Orientador: Cássia Navas Alves de Castro / Acompanhado de 4 DVDs de espetáculo: Querida Sra. M., (2000); 3 tempos num quarto sem lembrança (2009); Um corpo do qual se desconfia (2007); (depois de) Antes da Queda (2010) / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T01:50:03Z (GMT). No. of bitstreams: 1 Moraes_JulianaMartinsRodriguesde_D.pdf: 19861954 bytes, checksum: 0d52fcb0187c5f49bc157dd08e12eaba (MD5) Previous issue date: 2011 / Resumo: A presente tese dedica-se a uma reflexão sobre conceitos que foram se tornando fundamentais em meus processos de criação coreográfica. Ao invés de formalizar uma estética da memória fixa, o processo de escrita se permitiu ser um devir, reunindo experiências do passado, do presente, e expectativas futuras. Trançando as palavras, construiu-se uma coreografia em parte rígida e em parte livre - como personagens que habitam o mesmo palco. O texto divide-se entre vozes acadêmicas e pessoais, sendo a frente das páginas um espaço mais rígido e o verso mais livre. Essa organização precária acabou se sedimentando durante o processo de escrita, que seguiu caminhos similares aos que empreendo ao criar minhas peças: em parte conscientemente, em parte inconscientemente. Dedico o capítulo 1 a uma análise profunda sobre como a ideia de harmonia perpassa a obra de Laban - tema que me é fundamental, posto que a análise de Laban tornou-se, nos últimos dez anos, ferramenta imprescindível para meu trabalho de criação de movimentos. O capítulo 2 propõe uma análise da organização espaço-temporal da cena a partir das metáforas analisadas por Mark Johnson sobre a relação entre criança e objeto, sendo elas: criança-estável/ objeto-que-passa e objeto-estável/criança-que-passa; nesse capítulo debruço-me também sobre as ideias de André Lepecki a respeito do que ele considera ser a ontologia política da dança na modernidade, criticando-as em suas bases. No capítulo 3, empreendo uma descrição da maneira como venho desenvolvendo as dramaturgias de meus trabalhos, que atualmente denomino de dramaturgia do in/consciente: empresto as ideias de Freud e alguns desenvolvimentos de Deleuze a respeito da repetição, mais especificamente sobre como ela opera nas trocas simbólicas pelas quais o inconsciente se manifesta, para pensar estratégias de construção de significado em dança; descrevo ainda conceitos que desenvolvi nos últimos anos, de textura/frequência e assemblage, para deslindar elementos que foram se tornando pilares em minha poética / Abstract: The present thesis is dedicated to a reflection about concepts that have become fundamental in my processes of choreographic creation. Instead of rendering to an aesthetic of fixed memory, the writing process was allowed to be, itself, a process of becoming, getting together past and present experiences as well as future expectations. Weaving the words, a choreography partly rigid and partly free was constructed - as characters who inhabit the same stage. The text is divided into academic and personal voices, being the front of the pages a more rigid space and the verse freer. This precarious organization was sedimented during the writing process, which followed similar paths to the ones I under take when creating my pieces: negotiating unconscious and conscious images. I dedicate chapter 1 to a deep analysis of how the idea of harmony runs through the work of Laban - an issue that was fundamental for me to understand since the analysis of Laban became, in the last ten years, an important tool for my work in the creation of movements. Chapter 2 proposes an analysis of the space-time organization of the scene from the perspective of the metaphors analyzed by Mark Johnson on the relation between baby and object, those being: baby-steady/object-that passes and object-steady/baby-that-passes; in this chapter I also dedicate myself to thinking about the ideas of Andres Lepecki regarding what he considers to be the political ontology of dance in modernity, criticizing his ideas in their bases. In chapter 3 I under take a description of the way I have come to develop the dramaturgies of my works, which I currently call dramaturgy of un/conscious: I borrow ideas from Freud and some developments of Deleuze regarding the repetition, more specifically on how it operates in the symbolic exchanges through which the unconscious manifests, to think about strategies for creating meaning in dance; I also describe concepts that I developed in recent years, of texture/frequency and assemblage, in order to elucidate elements that have become returning pillars in my poetical work / Doutorado / Artes Cenicas / Doutor em Artes

El cuerpo desde siempre ha funcionado como instrumento principal del teatro y la danza. Asimismo, no podría existir el cuerpo sin movimiento, por lo que este se convierte en la base fundamental para ambas formaciones. Rudolf Von Laban (1879-1958, coreógrafo y filósofo eslovaco) investigó patrones de movimiento para desarrollar un método que permita experimentar, ver y describir este, posibilitando así la observación exhaustiva y extensión de la expresividad y funcionalidad en las artes escénicas. En este sentido, la presente investigación se desarrolla a través de un laboratorio de tres meses de creación colectiva, en el que tres actrices y dos actores utilizaron como herramienta creativa el concepto del “esfuerzo” que plantea Rudolf Laban en el Análisis de Movimiento. La metodología aplicada a este proceso fue en su mayoría práctica, pues como asegura Sánchez (2009), la investigación en artes no puede ser llevada de otra manera más que en el mismo hacer artístico. Por tal razón, las declaraciones de los actores y actrices, los apuntes como directora y los videos grabados de las sesiones son esenciales para los análisis y resultados de la investigación. Por último, al finalizar el laboratorio, se logró consolidar una partitura de movimiento de teatro danza en la que se comprueba el uso del esfuerzo como herramienta creativa en un proceso colectivo de teatro danza

Note sur les annexes : 5 vidéos en format mp4 présentant les captations vidéo des ateliers. Les pré-ateliers sont le plan de séance de l'atelier enseigné à une seule participante. Voici l'appellation des vidéos dans le mémoire: Vidéo 1: pré-atelier 1 ; Vidéo 2: atelier 1 ; Vidéo 3: pré-atelier 2 ; Vidéo 4: atelier 2 ; Vidéo 5: atelier 3 / Ce mémoire s’intéresse à la combinaison possible de principes liés à la méthode pédagogique de Rudolf von Laban et à celle de Jacques Lecoq dans la conception d’une méthode de préparation physique de l’acteur. L’objectif principal de la recherche est de poser les bases une pédagogie issue de ces deux conceptions du corps théâtral visant le développement de la conscience corporelle de l’interprète de théâtre. En posant d’abord le cadre historique de l’émergence des pédagogies de ces deux praticiens par une étude de l’évolution de la formation de l’acteur en Occident au courant du XXe siècle, il m’a été possible de retracer leur chemin jusque dans les institutions de formation de l’acteur au Royaume-Uni, où certains principes développés par chacun d’eux se côtoient. Un approfondissement des éléments centraux des enseignements de Laban et Lecoq m’a permis de dégager les principes pédagogiques qui allaient guider les prémices du développement de ma propre méthode d’enseignement. Celle-ci a été validée au travers de la préparation et de l’enseignement d’ateliers de mouvement destiné à l’acteur de théâtre. En annexe du présent document se trouvent les plans de leçon desdits ateliers, de même qu’un retour sur l’enseignement de chacun d’entre eux.

In the essay, "From Mimism to Music in the Child" (1935), Jousse, the French linguistic anthropologist, * describes the process whereby instinctive learning takes place and develops into cognitive motor skills in the Child; * traces the connections between the stages of learning and the skills acquired by the Child. These skills include gestural mimic imitation, drawing, listening, speaking, and musical expression; * makes specific recommendations about the process of teaching the Child; * relates the stages in the early learning processes in the Child to the development globally and universally of the anthropos; * demonstrates the relationship between Man and his fellows, both as individuals and as expression of cultural distinction, and between Man and the universe; * comments on the distinction between human and animal learning capacities; * explains the roles of key features in human expression; *explains aspects of cultural and linguistic change; * comments on cultural and linguistic change. In this research-essay, I am * attempting to clarify, in various degrees, all of the above: the learning issues receive more attention than do the rest; * attempting to identify the similarities and differences between the thinking and views on learning of Jousse with those particularly of Rudolf Laban, and incidentally of Montessori and Lenneberg; * demonstrating an 'Oral-Style text'. The Introduction to this research-essay summarises the thinking of Jousse and Laban. The Body of the study: * provides biographical information about Jousse and Laban; * explains the difficulties and problems encountered with the text of the essay "From Mimism to Music in the Child"; * comments on the nature and operation of Oral-Style texts and their cognitive and affective influence upon the reader; * contextualises and interprets the text of the essay, "From Mimism and Music in the Child". The Conclusion adds comments, and suggests areas for further study and investigation. / Thesis (M.A.)-University of Natal, 1995.

The ashwaiyat or informal areas in contemporary Egypt are vast residential areas built during the last several decades without any means of regulation or following principles of physical planning. They gradually came to existence because of the continuing migration from the countryside to cities and by natural population growth. The newcomers, who were not able to find adequate housing in accordance with their economic possibilities, started to build their houses on private agricultural land which was not intended for building purposes, or on state desert land, to which they had no legal tenure rights. Any infrastructure in such areas was constructed relying solely on self-help. Despite the fact that the ashwaiyat phenomenon has grown substantially, it has not been addressed nor treated officialy until recently. Firstly, the formation and growth of the informal settlements with a focus on Egypt's capital, Cairo, is discussed. Further analyses are made regarding the hardships and poverty endured by its inhabitants using tangible evidence to illustrate specifics and everyday reality in some of Egypt's ashwaiyat. It shows that the informal areas are not homogenous and that they represent various living conditions. The purpose of this paper, aside from summarizing the development, is to potentially...