Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-12-04T21:23:19Z No. of bitstreams: 1 KarlaLidianeCostaMartinsSilva_DISSERT.pdf: 14855696 bytes, checksum: 877aab2c366c8ddb4ae8a63f06a3ab6a (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-12-09T00:40:08Z (GMT) No. of bitstreams: 1 KarlaLidianeCostaMartinsSilva_DISSERT.pdf: 14855696 bytes, checksum: 877aab2c366c8ddb4ae8a63f06a3ab6a (MD5) / Made available in DSpace on 2017-12-09T00:40:08Z (GMT). No. of bitstreams: 1 KarlaLidianeCostaMartinsSilva_DISSERT.pdf: 14855696 bytes, checksum: 877aab2c366c8ddb4ae8a63f06a3ab6a (MD5) Previous issue date: 2017-02-22 / A presente disserta??o, intitulada Th?r?se, ?xtase de um corpo ofertado: travessia mitodol?gica de uma artista de f(r)ic??o, trafegou sobre os solos da arte e do sagrado, aqui abordados por meio de uma pesquisa pr?tica/te?rica encampada pela artista-pesquisadora Karla Martins acerca do seu mito-guia: Santa Teresinha do Menino Jesus. A santa francesa, tamb?m conhecida como da Sagrada Face, manifestou-se nesta investiga??o a partir do campo da mitologia pessoal da artista-pesquisadora e foi desvelada por uma experi?ncia perform?tica. Para a constru??o desta experi?ncia, lan?ou-se m?o da Mitodologia em Arte e da Artetnografia, pr?ticas/conceitos capitaneados pela Prof. Ph.D. Luciana Lyra (UERJ / UFRN), que, por sua vez, est?o ligados aos campos da Antropologia da Experi?ncia (Antropologia da Performance), do antrop?logo Victor Turner, e da Antropologia do Imagin?rio, do soci?logo Gilbert Durand, que em si transitam acerca de ritos de passagem, da imagem, do mito e do ritual. A partir da aplica??o dos procedimentos mitodol?gicos, viu-se eclodir as puls?es mais ?ntimas da artista-pesquisadora, que perpassaram a escrita e a cria??o da performance Th?r?se. / This dissertation, entitled Th?r?se, ecstasy of an offered body: the mythodological journey of a f(r)iction artist, travels over the grounds of art and holiness, discussed here by means of a practical/theoretical research embraced by the artist-researcher Karla Martins about her guide-myth: Saint Therese of the Child Jesus. The French saint, also known as the Holy Face, manifests itself in this investigation through the scope of the artist-researcher?s personal mythology and unveils herself through a performative experience. In order to carry such experience on, the research was based on the Mythodology in Art and the Artethnography, practices/concepts upheld by Prof. Ph.D. Luciana Lyra (UERJ), which, in turn, are connected to the fields of Anthropology of Experience (Anthropology of Performance), led by anthropologist Victor Turner, and Anthropology of the Imaginary, led by sociologist Gilbert Durand, which by their turn involve rites of passage, image, myth and ritual. The application of these mythodological procedures cause the most intimate of the artist-researcher?s pulsions to erupt and pervade her writing, as well as the creation of the performance Th?r?se itself.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-01-16T17:49:21Z No. of bitstreams: 1 RaquelFrancoAlmeida_DISSERT.pdf: 4151115 bytes, checksum: e0a0532ebc3aef23c48590f88347cd76 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-01-19T16:24:00Z (GMT) No. of bitstreams: 1 RaquelFrancoAlmeida_DISSERT.pdf: 4151115 bytes, checksum: e0a0532ebc3aef23c48590f88347cd76 (MD5) / Made available in DSpace on 2018-01-19T16:24:00Z (GMT). No. of bitstreams: 1 RaquelFrancoAlmeida_DISSERT.pdf: 4151115 bytes, checksum: e0a0532ebc3aef23c48590f88347cd76 (MD5) Previous issue date: 2013-09-02 / Esta disserta??o tem como objetivo investigar o processo de cria??o da palha?a Keke Kerubina, explicitando como a experi?ncia na cria??o de uma atuante abrange singularidades criativas e agenciamentos sens?veis ao longo do processo, que ressoam nas pr?ticas expressivas do corpo, em resson?ncia com o espa?o de atua??o c?nica. Por conseguinte, a investiga??o durante essa trajet?ria de composi??o, foram revelando um processo criativo que crava sua comicidade, individualidade e atua??o, na explora??o de uma corporeidade brincante advinda dos brinquedos populares maranhenses do bumba-meu-boi e tambor de crioula, o que gestou durante a pesquisa a no??o de palha?a brincante. Esse contexto de abordagem, tamb?m imbrica a an?lise do espa?o c?nico de cria??o e atua??o da palha?a que ? a rua, se revelando como ambiente multifacetado de constru??es s?gnicas, bem como de sujeitos e pr?ticas socioculturais, sendo um universo que atravessa e influ?ncia o processo criativo em quest?o e s?o analisados na pesquisa a partir do jogo relacional entendido na tr?ade espa?o urbano ? palha?a brincante ? p?blico. No ?ltimo cap?tulo a pesquisa desvenda o estudo da pr?tica da cena, levando em considera??o a an?lise da encena??o, dramaturgia e atua??o que conformam o espet?culo solo da palha?a em pauta, intitulado ?Circuluz Brincante?. / Esta tesis tiene como investigar mi proceso de creaci?n del payasa Keke Kerubina explicar c?mo la experiencia en la creaci?n de una actuante abarca singularidades creativas y conjuntos sensible a lo largo de proceso, que resuenam em las pr?cticas expressivas del cuerpo, en resonancia con el espacio de trabajo y acci?n esc?nica. Por lo tanto, la investigaci?n en esta trayectoria de la composici?n, se revela un proceso creativo que los picos de su comic, la individualidad y el rendimiento la operaci?n de una corporeidad brincante que surja de juguetes populares Maranhenses el Bumba-meu-boi y Tambor de Crioula, que nutre al buscar la noci?n de payaso brincante noci?n payaso brincante. Este enfoque tambi?m se superponen el an?lisis de lo espacio esc?nico de la creaci?n y acci?n de la paya?a que es la calle, mostrando c?mo el m?dio ambiente construcciones multifac?ticos de signos, as? como de los individuos y las pr?cticas socio-culturales, y esto universo cruza y influir en el proceso creativo y se analizan en el est?dio desde el juego relacional entendido en la tr?ada espacio urbano ? paya?a brincante ? p?blico. En el ?ltimo cap?tulo la investigaci?n describe el estudio de la pr?ctica de la escena teniendo en cuenta el an?lisis de la encena, dramaturgia y acci?n que conformam espect?culo del payasa en cuesti?n, titulado ?Circuluz Brincante?.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-05-10T23:07:24Z No. of bitstreams: 1 CibeleRibeiroDaSilva_DISSERT.pdf: 4168823 bytes, checksum: 76c237aee7ce05bfb8f2b3f77e0b8a0c (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-05-17T23:03:59Z (GMT) No. of bitstreams: 1 CibeleRibeiroDaSilva_DISSERT.pdf: 4168823 bytes, checksum: 76c237aee7ce05bfb8f2b3f77e0b8a0c (MD5) / Made available in DSpace on 2016-05-17T23:03:59Z (GMT). No. of bitstreams: 1 CibeleRibeiroDaSilva_DISSERT.pdf: 4168823 bytes, checksum: 76c237aee7ce05bfb8f2b3f77e0b8a0c (MD5) Previous issue date: 2013-04-30 / RESUMO: A presente disserta??o tem objetivo como investigar a improvisa??o - tal como ? realizada no contexto da Dan?a Contempor?nea - como possibilidade de prepara??o corporal do artista c?nico. Prop?e realizar uma reflex?o sobre o processo da prepara??o corporal proposto por mim atrav?s da observa??o dos procedimentos experimentados no Grupo de Pesquisa Corpo-devir, especialmente criado nessa pesquisa, que estudou e vivenciou a improvisa??o em dan?a e, ainda, apresentar relatos e reflex?es dos participantes sobre sua experi?ncia, com ?nfase especial na poss?vel contribui??o para a forma??o dos artistas da cena. Justifica-se, assim, no ensejo de que o artista c?nico usufrua dos conhecimentos trazidos pela pr?tica da dan?a e se perceba sujeito criador da pr?pria forma??o art?stica, e, ainda, que essa pr?tica possa contribuir com perspectivas art?stico-pedag?gicas do corpo c?nico, da cena e dos processos criativos nas artes c?nicas. O trabalho tem abordagem qualitativa com tratamento descritivo das observa??es e est? baseado em pesquisa bibliogr?fica, videogr?fica e som?tica dos procedimentos de improvisa??o em dan?a contempor?nea. Os principais interlocutores te?ricos dessa disserta??o s?o Gilles Deleuze, F?lix Guattari, Maurice Merleau-Ponty, Jorge Larossa, Jo?o Francisco Duarte Jr., Rudolf Laban e Klauss Vianna, sendo que os dois ?ltimos e o coletivo Judson Dance Theater contribuem ainda, com as concep??es metodol?gicas utilizadas nas oficinas. ABSTRACT: This master thesis aims to investigate the improvisation - as it is realized as the context of Contemporary Dance - as a possibility of body preparation of the scenic artist. It proposes to realize a reflection on the process of body preparation, proposed by me through the experiment procedures the observation with Grupo de Pesquisa Corpo-devir, specially formed in this research. This group studied and lived the improvisation in dance and also presented reports and reflections of the participants about their experience, giving special emphasis in the possible contribution for the formation of artists of the scene. In this way it is justified that the scenic artist enjoys the knowledge through the practice of the dance and realizes as being the creator of this own artistic formation. Also, the artist realizes that this practice may contribute with the artistic-pedagogic perspectives of the scenic group, of the scene and the creative processes in the scenic arts. The work has a qualitative approach, with descriptive treatment of observations, and it is based in bibliographical, video graphic and somatic of the improvisation procedures in contemporary dance. The main theoretical-practical interlocutors of this dissertation are Gilles Deleuze, F?lix Guattari, Maurice Merleau-Ponty, Jorge Larrosa, Jo?o Francisco Duarte Jr., Rudolf Laban and Klauss Vianna, being the last two and the collective Judson Dance Theater, still contribute with methodological concepts used in the workshops. / This master thesis aims to investigate the improvisation ? as it is realized as the context of Contemporary Dance - as a possibility of body preparation of the scenic artist. It proposes to realize a reflection on the process of body preparation, proposed by me through the experiment procedures the observation with Grupo de Pesquisa Corpo-devir, specially formed in this research. This group studied and lived the dance improvisation and also presented reports and reflections of the participants about their experience, giving special emphasis in the possible contribution for the formation of artists of the scene. In this way it is justified that the scenic artist enjoys the knowledge through the practice of the dance and realizes as being the creator of this own artistic formation. Also, the artist realizes that this practice may contribute with the artistic-pedagogic perspectives of the scenic group, of the scene and the creative processes in the scenic arts. The work has a qualitative approach, with descriptive treatment of observations, and it is based in bibliographical, video graphic and somatic of the improvisation procedures in contemporary dance. The main theoretical-practical interlocutors of this dissertation are Gilles Deleuze, F?lix Guattari, Maurice Merleau-Ponty, Jorge Larrosa, Jo?o Francisco Duarte Jr., Rudolf Laban and Klauss Vianna, being the last two and the collective Judson Dance Theater, still contribute with methodological concepts used in the workshops.

Made available in DSpace on 2014-12-17T15:04:48Z (GMT). No. of bitstreams: 1 MartaMMM.pdf: 1215431 bytes, checksum: a4bc80e0c6dcb3570e856b3f35916003 (MD5) Previous issue date: 2007-04-24 / In this work, the didactical possibilities of investigation use in classroom, through an experience with high school students from Federal Center of Technological Education of Para?ba, as well as the study of conic sections were analysed. In order to fulfill our goals the theoretical conceptions concerning the meaninful learning in conection with the investigation of mathematics history were taken into account. The classroom research occurred by means of activities which encouraged the learner to investigate his own concepts on the conic sections. The results of the proposed activities showed the effectiveness and the efficiency of such a methodology as regards the making up of the required knowledge. They also reveal that the investigation in the classroom guides the ones involved, in this process, to have a wider look at the origins, the methods used and the several representations presented by mathematics that certainly lead, specially the students, to a meaninful learning / Neste trabalho, analisamos as possibilidades did?ticas de uso da investiga??o em sala de aula, a partir de uma experi?ncia com estudantes do ensino m?dio no Centro Federal de Educa??o Tecnol?gica da Para?ba CEFET PB, na qual abordamos o estudo das sec??es c?nicas. Para o alcance dos nossos objetivos tomamos como aporte te?rico as concep??es referentes ? aprendizagem significativa em conex?o com a investiga??o em hist?ria da matem?tica. A pesquisa em sala de aula efetivou-se atrav?s de atividades que instigaram, no aprendiz, o desejo de investigar os conceitos pr?prios das sec??es c?nicas. Os resultados das atividades propostas e postas em pr?tica mostraram a efic?cia e a efici?ncia de tal metodologia na constru??o do conhecimento requerido, nos mostrando que a investiga??o em sala de aula conduz os envolvidos, nesse processo, a olhar de forma mais globalizante para as origens e os m?todos utilizados para desenvolver, al?m das v?rias representa??es apresentadas pela matem?tica, o que, certamente conduz, principalmente os alunos, a uma aprendizagem significativa

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-06-02T22:20:33Z No. of bitstreams: 1 AnaRachelDaSilvaCavalcante_DISSERT.pdf: 2518913 bytes, checksum: f7baab322ecd26ef14b3105bd669c7b3 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-06-08T20:49:31Z (GMT) No. of bitstreams: 1 AnaRachelDaSilvaCavalcante_DISSERT.pdf: 2518913 bytes, checksum: f7baab322ecd26ef14b3105bd669c7b3 (MD5) / Made available in DSpace on 2017-06-08T20:49:31Z (GMT). No. of bitstreams: 1 AnaRachelDaSilvaCavalcante_DISSERT.pdf: 2518913 bytes, checksum: f7baab322ecd26ef14b3105bd669c7b3 (MD5) Previous issue date: 2017-02-17 / Esta pesquisa possui como principal objetivo analisar e estudar as micro-rela??es de poder existentes entre as personagens da pe?a Eles N?o Usam Black-Tie, escrita por Gianfrancesco Guarnieri, em 1955. Pretendemos tamb?m mostrar um experimento c?nico, no qual buscamos visualizar os micro-poderes em cena. A metodologia escolhida inclui a leitura do texto de Guarnieri, observando-se a inter-rela??o entre as personagens. Esta observa??o ? realizada sob a perspectiva do poder. O nosso principal suporte te?rico para a realiza??o das an?lises ? um conjunto de coloca??es apresentadas pelo pensador franc?s Michel Foucault, especialmente a respeito da obra Microf?sica do Poder e das quest?es referentes ?s teias do poder. As reflex?es trazidas por S?bato Magaldi, D?cio de Almeida Prado, Edelcio Mosta?o e Anatol Rosenfeld foram tamb?m primordiais para entender os aspectos dramat?rgicos da pe?a, como tamb?m a estrutura macropol?tica da ?poca em que ela foi encenada. Desse modo, a pesquisa visa facilitar a percep??o para as micro-rela??es presentes no texto Eles N?o Usam Black-Tie, bem como expor uma possibilidade de visualiza??o c?nica destes elementos. Para isto, utilizamos para a reflex?o c?nica autores como: Patrice Pavis, Josette F?ral, Naira Ciotti, Roberto Machado e Gilles Deleuze. / This research is focused in the analysis of the micro-relations of power consisted between characters in the play Eles N?o Usam Black-Tie, written by Gianfrancesco Guarnieri, in 1955. In this context, we will present a scenic experiment which represents the micropower inside the scene. The methodology used in this study was based on the reading of the Guarnieri?s play and making observations about the inter-relationship between the characters. This observation is made from the perspective of power. To support our analyses, we used the set of placements showed by the French writer Michel Foucault, especially in his work Microfisica do Poder which presents the influences of the power. We used the reflexions obtained by S?bato Magaldi, D?cio de Almeida Prado, Edelcio Mosta?o and Anatol Rosenfeld to understand the dramatic aspects and the macro-political structure of the time where the play was written. Thus, this research aims to make an easier understanding of the perception of micro-relations present in Eles N?o Usam Black-Tie and show a possible visualization of these elements inside the scene. In this respect, we used the reflexions obtained in works from authors as: Patrice Pavis, Josette F?ral, Naira Ciotti, Roberto Machado e Gilles Deleuze.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-06-02T22:20:33Z No. of bitstreams: 1 JosadaqueAlbuquerqueDaSilvaPires_DISSERT.pdf: 2007997 bytes, checksum: b6ce5e5b2886b57f686ce947c61aac22 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-06-08T21:05:09Z (GMT) No. of bitstreams: 1 JosadaqueAlbuquerqueDaSilvaPires_DISSERT.pdf: 2007997 bytes, checksum: b6ce5e5b2886b57f686ce947c61aac22 (MD5) / Made available in DSpace on 2017-06-08T21:05:09Z (GMT). No. of bitstreams: 1 JosadaqueAlbuquerqueDaSilvaPires_DISSERT.pdf: 2007997 bytes, checksum: b6ce5e5b2886b57f686ce947c61aac22 (MD5) Previous issue date: 2016-08-27 / Esta disserta??o enfoca uma proposta de investiga??o com metodologia de pesquisa a??o; sobre o denominado ser louco, sua corporeidade e as rela??es intersubjetivas que esses corpos travam e que se revelam na cena cotidiana de uma institui??o psiqui?trica, quando em contato direto com processos art?sticos de instaura??es de cenas; lembrando sempre que, esses corpos sob o signo da loucura lidam com o estigma.Trata-se de pesquisar o modo de ser corporalmente predominante por restri??es e desorganiza??o na rela??o que essas pessoas t?m com o outro, com o tempo e com o espa?o, para tanto observa-se o modo como esses corpos se estruturam e se movimentam nos espa?os sociais que parecem estar impregnados por uma ideologia de valores, cren?as e preconceitos adquiridos no processo hist?rico-social. O tratamento dado ao louco ? definido historicamente por uma pr?tica de exclus?o e pela diferen?a que faz do louco um ser desprovido de raz?o e consci?ncia, amoral e nocivo, e deste modo, a discrimina??o ? efetivada pelo controle atrav?s do enclausuramento e/ou da medica??o exacerbada; As marcas cru?is desta ideologia opressora que caracterizam a hist?ria da loucura, onde o louco ainda ocupa o lugar do oprimido, s?o vis?veis neste recorte pesquisado e percebidas nas gestualidades e express?es orais e corporais; A hist?ria desses corpos s?o presentificadas em dramas narrados e pela carga emocional impregnada nos gestos, na tonalidade da voz em falas, cantos e gritos que se revelam na cena cotidiana. Deste modo, este trabalho se prop?e a uma articula??o entre loucura e arte e para isto, procura-se encontrar conex?es entre conceitos e quest?es que permeiam o tema da loucura e os processos de cria??o, enfatizando a import?ncia do contato e da viv?ncia humana com a linguagem da arte atrav?s do contato dos internos no Hospital Psiqui?trico Dr. Jo?o Machado com a coliga??o Cruor Arte Contempor?nea, grupo permanente de Arte e Cultura, residente no DEART/UFRN, grupo de pr?tica c?nica do N?cleo Transdisciplinar de Pesquisa em Artes C?nicas e Espetaculares. Articular arte e loucura neste estudo est? vinculado a experi?ncia vivida na intera??o desses corpos nos encontros. Trata-se da rela??o desses corpos rotulados e institucionalizados nomeados como doentes mentais, por terem um hist?rico de enclausuramento em interna??es hospitalares, denominadas de manic?mio, que cont?m uma cultura de controle social coercitivo. Investiga-se o encontro os corpos de artistas que trazem em si a experi?ncia da arte e a partir dai se pensa na possibilidade de uma est?tica existencial das rela??es entre corpo, espa?o, tempo e movimento nas institui??es totalit?rias e em um sentido mais amplo, nas condi??es determinadas historicamente ao louco, marcadas pelo abandono e aus?ncia desse corpo, como tamb?m pela desorienta??o temporal e espacial, para tanto tenho o aporte da Psicologia Corporal em uma leitura fenomenol?gica existencial e da Psicologia Anal?tica atrav?s do estudo do significado dos s?mbolos na rela??o do ser humano consigo mesmo e com o ambiente. Essas perspectivas te?ricas apresentadas foram escolhidas por trazerem contribui??es para o estudo do ser humano em seus aspectos simb?licos, corporais e existenciais sob a ?tica da arte. Estudos estes, essenciais para a constru??o da experi?ncia fenomenol?gica do sujeito enquanto trajeto de vida, em sua rela??o consigo mesmo e com o outro atrav?s da viv?ncia da loucura com a presen?a da arte. No decorrer deste processo investigativo compreendemos que estudar as atuais cenas cotidianas protagonizadas no hospital Dr. Jo?o Machado por subjetividades diferenciadas como portadoras de transtorno mental ou pessoas em sofrimento ps?quico perpassa pelo entendimento de que na sociedade atual temos novas formas de produ??o da loucura, novos modos de ser louco, e reafirmando pois que a fabrica??o dessas emergentes formas subjetivas de ser louco ? social e hist?rica e a arte pode ser um caminho para esta compreens?o. Pois, ? poss?vel permitir a plasticidade e est?ticas para outras formas de viv?ncias, e ?ser? com abertura para ousar, criar e refletir suas quest?es, seus estranhamentos, suas posturas adotadas e lugares assumidos na coletividade. E neste sentido, pela arte, em um espa?o de sa?de e ci?ncia produzir conhecimento sobre o real e o vivido, com a linguagem art?stica das artes c?nicas, pois esta facilita ao ser humano expressar e perceber o mundo de uma forma mais intensa. Vislumbrou-se pensar pedagogias vivenciais e corporais para lidar com as cenas e os corpos que circulam e se fazem presentes naquela realidade institucionalizada, assim foi criada com alguns pacientes a instaura??o c?nica (Lou) Cure-se!!!, apresentada ao p?blico nos meses de julho e agosto de 2016, nas depend?ncias do hospital psiqui?trico Dr. Jo?o Machado. / This thesis focuses on a research proposal, with a research-action methodology, on the so-called be crazy, its corporeality and interpersonal relations established by these bodies and that are revealed in everyday scene of a psychiatric institution, when in direct contact with artistic processes of the instauration of scenes; always remembering that these bodies under the sign of madness deal with stigma. It is about finding the way of being bodily predominant by restrictions and disruption in the relationship that these people create with one another, with time and space. With that in mind, it is observed how these bodies are structured and how they move in social spaces that appear to be impregnated by an ideology of values, beliefs and prejudices acquired in the socio-historical process. The treatment of the insane is historically defined by a practice of exclusion and difference that makes the crazy a being destitute of reason and conscience, amoral and harmful, and thus discrimination is effected by control through the enclosure and/or exacerbated medication; The cruel marks of this oppressive ideology that characterizes the history of madness, where the crazy still occupies the place of the oppressed, are still visible in this research and perceived in gestures and oral and body expressions; the history of these bodies is personalized in narrated dramas and by the emotional charge impregnated in gestures, the tone of voice in speeches, songs and screams that are revealed in the everyday scene. Thus, this work proposes a link between madness and art and for this, we try to find connections between concepts and issues that permeate the theme of madness and creation processes, emphasizing the importance of the contact and of the human experience with the language of art through the contact with the residents of the Psychiatric Hospital Dr. Jo?o Machado, working together with Cruor Arte Contempor?nea, a permanent group of art and culture, from the DEART/UFRN (Art Department), a dramaturgy group from the N?cleo Transdisciplinar de Pesquisa em Artes C?nicas e Espetaculares (Interdisciplinary Center for Research on Performing and Spectacular Arts). Articulating art and madness in this study is linked to the experience obtained in the interaction of these bodies in the meetings. This is the relationship of these labeled and institutionalized bodies appointed as mentally ill, for having a record of enclosure in hospital stays, places termed madhouse, which contains a coercive social control culture. We investigate the encounter of the bodies of artists who bring in themselves the experience of art and, from there, we consider the possibility of an existential aesthetic of the relationship between body, space, time and movement in totalitarian institutions and in a wider sense, in conditions historically determined for the crazy, marked by abandonment and absence of this body, as well as the temporal and spatial disorientation. In order to study this scenario, we took advantage of the contribution of the Body Psychology added to an existential phenomenological reading and of the Analytical Psychology, by studying the meaning of the symbols in the relationship of the human with themselves and the environment. These theoretical perspectives presented were chosen for bringing contributions to the study of the human being in its symbolic, bodily and existential aspects, from the perspective of art. Such studies are essential to the construction of the phenomenological experience of the subject as a way of life in their relationship with themselves and the other through the experience of madness with the presence of art. During this investigative process, we understood that studying the current everyday scenes enthralled in the hospital Dr. Jo?o Machado by considering differentiated subjectivities as mentally disabled or people in psychological distress pervades the understanding that in today's society there are new forms of production of madness, e.g., new ways to be crazy, and therefore reaffirming that the manufacture of these emerging subjective ways of being crazy is social and historical and the art can show a way for this understanding. Then, it is possible to allow the plasticity and aesthetics to other forms of experiences, and "be" with openness to dare, create and reflect their issues, their strangeness, their adopted positions and places undertaken in the community. In this sense, by the art, in a space of health and science to produce knowledge about the real and the lived, with the artistic language of the performing arts, as this makes the human being being able to express and perceive the world in a more intense way. It was in sight to consider experiential and body pedagogies to handle the scenes and the bodies that circulate and are present in that institutionalized reality, and it was created, with some patients, the scenic instauration (Lou)Cure-se!!! [(Un)Heal Yourself!], presented to the public in July and August 2016, on the premises of the psychiatric hospital Dr. Jo?o Machado.