Orientador: Cassiano Sydow Quilici / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T10:47:33Z (GMT). No. of bitstreams: 1 Carrer_Janaina_M.pdf: 14621857 bytes, checksum: 3bc6cba3d246e8a6a4a1d2c9e8c9f52d (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa investiga a construção de uma qualidade de consciência enquanto atenção e presença no trabalho do ator/performer. Para tanto, num primeiro capítulo, tratamos sobre a noção de consciência no âmbito teatral, bem como os apontamentos necessários a respeito da dicotomia corpo/mente, e, em seguida, encontramos no pensamento de Francisco Varela, Yasuo Yuasa e Philip B. Zarrilli caminhos para se (re)pensar uma outra qualidade possível à consciência. Tendo como eixo norteador a análise do trabalho de Jerzy Grotowski ao final de sua vida (no período denominado Arte como Veículo), o segundo capítulo foca sobre as noções de Verticalidade, Awareness, Performer e o binômio I-I apresentados pelo diretor polonês. Além de uma análise sobre este momento da pesquisa de Grotowski, se apresenta ainda um diálogo com Varela, Yuasa e Zarrilli, a fim de privilegiar a ideia do trabalho do artista sobre si mesmo (sobre a noção de cultivo), relacionando arte e vida, entendendo neste processo a construção de uma qualidade de consciência sutil e refinada. Num terceiro momento direcionamos o foco da pesquisa para processos criativos da autora, relacionando discurso teórico e experiência vivida, a fim de encontrar os próprios caminhos na construção desta qualidade diferenciada de consciência / Abstract: This research investigates the construction of a quality of consciousness as attention and presence in the actor/performer¿s work. For this, in the first chapter, we deal on the notion of awareness in the theatrical context, as well the necessary notes about the dicothomy mind/body, and then, find the thought of Francisco Varela, Yasuo Yuasa and Philip B. Zarrilli, ways to (re)consider an another possible quality for the consciousness. Guided by the analysis the work of Jerzy Grotowski in the end of his life (the period know as Art as Vehicle), the second chapter focuses on the notions of Verticality, Awareness, Performer and the binomial I-I presented by the polish director. Besides an analysis on this momento of Grotowski¿s research, we present a dialogue with Varela, Yuasa and Zarrilli, in order to favor the Idea of the artist¿s work on himself (on the notion of "self-cultivation"), linking art and life, understanding in this process the construction of an subtle and refined quality of consciousness. In a third moment, we direct the focus of the research for creative processes of the author, relating theoretical discourse and lived experience in order to find their own ways in the construction of this particular quality of consciousness / Mestrado / Artes da Cena / Mestre em Artes da Cena

Orientador: Rogério Adolfo de Moura / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-23T17:25:51Z (GMT). No. of bitstreams: 1 Costa_LeonardoPereirada_M.pdf: 5259500 bytes, checksum: 3e268d61ed4f1870f7f483cf5e9ca0e8 (MD5) Previous issue date: 2013 / Resumo: Esta dissertação de mestrado é fruto de processos criativos realizados junto a professores de diversas áreas, em duas experiências: uma realizada no ano de 2011 com o corpo docente de uma escola, nas dependências da escola, na cidade de Campinas - SP. Outra na cidade de São Paulo - SP, no ano de 2012, com professores de diversas instituições escolares, nas dependências de um espaço cultural público. Ambas experiências consistiram em processos de criação na perspectiva do teatro - documentário, partindo de elementos das histórias de vida dos professores como disparadores para a ação criativa. Nesse sentido, esta pesquisa procurou identificar categorias de análise na medida em que um processo de criação é, em si, um processo de pesquisa qualitativa. A partir dessas categorias, aponta-se para um caminho de formação de professores por suas histórias de vida e autobiografias, tendo a Performance como um intercampo para produção de conhecimento. / Abstract: This Master thesis is the result of creative processes, along with teachers from different areas, in two experiments: one conducted in 2011 with teachers of a school, on the school dependencies, in the city of Campinas - SP. Another in the city of São Paulo - SP, in 2012, with teachers from various educational institutions, in a public cultural space. Both experiments consisted in creative processes from the perspective of the documentary theater, from elements of the teacher's lives as triggers for creative action. In this sense, this research identify categories of analysis, once a creation process is, itself, a process of qualitative research. From these categories, this work points to a path of teacher training from their life histories and autobiographies, with Performance as an interfield for knowledge production. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T08:53:27Z (GMT). No. of bitstreams: 1 Gazzaneo_PauloRicardo_M.pdf: 98397622 bytes, checksum: a5a81a88fa3f72b844922c50d620d3cc (MD5) Previous issue date: 2011 / Resumo: Esta dissertação tem como objetivo principal o estudo analítico da estrutura da forma do Trio Marítimo para violino, violoncelo e piano de Almeida Prado. Baseadas neste estudo e nas entrevistas com o compositor, são apresentadas sugestões de interpretação. Estas sugestões estão alicerçadas na técnica de composição do compositor chamada Transtonalismo, sobre a qual é construída toda a textura da obra. Foram realizadas três etapas para este estudo: a primeira tratou do reconhecimento e análise das formas musicais estruturadas em cada movimento da peça; a segunda envolveu diretamente as entrevistas com o compositor quando foram tratados os aspectos de textura e construção harmônica utilizando-se o Transtonalismo e a terceira apresentou as sugestões de execução baseadas nas duas etapas anteriores. O resultado mostra também que, apesar da textura particular de Almeida Prado em sua composição, esta peça foi concebida sobre formas musicais e conduções harmônicas herdadas do período clássico, e expõe que, ainda hoje, apesar da evolução da escrita musical e das transformações nos métodos de composição e sua textura, as formas musicais do passado ainda sobrevivem a estes avanços / Abstract: The main objective of this dissertation is an analytical study of the structure and forms employed in the Trio Marítimo for violin, cello and piano by Almeida Prado. Based on this study and interviews with the composer, suggestions of interpretation are presented. These suggestions are based on the composer's compositional technique called Transtonalism, that serves as basis for the whole texture of the work. This study involved three steps: the first one dealt with the recognition and analysis of structured musical forms in each movement of the piece; the second one involved direct interviews with the composer when it has been argued the aspects of texture and harmonic construction, using the Transtonalism, and the third one, performance suggestions presented based on the previous two steps. The result also shows that despite the particular texture of Almeida Prado in his composition, this piece was conceived on musical forms and harmonic conduction inherited from the classical period, especially Beethoven demonstrating that, despite the evolution of musical writing and processing methods of composition and texture, the musical forms of the past still survive these advances / Mestrado / Praticas Interpretativas / Mestre em Música

Orientador: Verônica Fabrini Machado de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T05:27:33Z (GMT). No. of bitstreams: 1 Harada_RicardoGodoy_D.pdf: 40900997 bytes, checksum: e17b647942063460b51fccf6fffc7a65 (MD5) Previous issue date: 2012 / Resumo: A presente pesquisa objetivou estudar, fundamentar e desenvolver uma poética cênica singular, resultante da articulação de duas formas espetaculares distintas: a arte mágica e a arte teatral. Para isto, foi necessário realizar um estudo introdutório da arte mágica, com o fim de identificar seus traços específicos, recorrentes em sua gênese ao longo da história, bem como estabelecer sua especificidade enquanto uma forma espetacular autônoma. Esta tese analisa a problemática decorrente do encontro e da articulação entre ambas as artes, centrada na incompatibilidade entre os aspectos específicos de cada uma. Partindo dos conceitos discutidos, são apresentados exemplos concretos, visando superar a dicotomia entre a performatividade da arte mágica e a teatralidade do teatro, levando em consideração a complexidade e heterogeneidade de ambas as artes. O percurso artístico do autor é utilizado como estudo de caso, expondo os procedimentos e as soluções de ordem poética encontradas no decorrer de dez anos de experimentações. Esta poética singular é resultante do deslocamento da finalidade da arte mágica tradicional - centrada no entreter por meio da simulação do impossível - para a produção da suspensão estética no espectador. O acontecimento teatral deixa de ser um espaço de representação, tornando-se símbolo, ou seja, uma matriz de intelecções / Abstract: The purpose of this thesis is to study and develop a singular theatrical poetic, based on the articulation between the art of conjuring and theatre. Both are independent and complexes forms of arts, with inner characteristics that are incompatible when brought together. The first part of this research presents the genesis and the specificity of the art of conjuring by identifying its recurrent specific traces. After establish the specificity of both arts, we analyse the status queastionis of the proposition, regarding the mixture of procedures from the art of conjuring and theatrical art. Its not possible to establish a general theoretical answer to the problem presented by this research. Only by the analysis of singular cases, based on the concepts established on the first part of the thesis, is possible to contemplate the multiple dynamics and potentialities of the proposition. The singular poetical approach of the author is taken as case of study, being analysed by a descriptive method. This new form of performance, product of the mixture of conjuring and theatre is possible only because of the approach of its author, regarding the finality of his art: its not entertaining by creating effects of impossibilities, but provoke the aesthetical arrest in the spectator. In this new proposition, the theatrical scene is not a space of representation anymore, but is presented as symbol it self / Doutorado / Artes Cenicas / Doutor em Artes

Orientador: Suzi Frankl Sperber / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T08:02:13Z (GMT). No. of bitstreams: 1 Bittar_Valeria_D.pdf: 3915851 bytes, checksum: 3bdc67b5e7298b895d1d4e6d7c1d2681 (MD5) Previous issue date: 2012 / Resumo: O presente trabalho é divido em três partes. A primeira é uma exposição crítica da formação do músico intérprete, forjada na metodologia do Conservatório pós-Revolução Francesa e estabelecida no Romantismo. Compara-se essa "mentalidade" à noção da "sociedade disciplinar", "sociedade dos corpos dóceis", desenvolvida por Michel Foucault (2007), como estrutura da formação musical, geradora de uma interpretação "transparente" (HAYNES, 2007), denominada nesta tese de "interpretação neutra". O eixo dessa formação concentra-se no texto musical como valor absoluto, na autoria do texto e na decodificação lógico-abstrata feita pelo intérprete neutro, através de um treinamento técnico automatizado. A segunda parte desta tese considerará que a Performance da Música Historicamente Informada HIP (Historically Informed Performance) e, ao mesmo tempo, o contato do músico intérprete com composições que contêm escrita de contornos "móveis" de autores contemporâneos, foram os principais fatores que desviaram o músico da interpretação musical "canonicista" consolidada no Romantismo e que ainda hoje, paradoxalmente, formata a performance musical. Ambos os fatores conduziram o performador musical a deslocar o eixo da interpretação textocêntrica, na qual o performador assumia o posto do "embaixador da vontade do autor da obra" (DUNSBY, 1995) e a musicologia assumia a função reguladora da performance. Sem desvalorizar o texto musical (seja escrito ou de transmissão oral), este deslocamento aciona a noção da performance como uma operação de ordem perceptiva, e não lógica, que ocorrerá no espaço de performance, no instante da performance, cujo eixo é o intérprete e a audiência. Na terceira parte deste trabalho propõe-se primeiramente intensificar a vivência do performador através do conceito de "movência" do texto, termo cunhado pelo medievalista Paul Zumthor (1993), perante a "intervocalidade" que estrutura os textos da Idade Média, denotando a mobilidade e os "contornos frouxos" do texto. Propõe-se a aplicação do conceito de "movência" para a leitura /interpretação de qualquer texto. Partindo da conscientização da mobilidade do texto é considerada a abertura de um diálogo, por parte do performador musical, com outras artes performáticas, o teatro e a dança contemporâneos. Sugere-se o encontro de denominadores comuns entre estas artes - em especial o encontro com os conceitos fundamentados no teatro de Jerzy Grotowski, na antropologia teatral de Eugenio Barba e na Técnica Klauss Vianna de "Escuta do Corpo". Neste diálogo é proposta como estruturação do performador para a performance musical perceptiva, a inclusão de fundamentos trazidos por este teatro e pela Técnica Klauss Vianna: acionamento da atenção que parte da desautomatização do corpo cotidiano e a consequente geração da dilatação e da presença do corpo do atuante no momento do Ato musical. Expõe-se a experiência da autora como flautista doce no trabalho com o Grupo ANIMA, como síntese das propostas trazidas nesta tese, que caminham para a vivificação do Ato musical através da presença viva do músico atuante e de seu corpo em comunhão com a audiência / Abstract: The present work is divided into three parts. The first is a critical exposition of the formation of the music performer, forged in the methodology of the Conservatory after the French Revolution and settled in Romanticism. Here it will be compare this "mentality" to the notion of "disciplinary society", "society of docile bodies", developed by Michel Foucault (2007), as the structure of musical training, giving rise to an "transparent" interpretation (HAYNES, 2007), called here "neutral interpretation". The axis of this training focuses on the musical text as an absolute value, the authorship of the text and the decoding logic abstraction made by the neutral interpreter, through an automated technical training. The second part will consider the Historically Informed Performance of music (HIP) and at the same time, the contact of performers with interpretation of compositions of contemporary authors containing instable contours, the main factors that deviated the musician from "canonical" interpretation settled in Romanticism and consolidated today. Both factors led the musical performer to shift the axis of 'textcentrical' interpretation, in which the performer took the post of "Ambassador of the will of the author" (DUNSBY, 1995) and musicology assumed the function of regulatory performance. Without detriment to the musical text (whether written or oral transmission), this displacement drives the notion of performance as an operation of perceptual order, not logical, which occur in the space of performance, at the moment of performance, whose axis is the interpreter and audience. In the third part of this study aims primarily to intensify the experience of the performer through the concept of 'mouvence' of the text, a term coined by medievalist Paul Zumthor (1993), facing the 'intervocalicality' which structures the texts of the Middle Ages, showing mobility and 'flexible edges' of the text. It is proposed to apply the concept of 'mouvence' for reading / interpretation of any text. Starting from the awareness of the mobility of the text, in the present work it will be considered the opening of a dialogue, by the musical performer, with other performing arts, contemporary theater and contemporary dance. It is suggested that the finding of common denominators between these arts - especially the meeting with the fundamental concepts in the theater of Jerzy Grotowski, the Theater Anthropology of Eugenio Barba and the KlaussVianna Technique of "Body Hearing." This dialogue will propose that the structure of the performer, for musical perceptive performance, should be based on the inclusion of the concepts developed in Grotowski and Barba's theater and in the principles of the KlaussVianna Technique as: drive the attention of the body through deautomatization of everyday body and the consequent generation of dilation of the body and the presence of the body in the musical Act. It will be exposed the author's experience as recorder player together with Grupo ANIMA, as a synthesis of the proposals brought in this theses, that conduce to a lively musical Act through the living presence of the musician and its body in communion with the audience / Doutorado / Artes Cenicas / Doutor em Artes

This thesis addresses a research study predicated on practice in order to explore aspects of participation in Performance Art. The study makes a contribution to knowledge in participative performance practice and the positive deployment of using interruptive processes; this is in order to provoke participation within the context of Performance Art as well as gain a better understanding of the operations of power relations at play. Within the discourse of impoliteness study (Bousfield, 2008; Culpeper, 2011 et al.), there is a term that deserves much greater attention: interruption . Examining interruption and exploiting its virtues using practice brings out some productive insights that go beyond abstract theorisation. Working in response to Nicolas Bourriaud s conception (1998) of participation in Relational Aesthetics as a means of attacking power relations, I use my practice as an artist/performance provocateur and amplify consideration of my previous usage of interruption in order to provoke participation and then interrogation of power relations. Slapstick and heckling as extreme versions of interruptive processes that are physical in nature are put forward as tactics of interruption that extend comedy tactics within my practice. Circumventing commentary of interruption that often posits the term and its affiliation with impoliteness and capacity to be disruptive as negative (Bilmes, 1997), interruption is used for the purposes of my study as the key strategy that underpins the performance Lost for Words (2011) and the collaborative project Contract with a Heckler (2013), and are presented as prime examples of the operations of interruption in practice. Lost for Words supports the difficulties of participation when interruptive processes connected to physical and bodily slapstick are structurally engineered into a live performance and Contract with a Heckler supports power relations when live performance is predicated upon physical and linguistic interruptive processes relating to heckling. Both Lost for Words and Contract with a Heckler demonstrate a complex knitting of theory and practice whereby argument is supported by the undertaking of action (by the necessity of experiencing interruption in practice). The written dimension of the thesis operates in conjunction with the accompanying photographs and video recordings included here as documentation serving to deconstruct the examples of practice presented. Writing adds detail in the form of critical analysis, reflective commentary and personal experience to the supplied documentation and is used as a tool to communicate that working with interruption on a theoretical, practical and emotional level can be exciting, provocative and dangerous.

Processes and forms of valuation, evaluation and valorization are important for bringing contemporary social life in order. In this thesis, I study the values of the small and autonomous avant-garde of the art-world, performance art. In art worlds, arguably, we can expect to find the most extreme cases of activities which constantly aim at transgressing existing ideas of what is valued in this world, i.e., art. Performance art is an activity that contemplates the border between art and non-art, and that as an activity contributes to the constitution of this border. My focus is on the ongoing process, which is seen in a historical light. I look at the social structure that both enables and constitutes values. I argue that this process should be understood as a convaluation (Aspers 2008), a partial order with some temporal extension that enables coordination based on valuation and evaluation processes. I find that the convaluation of performance art is characterized by a switched role structure––meaning that actors operate as both artists and curators and as such, switch from being evaluated to evaluating others. The central value that constitutes the convaluation of performance art is bodily presence.

Nicholas Hlobo, a sculptor and performance artist, and Zanele Muholi, a photographer and activist, explore different ways of representing sexuality, particularly homosexuality. It is extremely difficult to discuss African sexuality in light of the stain of colonial attitudes that have exoticised and ascribed hypersexuality to African bodies. Moreover, sexuality is often not discussed in the construction of so-called African traditions and this has contributed to rendering African-ness as an exclusive identity. Tensions within and between categories of African-ness are compounded by constituted regulations. For example, Hlobo investigates the obligation of circumcision which seems to contrast the lifestyle and contexts in which he works and resides, and Muholi represents the existence of homosexual and transgender relations, even within conservative categories. The visual imagery of these two artists investigates the boundaries set by different social constructs. These set boundaries have also affected crimes against bisexual, transgender and homosexual individuals, which are reaching an alarming rate. Hlobo questions the validity of structures that marginalise homosexual individuals through drawing attention to the ambivalence of certain statutes. Muholi seeks to publicise the injustices imposed upon homosexual individuals in order to demonstrate the weight of that crisis. Although the South African legal system condones liberated expressions of sexual identity, due to social prejudices homosexual individuals are still treated as if they are not entitled to basic human rights. As a result, hate-crimes are not reported, and when they are they are not taken seriously. Hlobo and Muholi not only bring these issues to light, but also point out the dilemma inscribed in the social and political history of (South) Africa with regards to collective and individual identities. This thesis seeks to provide an analysis of the visual language used by Hlobo and Muholi to subvert the notion that homosexuality is “un-African” and to complicate concepts of gender, sexuality and identity.

This half-thesis has developed as a supporting document to an exhibition titled Vabvakure, people from far away, which responds to the growing trends of violence perpetrated against African foreign nationals living in South Africa. This violence which has generally been termed as 'xenophobia' has been framed within this discourse as 'afrophobia', as it is fraught with complexities of race, ethnicity and class. Evidently, not all foreign nationals are at risk but selective targeting of working class black African foreign nationals seems to be the modus operandi. Fanning these flames of prejudice are stereotypes and negative perceptions of Africa and African immigrants that have permeated into the national consciousness of South Africa, which the mainstream media has been complicit in cultivating. My practice is concerned with challenging this politic of representation in relation to the image of the African foreign national within South African society, who have been presented negatively and labelled as the 'Makwerekwere', the 'bogeymen' that have been blamed for the country’s current woes. In response to this, my research adopts the premise that forms of cultural mediation such as visual and performance art can offer further insights and possibly yield solutions that can be used to address these sentiments. As globalisation and neoliberal ideologies reshape the world, there is a growing need in the post-colonial state to revisit and re-construct notions of individual and collective identity, especially that of the nation. Nations, nationalisms and citizenry can no longer be defined solely through indigeneity, for as a result of radical shifts in the flow of migration and immigration policies that allow for naturalisation of aliens and foreign nationals, we are now faced with burgeoning levels of social diversity to the extent that constructions of nationhood that are based on the concept of autochthony have resulted in the persecution of the ‘other’.

A mixed-use development focusing on dance activities with supporting educational and retail facilities. The creation of a new urban citizenship drives the process of urban regeneration in the inner city. The development is situated in the Newtown cultural precinct. The performance arts is used as a tool for urban regeneration. The process of regeneration begins at community citizen level. The city gives citizens hope for a better future. This dynamic force shapes the city. / Dissertation (MArch (Prof))--University of Pretoria, 2005. / Architecture / unrestricted