Thesis (M.A. (Fine Art)) - Rhodes University, 2009.

Thesis (M.A.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Advisor: Eve Wiederhold; submitted to the Dept. of English. Includes bibliographical references (p. 43-44, p. 96-97).

Thesis (M.A.)--Miami University, Dept. of Theatre, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 74-78).

Thesis (M.A.)--Georgia State University, 2006. / Title from title screen. Susan Richmond, committee chair; Nancy Floyd, Maria P. Gindhart, committee members. Electronic text (127 p. : iil. (mostly col.)) : digital, PDF file. Description based on contents viewed June 20, 2007. Includes bibliographical references (p. 121-127).

Thesis (Ph. D.)--University of Iowa, 2000. / Supervisor: Adalaide Morris. Title-page, preliminaries, Certificate of approval, and Table of contents issued in paper (x, 6 leaves ; 28 cm.). Includes bibliographical references. Also issued on CD-ROM (35 files, 132 megabytes).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Grounded on a research based theoretical, historical and critical, the present speech focuses on a study about technical, aesthetic and conceptual possibilities of the live performances image-document. While technical images based on photographic and videographic apparatus, the documents are understood like possible alternatives to knowledge of the performance art, yet have being fragmentarily portrayed and essentially changed by media. As a study object, the images of the production of the porto-alegrense artist Claudia Paim are analyzed. / Fundamentada em uma pesquisa de base teórica, histórica e crítica , a presente dissertação contempla um estudo sobre as possibilidades técnicas, estéticas e conceituais da imagem-registro de performances presenciais. Enquanto imagens técnicas baseadas em dispositivos fotográficos e videográficos, os registros são entendidos como alternativas plausíveis para o conhecimento da arte da performance, ainda que seja fragmentariamente retratada e fundamentalmente alterada pela mudança do meio. Como objeto de estudo, são analisadas as imagens geradas na produção das performances da artista porto-alegrense Claudia Paim. Palavras-

Orientador: Carminda Mendes André / Banca: Maria Helena Franco de Araújo Bastos / Banca: Celso Fernando Favarreto / Resumo: À luz das chamadas teorias da performance, realizamos uma leitura crítica das considerações feitas pelo filósofo francês Michel de Certeau, acerca do ato de andar pelas cidades. Nesse sentido, propomos que as caminhadas pelas cidades podem ser lidas como Performances Corporais Cotidianas Urbanas, isto pois, aparentemente consistem em repetições estilizadas do ato de andar pelas cidades que promovem determinadas estilizações do corpo cotidiano urbano. Assim sendo, inferimos que tais performances corporais cotidianas urbanas acionam uma série de automatismos motores, perceptivos e cognitivos no e pelo corpo cotidiano urbano, ao implementarem um determinado regime perceptivocognitivo que temos nomeado como Anestética Corporal Urbana. Por fim, acreditamos que o reconhecimento da anestética corporal urbana torna-se primordial para a desobediência às performances corporais cotidianas urbanas, tal qual certos artistas da performance têm feito desde a passagem do século XIX para o Século XX até esse início de século XXI. Para tanto, tais performadores têm experimentado a emergência do que temos entendido como Corpo Urbano Errático no e pelo exercício do ato de andar pelas cidades como prática artística, a exemplo daquilo que tem sido denominado como Errância Urbana. / Abstract: In light of the so-called performance theories, we have conducted a critical reading of the considerations made by the french philosopher Michel de Certeau about the act of walking through the cities. In this sense, we propose that the walks around the cities can be read as Everyday Urban Bodily Performances, that is, they seem to consist of stylized repetitions of the act of walking around the cities that promote certain stylizations of the everyday urban body. Thus, we infer that such everyday urban bodily performances trigger a series of motor, perceptual and cognitive automatisms in and through the everyday urban body by implementing a certain perceptive-cognitive regime that we have named as Urban Body Anesthetics. Finally, we believe that the recognition of urban body anesthetics becomes essential for the disobedience of the everyday urban bodily performances, as certain performance artists have done since the passage from the nineteenth to the twentieth century, until the beginning of the twenty-first century. For such, said performers have been experiencing the emergence of what we have understood as the Erratic Urban Body in and through the exercise of the act of walking around the cities as an artistic practice, to the example of what has been called Urban Errancies / Mestre

Orientador: José Paiani Spaniol / Banca: Marco Buti / Banca: Oriana Duarte / Resumo: Os trabalhos abordados nesta dissertação possuem a característica de serem projetos compartilhados, desenvolvidos em áreas onde as questões entre natureza e civilização estão em constante conflito. São intervenções que têm a pintura como fundamento, sendo realizadas com diversas parcerias, como associações de trabalhadores, órgãos governamentais e cooperativas. Descrever o processo de ação, discutir o lugar, as relações construídas, as estratégias variadas, assim como as influências poéticas são os objetivos principais. Uma exposição no Instituto de Artes da Unesp e a performance Calafatecompletam esse trabalho / Abstract: The work described in this dissertation refers to a characteristic of shared projects developed in areas where issues between nature and civilization are in constant con"ict. These interventions, that have paintings as a foundation, have been conducted with several partnerships, such as labor unions, government agencies and work cooperative groups. The main objectives of this work: a description of the action process, discussion about the location, the relationships built in the process, the various strategies used, as well the poetic influences. An Art Exhibition at the Art Institute of Unesp complete this work / Mestre

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.

This paper is a conceptual, theoretical, and methodological exploration of my MFA thesis project (Dis)connections. My work combines time-based media, objects, and performance into a single installation that represents my struggles with anxiety and my desire to connect with people socially. My work is ultimately about the complexity of the structures of language and communication in all their forms and representations. I draw on research into feminist theory and gender studies as well as cultural theory as a way to ground my work in political and social issues that are continually relevant in Western culture, and to propose that by situating my stories within larger structures of power they have the ability to connect to a wider group of people.