Made available in DSpace on 2016-04-29T14:23:21Z (GMT). No. of bitstreams: 1 Daniel Calado Nunes e Souza.pdf: 1220555 bytes, checksum: 44ff978e253d62ac6964d520cf9b50e8 (MD5) Previous issue date: 2013-06-07 / Project research and practical application to stimulate the binding of dramaturgical audiovisual creations generated with collective participation through the internet, by proposing a linkageby virtual interconnection of scenesrecorded separatelyby different participants in different geographical locations, building up scenes as modules ready for audiovisual crossed montages, multireferred andmultilinear, forming a dynamic network. The process of collective creation was suggested for all stages of creation, since the invention of drama, action and coming through the montagemade by the participants themselves, seeking presential action, including the creationbybodilymanifestation, and virtual integration, mediated and published overthe Internet. The intent is that participants invent narratives or audiovisual associations bynegotiating ofdramaturgical elements present in their scenes. Was taken as the reference multireferenciality generated by the encyclopedic natureof some productions, like the Matrix movies, StarWars and the series of Harry Potter, the allegories ofBrazilian moviesof the era of Marginal Cinema and theater productions and films open to collective creation. Emphasis was placed on the phenomenon of media convergence generated by a common binary system, facilitating the invention of matrices preparedfor sharedartistic production, and was broughttheillustration of hypermedia like a network of lexias connected by links to propose ways of audiovisual mounting that take the links as audiovisual transitions and sopromotesthe networked montage. This proposal enjoys the concept of agency widely described by Janet Murray, referring to the ability and willingness of the participants to interfere in works. It was consideredthat the Internet still has a large field of evolution for originalexperiences of collective creation. We seek analogies between the new possibilities of action brought by the internet and the participatory theater developed by theater director Augusto Boal, and in the field of montage weresorted toanalysis of Xavier on the history of film editing, linking it to the research of Lev Manovich and Vicente Gosciola on the production and montagefor hypermedia. These questions were elucidatedfront ofthe principle of collective intelligence as advocatedby Pierre Lévy. As a result, we designed a prototype exemplifyingthe project. In the final analysis, we proposed some changes in video sharing platforms to fostera culture of collective montage on the internet, while we encourage the promotion of leisure made by its own participants and ways of collaborative artistic production / Projeto de pesquisa e aplicação prática para estimular a vinculação de criações dramatúrgicas audiovisuais geradascom participação coletiva atravésda internet, propondo a vinculação pela interligação virtual deencenações gravadas isoladamente, por diferentes participantes em diferentes locais geográficos, construindo-secenas como módulos preparados para montagens audiovisuaiscruzadas, multirreferenciadas e multilineares, compondo uma rede dinâmica. O processo de criação coletiva foi sugerido para todas as etapas de criação, desde a invenção dramatúrgica, passando pela atuação e chegando à montagem feita pelos próprios participantes, buscando a ação presencial, inclusive a criação pela manifestação corporal, e a integração virtual, mediada e divulgada pela internet. O intuito é que os participantes inventem narrativas ouassociações audiovisuais pela negociação de elementos dramatúrgicos e audiovisuais presentes em suas cenas. Tomou-se como referência a multirreferencialidade gerada pelo caráter enciclopédico de algumas obras, como os filmes Matrix, StarWars e as séries de Harry Potter, a recorrência a alegorias em filmes brasileiros da era do Cinema Marginal, e produções teatrais e audiovisuais abertas à criação coletiva. Ressaltou-se o fenômeno da convergência de mídias gerado por um sistema binário comum, facilitando a invenção de matrizes para a produção artística compartilhada, e a ilustração da hipermídia como uma rede de lexias ligadas por links para propor formas de montagem audiovisual que tomam os links como formas de transição audiovisual, promovendo a montagem em rede. Tal proposta usufrui amplamente do conceito de agência descrito por Janet Murray, referindo-se à possibilidade e à vontade dos participantes de interferirem numa obra. Considerou-se ainda que a internet apresenta um grande campo de evolução para experiências de criação coletiva originais. Buscamos analogias entre as novas possibilidades de ação trazidas pela internet e o teatro participativo desenvolvido pelo diretor teatral Augusto Boal, e no campo da montagem recorremos às análises de Ismail Xavier sobre a história da montagem cinematográfica, relacionando-a às pesquisas de Lev Manovich e Vicente Gosciola sobre a produção e montagem para a hipermídia. Essas questões foram elucidadas diante do princípio da inteligência coletiva como defendido por Pierre Lévy. Como resultado, foi elaborado um protótipo exemplificando o projeto. Numa análise final, propusemos algumas alterações em plataformas de compartilhamento de vídeos para promover uma cultura de montagem coletiva na internet, ao mesmo tempo que incentivamos a promoção coletiva do próprio lazer e da produção artística colaborativa

Ensemble creation in Canada is a popular form of script development. It began essentially in the 1970’s with The Farm Show, and has become the site for much theoretical and critical discussion. The Electric Company Theatre began as an ensemble in 1996 and since then has created fascinating productions with a range of topics in both site specific and touring venues. Brilliant! The Blinding Enlightenment of Nikola Tesla was a cornerstone piece for this group and existed in a number of incarnations before the script was eventually published in 2004 and the production toured again in 2006. This thesis examines how the Electric Company Theatre developed material for performance as an ensemble. I also discuss how the Electrics were influenced by the various resources they used in order to generate text and imagery for the production. Through these discussions, I argue that the collective creation product has a direct influence on the process. My research has mostly been conducted through interviews with company members, through research of their production history and script.

Ensemble creation in Canada is a popular form of script development. It began essentially in the 1970’s with The Farm Show, and has become the site for much theoretical and critical discussion. The Electric Company Theatre began as an ensemble in 1996 and since then has created fascinating productions with a range of topics in both site specific and touring venues. Brilliant! The Blinding Enlightenment of Nikola Tesla was a cornerstone piece for this group and existed in a number of incarnations before the script was eventually published in 2004 and the production toured again in 2006. This thesis examines how the Electric Company Theatre developed material for performance as an ensemble. I also discuss how the Electrics were influenced by the various resources they used in order to generate text and imagery for the production. Through these discussions, I argue that the collective creation product has a direct influence on the process. My research has mostly been conducted through interviews with company members, through research of their production history and script.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-09-20Bitstream added on 2014-06-13T20:28:51Z : No. of bitstreams: 1 superbi_fe_me_ia.pdf: 880050 bytes, checksum: 3fe3c77970441791e09b12c0a5b13e59 (MD5) / Investigação acerca do espetáculo Panos e lendas, de 1978, dramaturgia de José Geraldo Rocha e Vladimir Capella e que representa um marco na dramaturgia voltada ao público infantil. A análise detalhada dos processos de elaboração do texto evidencia a criação coletiva e o jogo teatral. São preceitos em voga na década de 1970 e que conferem vitalidade e dinamismo à temática abordada: os contos brasileiros. Os autores e diretores guiam o público a observar a peça pelo prisma das recriações constantes, ciclos infindáveis os quais a humanidade estaria fadada a enfrentar. Eles levam à cena determinadas histórias que apresentam aos espectadores um profundo caráter de integração, pois é mostrada uma concepção de mundo na qual os seres humanos estão interligados por suas tradições. Dessa forma, mesmo após três décadas, o espetáculo continua a despertar o interesse e a atrair o público. E ainda, configura-se como uma referência no panorama teatral. / Research on the play , from 1978, written by Jos4 Geraldo Rocha and Vladimir , that represents a landmark in the playwrighting for children. The detailed analysis of the processes of elaboration of the text reveals two elements: the collective creation and the theatrical game. Those elements were in vogue in the 1970 they give vitality and dynamism to the approached theme: Brazilian tales. The authors and directors guide the public to observe the play from the point of view of constant recreations, endless cycles in which humanity would be bound to face. They bring to the scene certain stories that present spectators with a deep character of integration because they show a world conception where the human beings are linked by its own traditions. Thus, even after three decades the play continues to awake interest from the audience. It is also acclaimed as a timeless reference in the theatrical panorama.

Orientador: Berenice Albuquerque Raulino de Oliveira / Banca: Reynúncio Napoleão de Lima / Banca: Ingrid Dormien Koudela / Resumo: Investigação acerca do espetáculo Panos e lendas, de 1978, dramaturgia de José Geraldo Rocha e Vladimir Capella e que representa um marco na dramaturgia voltada ao público infantil. A análise detalhada dos processos de elaboração do texto evidencia a criação coletiva e o jogo teatral. São preceitos em voga na década de 1970 e que conferem vitalidade e dinamismo à temática abordada: os contos brasileiros. Os autores e diretores guiam o público a observar a peça pelo prisma das recriações constantes, ciclos infindáveis os quais a humanidade estaria fadada a enfrentar. Eles levam à cena determinadas histórias que apresentam aos espectadores um profundo caráter de integração, pois é mostrada uma concepção de mundo na qual os seres humanos estão interligados por suas tradições. Dessa forma, mesmo após três décadas, o espetáculo continua a despertar o interesse e a atrair o público. E ainda, configura-se como uma referência no panorama teatral. / Abstract: Research on the play , from 1978, written by Jos4 Geraldo Rocha and Vladimir , that represents a landmark in the playwrighting for children. The detailed analysis of the processes of elaboration of the text reveals two elements: the collective creation and the theatrical game. Those elements were in vogue in the 1970 they give vitality and dynamism to the approached theme: Brazilian tales. The authors and directors guide the public to observe the play from the point of view of constant recreations, endless cycles in which humanity would be bound to face. They bring to the scene certain stories that present spectators with a deep character of integration because they show a world conception where the human beings are linked by its own traditions. Thus, even after three decades the play continues to awake interest from the audience. It is also acclaimed as a timeless reference in the theatrical panorama. / Mestre

On s'intéresse ici à une classe particulière de phénomènes musicaux improvisés : ceux qui réunissent au moins deux musiciens improvisant simultanément et librement. Les musiciens placés dans cette situation doivent affronter un problème particulier : il n'y a aucun ensemble intersubjectif de données musicales (voire extra-musicales) qui vienne contrôler non seulement le devenir formel de l'improvisation (inter-détermination horizontale) mais encore la coexistence concurrente des différents discours improvisés (inter-détermination verticale).A partir de là, il s'agit de montrer que l'on peut penser l'improvisation collective libre, en tant qu'elle est une situation interactive, stratégique et collaborative, sous la catégorie générique du problème de coordination.Cette appartenance étant posée, la question est ensuite envisagée sous différents angles. Dans la première partie, la théorie des jeux, en particulier la théorie des points focaux, est mobilisée pour déterminer les heuristiques cognitives qui seront utilisées par les improvisateurs pour parvenir effectivement à se coordonner. On montre dans la deuxième partie la place centrale qu'occupe l'idée de coordination dans la dynamique et la gestion formelle d'une improvisation collective libre. Le cadre théorique est finalement confronté à deux types de données empiriques : des analyses d'extraits du festival Company Week, organisé par le guitariste Derek Bailey, dans la troisième partie ; et les résultats de cinq proto-expérimentations menées auprès de musiciens issus de la Norwegian Academy of Music et du CNSMD de Lyon, dans la quatrième partie. / This thesis deals with a specific class of musically improvised phenomenons : the one's that are produced by at least two musicians in simultaneous and open improvisation. Musicians in this situation face a specific challenge : the lack of common mmusical (or non-musical) set of imputs which can shape the formal process of the improvisation (horizontal indeterminacy) or assure the mutual coexistence of the improvised discourses (vertical indeterminacy).In the following, we postulate that collective free improvisation, as an interactive, strategic and collaborative situation, falls under the generic category of coordination problems.Having established this point, we consider the question from different perspectives. In the first part, game theory, or to be more precise, focal points theory, is used to determine the cognitive heuristics which help musicians in the coordination task. Then we show in the second part that the very idea of coordination is central to the formal dynamics of collective free improvisation. This theorical framework is finally completed by two kinds of empirical data : the analysis of Company Week's excerpts, a festival founded by guitarist Derek Bailey, in the third part ; and the results of five proto-experimentations conducted with musicians from both the Norwegian Academy and Lyon's CNSMD, in the fourth part.

Ensemble creation in Canada is a popular form of script development. It began essentially in the 1970’s with The Farm Show, and has become the site for much theoretical and critical discussion. The Electric Company Theatre began as an ensemble in 1996 and since then has created fascinating productions with a range of topics in both site specific and touring venues. Brilliant! The Blinding Enlightenment of Nikola Tesla was a cornerstone piece for this group and existed in a number of incarnations before the script was eventually published in 2004 and the production toured again in 2006. This thesis examines how the Electric Company Theatre developed material for performance as an ensemble. I also discuss how the Electrics were influenced by the various resources they used in order to generate text and imagery for the production. Through these discussions, I argue that the collective creation product has a direct influence on the process. My research has mostly been conducted through interviews with company members, through research of their production history and script. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Estudo da criação dramatúrgica no processo colaborativo e sua comparação com a criação coletiva e o dramaturgismo. São analisados aspectos tais como contexto histórico, a presença do dramaturgo na sala de ensaio, o texto que nasce da cena improvisada pelos atores, a autonomia das funções criativas, a questão da autoria, a aplicação pedagógica, entre outros. De acordo com alguns parâmetros estabelecidos, descreve-se e analisa-se a criação de três espetáculos realizados em processo colaborativo: Cx postal 1500, do Oficinão do Galpão Cine Horto, Um trem chamado desejo, do Grupo Galpão, e Geração 80, do Teatro da Conspiração. Entre outras reflexões, conclui-se que, embora guarde semelhanças com as práticas que lhes são anteriores, o processo colaborativo tem características específicas e se constitui numa reposta a questões sociais, culturais e econômicas contemporâneas. / The study of dramaturgy creation in the collaborative process in comparison to collective creation and dramaturgism. Aspects are analyzed, such as historical context, the presence of the dramatist in rehearsal, improvisation on the text by actors, the autonomy of creative functions, the authorship question, pedagogy application, among others. In agreement with established parameters, the creation of three plays, done by the collaborative process are described and analyzed: Cx Postal 1500, by Oficinão do Galpão Cine Horto, Um Trem Chamado Desejo, by Grupo Galpão, and Geração 80, by Teatro da Conspiração. Among other thoughts, one can conclude that although there are similarities with earlier practices, the collaborative process has specific characteristics and it constitutes an answer to social, cultural and economic contemporary questions.

Made available in DSpace on 2016-04-26T18:10:50Z (GMT). No. of bitstreams: 1 Matheus Manzione Giavarotti.pdf: 4298796 bytes, checksum: 278b80d082276bf1c0c8f955d792f2d8 (MD5) Previous issue date: 2011-05-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of research of this work is comprised of collaborative creative processes developed by the group denominated Espaço Coringa, an art collective that worked for 11 years, from 1998 to 2009. Based on the group s documents and works, this research aims at observing the mechanisms that led to the formation of the group, understanding its ways of acting based on generalizations of its organizational methods, capturing the ways in which the group related to processes of capital valuation and the contemporary art system, systemizing the type of works produced, and which relationships were created with new media in the context of a collaborative production. In this research we seek ways to understand the collaborative creation processes and the very formation of this collective as part of a communicative process, with internal coherence and intentionality, in order to realize a poetic project. We pay special attention to the relationships between individuals, between them and collective processes as a whole, in order to identify which vectors condition these relationships. In our survey we realized that, from specific points of view, the group s collaborative creations offered possibilities of emancipation and increased awareness of the individuals involved, proposing concrete experiences of new forms of sociability. At times, from different theoretical points of view, these same actions appear as ways to undertake the collective work through the contemporary art system. Moreover, we establish here some possibilities of understanding the processes that produce works through collaboration. The methodology adopted consisted of bibliographic surveys, theoretical and epistemological reflections on the object of study, field surveys based on the observation and reading of the works and documents about the processes of that collective. The theoretical framework includes the process criticism of Cecília Almeida Salles, Michel Maffesoli s concept of tribes, Zygmunt Bauman and his discussion on community, Boaventura de Souza Santos and his reflections on social emancipation, Vilém Flusser s concepts of communication, speech, and dialog, Nicolas Bourriaud s relational aesthetics, Hakim Bey s concept of Autonomous Temporary Zone, and Anne Cauquelin and her reflections on the art system. Also, we make use of Julio Plaza s concept of intersemiotic translation, Edgar Morin and his thoughts on interactions, effervescence, and his reflections on culture and complexity, as well as the relationships between art, science, and cognition raised by Jorge Vieira de Albuquerque / O presente trabalho tem como objeto de pesquisa os processos criativos colaborativos desenvolvidos pelo grupo Espaço Coringa, coletivo de arte que atuou durante 11 anos, de 1998 a 2009, em São Paulo. A partir da leitura de documentos e obras do grupo, esta pesquisa tem como objetivo observar os mecanismos que levaram à sua formacão; compreender sua maneira de atuar, a partir de generalizações das suas formas organizativas; perceber de que formas ele se relacionou com os processos de valorização do capital e com o sistema da arte contemporânea; sistematizar o tipo de obras produzidas e quais as relações estabelecidas com as novas mídias, no contexto de uma produção colaborativa. Como problemática da pesquisa, buscar-se-ão formas de compreender os processos colaborativos de criação e a própria formação desse coletivo, como parte de um processo comunicacional, com coerência interna, intencionalidade e busca da realização de um projeto poético. Atentar-se-á para as relações entre os indivíduos e destes com os processos coletivos como um todo, identificando quais vetores condicionam essas relações. Percebeu-se durante a pesquisa que, sob determinados pontos de vista, as criações colaborativas do grupo apresentaram possibilidades de emancipação e conscientização dos indivíduos envolvidos, propondo experiências concretas de novas formas de sociabilidade. Algumas vezes, essas mesmas ações, observadas sob outras visões teóricas, apresentam-se como forma de cooptação do trabalho coletivo pelo sistema da arte contemporânea. Estabeleceram-se, ainda, algumas possibilidades de compreensão dos processos que produzem obras através da colaboração. A metodologia adotada consistiu em levantamentos bibliográficos, reflexões teóricas e epistemológicas sobre o objeto de estudo, pesquisa de campo a partir da observação e leitura de obras e documentos de processo do coletivo estudado. O quadro teórico inclui a crítica de processo, de Cecília Almeida Salles; o conceito de tribos, de Michel Maffesoli; Zygmunt Bauman e sua discussão sobre comunidade; Boaventura de Souza Santos e suas reflexões sobre emancipação social; os conceitos de comunicação, discurso e diálogo, de Vilém Flusser; a estética relacional, de Nicolas Bourriaud; o conceito de Zona Autônoma Temporária, de Hakim Bey; Anne Cauquelin e suas reflexões sobre o sistema de arte. Valeu-se, ainda, do conceito de tradução intersemiótica, de Julio Plaza; Edgar Morin e seu pensamento sobre interações e efervescência, e suas reflexões sobre cultura e complexidade, além das relações entre arte, ciência e cognição, levantadas por Jorge Vieira de Albuquerque

In this dissertation, I advance the question of what it means for applied theatre artists to give voice to the community members with whom they work. The study engages with some of the ethical and aesthetic tensions that emerge when one group of people (artists) is entrusted with giving dramatic form to the lived experience of another group (community members). The central premise of the dissertation is that when community participants increase their independent capacity to devise dynamic and compelling theatre, they achieve greater agency. Using a grounded theory analysis, I theorize qualities and characteristics that contribute to the staging of aesthetically arresting theatre, organized into a conceptual lexicon. This praxis-based study is intended to enable applied theatre practitioners to more directly give voice to their community partners. The dissertation presents a vocabulary that offers community participants and professional artists a mutually understood language with which to engage the power of the theatrical event. / Graduate