antropologia Teatral que se destacam nas falas de Eugênio Barba - e de alguns de seus colaboradores em especial, energia, dilatação corporal, pré-expressividade, resistência e treinamento. Na quarta parte, apresento uma breve historiografia da formação da cultura do candomblé no Brasil, e aponto as nações vindas de lá como responsáveis pela formação de uma cultura religiosa e artística eminentemente brasileiras. Ao final desta dissertação, defendo a legitimidade e consistência da proposta de Mestre Augusto Omolu elaborador de uma ―técnica‖ de dança que oferece condições sócio-psicofísicas e artísticas para pesquisadores e artistas que querem analisar e desenvolver trabalhos a partir de uma dança brasileira de matriz africana. / Mestre em Artes

While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis of physical trainings that work with the zero point in theater, dance and performance arts. Primary output of this work is then analysis of physicality as culturally encoded construct and the practical part of disseration is focused on the realisation of the point zero symposium.