Orientador: Renato Ferracini / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T17:41:06Z (GMT). No. of bitstreams: 1 Lewinsohn_AnaCaldas_D.pdf: 17862786 bytes, checksum: 592ed99d4b1b8c5539de36718a49b46c (MD5) Previous issue date: 2014 / Resumo: Cada sala de ensaio, cada grupo e processo de criação utiliza, em suas práticas, o que podemos chamar de metáforas de trabalho. As metáforas de trabalho são ideias, ações, imagens, comandos verbais utilizados em práticas de ensaio, aulas ou processos criativos para auxiliarem os atuantes a entrarem em um estado de experimentação. A utilização de metáforas de trabalho em práticas teatrais possibilita a construção de um corpo-em-arte, gerando e potencializando estados de criação, repetição, atualização e manutenção de ações-matrizes físico-vocais no contexto poético ficcional e espetacular. Essa pesquisa investiga a potência dessas provocações, na busca de criar uma relação mais íntima entre conceitos e a prática artística, e de uma reflexão teórica cada vez mais próxima do processo criativo, utilizando seus paradigmas, sua linguagem e terminologia para discutir questões pertinentes sobre o trabalho do ator contemporâneo / Abstract: Each rehearsal room, each group and each creation process engage in their practices, what we call work metaphors. Work metaphors are ideas, actions, images, verbal commands used in rehearsal practice, in classes or in creative processes to help actors achieve a state of experimentation. The use of work metaphors in theatrical practice enables the construction of a body-in-art, generating and expanding states of creation, repetition, revision and maintenance of physico-vocal template actions in the poetical, fictional and scenic context. This research investigates the potential of such provocations, searching to produce a more intimate relationship between concepts and actual practice and hence to produce a theoretical reflection that approximates the creative process, employing its paradigms, its language and terminology to discuss questions relevant to the work of the contemporary actor / Doutorado / Artes da Cena / Doutora em Artes da Cena

Orientador: Ernesto Giovanni Boccara / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T01:46:18Z (GMT). No. of bitstreams: 1 Ferreira_AdrianadeSousa_D.pdf: 10920782 bytes, checksum: d042b3349cc769b0784aeef760ae571e (MD5) Previous issue date: 2014 / Resumo: A tese tem como hipotese uma possivel e necessaria construçao de uma interconexao entre duas midias de narrativas imageticas, objetivando colocar o corpo como tradutor da realidade humana subjetiva e dar visibilidade para a imaginaçao atraves do caminho da arte, que abre historicamente trilhas para expressar a vida interior,possiveis atraves de interfaces operacionais com a materia,no caso o proprio corpo / Abstract: The text is a search for interconexion in between two mediatic imagetic narratives,focusing in placing the human body as the translator of the human subjective reality.In order to make visible the human imagination through the art way, wich opens so many trials to express inner life,wich is possible only bonding with matrter, in here the human body iteself / Doutorado / Multimeios / Doutora em Multimeios

Orientador: Júlia Ziviani Vitiello / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T09:54:20Z (GMT). No. of bitstreams: 1 Lourenco_Robson_M.pdf: 4093412 bytes, checksum: 5644ca1ce88fba83b6892a2fee5237a4 (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa propõe a investigação entre duas áreas de conhecimento: Dança e Embriologia Humana. A primeira é desenvolvida através das técnicas de dança e práticas artísticas. Através da Embriologia Humana considera algumas das reflexões sobre a fenomenologia de Johann Wolfgang Goethe (1749-1832), a qual desenha inter-relações a partir da observação da estrutura total dopróprio fenômeno, onde o individuo não está separado da pesquisa, mas faz parte integral da experiência. Desenvolve uma metodologia do corpo na dança, onde o conhecimento não deve vir através de fenômenos isolados, mas sim através de suas inter-relações entre sujeito e objeto de pesquisa, onde os sentidos, a intuição e o raciocínio devem ser usados para acompanhar a experiência do fenômeno.Nos relacionamentos entre Dança e Embriologia Humana é possível criar procedimentos artísticos diferenciados, visando tanto a compreensão corporal dos conteúdos da embriologia, quanto para a criação de um solo de dança / Abstract: This research proposes the investigation of two areas of expertise: Dance and Human Embryology. The first is developed through the techniques of dance and artistic practices. Through the Human Embryology considers some of the reflections on the phenomenology of Johann Wolfgang Goethe (1749-1832), which draws inter-relationshipsfrom the observation of the total structure of the phenomenon itself, where the individual is not separate from research, but is an integral part of the experience.This research develops a methodology of the body in dance, where knowledge should not come acrossas isolated phenomena, but rather through their inter-relationships between subject and object of research, where the senses, intuition and reasoning should be used to monitor the experience of the phenomenon. Inrelationships between dance and Human Embryology is possible to create different artistic procedures, aimed at both understanding in content of embryology and for the creation of a solo dance / Mestrado / Artes Cenicas / Mestre em Artes

Orientador: Marisa Philbert Lajolo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-07T21:14:27Z (GMT). No. of bitstreams: 1 Rocha_JaquelineNegrini_M.pdf: 1632330 bytes, checksum: 5b497b8ee901bd493ec1d369719bf81b (MD5) Previous issue date: 2006 / Resumo: A Caçada da Onça , obra que Monteiro Lobato publicou em 1924, não integrou, em 1931, Reinações de narizinho ¿ título que resulta da junção de vários livros publicados por Lobato durante a década de vinte e inicio de trinta. Foi ampliada e rebatizou pelo autor em 1933 passando, então, a intitular-se Caçadas de Pedrinho. Este trabalho se ocupa do processo de transição da obra de 1924 para a de 1933 cotejando suas edições, considerando os diferentes momentos em que foram escritas, articulando as versões tanto à vida de Lobato quanto ao contexto sócio-historico brasileiro. Propõe, finalmente, uma leitura do texto de 1933 a partir da análise de seus aspectos formais e temáticos / Abstract: Caçada da Onça, published by Monteiro Lobato in 1824, did not get to be part of Reinações de Narizinho book published in 1931 as the result of the blending of several small books published by Lobato during the 1920's and the beginning of the 1930's. Caçada da Onça has been enlarged and renam d by the author becoming in 1933, Caçadas de Pedrinho. This dissertation discusses the transition from A Caçada da Onça to Caçadas de Pedrinho comparing their editions, relating them to different moments of their author¿s biography and socio-historical env ent and, finally offering an analytical reading based on formal and thematic aspects of Caçadas de Pedrinho / Mestrado / Literatura Brasileira / Mestre em Teoria e História Literária

Orientador: Inaicyra Falcão dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T07:12:10Z (GMT). No. of bitstreams: 1 Cortes_GustavoPereira_D.pdf: 6197809 bytes, checksum: 672d69dd0dfdcb1f08cdb581ab2c2a6e (MD5) Previous issue date: 2013 / Resumo: Esta tese de doutorado apresenta uma proposta metodológica para a compreensão e análise de processos de criação em danças brasileiras. Tal trabalho utiliza três pilares fundamentais para a realização do estudo: A Vivência Ancestral, a Dramaturgia e as Matrizes Tradicionais de manifestações da cultura brasileira, para a construção de uma metodologia intitulada Tradução da Tradição. Os estudos são norteados pela análise e compreensão dos trabalhos com as danças brasileiras mediante à experiência do Grupo Sarandeiros, de Belo Horizonte. Ao proceder como um pesquisador-artista, assume-se um engajamento com a produção de um conhecimento que une prática e teoria. Desta maneira, uma pesquisa acadêmica, sob o domínio das artes, deve sempre trazer algo novo, que permita um novo olhar sobre uma prática artística / Abstract: This thesis presents a methodology for understanding and analyzing creative processes in Brazilian dances. This work uses three fundamental pillars for the study: The Ancestral Experience the Dramaturgy and Traditional Matrices manifestations of Brazilian culture, to build a methodology entitled Translation of Tradition. The studies are guided by the analysis and understanding of the work with Brazilian dances through the experience of Sarandeiros group, of Belo Horizonte. To proceed as a researcher-artist, assumes up an engagement with the production of knowledge that unites theory and practice. In this manner, academic research, under the domain of the arts, should always bring something new, which allows a new look at an artistic practice / Doutorado / Artes da Cena / Doutor em Artes da Cena

Supra-rational theories for the writing teacher -- Inspiration, intuition, emotion -- Irrationality and writing.

This dissertation is a study of the early career of the American architect-turned-artist Gordon Matta-Clark (1943–1978) that spans the years 1968 to 1972. Immersing himself in SoHo’s vibrant artistic community, of which he was both a catalyst and a nexus, Matta-Clark worked through the essential ideas and concerns that would inform his practice during this condensed but incredibly generative four-year period. The works that resulted are heterogeneous, united less by specific media than by a shared constellation of concepts. Foremost among these concepts is energy: a key trope in the cultural, theoretical, and artistic discourses of Matta-Clark’s late-1960s and early-1970s moment. In histories of this period (spurred, in part, by the attention paid to Matta-Clark’s peer, Robert Smithson), energy has often been aligned with entropy: a negative movement that leads to an ultimate stasis. In contrast, Matta-Clark marshaled energy as a creative force: a motor of the "metamorphic" processes that his works both enacted and pursued. By focusing on these four years, my study opens new perspectives on both Matta-Clark’s project and the artistic and discursive formation, Postminimalism, from which it is inextricable. In doing so, I defamiliarize art history’s current conception of Postminimalism, “requestioning” (to adopt Matta-Clark’s neologism) its central term, process, through his creative energetics.

Thesis (MMus) – Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis considers the creative process involved in the composition and performance of new music for the horn. It sets out to describe the challenges and opportunities for composers and performers in this process and the value of collaboration between the two parties. There is a limited body of chamber music that includes the horn in South Africa, possibly because composers are not sufficiently acquainted with the complexities of this instrument and are hesitant to embark on a journey into the ‘unknown’. With few South African horn players devoting themselves to the performance of chamber music and particularly new music, little engagement has taken place between horn players and composers in the pursuit of new, idiomatic works for this instrument. This precipitated the researcher’s investigation into the composer-performer collaborative process, resulting in three commissions for chamber music including horn by South African composers Antoni Schonken, Keith Moss and Allan Stephenson. The collaborative process was central to these commissions in order to promote the concept of idiomatic horn writing. This research comprised three case studies, each documenting the creative process surrounding each commissioned work from inception of the work through the compositional process and rehearsals leading up to a performance. In order to generate a detailed report on each case study, data were collected throughout by means of reflective journaling and audio recordings, supplemented by interviews with participant composers and performers. The research revealed numerous technical intricacies composers need to be familiar with when writing for horn, and which may not be addressed in orchestration texts or other literature. Horn players may also be confronted with unconventional writing with new musical and technical challenges. Collaboration was shown to be of immense value in guiding the composer towards appropriate and effective writing for the horn, with the expertise of the performer being a source of knowledge for the composer. One of the main benefits that accrued to the performer through the collaborative process with the composer was the acquisition of valuable interpretative insights into the work to be performed. / AFRIKAANSE OPSOMMING: Hierdie tesis stel ondersoek in na die kreatiewe proses rakende die samestelling en uitvoering van nuwe horingmusiek. Daar word gesoek na ‘n beskrywing van die uitdagings en geleenthede waarmee komponiste en kunstenaars in so ‘n proses te make het en die waarde van samewerking tussen bogenoemde twee partye. In Suid-Afrika is daar ‘n beperkte hoeveelheid kamermusiek waarby die horing ingesluit word. Die rede wat hiervoor aangevoer kan word, is dat komponiste waarskynlik nie oor genoegsame kennis beskik rakende die fynere tegniese aspekte van horingspel nie. Hul is gevolglik huiwerig om met die onbekende te eksperimenteer. Aangesien weinig Suid-Afrikaanse horingspelers belangstel in die uitvoering van kamer- en veral nuwe musiek, bestaan daar min betrekkinge tussen horingspelers en komponiste in die soeke na nuwe, eiesoortige werke vir hierdie instrument. Bogenoemde het die navorser aangespoor tot ‘n ondersoek na ‘n komponis-kunstenaars medewerkingsproses. Die eindproduk was drie kamermusiek-opdragwerke (horing ingesluit) deur die volgende Suid-Afrikaanse komponiste: Antoni Schonken, Keith Moss en Allan Stephenson. Die medewerkingsproses was van kardinale belang tydens die skep van hierdie opdragwerke met die oog op die bevordering van eiesoortige horingkomposisies. Die navorsing het uit drie gevallestudies bestaan: die eerste studie het die kreatiewe proses van elke opdragwerk gedokumenteer vanaf die eerste pogings regdeur die komposisieproses en vooraf-repetisies tot die uitvoering van die werk. Data is deurgaans deur middel van reflektiewe joernaalinskrywings en oudio-opnames versamel ten einde’n gedetailleerde verslag van elke gevallestudie daar te stel. Bogenoemde is aangevul deur onderhoude met die betrokke komponiste en kunstenaars. Die navorsing het verskeie tegniese ingewikkeldhede uitgewys waarvan komponiste bewus moet wees wanneer daar vir die horing gekomponeer word. Hierdie fynere aspekte word dikwels nie in orkestrasietekste of ander literatuur behandel en bespreek nie. Horingspelers kan ook gekonfonteer word met onkonvensionele komposisies met nuwe musikale en tegniese uitdagings. Die samewerkingsproses tussen komponiste en kunstenaars was uiters waardevol; aangesien dit die komponis gehelp het om toepaslike en sinvolle werke vir die horing te komponeer met behulp van die kunstenaar se kundigheid en kennis. Deur die loop van die samewerkingsproses kon die kunstenaar veral baat by die waardevolle wenke van die komponis rakende van die uivoering van die betrokke werk.

Thesis (MPhil)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Many metaphors relating to creativity are too misleading, confusing, and restricted in scope for a meaningful exploration of the phenomenon and its fluctuating social and cultural contexts. Given the Muse's long-term association with literature, philosophy, education, and more recently, the fine arts and other "creative" fields, an analysis of this concept may provide a unique opportunity to gain insight into the "mechanisms" underlying the creative process. Since affiliation with the Muse appears to have signalled attainment of critical cultural and/or social status by cultural practitioners in various societies, from the ancient to the present (a category which was broadened substantially), it is thus logical to assume this concept encompasses and has accumulated characteristics particular to the creative process as historically and currently valued in Western culture. Given the limited scope of the thesis, I have focused on specific concerns: 1) Provide an overview of the history, origin and development of the concept via specific examples ranging from antiquity, the medieval period, and the modern. 2) Assess the changes which have occurred in the development of the concept, and postulate likely causes: such as for example, the impact of an increased focus on the visual - and by extension, the physical - due to a more literate populace, on a concept originally conceived of as experienced through predominantly audial means. 3) Identify closely related concepts, the characteristics of which may have played a role in the formulation of the initial concept, along with those integrated into it, to form the modern version of the Muse: examples include the influence of the myth of Pygmalion on notions regarding the poet's relationship with both material and Muse; and the consequences of an amalgamation of characteristics of Aphrodite with those of the pastoral Muse. 4) Explore the extent to which the Muse-poet interaction can reveal fundamental aspects of the creative process and its main components: the differences between the public invocation and experience of the Muse in an oral context, as opposed to the privately experienced Muse of the literate poet; also, the changes imposed on the concept's perceived means of functioning due to its extension to the practice of the visual arts; and the correlation between the Jungian notion of the anima and aspects of the Muse. 5) Postulate the fundamental aspects of the creative process as revealed by analysis of the concept of the Muse for further investigation. In brief then, the main intention of this thesis is simply to examine by analysis of particular examples, the feasibility of applying the concept of the Muse as metaphor through which to identify for further exploration, issues and themes relating to the production and changes in social assessment of creative enterprises. / AFRIKAANSE OPSOMMING: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Menige metafore verbonde aan kreatiwiteit is te misleidend, verwarrend, of beperk in omvang vir 'n betekenisvolle ondersoek van díe verskynsel en die fluktueerende sosiale en kulturele kontekste daarvan. Gesien in die lig van die Muse se langtermyn assosiasie met letterkunde, filosofie, opvoedkunde en meer onlangs, the skone kunste en ander "kreatiewe" velde, mag 'n analise van die konsep moontlik 'n unieke geleentheid bied om insig te verkry in die onderliggende "meganismes" van die kreatiewe proses. Aangesien affiliasie met die Muse blyk om die bereiking van kritiese kulturele en/of sosiale status, deur kulturele praktisyne in verskeie samelewings, van die antieke tot die huidige ('n kategorie wat aansienlik uitgebou is) aan te dui, is dit dus logies om te aanvaar dat die konsep alomvattend is van eienskappe kenmerkend van die kreatiewe proses, soos geskiedkundig en huidig op prys gestel in die Westerse kultuur. Gegewe die beperkte bestek van die tesis, is gefokus op spesifieke kwessies: 1) Verskaf 'n oorsig van die geskiedenis, oorsprong, en ontwikkeling van die konsep deur spesifieke voorbeelde, in omvang vanaf die antieke, die middeleuse periode, en die moderne. 2) Evalueer die veranderinge wat voorgekom het in die ontwikkeling van die konsep, en veronderstel moontlike redes daarvoor: soos byvoorbeeld, die impak van vermeerderde fokus op die visuele - en daarby die fisiese - as gevolg van 'n meer geletterde bevolking, op 'n konsep wat aanvanklik hoofsaaklik ouditief ondervind is. 3) Identifiseer verwante konsepte, die eienskappe waarvan moontlik 'n rol kon gespeel het in die formulasie van die aanvanklike konsep, asook die wat daarby geintegreer is, om die moderne weergawe van die Muse te vorm: voorbeelde sluit in, die invloed van die mite van Pigmalion op begrippe aangaande die digter se verhouding met beide die materiaal en Muse; en die gevolge van 'n samesmelting van Aphrodite se karaktertrekke met die van die pastorale Muse. 4) Ondersoek die mate waartoe die Muse-digter verhouding fundamentele aspekte van die kreatiewe proses en sy hoof komponente kan ontbloot: soos die verskille tussen die publieke invokasie en ervaring van die Muse in 'n verbale konteks, in teenstelling met die geletterde digter wat die Muse privaat ondevind; asook die veranderinge temeegebring op die persepsies aangaande die konsep se funksionering as gevolg van die uitbreiding daarvan tot die visuele kunste; en die korrelasie tussen die Jungiaanse idee van die anima, en aspekte van die Muse. 5) Veronderstel die fundamentele aspekte van die kreatiewe proses, soos ontbloot deur analise van die konsep van die Muse vir verdere ondersoek. Kortliks dan, die hoof voorneme van hierdie tesis is om deur analise van spesifieke voorbeelde, die uitvoerbaarheid te ondersoek om die konsep van die Muse toe te pas as metafoor vir verdere navorsing waardeur kwessies en temas, aangaande die produksie en veranderinge in sosiale waardering van kreatiewe ondernemings, ge-identifiseer kan word.

The purposes of this study were as follows: 1. To measure selected junior high school students' creativity in art. 2. To determine the relationship between the following factors and the degree and kind of creativeness in art demonstrated by the subjects involved: ethnic group, sex, social class, community size, previous art training, cultural interest in the home and community.