206f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-01T17:58:54Z No. of bitstreams: 1 Vinicius%20Lirio.pdf: 4498596 bytes, checksum: d81feaa59c7bfb1ad94783b5259bd299 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-10T13:51:25Z (GMT) No. of bitstreams: 1 Vinicius%20Lirio.pdf: 4498596 bytes, checksum: d81feaa59c7bfb1ad94783b5259bd299 (MD5) / Made available in DSpace on 2013-04-10T13:51:25Z (GMT). No. of bitstreams: 1 Vinicius%20Lirio.pdf: 4498596 bytes, checksum: d81feaa59c7bfb1ad94783b5259bd299 (MD5) Previous issue date: 2011 / Bença é o título da encenação que fecha um ciclo de criação e abre novos caminhos para a teatralidade do Bando de Teatro Olodum. Foi em torno do processo de criação desse espetáculo, desenvolvido durante o ano de 2010, que lancei meus olhares. É sobre esse tempo – aquele do Bando e o meu próprio diante deste primeiro – que me debruço aqui. Invisto, nesse estudo, em um sistema de articulações, análises e discussões à luz de uma abordagem não-cartesiana acerca do processo citado. Teorizo em um diálogo permanente com a peculiaridade da interface Artes-Humanidades: registrei fatos, identifiquei fenômenos cênicos e socioculturais, entrecruzei epistemologias e, principalmente, entrei numa dinâmica com o humano, com os sujeitos agentes de Bença e com aquilo que é fruto do seu labor, a sua arte. Assim, nesta dissertação, parto da perspectiva de transculturalidade decorrente do reconhecimento das manifestações de hibridez cultural oriundas da brasilidade e que funda o que entendo por “estética transcultural” na cena do Bando. Dedico-me, ainda, à corporalidade e à corporeidade dos atores de Bença, em especial no que tange ao trânsito do corpo desses sujeitos entre o corpo cotidiano e o corpo expressivo da cena, o que chamo de “estado de benção”. Arrolados esses traços, alicerces das articulações nesse processo de criação, vislumbro, por fim, a encenação em si, o estabelecer das situações cênicas e, pelo que elas me oferecem aos sentidos todos, confirmo a inscrição do Bando na era das “teatralidades híbridas contemporâneas”. Constato, em última análise, que Bença desencadeou um movimento de descoberta de uma nova teatralidade e, nesse caminho, de renovação cênico-paradigmática da poética do Bando de Teatro Olodum. A partir dessa rede de articulações e constatações amplio minhas reflexões em torno das novas teatralidades e do campo de hibridez que as caracteriza. / Salvador

Orientador: Inaicyra Falcão dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T00:09:48Z (GMT). No. of bitstreams: 1 Lima_EvaniTavares_D.pdf: 10963550 bytes, checksum: 421fbab100d6b0f0f25d20a9e1d2f497 (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa está vinculada ao Programa de Pós-Graduação em Artes da UNICAMP e insere-se na linha de pesquisa Arte e Sociedade. Este é um estudo descritivo, de cunho, hipotético-indutivo, baseado em fontes primárias e secundárias. Neste estudo, Um olhar sobre o Teatro Negro do Teatro Experimental do Negro e do Bando de Teatro O/odum, realizamos uma análise do teatro negro sob o ponto de vista de sua especificidade racial. Teatro negro, aqui concebido, como o teatro cuja base fundamental é a afirmação da identidade negra, associada a proposições estéticas de matriz africana, embasadas em questões existenciais e político-ideológicas negras. A perspectiva com a qual trabalhamos é que o teatro negro, da maneira como se configura, instaura uma reflexão inusitada no teatro brasileiro, no que diz respeito à praxis e estética cênicas; à animação e tratamento corpo-vocal do ator; a partir de elementos e abordagens fundados na cultura de matriz afro-brasileira. Utilizando como aporte as experiências do Teatro Experimental do Negro e do Bando de Teatro Olodum, procuramos levantar as especificidades e implicações apresentadas por esse teatro negro, bem como suas proposições e contribuições ao teatro brasileiro. / Abstract: This research is part of the UNICAMP Graduation Program in Arts, and is enrolled at the Art and Society Research Orientation. It is a descriptive, hypothetical inductive study based on primary and secondary sources In this study, which examines the Black Theatre of the Teatro Experimental do Negro [Experimental Black Theatre] and at the Bando de Teatro Olodum [Olodum Theatre Group], we analyse the black theatre apart from its racial particularities. We understand the Black Theatre as the theatre whose fundamental objective is to state the'black identity using African aesthetic references, based on existential and political-ideological black issues. Our hypothesis is that the black theatre, in the way it is organized, presents to the Brazilian theatre an an unusual point view regarding the practice and the aesthetic of the theatre, such as the expressions of the actor's body and voice, which are based on Afro-Brazilian culture and approach. Considering the experiences of these groups (Teatro Experimental do Negro and Bando de Teatro Olodum), we will try to find the particularities of the black theatre and the proposals it brings to Brazilian theatre. / Doutorado / Artes / Doutor em Artes

Submitted by Vinícius Lírio (vinicius.lirio@gmail.com) on 2014-08-05T00:22:38Z No. of bitstreams: 1 Tese - Vinícius_Lírio.pdf: 4176343 bytes, checksum: d8f60e7c70598d53b51d5a726bf2824b (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2014-08-05T11:37:19Z (GMT) No. of bitstreams: 1 Tese - Vinícius_Lírio.pdf: 4176343 bytes, checksum: d8f60e7c70598d53b51d5a726bf2824b (MD5) / Made available in DSpace on 2014-08-05T11:37:19Z (GMT). No. of bitstreams: 1 Tese - Vinícius_Lírio.pdf: 4176343 bytes, checksum: d8f60e7c70598d53b51d5a726bf2824b (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente estudo apresenta uma série de reflexões deflagradas no contato com a poética do espetáculo DÔ, do Bando de Teatro Olodum com direção do mestre de butô Tadashi Endo. Desenvolvido durante o ano de 2012, esse processo criativo constituiu-se como espaço-tempo de entrecruzamento e atualização de matizes culturais diversos, por meio de um projeto dinâmico que hibridizou princípios de uma prática específica de butô, a de Tadashi Endo, e os traços de uma teatralidade profundamente marcada pelas culturas que a atravessam, aquela do Bando. Considerando essa rede transcultural, as articulações desenvolvidas no decorrer dessa tese sinalizam alguns traços e desdobramentos daquilo que se reconheceu, aqui, como Poéticas Híbridas. Para tanto, foi realizada uma abordagem dessa poética enquanto ato criativo em processo, a partir da apreciação dos rastros da criação, sua maior parte em registro audiovisual, entrevistas com os sujeitos dessa obra, materiais publicados pelos mesmos e expectação do espetáculo em si, a fim de identificar os fenômenos implicados nessa montagem. Junto a isso, os pensamentos de alguns estudiosos das Artes Cênicas, dos campos das culturas e Ciências Humanas, bem como, filósofos, foram basilares para a abordagem e os desdobramentos reflexivos implicados nesta tese, a citar: Christine Greiner (1998; 2000; 2005), no que tange aos estudos do corpo e do butô; Sônia Azevedo (2009) e Lúcia Romano (2008), no que se refere às discussões acerca do lugar do corpo e de seus fenômenos na cena; Stuart Hall (2003a; 2003b; 2006), Homi Bhabha (1996; 2010) e Nestor G. Canclini (1982; 2011), cujos estudos versam sobre os processos identitários e culturais no contexto dos campos híbridos e das nações pós-modernas; Michel Maffesoli (2008; 2007), cujo pensamento sugere diferentes formas de lidar com os fenômenos socioculturais; estudiosos como Jean-Pierre Ryngaert (1995; 1998), Patrice Pavis (2010a; 2010b; 2008) e Sílvia Fernandes (2010), que trazem reflexões importantes para pensar os projetos poéticos na cena contemporânea; por fim, dentre outros, vale citar o nome de Cecília de Almeida Salles (2008; 2009), cujos estudos contribuíram em muito para a abordagem metodológica dessa pesquisa. As articulações desenvolvidas no corpo dessa tese foram desencadeadas a partir de questões relacionadas à poética em si, isto é, seus processos e procedimentos, seu espaço-tempo e os sujeitos nela envolvidos, com o intuito de construir uma rede de pensamentos considerando o modo como foram estabelecidas as conexões, os agenciamentos e mediações entre os desejos, discursos e culturas envolvidas no processo criativo. Esse estudo acabou por mapear os vetores (procedimentos, movimentos, memórias, discursos, práticas, etc.) que, articulados, constituíram essa poética do Bando e de Tadashi. Nesse caminho, foram realizadas uma série de reflexões sem, no entanto, encerrá-las, o que faz deste um estudo de ideias provisórias. / ABSTRACT: This study presents a series of reflections triggered by contact with the DÔ poetics, spectacle of Bando de Teatro Olodum under the direction of the Butoh master Tadashi Endo. Developed during the year 2012, this creative process was established as a space-time of crisscross and update of cultural nuances various through a dynamic project that hybridized principles of a specific practice of Butoh, the one of Tadashi Endo, and traces of a theatricality deeply marked by cultures that cross it, that one of Bando. Considering this transcultural space, the articulations developed during this thesis indicate certain traits and developments of what is recognized here as Hybrid Poetics. Therefore, an approach of this poetic as a creative act in process, from the enjoyment of creating tracks, mostly in audiovisual recordings, interviews with the participants in that work, materials published by them and expectation of the show itself, to identify the phenomena involved in this poetic. In addition, some theoretical thoughts of Performing Arts, fields of cultures and Humanities, as well as philosophers, were fundamental to the approach and reflective developments implicated in this thesis, among them: Christine Greiner (1998, 2000, 2005), in regard to studies of the body and Butoh; Sônia Azevedo (2009) and Lúcia Romano (2008), in relation to discussions on the place of the body and its phenomena in the perfomance; Stuart Hall (2003a, 2003b, 2006), Homi Bhabha (1996, 2010) and Nestor G. Canclini (1982, 2011), whose studies are related to the identity and cultural processes in the context of hybrid fields and post-modern nations; Michel Maffesoli (2008, 2007), whose ideas suggests different ways of dealing with the socio-cultural phenomena; scholars such as Jean-Pierre Ryngaert (1995, 1998), Patrice Pavis (2010a, 2010b, 2008) and Sílvia Fernandes (2010), which bring important insights to think the poetic projects in the contemporary theatre; Finally, among others, it is worth mentioning the name of Cecilia de Almeida Salles (2008; 2009), whose studies have contributed much to the methodological approach of this research. The articulations developed in the body of this thesis were triggered from issues related to the poetic itself, in other words, its processes and procedures, its space-time and the participants involved in it, aiming to build a network of thoughts considering how connections, negotiations and mediations between the desires, discourses and cultures involved were established in the creative process. This study turned out to map the vectors (procedures, movements, memories, discourses, practices, etc.) which, articulated, constituted this poetics of Bando and Tadashi. In this way, a series of reflections were performed without, however, close them, which makes this a study of provisional ideas.

The present study aims to test my hypothesis that the language forms found in the Blocos Afro discourses in Salvador de Bahia, Brazil can be seen as expressions of Afro-Brazilian and/or Blocos Afro identity work and can also be seen as being, at least thematically, connected to the negritude movement. The study is based on samples created of Blocos Afro lyrics. As a selection of Blocos Afro I chose Ilê Ayiê, Cortejo Afro and Olodum, which are all well recognized and with a long tradition presenting themselves in Salvador. In total the analysis was made from 31942 words and/or 250 lyrics. A pilot was used to create a framework to select and identify expressions and language forms attested to be associated with the Afro-Brazilian identity. I relied on quantitative and qualitative approaches to the analyses. First, I categorized the expressions from the different lyrics by using a word cloud application which provides an overview of word frequency in a given corpus and can be used to underpin qualitative analyses. By using word cloud the frequency of words in the total corpus of 250 lyrics and particular lyrics was analyzed. Based on this analysis of the frequency of use of expression and language forms, I carried out a thematic analysis of the discourses and compared the themes to salient themes of negritude. The results show that the Afro-Brazilian identity in Salvador is thematically connected to the negritude movement and that the Afro-Blocos lyrics analyzed show identity work a strong ingroup perspective.

The legacy of colonialism has left an impression on Brazil that is still strongly present today, particularly in the city of Salvador, Bahia, and the connection between race and class remains quite conspicuous throughout Brazil in politics, business, and social settings. The 20th century saw the rise blocos afro as part of an Afro-Brazilian diaspora seeking pride in black identity and positive social change through concrete community-driven projects. This paper focuses on a newer community group, Bagunçaço, that follows in the footsteps of the blocos afro with an increased emphasis on the role of media in the social development process, using music paired with various digital technologies to educate, empower, and connect participants. The report is an ethnographic study based on first person interviews and observation by the author in Salvador, as well on as a biography on Bagunçaço’s founder, Joselito Crispim. The primary findings of the paper are 1) Bagunçaço serves to mitigate crime and violence among youth, providing kids with skill-building music, art, and technology activities to engage in during free time. 2) The group also serves a spiritual need of Afro-Brazilians by empowering kids with the context of their situation as part of a diasporic community that can resist oppression and gain upward social traction in a society permeated by historic racial hierarchy. 3) Bagunçaço transcends national lines with its international partnerships and engages in a digital exchange that is not only technology skill building, but an expansion of kids’ perspectives of the world beyond the poor communities that many of them would otherwise only ever know. / text

The present study aims to test my hypothesis that the language forms found in the Blocos Afro discourses in Salvador de Bahia, Brazil can be seen as expressions of Afro-Brazilian and/or Blocos Afro identity work and can also be seen as being, at least thematically, connected to the negritude movement.  The study is based on samples created of Blocos Afro lyrics. As a selection of Blocos Afro I chose Ilê Ayiê, Cortejo Afro and Olodum, which are all well recognized and with a long tradition presenting themselves in Salvador.  In total the analysis was made from 31942 words and/or 250 lyrics.  A pilot was used to create a framework to select and identify expressions and language forms attested to be associated with the Afro-Brazilian identity. I relied on quantitative and qualitative approaches to the analyses. First, I categorized the expressions from the different lyrics by using a word cloud application which provides an overview of word frequency in a given corpus and can be used to underpin qualitative analyses. By using word cloud the frequency of words in the total corpus of 250 lyrics and particular lyrics was analyzed. Based on this analysis of the frequency of use of expression and language forms, I carried out a thematic analysis of the discourses and compared the themes to salient themes of negritude.  The results show that the Afro-Brazilian identity in Salvador is thematically connected to the negritude movement and that the Afro-Blocos lyrics analyzed show identity work a strong ingroup perspective.