"Of all the spoken and written words that each of us submits to during the course of our lives, those pronouncements which most nearly pattern themselves to our mold are those we most cherish. For whatever reasons, certain phrases or statements are inexorably held and blended with our nature until we are forced to admit them as part of ourselves. How many times does one pick up a book and read, only to find oneself nodding in assent to each line as though to say, yes that is exactly as I would put it. And certainly the artist is no exception in this respect. Volumes depicting every conceivable aspect of the subject repose in our libraries ready to argue, edify, verify, or simplify the art of painting. Within this vast accumulation one is bound to be smitten. Whether they be philosophical arguments of learned historians or the impassioned beliefs of the artists themselves certain statements will seem so in harmony with what we accept as our own thoughts that they seem not merely a duplication but a verification of our thoughts. When the authority has the advantage of having withstood the test of several centuries without losing face we are even more apt to justify our convictions in this way. Be that as it may, it is difficult not to summon up the best authorities available in an effort to bolster one's own position"--Introduction. / Typescript. / "June, 1957." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Includes bibliographical references (leaf 45).

Thesis submitted in partial compliance with the requirements for the Masters Degree in Technology: Fine Art in the Department of Fine Art, Durban Institute of Technology, 2008. / The aim of this thesis is to research and create a workshop which will assist artists to engage with their creative process. I explore the possibility that by being in a natural environment the blocked artist can reengage with their creative process and unblock the debilitating effects of artist's block. I chose to complete this study through the Durban University of Technology, to engage myself in the focused task of reengaging myself with my creative process, to create a workshop through experience and related yet varied data that could assist others through my experience and reflections. The term 'artist's block', also known as 'creative block' or 'writer's block', is used to describe a visual artist's or a writer's inability to engage with their creative process. I refer to a variety of literary resources as well as the observations made through interviews, by a selection of South African artists about this debilitating and frustrating situation. I also examine what is meant by being engaged in a creative process, and examine various theories and suggestions from a broad selection of literature. I explore a selection of literary recourses and reflect on personal experiences to ascertain whether the notion that the natural environment can assist an artist in finding the necessary inspiration to reengage them with their creative process and is therefore a suitable environment to facilitate a workshop. To assist with this study I facilitated two workshop, one for Students of the Durban University of Technology and the other for a diverse group of artists. The facilitation ofa workshop needs to be a creative process and I use the analogy of an alchemical process to highlight the unfolding of a workshop experience. This study also takes a look at the skills required by a facilitator, the role of the participant and how a workshop may unfold as a creative process. I observe that Artist's block is part of the creative process, that a workshop can be facilitated to assist artists with 'artist's block' and reengage them with their creative process, and that the natural environment is a suitable facilitator for the creative process. Although not quantifiable, it was established that students could benefit from workshops which gave them a better understanding of their creative process and how to move past artist's block. This thesis reflects briefly on my paralleled experiences over this four year period as I reengaged with my creative process and created a body of work to be exhibited as partial requirement for the Master's qualification. / M

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaves 34-35).

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1993. / Includes abstract and vita. Includes bibliographical references (leaves 104-112).

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1993. / Includes abstract and vita. Includes bibliographical references (leaves 104-112).

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1993. / Includes abstract and vita. Includes bibliographical references (leaves 104-112).

Orientador: Eusébio Lobo da Silva / Acompanha DVD com o espetáculo improvisado "Trânsito Livre" realizado com a Cia SeisAcessos e folheto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T05:02:21Z (GMT). No. of bitstreams: 1 Volpe_MarinaFernandaElias_D.pdf: 4407641 bytes, checksum: de230838b4e66ee4ea1b9e8e9a47b2b8 (MD5) Previous issue date: 2011 / Resumo: O dicionário Aurélio define o improvisador como "o que improvisa/ Repentista". Já o Dicionário de Teatro de Patrice Pavis não apresenta uma definição. Mas quem é o improvisador? Como defini-lo? O que determina um "bom" improvisador? Quais são seus procedimentos? Fazendo essas perguntas deparei-me com a seguinte afirmação de Novarina (2005, p. 19): "Será preciso que um dia um ator entregue seu corpo à medicina, que seja aberto, que se saiba enfim o que acontece ali dentro, quando está atuando." Decidi "abrir" o improvisador para cartografá-lo, e minha "medicina" foi a Zona do Improviso (ZI), um jogo de improvisação sistematizado em meu mestrado1. Esta cartografia foi gerada na experimentação da Zona do Improviso como linguagem cênica, resultando no espetáculo improvisado Trânsito Livre realizado com a Cia SeisAcessos2. Trânsito Livre aglutina as etapas da experimentação - criação, ensaio e apresentação - em um único território no qual o improvisador é a própria linguagem. Através da ZI, verifiquei procedimentos e atributos do improvisador que o territorializam em um fluxo cartográfico e em constante condição de vir a ser, por isso, esta tese não propõe uma definição para o improvisador e sim um mapeamento: uma cartografia teórico criativa possível de um improvisador em criação. Nesta pesquisa, o território poético do improvisador não é o teatro ou a dança, mas as virtualidades e imanências, sendo sua linguagem ele próprio, e por esta perspectiva, o improvisador não compõe a improvisação, mas se decompõe nela. Portanto, mais do que compartilhar minhas metodologias e princípios sobre a improvisação, proponho-me nesta tese cartográfica, discutir e reinventar o território de quem improvisa, mapeando um Improvisador em Criação que (nesta pesquisa) se dá no encontro rizomático e em devir entre cinco forças relacionais indivisíveis e constituintes da própria criação: imaginação, pensamento, memória, técnica e movimento. Para lançar o improvisador em fluxo cartográfico experimentei e investiguei alguns improvisadores em laboratórios da Zona do Improviso, aliando a esta prática uma constante provocação de autores, cujos princípios e conceitos me encaminharam para uma perspectiva teóricocriativa potencializadora de minhas experimentações. Entre eles destaco principalmente Baruch Spinoza, Valère Novarina, Gilles Deleuze, Félix Guattari, Jose Gil, Renato Ferracini, Viola Spolin e Keith Johnstone / Abstract: The most recurrent definition of 'improviser' that appears in any dictionary is "the one who improvises". If we look it up in the Dictionary of Theatre by Patrice Pavis, instead, we will not find it. So, who is the improviser? How to define it? What defines a "good" improviser? What about his procedures? While asking myself these questions I came across the following provocation by Novarina (2005, p. 19): "It will be necessary for the actor to donate his body for medical research, in order to have it opened, and finally get to know what happens inside him, while he is acting". I decided to "open" the improviser in order to map him, and my "medical research" was the Improvisation Zone (ZI), a systematized improvisation game. This map was generated by the experimentation of the ZI as a scenic language, which led to the improvised play called "Trânsito Livre" ("Free Traffic"), performed by SeisAcessos Company. "Trânsito Livre" articulates all the stages of experimentation - preparation, rehearsal and presentation - within a unique territory in which the improviser is the language itself. Throughout the Improvisation Zone, I put into practice procedures and attributes that territorialize the improviser in a mapping flow and in a constant condition of "becoming". Therefore this thesis does not provide a definition for improviser, but a mapping, a possible theoretical creative map of an Improviser in Creation. In this thesis, the poetic territory of the improviser is not related to theater or dance, but the virtualities and immanences, a fact that allows him to turn himself into his own language. From this perspective, the improviser does not compose the improvisation, but decomposes himself into improvisational potentialities. So, rather than share personal principles and methodologies associated with improvisation, in this cartographic research I propose to discuss and reinvent the territory inhabited by those who improvise, mapping an Improviser in Creation, a process that takes place at the rhizomatic crossroad that involves five relational forces which are indivisible and constitutive of creation: imagination, thought, memory, technique and movement. In order to place the improviser in a mapping flow, I tested and investigated some improvisers making experiments for laboratorial exercise in the Improvisation Zone, combining with this practice a constant provocation carried out by authors whose principles and concepts led me to a specific theoretical-creative perspective. Among them, I highlight Baruch Spinoza, Valère Novarina, Gilles Deleuze, Felix Guattari, José Gil, Renato Ferracini, Viola Spolin and Keith Johnstone / Doutorado / Artes Cenicas / Doutor em Artes

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-08T11:30:14Z No. of bitstreams: 1 Paula Martinelli de Araujo.pdf: 6706920 bytes, checksum: 0fe67b1b3d480a1924fdd581d525c41d (MD5) / Made available in DSpace on 2018-08-08T11:30:14Z (GMT). No. of bitstreams: 1 Paula Martinelli de Araujo.pdf: 6706920 bytes, checksum: 0fe67b1b3d480a1924fdd581d525c41d (MD5) Previous issue date: 2018-06-18 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This research has as its starting point the access to the studio and the creation archives of the Brazilian artist Eustáquio Neves. The investigation of the paths identified in Neves' s works, sketches, notes and speeches, seeks to establish relations between the creation processes and the communicating presence materialized in the artist's works, in order to discover how the procedures adopted by the author transform images into manifestos that carry memories deliberately evoked, as they populate a fictional universe within their own times and spaces. Neves places photography in the context of the visual arts by creating complex images in which the process reminiscences - both photographic and extra-photographic - impose themselves, as well as the political statement. Presence therefore results from a semantic investment that permeates the entire creation process and, in the case of Neves, is amplified by the unconventional use of these procedures. The establishment of links between works, author and context of production aims to detect nexuses and recurrences between the material, in its various stages of development, and pertinent questions about contemporary visual arts. The academic treatment is made from the perspective of process criticism in accordance with Cecilia Salles' theoretical contributions and gives rise to discussions about photographic times and spaces, authorship, memory and archives. Alongside Salles are authors who collaborate for an interdisciplinary approach: Vincent Colapietro, Henri Bergson, Edgar Morin, Georges Didi-Huberman, Jacques Rancière and Michel Foucault / Esta pesquisa tem como ponto de partida o acesso ao ateliê e aos arquivos de criação do artista Eustáquio Neves. A investigação dos percursos identificados nas obras, esboços, anotações e falas de Neves busca relações entre os processos de criação e a presença comunicante materializada nos trabalhados do artista, visando descobrir de que maneira os procedimentos adotados pelo autor transformam imagens em estandartes que carregam memórias deliberadamente evocadas enquanto povoam universo ficcional com seus próprios tempos e espaços. Neves coloca a fotografia no contexto das artes visuais ao criar imagens complexas nas quais o clamor político e as marcas do processo – tanto fotográfico quanto extrafotográfico – se impõem. A presença resulta, portanto, de investimento semântico que perpassa todo o processo de criação e, no caso de Neves, é amplificado pelo uso não convencional desses procedimentos. O estabelecimento de vínculos entre obras, autor e contexto de produção tem como objetivo detectar nexos e recorrências entre os trabalhos de Neves, em suas diversas etapas de desenvolvimento, e questões pertinentes acerca das artes visuais contemporâneas. O tratamento acadêmico do material, feito sob a perspectiva da crítica de processos de acordo com contribuições teóricas de Cecilia Almeida Salles, faz emergir discussões sobre os tempos e espaços fotográficos, autoria, memória e arquivos. Ao lado de Salles aparecem autores que colaboram para uma abordagem interdisciplinar: Vincent Colapietro, Henri Bergson, Edgar Morin, Georges Didi-Huberman, Jacques Rancière e Michel Foucault

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-08T14:24:18Z No. of bitstreams: 1 Maria Eunice Azambuja de Araujo.pdf: 6449369 bytes, checksum: a426bb29d916a27f79671e27d7f4898c (MD5) / Made available in DSpace on 2018-08-08T14:24:18Z (GMT). No. of bitstreams: 1 Maria Eunice Azambuja de Araujo.pdf: 6449369 bytes, checksum: a426bb29d916a27f79671e27d7f4898c (MD5) Previous issue date: 2018-06-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research is the result of studies of the creative processes of the contemporary process art works by Elida Tessler and Beth Moysés, which modify over time, tending towards the unfinished and coinciding with the life of the artist. Art works that are constituted by the participation of people in its process, with the proposition of actions and the activation of experiences, whose sensorial aesthetic is completed by the action of the spectator, requiring a more active reception. The research was carried out through the observation of a diversity of documents of creative processes so to formulate hypothesis about the main knots of the creation networks studied. For this purpose, the theory of creation processes conceived by Cecília Almeida Salles was used as an instrument for the critique of the processes and as an itinerary for the study and understanding of the art works. The aim of the research is to analyze the communicational aspects of practices that exceed the relation artist spectator and integrate people in their processes, creating a collaboration structure. The objective is to understand the artistic-creative procedures that unleash processes of singularization, collectivization and acting in networks / A presente pesquisa é resultado dos estudos dos processos criativos das obras processuais contemporâneas de Elida Tessler e Beth Moysés, as quais modificam-se ao longo do tempo, tendendo ao inacabamento e a coincidir com a vida do artista. Obras que constituem-se da participação de pessoas em seu processo, tendo uma proposição de ações e ativação de experiências, cuja estética sensorial se completa pela ação do outro, requerendo uma recepção cada vez mais ativa. A pesquisa é desenvolvida a partir da observação de uma diversidade de documentos dos processos de criação, para assim formular hipóteses sobre os principais nós das redes de criação estudadas. Para isso, foi utilizada a teoria de processos de criação concebida por Cecília Almeida Salles, como instrumento para a crítica dos processos e roteiro para o estudo e entendimento das obras. A pesquisa se propõe a analisar os aspectos comunicacionais em práticas que extrapolam a relação artista x espectador e integram pessoas em seus processos, criando uma estrutura de colaboração. O objetivo é compreender os procedimentos artístico-criativos que desencadeiam processos de singularização, de coletivização e de atuação em redes

The thesis is devoted to the topics of multicultural and intercultural education. The aim of the thesis is to illustrate the cross-sectional theme of multicultural education and its shift to intercultural education. The aim of the empirical part is to contribute to intercultural understanding through a thematic series of art assignments with intercultural content. In the reflective balances of past art blocks, the research probe uses the open coding method to find answers to research questions. The author's own collection, presenting the pupil's final work, forms part of every artistic assignment carried out.