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.