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Esta pesquisa compreende a voz como uma evidência sonoro-musical para o que se entende por gesto no movimento do corpo. Trata-se de um estudo que gera reflexões sobre o corpo e suas sonoridades. Sem dicotomizar corpo e voz, mas entendendo-os como uma estrutura indivisível, as hipóteses sonorizam ressonâncias: corporal - enquanto estrutura física; social - que é a comunicação com o meio, e musical - quando a problematiza desarticulando a semântica da comunição verbal a fim de conceituar a prosódia da fala como processo comunicante, efetivando a comunicação pela sensibilização de escuta do corpo. A pesquisa desdobra-se cênica e politicamente, quando coloca em debate o processo criativo do artista, sobre o uso da voz, e também fomenta reflexões quando pensa a voz como corpo. À luz dos pensamentos de Klauss Vianna e da prática na Técnica Klauss Vianna, que têm as instruções como eventos facilitadores no processo de percepção do corpo, os movimentos (corporais, musicais, vocais etc.) já se configuram sintaxe e semântica da expressão artística , assim, pauta-se na compreensão de que tudo começa no corpo, pois tudo que somos é corpo. / ABSTRACT This research comprehends the voice as a sound-musical evidence for what is meant by gesture in the movement of the body. It is a study that generates reflections about the body and its sonorities. Without dichotomizing body and voice, but understanding them as an indivisible structure, the hypotheses sound resonances: corporal - as a physical structure; social - that is the communication with the environment, and musical - when he problematizes it by disarticulating the semantics of verbal communication in order to conceptualize the prosody of speech as communicating process, effecting communication by sensitization of listening to the body. The research unfolds scenicly and politically, when it puts into debate the creative process of the artist, on the use of the voice, and also fosters reflections when he thinks the voice as body. In the light of Klauss Vianna\'s thoughts and practice in the Klauss Vianna Technique, which have instructions as facilitating events in the process of body perception, movements (bodily, musical, vocal, etc.) already form syntax and semantics of artistic expression, thus, it is based on the understanding that everything begins in the body, for all that we are is body.

Jag sökte utbildningen därför att jag hade ett uppdämt behov av att reflektera och komma vidare i min kreativa utveckling. När jag kom till Svarta Speglar var jag alltså i begrepp att börja något nytt, som legat och pockat på i flera år men av olika skäl inte kommit fram. Jag ville bli mera självständig och fristående i mitt skapande. Jag ville arbeta med min egen musik och mig själv även som artist och sångerska, inte enbart instrumentalist och bandmedlem. Jag såg det som så att orsaken att jag inte drivit mina egna projekt ligger hos mig själv och delvis grundas i överdrivet negativ självkritik. Därför valde jag efter viss tankemöda att utforska den inre kritikern och hur den kan gå bärsärkagång och allvarligt skada vårt - mitt - konstnärskap. Då jag kom till kursen mottogs jag med värme av mina nya klasskamrater som redan börjat två dagar tidigare. De teater- och yogaövningar som gjordes på golvet öppnade upp och svetsade samman gruppen på ett djupare plan än enbart ord kan göra. Klassen kallas för ”kören”, inspirerat av den grekiska kören. Vi skulle spegla varandra och använda oss av varandras erfarenheter och blickar i arbetet. Utmaningarna haglade, vi arbetade hårt och jag njöt. Nästa fas innebar att var och en skulle leda gruppen i ”labb” där man skulle utforska sin konstnärliga frågeställning. Jag utforskade ledarskap, röst, negativa tankar,var de kommer ifrån och ritualer för att göra sig av med dem, och som avslutning bjöd jag in gruppen att musicera med mig. Jag hade även en konstnärlig utmaning: att spela egna, nyskrivna låtar ensam för gruppen. Allas labb var djupa, tankeväckande och kraftfulla, och många gånger emotionellt omskakande. Det var ett stort privilegium att få delta i så många kreativa människors processer som de delade med så stor öppenhet och stort mod. Andras processer närde och hjälpte min. Svarta Speglar handlar mycket om att få syn på saker och att våga pröva. Enkelt och svårt samtidigt. I nästa fas arbetade vi med att skriva, vilket mest kändes som en underbar lek för mig, något jag inte gjort, förutom sångtexter, på oerhört länge. Här fick vi backa från det emotionella jobbet och ta in de mentala processerna mera, observera och arbeta med former. Delvis pga mycket intensivt arbete även utanför skolan var jag uttröttad efter påsk då vi skulle göra ett andra labb. Jag föll ned i en svart svacka av ifrågasättande, kraftlöshet och apati. Vi arbetade med clown och schamantekniker som går djupt i det undermedvetna och inte tillåter förställning på något sätt. Gamla sår revs upp och mitt förtroende fick en knäck. Jag var vilse och övervägde att sluta på kursen. Frasen ”De Brända Landen” ekade i mitt huvud. Var jag slut? Var det ens meningsfullt att fortsätta försöka utvecklas? En gammal bok föll då ur min bokhylla: Hal & Sidra Stone: Voice Dialogue. Jag bestämde mig för att göra övningar ur boken och renodla och gestalta vad boken kallade min Inre Kritiker - låta den komma till tals helt ostörd och låta mina klasskamrater intervjua den. Detta gjorde jag i mitt andra labb. Det jag kom fram till då redovisades på scen i publikmötet vid terminsavslutningen. Efter sommaren återförenades vi. Jag hade jobbat som teatermusiker under sommaren i min vanliga musikerroll som medlem i ett band. Reflektion och inre utveckling hade fått vänta. Vi reste till Tallinn och arbetade med en kraftfull teknik som kallas Kroppslig läsning av platser. Denna teknik leder till ett förhöjt medvetandetillstånd och en intensiv närvaro i nuet. Sedan filtreras 2. ens upplevelser genom ens eget urval bland de intryck man minns. Slutresultaten kan ofta förvåna och säga något om en själv, samt ge stoff till konstnärligt arbete. Denna termin har för mig handlat om uppsamlande men även gett nya upptäckter. Saker har mognat och frågeställningen djupnat och blivit mer komplex. I dagsläget vill jag skriva om Den Inre Kritikern, och också om historier vi berättar om oss själva, och om att läka emotionella sår genom kreativiteten.

This thesis traces operations of destruction in visual cultures, describing these operations as they manifest in films and visual art practices. Beginning with Georges Bataille’s general economy of energy, as it appears in The Accursed Share, this thesis deploys the concept of the simulacrum to argue that the operations of destructions in visual cultures produce particular forms of sovereign experience. It argues that while the object of expenditure can only be unique to each site of sovereign experience, appearance of an operation of destruction that produces the possibility of that sovereign experience remains consistent. Bataille’s sovereignty cannot be specified in relation to either the individual or the universal, because, as Bataille demonstrates, sites of sovereign expenditure are temporally, materially and culturally specific, unable to be repeated without differentiation, and unable to be expressed fully after the fact. In order to argue this position, I deploy Bataille’s economics of destruction which operates within the specific realm of visual cultural theory. Orientations derived from Bataille’s work are positioned alongside the work of other theorists, and in particular, Pierre Klossowski and Gilles Deleuze, to produce a unique theoretical basis for the operation of art in culture. The thesis offers a theoretical development in the problem of representation in Bataille’s work in the form of the simulacrum after Gilles Deleuze’s Logic of Sense. Each chapter is paired with another in a conceptual inversion that locates destructions in film, screen media and visual art practices. The thesis engages with operations of destruction in architecture, human extinction, identity and communication (through the performance of the artist and community in film), the physicality of destruction in the body and in sexuality, and finally, the order of destruction in the apparent dematerialisation of the image in digital culture.

Made available in DSpace on 2016-04-25T20:20:01Z (GMT). No. of bitstreams: 1 CICERA VANESSA MAIA.pdf: 2807072 bytes, checksum: ed747b4322c9d2ae6d0e7bdc0aa76d78 (MD5) Previous issue date: 2010-11-12 / This study aimed to understand the experiences of students in classes for the Performing Arts at CEFET-MG so that try to establish the parallel between the created characters from the scenic laboratories, mirror exercises, integrating them until the final scene elaborated by them in the classroom. It is a collaborative research (auto) biographical, ie the life narratives and oral and written reports that traces the history and retrieve past events, reflective observation made by means of systematic and cyclical processes of reflection in and on action. To collect the information were carried out three questionnaires during the school year. A major objective would be to understand why the characters are archetypes fulfill the scenes of anti-heroes created by students from their own images reflected in the mirror. The student understands that this young hero and antihero in building their own identity? How effective is the way to look, see, realize feel, think, create, recognize, develop and then represent the character. The text is collective production of several characters. At the time of construction of the spectacle, after experiencing what each brought to the scene the students in an effort to become effective team in the rite of passage that makes up the scenario. The main outcome of the stage production where the stories and actors mingle and meet represented by heroes of everyday life, an example of men on stage / O presente estudo teve como objetivo compreender as experiências dos alunos nas aulas de Artes Cênicas no CEFET-MG, para então tentar estabelecer o paralelo entre as personagens criadas a partir dos laboratórios cênicos, exercícios do espelho, até integrá-las a cena final elaborada por eles na sala de aula. É uma pesquisa colaborativa (auto) biográfica, ou seja, realizada por meio narrativa de vida e relatos orais e escritos que reconstitui a história e recupera os acontecimentos passados, observação reflexiva realizada por meio de processos cíclicos e sistemáticos de reflexão na e sobre a ação, conforme Ibiapina (2008). Com abordagem metodológica qualitativa a análise foi realizada com base nas atividades cênicas que ocorreram no período de 2009 (segundo semestre) e 2010 (primeiro semestre) em que participaram alunos de três turmas; Eletrotécnica, Eletrônica e Equipamentos Biomédicos do CEFET-MG que cursavam o primeiro ano do ensino médio. Para a coleta inicial das informações foram aplicados três questionários durante o ano letivo. Neste instrumento os estudantes apontaram o sentido da experiência vivenciada, o que posteriormente, serviu para a construção da metodologia das aulas de artes cênicas. Um dos principais objetivos foi o de entender por que as personagens que preenchem as cenas são arquétipos de antiheróis criados pelos alunos a partir das próprias imagens refletidas no espelho. As perguntas que instigaram o ciclo reflexivo foram: O que esse jovem aluno compreende como herói e anti-herói na construção da sua própria identidade? Como se efetiva a passagem de olhar, ver, perceber, sentir, refletir, criar, reconhecer, conceber para então representar determinado personagem. Como o texto é produção coletiva de várias personagens, naquele momento de construção do espetáculo, após experimentar o que cada um propôs para a sua cena, os alunos, no esforço de equipe, efetivam o ritual de passagem que compõe a encenação. O principal resultado da montagem teatral onde as histórias e atores se permeiam e se preenchem é representar heróis que pertencem ao seu cotidiano

Made available in DSpace on 2016-04-26T14:52:55Z (GMT). No. of bitstreams: 1 CICERA VANESSA MAIA.pdf: 2807072 bytes, checksum: ed747b4322c9d2ae6d0e7bdc0aa76d78 (MD5) Previous issue date: 2010-11-12 / This study aimed to understand the experiences of students in classes for the Performing Arts at CEFET-MG so that try to establish the parallel between the created characters from the scenic laboratories, mirror exercises, integrating them until the final scene elaborated by them in the classroom. It is a collaborative research (auto) biographical, ie the life narratives and oral and written reports that traces the history and retrieve past events, reflective observation made by means of systematic and cyclical processes of reflection in and on action. To collect the information were carried out three questionnaires during the school year. A major objective would be to understand why the characters are archetypes fulfill the scenes of anti-heroes created by students from their own images reflected in the mirror. The student understands that this young hero and antihero in building their own identity? How effective is the way to look, see, realize feel, think, create, recognize, develop and then represent the character. The text is collective production of several characters. At the time of construction of the spectacle, after experiencing what each brought to the scene the students in an effort to become effective team in the rite of passage that makes up the scenario. The main outcome of the stage production where the stories and actors mingle and meet represented by heroes of everyday life, an example of men on stage / O presente estudo teve como objetivo compreender as experiências dos alunos nas aulas de Artes Cênicas no CEFET-MG, para então tentar estabelecer o paralelo entre as personagens criadas a partir dos laboratórios cênicos, exercícios do espelho, até integrá-las a cena final elaborada por eles na sala de aula. É uma pesquisa colaborativa (auto) biográfica, ou seja, realizada por meio narrativa de vida e relatos orais e escritos que reconstitui a história e recupera os acontecimentos passados, observação reflexiva realizada por meio de processos cíclicos e sistemáticos de reflexão na e sobre a ação, conforme Ibiapina (2008). Com abordagem metodológica qualitativa a análise foi realizada com base nas atividades cênicas que ocorreram no período de 2009 (segundo semestre) e 2010 (primeiro semestre) em que participaram alunos de três turmas; Eletrotécnica, Eletrônica e Equipamentos Biomédicos do CEFET-MG que cursavam o primeiro ano do ensino médio. Para a coleta inicial das informações foram aplicados três questionários durante o ano letivo. Neste instrumento os estudantes apontaram o sentido da experiência vivenciada, o que posteriormente, serviu para a construção da metodologia das aulas de artes cênicas. Um dos principais objetivos foi o de entender por que as personagens que preenchem as cenas são arquétipos de antiheróis criados pelos alunos a partir das próprias imagens refletidas no espelho. As perguntas que instigaram o ciclo reflexivo foram: O que esse jovem aluno compreende como herói e anti-herói na construção da sua própria identidade? Como se efetiva a passagem de olhar, ver, perceber, sentir, refletir, criar, reconhecer, conceber para então representar determinado personagem. Como o texto é produção coletiva de várias personagens, naquele momento de construção do espetáculo, após experimentar o que cada um propôs para a sua cena, os alunos, no esforço de equipe, efetivam o ritual de passagem que compõe a encenação. O principal resultado da montagem teatral onde as histórias e atores se permeiam e se preenchem é representar heróis que pertencem ao seu cotidiano

This dissertation studies the creative practices of citizens who use cultural resources to engage in political criticism in contemporary Cuba. I argue that, in order to become visible as political subjects in the public sphere, these citizens appeal to cultural forms and narratives of self-representation that elucidate the struggles for recognition faced by emerging social actors. I examine blogs, garage bands, art performances, home art exhibits, digital literary supplements, improvised academies, and informal networks of publication that, as forms of aesthetic experimentation with stories of everyday life, disclose a social text. I suggest that their narrative choices emphasize their status as 'regular citizens' in order to distinguish themselves from both traditional voices of political opposition and institutionally accredited cultural producers--professional artists, academics, musicians. This recasts sites of cultural production as models of alternative citizenship where the concept of the political is re-imagined and where the commonplace, pejorative meaning of the term amateur is contested. On the fringes of the republic of letters, adjacent to traditional sites of cultural production, these oblique uses of culture consequently question legitimate forms of public speech. They demand that the way in which the relationship between aesthetics and politics in Cuba has been traditionally studied be reconsidered. Read in tandem with discourses against and about them from the lettered city--in literature, cultural criticism, film, and visual arts--I also follow the trope of the amateur under revolutionary cultural politics. I suggest that these contemporary voices have a contradictory genealogy in the cultural practices of the early decades of the Cuban Revolution. I try to show that these cultural practices become politically and socially significant because they try to resist--though not always successfully--cooptation by two forces: the remnant of bureaucratic, state-capitalist tendencies on one hand, and the rapid commercialization of popular culture for a foreign audience on the other. As a result, both the reconfigurations of the cultural field and the contested meanings of democracy in post-Cold War Cuba are re-examined through a reading of informal hubs of cultural production. The functions of culture in late socialism can be then comparatively studied by looking at an institutional framework in transition through the social and political subjectivities that are both expressed in, and constituted by, corresponding aesthetic practices and forms.

This dissertation is a qualitative sociological account of how adults involved in the play of improvisational comedy theatre use gender in their performance. I take play seriously as an important frame of social life where culture is actively maintained, created and put on display. My approach is a micro-interactional one analyzing moments of humor dealing with social categories via video recordings. As my case study I use performances of improvisational comedy theatre at the Upright Citizens Brigade (UCB) Theatre in New York City, one of the world’s premier improv comedy theatres, to observe adults actively engaging in play with each other, a space where men find disproportionate institutional success. Building on the frame theory of Cecilia Ridgeway, I look at when gender stereotypes are invoked in creating spontaneous scenes of human interaction, and in so doing, to what extent performers are able to work through “straitjackets” of social conventions, focusing on the distinction between scenes making fun of sexism verse scenes that are merely sexist. I look at the ways that though people occupy a role, there is room for them to improvise within that role, adopting different strategies for comedic success. To this end, I conclude by comparing Shamus Khan’s range of masculine expressional opportunities theory, as presented in his work Privilege, with Robb Willer’s account of the masculine overcompensation thesis, arguing that the way in which male presenting improvisers are able to adopt the comedic strategies of minority groups under the guise of irony, thereby securing that the number of expressional opportunities available to them is greater than other groups, ensures the continuation of their dominance.

A presente pesquisa explora o YouTube como campo de criação da performance art contemporânea. Em primeiro lugar o site é abordado com foco em suas implicações culturais, empregando tanto uma bibliografia específica sobre o YouTube como autores que refletem sobre a subjetividade contemporânea, destacando-se neles aspectos que se relacionam com as práticas dos usuários do site. Em seguida é analisada uma seleção de obras de performance no YouTube realizadas por artistas de diversas nacionalidades. Elas estão reunidas em cinco vetores: #camgirlsattwhores, que trata da mulher e do feminismo na internet, apoiando-se principalmente no trabalho de Erica Scourti; #persona-ironia, que se baseia nas teorizações de Renato Cohen sobre a persona performática; #anti-confissão, que aborda a prática da confissão segundo conceitos desenvolvidos por Michel Foucault, Óscar Cornago e Christopher Lasch; #corpo-efeitos, no qual a principal referência é o trabalho de N. Katherine Hayles sobre o pós-humanismo; e #prank, que conta com as teorizações de V. Vale e Fábio Salvatti. Na etapa final, são realizados experimentos práticos no YouTube, inspirados nos ideais de Joseph Beuys e Allan Kaprow, e nas práticas artísticas de Petra Cortright. A pesquisa articula, portanto, diversas perspectivas culturais e artísticas, tanto teóricas quanto práticas, para apreender o objeto de estudo, defendendo um novo tipo de arte que transborde o mercado e as categorias tradicionais e propondo um uso desartístico e lúdico das tecnologias atuais. / This work explores YouTube as a field for contemporary performance art creation. Firstly, the research approaches the website focusing in its cultural implications, investigating specific literature about YouTube as well as authors that reflect upon contemporary subjectivities, highlighting in them aspects that relate to the website users\' practices. Then, it analyses a selection of works by performers of various nationalities, gathering them in five vectors: #camgirls-attwhores, which deals with women and feminismo on the internet, relying mainly on Erica Scourti\'s work; #persona-irony, which is based on Renato Cohen theories on the performative persona; #anti-confession, which addresses the practice of confession making use of concepts by Michel Foucault, Óscar Cornago and Christopher Lasch; #body-effects, in which the main reference is the work of N. Katherine Hayles on post-humanism and #prank, which relies on writings by V. Vale and Fábio Salvatti. Finally, practical artistic experiments on YouTube are carried out, inspired by the ideas of Joseph Beuys and the artistic practices of Petra Cortright. Therefore, the research has articulated multiple cultural and artistic perspectives, both theoretical and practical, to seize the object of study, advocating a new kind of art, one that overflows traditional categories and the art market and proposing an unartistic and playful use of current technologies.

楊紅. / 論文(哲學博士)--香港中文大學, 2004. / 參考文獻 (p. 320-336). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts also in English. / Yang Hong. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (p. 320-336).