Este trabalho de caráter teórico-­‐prático propõe-­‐se a discutir sobre os espaços situados entre as artes performáticas e o comportamento do mundo contemporâneo centrando-­‐se nos processos de criação do performer, tendo o próprio corpo do artista como objeto de estudo. Inserido numa sociedade que dita padrões corporais através da mídia, o performer quer refletir sobre a cultura do corpo utilizando princípios da Performance art e do Teatro pós-­‐dramático na construção de uma obra artística. Inspira-­‐ se nas noções de “corpo-­‐mito” e “imagens geradoras” para investigar em que medida – e através de quais procedimentos -­‐ o performer consegue desconstruir/corrigir/transformar/reconstruir seu próprio corpo. Compreende a Performance art como uma arte híbrida, e, para tanto, utiliza-­‐se de um grupo de pesquisa cuja interação entre teatro, artes plásticas e video art estruturam os processos criativos. / This theoretical-­‐practical work proposes to discuss the spaces placed between performing arts and the behavior of contemporary world focusing on the performer’s creative processes, with the artist's own body as an object of study. Within a society that dictates standards body through the media, the performer wants to reflect on the culture of the body using the principles of Performance art and Postdramatic theater in the construction of an artistic work. It is based on notions of "body-­‐myth" and "generator images" to investigate how -­‐ and through what procedures -­‐ the performer can deconstruct/fix/change/rebuild his own body. It understands Performance art as a hybrid art, and, therefore, makes use of a research group whose interaction between theater, visual arts and video art structure creative processes.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-03-28T18:59:12Z No. of bitstreams: 1 EdilsonFlorianoSouzaSerra_TESE.pdf: 1587195 bytes, checksum: 0a9e79933b3b10cd8be2b75c89b07b88 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-28T20:56:29Z (GMT) No. of bitstreams: 1 EdilsonFlorianoSouzaSerra_TESE.pdf: 1587195 bytes, checksum: 0a9e79933b3b10cd8be2b75c89b07b88 (MD5) / Made available in DSpace on 2017-03-28T20:56:29Z (GMT). No. of bitstreams: 1 EdilsonFlorianoSouzaSerra_TESE.pdf: 1587195 bytes, checksum: 0a9e79933b3b10cd8be2b75c89b07b88 (MD5) Previous issue date: 2017-02-09 / Este trabalho tem por objetivo realizar uma leitura cr?tica da obra po?tica de Luciene Carvalho, a partir do contexto da hipermodernidade e sob a perspectiva cr?tica dos Estudos de Performance. Com a finalidade de situar tanto os Estudos de Performance, quanto de caracterizar o tipo de sujeito multifacetado que ganha forma nos versos da autora estudada, realizamos inicialmente uma reflex?o a partir de estudiosos como Gilles Lipovetsky (2004, 2005, 2015) e Zygmunt Bauman (1998, 2004, 2007a, 2007b, 2008) sobre a contemporaneidade, optando, ent?o, por defini-la como hipermodernidade, uma nova era hist?rica que tem in?cio em meados da d?cada de 1990 e ? entendida como sendo uma sucess?o da p?s-modernidade. Fruto dessas transforma??es de paradigmas, m?ltiplos contextos precisaram ser erigidos, o que tamb?m exigiu dos sujeitos novas reconfigura??es em seu modo de conectar-se a esses espa?os complexos e n?o poucas vezes contradit?rios. ? nesse ambiente multifacetado que a poeta-performer opta por uma atua??o para al?m do modo usual de rela??o com a escritura e que redundar? em suas performances, uma vez que estas ? conforme pesquisadores como Azevedo (2004 e 2007) e Beigui (2011, 2012 e 2013) ? partem da escrita como uma experi?ncia (corp?rea) sobre a qual inscreve suas textualidades. Ao multifacetar-se, por sua vez, a poeta-performer atrela-se ?s mais variadas e contradit?rias personas, como aquelas que remetem ao erotismo, ? religiosidade, ? bruxaria, ? Lilith ou ? loucura, ressignificando cada um desses elementos conforme seu interesse. Focalizando de perto essas figuras, procuramos demonstrar que o erotismo de que a poeta-performer lan?a m?o n?o se trata de uma pr?tica sem vida ou vazia, mas conforme teorizou Bataille (2014), o erotismo trata-se de um substituto da religi?o na busca de alcan?ar a continuidade num tempo em que as verdades metaf?sicas est?o enfraquecidas. Nesse sentido, a religiosidade formulada no decorrer dos textos de Luciene Carvalho tem, por um lado, aspectos de uma f? morta, ou seja, n?o transcendente, e, por outro lado, a poeta-performer associa-se a ?cones pr?-crist?os ou marginalizados dentro do cristianismo para elaborar um modo peculiar de relacionamento m?stico. Considerando essas caracter?sticas, a loucura da qual a autora tamb?m faz uso complexifica seu repert?rio perform?tico num ambiente de confusa configura??o. Assim, a loucura e seus desdobramentos funcionam, estrategicamente, como pontos de conex?o e justificam as metamorfoses de um sujeito que almeja, de imbricadas formas, significar para o mundo a sua exist?ncia. / This work aims to a critical reading of the poetic work of Luciene Carvalho, from the context of hypermodernity and under the critical perspective of Performance Studies. In order to situate both Performance Studies and characterize the type of multifaceted subject that takes form in the verses of the author who is studied, we initially carried out a reflection from scholars as Gilles Lipovetsky (2004, 2005, 2015) and Zygmunt Bauman (1998, 2004, 2007a, 2007b, 2008) on contemporaneity, choosing to define it as hypermodernity, a new historical era that began in the mid-1990s and that is understood as a succession of post-modernity. As a result of these transformations of paradigms, multiple contexts had to be erected, which also required the subjects to reconfigure their way of connecting to these complex and not infrequently contradictory spaces. It is in this multifaceted environment that the poet-performer opts for a performance beyond the traditional mode of relation with the writing and that will result in its performances, since these, according to researchers as Azevedo (2004 and 2007) and Beigui (2011, 2012 and 2013), start from writing as an (bodily) experience on which it inscribes its textualities. The poet-performer, when multifaceted, is linked to the most varied and contradictory personas, such as those that refer to eroticism, religiosity, witchcraft or madness, re-signifying each of these senses according to its interest. Focusing closely on these figures, we try to demonstrate that the eroticism of the poet-performer is not a lifeless or empty practice, but as Bataille (2014) theorized, it is the eroticism of a substitute for religion in the search of attaining continuity at a time when metaphysical truths are weakened. In this sense, the religiosity formulated in the course of Luciene Carvalho's texts has, on the one hand, aspects of a dead faith, in other words, it does not transcend, on the other hand, the poet-performer is associated with pre-Christian or marginalized icons within Christianity to elaborate a peculiar mode of mystical relationship. Considering these characteristics, the madness that the author uses makes complex her repertoire of performance in an environment of confusing configuration. Thus, madness and its developments work, strategically, as points of connection and justify the metamorphoses of a subject that seeks, in imbricated ways, to signify its existence to the world.

Este trabalho de caráter teórico-­‐prático propõe-­‐se a discutir sobre os espaços situados entre as artes performáticas e o comportamento do mundo contemporâneo centrando-­‐se nos processos de criação do performer, tendo o próprio corpo do artista como objeto de estudo. Inserido numa sociedade que dita padrões corporais através da mídia, o performer quer refletir sobre a cultura do corpo utilizando princípios da Performance art e do Teatro pós-­‐dramático na construção de uma obra artística. Inspira-­‐ se nas noções de “corpo-­‐mito” e “imagens geradoras” para investigar em que medida – e através de quais procedimentos -­‐ o performer consegue desconstruir/corrigir/transformar/reconstruir seu próprio corpo. Compreende a Performance art como uma arte híbrida, e, para tanto, utiliza-­‐se de um grupo de pesquisa cuja interação entre teatro, artes plásticas e video art estruturam os processos criativos. / This theoretical-­‐practical work proposes to discuss the spaces placed between performing arts and the behavior of contemporary world focusing on the performer’s creative processes, with the artist's own body as an object of study. Within a society that dictates standards body through the media, the performer wants to reflect on the culture of the body using the principles of Performance art and Postdramatic theater in the construction of an artistic work. It is based on notions of "body-­‐myth" and "generator images" to investigate how -­‐ and through what procedures -­‐ the performer can deconstruct/fix/change/rebuild his own body. It understands Performance art as a hybrid art, and, therefore, makes use of a research group whose interaction between theater, visual arts and video art structure creative processes.

Este trabalho de caráter teórico-­‐prático propõe-­‐se a discutir sobre os espaços situados entre as artes performáticas e o comportamento do mundo contemporâneo centrando-­‐se nos processos de criação do performer, tendo o próprio corpo do artista como objeto de estudo. Inserido numa sociedade que dita padrões corporais através da mídia, o performer quer refletir sobre a cultura do corpo utilizando princípios da Performance art e do Teatro pós-­‐dramático na construção de uma obra artística. Inspira-­‐ se nas noções de “corpo-­‐mito” e “imagens geradoras” para investigar em que medida – e através de quais procedimentos -­‐ o performer consegue desconstruir/corrigir/transformar/reconstruir seu próprio corpo. Compreende a Performance art como uma arte híbrida, e, para tanto, utiliza-­‐se de um grupo de pesquisa cuja interação entre teatro, artes plásticas e video art estruturam os processos criativos. / This theoretical-­‐practical work proposes to discuss the spaces placed between performing arts and the behavior of contemporary world focusing on the performer’s creative processes, with the artist's own body as an object of study. Within a society that dictates standards body through the media, the performer wants to reflect on the culture of the body using the principles of Performance art and Postdramatic theater in the construction of an artistic work. It is based on notions of "body-­‐myth" and "generator images" to investigate how -­‐ and through what procedures -­‐ the performer can deconstruct/fix/change/rebuild his own body. It understands Performance art as a hybrid art, and, therefore, makes use of a research group whose interaction between theater, visual arts and video art structure creative processes.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-03-13T20:10:56Z No. of bitstreams: 2 Dissertação - Augusto Alves de Morais - 2013.pdf: 16496678 bytes, checksum: 4186fd1880ae5feb4270cb41a7587a43 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-03-13T20:12:58Z (GMT) No. of bitstreams: 2 Dissertação - Augusto Alves de Morais - 2013.pdf: 16496678 bytes, checksum: 4186fd1880ae5feb4270cb41a7587a43 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-03-13T20:12:58Z (GMT). No. of bitstreams: 2 Dissertação - Augusto Alves de Morais - 2013.pdf: 16496678 bytes, checksum: 4186fd1880ae5feb4270cb41a7587a43 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-03-01 / This research presents a detailed report of the process of collaboration experienced by the author of this work with the composer Arthur Rinaldi during the creation of "Uma Lágrima" for solo vibraphone, demonstrating how the participation of the interpreter can be active and contributory. During this process, the author of this text contributed in various stages of the creation, from the commission, conception, composition and notation, to the premiere performance and recording of the piece. This text contains information about the development of this solo piece for vibraphone and about its sonorities, as well as issues of technical and interpretive nature which helped mold its final form, information collected during encounters with the composer during the year of 2011. / A presente pesquisa apresenta um relato detalhado do processo de colaboração vivenciado pelo autor deste trabalho com o compositor Arthur Rinaldi durante a criação da obra “Uma Lágrima” para vibrafone solo. Durante este processo, o intérprete pôde contribuir em diversas etapas, desde a encomenda, concepção, composição e notação, até a estreia e gravação da obra, demonstrando como a participação do intérprete pode ser ativa e contributiva neste processo. Neste relato estão contidas informações sobre o surgimento da obra e suas sonoridades, além de questões de cunho técnicointerpretativas que auxiliaram a moldar o formato definitivo desta obra, informações estas coletadas durante encontros com o compositor no ano de 2011.

Orientador: Graziela Estela Fonseca Rodrigues / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T14:24:32Z (GMT). No. of bitstreams: 1 Calipo_Nara1987-_M.pdf: 14940136 bytes, checksum: 52f62fa2fde916ec0bee86fffd964c79 (MD5) Previous issue date: 2012 / Resumo: O objetivo central desta pesquisa foi gerar estudo e análise do desenvolvimento do bailarino-pesquisador-intérprete que já concluiu um processo artístico no método BPI (Bailarino-Pesquisador-Intérprete). A pesquisa se deu a partir da análise da confluência dos conteúdos vivenciados no corpo deste intérprete, na realização de pesquisas de campo no eixo Co-Habitar com a Fonte. A inquietação para a presente pesquisa originou-se no processo anterior, pois a incorporação da personagem Jura, a força que ela trouxe para meu corpo, e a maneira como este passou a criar e se expressar, levaram-me ao questionamento: "quando deixar de dançar 'A Flor do Café', e passar para um novo co-habitar, o que poderá acontecer com Jura? Ela deixará de existir? Se transformará? Como será a interação dos conteúdos no corpo?". A pesquisa de mestrado veio como uma oportunidade para experimentar essa transição e interseção de processos corporais, analisando-os e trazendo-os à tona.!Para tanto, foram realizadas quatro idas a campo do eixo Co-habitar com a Fonte, em campos de qualidades corporais distintas: duas delas no Jalapão, e duas no Bico do Papagaio, ambas regiões do Tocantins. No Jalapão, o foco do co-habitar se deteve nas mulheres artesãs do Capim Dourado, e algumas das manifestações que permeiam seu universo, como a brincadeira da Roda-Chata e a reza da sexta feira da Paixão, junto à Festa dos Caretas (personagens denominados "fantasmas"). No Bico do Papagaio, o foco esteve nas mulheres quebradeiras de coco babaçu e no Terecô, manifestação religiosa agrária, presente no cotidiano destas / Abstract: The objective of this research was to study and analyze the development of dancer-performer-researcher who has previously passed through an artistic process in the DRP method (Dancer-Researcher-Performer). The research took place from the analysis of the confluence of contents experienced in the body of this interpreter, while she was in research field on axis Co-Inhabiting with the Source. The concern for this research originated in the previous process, because the incorporation of Jura character, the strength she brought to my body, and the way it went on to create and express themselves, they took me to the question: "when I stop dancing 'The Flower of Coffee', and move to a new co-dwelling, which may happen to Jura? Will she cease to exist? Will she transform into a new character ? How will be the interaction of the contents in the body? ". The master's research came as an opportunity to experience this transition and intersection of body processes, analyzing them and bringing them to light. To do so, there were four trips to the field on axis Co-Inhabiting with the Source, in different fields of body qualities: two of them in Jalapao, and two in Bico do Papagaio, both regions of Tocantins. At Jalapao, the co-inhabiting was focused on women artisans that work with golden grass, and some of the manifestations that permeate their universe, as the play of Roda-Chata, the prays of the Good Friday, and the Festa dos Caretas (characters called "ghosts"). In Bico do Papagaio, the focus was on female babassu coconut breakers and Terecô, a agrarian religious manifestation, present in the daily life of them / Mestrado / Artes da Cena / Mestra em Artes da Cena

Multimedia technology in theatre is nothing new, but various companies in modern and post-modern Japan, such as Dumb Type, Hatsune Miku, and the robot theatre of Oriza Hirata and Hiroshi Ishiguro, have been experimenting with mediatized technology. This thesis hones in on these Japanese multimedia theatres. It studies the origins of mediatization in theatre, looking at the impact of the innovations made by Adolphe Appia. Furthermore, the growing impact of media technology can create a perception of ‘Liveness’ of these artificial actors. Liveness is a critically important concept, both on and off stage, affecting how one perceives the non-human and the type of relationships that are conveyed between the human and non-human actor, as well as the non-human actor and its human audience. This thesis covers the productions of “A One Woman Show” and a spoiler-heavy discussion on "Super Danganronpa 2 The Stage ~Sayonara Zetsubō Gakuen~" within the context of the impact of projections on stage. Robots and the uncanny valley are also reviewed, with the play "Sayonara" as the primary case study within this topic. Then the thesis analyzes the experimental human theatre of Dumb Type, focusing on their plays "S/N" and "pH," as well Vocaloid concerts and the impact of these characters, especially Hatsune Miku, upon the fans. In the course of this analysis, reasons are suggested as to why these technological innovations have found particular success in Japan. / Graduate

This study highlights aspects of performance for the consideration of the pianist wishing to perform Rachmaninoff’s second piano sonata op. 36, using a combination of the two versions (1913 and 1931) published by Boosey&Hawkes. By providing a background to the composition, revision, and structure of this sonata, the study aims to inspect all aspects of the conception and revision of the work. Through a close examination of two recordings of this sonata - by Vladimir Horowitz and Van Cliburn - the study analyses and compares the performers’ choices regarding the selection and combination of material from the two versions for performance. Aspects such as technical difficulty, texture, structure and sonority are highlighted as points for the pianist to contemplate when attempting an alternative version of this work. These elements of successful performance are singled out by the detailed observation of the material selected by the performers, with conjectures as to the most probable reason for its selection. The various analyses and comparisons are illustrated by means of music examples. / Dissertation (MMus (Performing Arts))--University of Pretoria, 2007. / Music / MMus / unrestricted

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.

The thesis entitled "Legal aspects of organizing music events" deals with musical performances from the perspective of organizers, performers, but also the wider public. The aim is to identify the legal issues that must be seen to by the organizer of musical performances and to evaluate the operation and use of the services of collective rights management societies and to evaluate the impact of copyright infringement and attitude of the society to its violation. The introductory chapter provides an overview of the legislation and discusses copyright and certain organizations that work in this field. The second chapter describes the activities of collective rights management companies. Equally important is the third chapter, which deals with license agreements and the different types of licenses. The final chapter applies the theoretical knowledge gained from previous chapters into practice.