Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:00:44Z No. of bitstreams: 1 KatiaCelyaneFariasSchmitt_DISSERT.pdf: 5397773 bytes, checksum: ebe8582d8bf49bb6cda2cd3c7a30b06e (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-16T18:18:31Z (GMT) No. of bitstreams: 1 KatiaCelyaneFariasSchmitt_DISSERT.pdf: 5397773 bytes, checksum: ebe8582d8bf49bb6cda2cd3c7a30b06e (MD5) / Made available in DSpace on 2018-03-16T18:18:31Z (GMT). No. of bitstreams: 1 KatiaCelyaneFariasSchmitt_DISSERT.pdf: 5397773 bytes, checksum: ebe8582d8bf49bb6cda2cd3c7a30b06e (MD5) Previous issue date: 2017-03-08 / Esta pesquisa buscou aprofundar os estudos sobre t?cnicas de prepara??o do ator e da atriz no contexto da fic??o televisiva, linguagem popularmente difundida em nosso pa?s, por?m pouco estudada sob o prisma da atua??o. A investiga??o partiu da experi?ncia da autora na dire??o de teledramaturgia do programa Ci?ncia Aberta, produzido pela TV UFPB, o qual aborda a rela??o entre o conhecimento cient?fico e o saber popular utilizando-se da linguagem jornal?stica e da teledramaturgia, respectivamente, em uma est?tica que revela o processo de cria??o dos atores e atrizes a partir da metalinguagem. Prop?s-se, ent?o, um di?logo com estudos te?ricos das ?reas do cinema, do teatro e da televis?o, lan?ando um olhar sobre as rela??es de fronteira e contamina??o que se estabelecem entre elas, especificamente no tocante ?s t?cnicas de atua??o. Realizou-se ainda uma interlocu??o com entrevistas cedidas por atores, atrizes, diretora de televis?o e preparadora de atores, em busca de um entendimento sobre as rela??es entre ator/atriz e c?mera e seus desdobramentos na cria??o art?stica em televis?o. A etapa pr?tica da pesquisa consistiu na realiza??o de uma oficina realizada com estudantes dos cursos de Teatro, Cinema, R?dio e Tv e M?dias Digitais da UFPB, al?m de atores e atrizes da cidade, e resultou na constru??o do primeiro epis?dio da segunda temporada do programa Ci?ncia Aberta, no qual se busca a radicaliza??o do que j? fora proposto na primeira temporada do programa: o aprofundamento e explicita??o dos processos de cria??o do ator e da atriz, os modos de produ??o audiovisual, as metodologias e conceitos de suporte da cria??o. Nortearam este trabalho os autores Arlindo Machado, que explana sobre o universo do audiovisual, Jackeline Nacache, que concentra sua pesquisa no ator/atriz de cinema, Constantin Stanislavski, cujos estudos sobre o ator/atriz s?o a base para diversas t?cnicas de atua??o, seja no teatro ou no cinema, e Walmeri Ribeiro, que aborda a rela??o de co-cria??o do ator/atriz no audiovisual. Pretendeu-se com esta pesquisa contribuir para a reflex?o e discuss?o sobre a forma??o do ator e como as artes c?nicas se integram aos modos de produ??o na televis?o brasileira contempor?nea, em particular, no ?mbito da atua??o para a c?mera. / This research sought to deepen the studies about the actor's creative process in fiction on the television context, this popularly known language, but still poorly studied under the actor?s point of view. This investigation has departed from the author?s experience as director of teledramaturgy at the Ci?ncia Aberta show, produced by TV UFPB. This show approaches the relationship between scientific and popular knowledge using journalistic and teledramaturgic language respectively, in an aesthetic that reveals actor?s creative process through metalanguage. Therefore, has proposed to the dialogue with the theoretical studies in the fields of cinema, theatre, and television, attempting to enlighten their frontiers of relation and contamination, specifically, in the actor's preparation technique. It has also performed an interlocution that attends interviews with television?s actors and directors as well as experiences reports to search an understanding about the relationship between actor\camera and its developments in television artistic creation. The practical stage of the research has carried out a workshop held with actors and students enrolled in theatre course of UFPB, that has resulted in the construction of the Ci?ncia Aberta show's first episode of the second season, which has sought to radicalize what has been proposed in the first season of the show: the deepening and explanation of the creative process of the actor, modes of audiovisual production, methodologies and support concepts of creation. This work was conceptually guided by the authors Arlindo Machado, who explains about the audiovisual world, Jackeline Nacache, that focuses on cinema?s actors and actresses, Constantin Stanislavski, whose studies on the actor are the base for several techniques of acting both in theater and cinema, and Walmeri Ribeiro, which addresses the actor's co-creation relationship in the audiovisual. With this research, we have intended to contribute to the reflection and discussion about the actor?s formation and the production modes in Brazilian contemporary television, particularly in the context of acting for the camera.

Made available in DSpace on 2014-12-17T14:00:14Z (GMT). No. of bitstreams: 1 AnaCSGV_DISSERT.pdf: 2411385 bytes, checksum: 4a42a73764ed85685b21a1e2942f69e0 (MD5) Previous issue date: 2011-04-26 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas / Embora a pesquisa no ?mbito das artes c?nicas tenha se desenvolvido substancialmente no ?ltimo s?culo, o ator, de modo geral, ainda hoje, carece de um repert?rio de referenciais espec?ficos para apoiar ou orientar sua pr?tica. Mas como o ator deve trabalhar a base material de sua arte, ou seja, seu pr?prio corpo? Partindo da prerrogativa de uma idiossincrasia presente no fazer teatral, este estudo pretende, a partir da descri??o e reflex?o acerca de uma viv?ncia corporal com o Tai Chi, tecer rela??es entre essa experi?ncia e os poss?veis desdobramentos com rela??o ? prepara??o do ator. A pesquisa tem por intuito tamb?m destacar os elementos de aproxima??o entre os princ?pios que regem a pr?tica do Tai Chi e o corpo sem ?rg?os, idealizado por Artaud, na perspectiva de apontar poss?veis contribui??es no que diz respeito ao trabalho do ator. O trabalho aqui apresentado refere-se a um estudo de natureza qualitativa que considera a experi?ncia do corpo na pr?tica do Tai Chi como uma refer?ncia para dialogar e refletir acerca da prepara??o do ator. No teatro, o processo de prepara??o do ator pressup?e um constante refazimento do corpo atrav?s de determinadas pr?ticas. A minha experi?ncia no Tai Chi no ?mbito dessa pesquisa me permitiu verificar que o trabalho a partir de t?cnicas corporais pr?-estabelecidas pode ser uma forma de preparo t?cnico para o ator. ? medida que amplia a consci?ncia corporal, o Tai Chi promove uma maior liberdade de cria??o e express?o e proporciona ao ator a possibilidade de experienciar o corpo sem ?rg?os, o equivalente art?stico do corpo cotidiano, a experi?ncia do corpo presente, consciente, a base org?nica das emo??es, atrav?s do qual ? poss?vel a materialidade das ideias