This thesis explores how textile contributes to meaning-making and spatial design in scenography. Through the theoretical lens of performativity theory, it studies three scenes from Cirkus Cirkör’s popular show Knitting Peace. Using semiotic analysis as formulated by Jan-Gunnar Sjölin, the thesis focuses on movement, spatiality and socio-cultural meaning through the three questions; How can textile enhance movement and rhythm? How is it used together with lighting to create changes in spatiality? And What connotations does textile induce, and how do they affect the overall meaning-making in scenography? The results suggest that textile is a valuable material in performance art and scenography. For example, textile behaves in ways that resemble both fluid and solid form. This allows for change of depth and shifting between open and closed spaces on stage with little effort. It also gives means to enhance and enlarge human movement in scale, intensity and time. In Knitting Peace this is used together with lighting design to create off sync layers of reality to symbolise a distorted dreamworld. The thesis shows how we can better understand the way textile affect us by applying perspectives that focus on its different characteristics. Moreover, it demonstrates that an interdisciplinary approach that builds on knowledge from different fields, such as fashion design and performance studies, can greatly benefit our understanding of the potential use of textile in arts.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-23T15:05:03Z No. of bitstreams: 1 DISSERTAÇÃO CLÁUDIO REVISADA.pdf: 3928020 bytes, checksum: 2c7d9abd0c81ee94843524ab3e45548e (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-27T19:33:44Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO CLÁUDIO REVISADA.pdf: 3928020 bytes, checksum: 2c7d9abd0c81ee94843524ab3e45548e (MD5) / Made available in DSpace on 2018-08-27T19:33:44Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO CLÁUDIO REVISADA.pdf: 3928020 bytes, checksum: 2c7d9abd0c81ee94843524ab3e45548e (MD5) / Essa dissertação é o resultado de uma pesquisa que apresenta o circo moderno como uma empresa de entretenimento desde a sua concepção, revela sobre a sua configuração no Brasil, estruturada num grupo familiar ou mais, como base de sua sustentação. O trabalho expõe o empresário circense como o responsável pela organização e desenvolvimento de estratégias de marketing e propaganda eficazes para a manutenção da empresa circo, exibe um histórico sobre o palhaço do circo e sua evolução ao longo do tempo, tudo isso com o intuito de traçar um paralelo entre as características do circo no Brasil e a empresa de entretenimento Pinduca Show de atrações, fundada e administrada pelo palhaço Pinduca e seus filhos, na cidade de Salvador entre as décadas de 1970 a 1990. / This dissertation is the result of a survey that shows the modern circus as an entertainment company since its inception, says on its settings in Brazil, in a structured family group or more, as the basis of their support. Exposes the circus business as responsible for organizing and developing marketing strategies and effective advertising for the maintenance of circus company, displays a history of the clown in the circus and its evolution over time, in order to draw a parallel between the characteristics of the circus in Brazil and entertainment company Pinduca Show Attractions, founded and run by clown Pinduca and their children in the city of Salvador from the 1970s to 1990.