Актуальность исследования обусловлена недостаточным вниманием к сценографии театра современного танца в России. Объектом данной работы являются особенности художественного решения пространства contemporary dance. Предметом – анализ элементов структурирования пространства постановки на примере Екатеринбургского театра Провинциальные танцы, одного из наиболее профессиональных и интересных коллективов в области современной хореографии в России. Неоднозначность трактовок сценографии различных форм dance-театра обусловлена изменением характеристик взаимодействия со зрителем, многовариантностью постановочных пространств, особенностями пластического языка танца, обращающегося к до-рациональному, до-вербальному началу человека. Изменение понимания телесности актера и объектно-субъектных связей постановки, а также сложность и нерасчленимость составляющих элементов постановок contemporary dance позволяют проследить линию соответствия скульптуры и пластического танца, а также особенности взаимодействия этого направления dance-театра с другими формами искусства, объекты которых часто являются неотъемлемой составляющей постановки. / The research is relevant due to the lack of attention to the scenography of Russian contemporary dance. The subject matter of the study are specifics of the art and design of contemporary dance spaces. The scope of the study is an analysis of elements of space structuring in performances by the example of Provincial Dances Theatre (Ekaterinburg) as one of the most professional and interesting groups of contemporary choreography in Russia. Scenography of different forms of dance theatres is interpreted ambiguously due to change of characteristics of arrangement with viewers, multivariance of performance spaces, specific of dance language that appeals to prerational, preverbal human nature. Understanding of artist corporality changes, as well as relations between actors and objects in performance. The elements of contemporary dance performances are complex and indivisible. All of these allows tracing the interactions between sculpture and dance, also the interactions between contemporary dance and other art forms that are often integral to a performance.

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In this essay I examine scenography as a verb, to scenograph, and what it means to consider scenography as a process of development rather than an artifact placed on stage. Based on Deleuze and Guattari's ideas about rhizomatic structures and becomings, carnal aesthetics and phenomenology, I weave together tactile knowledge, the agency of the materials themselves and collective processes in a text about finding the inherent is of a scenography. / I den här essän undersöker jag scenografi som ett verb, att scenografa, och vad det innebär att betrakta scenografi som en process istället för en artefakt placerad på scen. Utifrån Deleuze och Guattaris idéer om rhizomatiska strukturer och blivande, carnal aesthetics och fenomenologi väver jag samman taktil kunskap, materials egen agens och kollektiva processer i en text om att hitta scenografins inneboende själv.

My work explores aspects of the hierarchy between animal and human. I aim to find out how we as humans act, and how we treat animals in a not very humanised way. How would it look like if we would change place with the animals? To explain the different aspects of humanity, the work includes a symbolic language. I use different human coded objects, that works as an index that I’m creating during the master education. Among these objects are for example a hotdog, pommes frites and a bowl with cereals. During the process, another aspect has been added to the specified objects; the children perspective. Since children are more open minded and haven’t learned the structure of society yet, they are a great inspiration for me to learn how to look beyond the hierarchies in society. How do we as humans think before we learn how we should be thinking?  One of the symbols I use is the cow, that works as a symbol for the animal. I have chosen to work with the cow since it is an animal that we use as humans to get milk and meat from, yet the cow is assisting and accepting us no matter what we do to them. I feel sorry for the cow, being a calm animal with no intention to do harm, at the very same time as we as humans kill them with no mercy. As a symbol for the human, I use Leif GW Persson. He is a Swedish TV personality taking and getting a lot of space in everyday society, for example in Swedish television. This project has an ambition to find out more about the hierarchies between different species (including the human). In order to tell the story through children, I have had workshops with them and gotten influenced by their ideas in the making of the installation and embodiment. This is a way for me to get “dehumanised” since children has less time living as human beings and haven’t yet learned how they should behave.  The workshops works as one method in my project, while another method that I’m using is the sloppy craft. Through this method I aim to both show a more childish and naive way of working with textiles, to make it be looking more as if a child would have made it. It’s also a way for me to question the traditions within textile craft, and to challenge the hierarchic system between fine art and the craft field. Furthermore, it’s of importance to me challenging traditions of personal reasons, since I have always been very law-abiding in general and a so called “good girl”, wanting to be accepted by everyone. Through my artwork I am breaking these rules and that is also a big reason why I’m doing what I’m doing. The most important message in my work is still to highlight the hierarchy between animal and human, and I aim to do it with the help of sloppy craft and children.

A dissertação aborda as relações entre arquitetura, artes plásticas e teatro da forma como estas aparecem na obra da arquiteta Lina Bo Bardi. Partindo do estudo das arquiteturas cênicas projetadas entre 1960 e 1985, bem como da trajetória dos diretores e grupos teatrais nelas envolvidos, procuramos identificar os procedimentos projetuais acionados pela arquiteta, assim como as relações estabelecidas com o conjunto de sua obra, investigando possíveis articulações com o panorama artístico nacional e internacional. A investigação em torno da dimensão urbana tomada por algumas das montagens teatrais estudadas, bem como da relação destas com o projeto museográfico e atividades dos museus aos quais a arquiteta esteve ligada (especialmente o Museu de Arte de São Paulo, o Museu de Arte Modena da Bahia e o Museu de Arte Popular do Unhão) nos levou a tecer uma série de possíveis relações entre os campos da arquitetura, das artes plásticas e do teatro, abrindo a possibilidade de reflexão sobre os procedimentos projetuais adotados e sobre as perspectivas vislumbradas para a arquitetura no sentido do que Lina chamou de uma \"re-proposição não perfeccionista do racionalismo\". / The dissertation correlates architeture, fine arts and theatre and how these subjects arise in Lina Bo Bardi´s work. Starting from the study of the scenical projects created between 1960 and 1985 and broaching the director´s and theatrical groups involved on it, this treatise tries to identify the projectual proceedings applied by the architect, as well as the relations established with her work and investigating possible links with with the nacional and international artistic panorama. The analysis of the urban dimension reached by some of the studied plays as well as its approach with the project and the activities developed at the museums to which Lina was related (especially to the São Paulo Art Museum - MASP, to the Bahia´s Modern Art Museum and to the Unhão Popular Art Museum) takes us to possible relations between architecture, fine arts and theatre. It also takes us to possible reflexions on the projectual preceedings adopted and the descried perspectives for architecture, or to what Lina called as a \"re-proposition non perfectionist of the rationalism\".

Made available in DSpace on 2016-04-28T18:24:02Z (GMT). No. of bitstreams: 1 Maisa Aparecida Requena.pdf: 549716 bytes, checksum: e7b3be3f691c87503a9602bc20bdcfdc (MD5) Previous issue date: 2009-05-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study of diversities of creative manifestations in Brazilian people has allowed us to find out personages who discovered an alternative of work to face the unemployment: to produce publicity and selling products inside the Metropolitan trains of São Paulo. It is about the discourses produced by the informal worker whose advertising does not appear in magazines, newspaper, pamphlets, outdoors etc., but have the same goals, which are to publicize, spread ideas and, mainly, to sell products. In this sense, this research has as its objective to analyze the discursive mechanism that characterize the speeches of these informal workers. The research conforms to the theoretical field developed by Dominique Maingueneau, more specifically in the conceptions of Interdiscourse, Scenography and Ethos. From the methodological point of view, we have followed these steps: (i) the observation of the work activities of the workers the discourses produced by them, (ii) field notes about the activity in work circumstances and about the discourses transmitted by the workers and (iii) transcription of some of their speech. The analysis has revealed two groups of discourse: the slogan-discourses and the advertisement-discourse. The first one has showed an enunciative scene compatible with the street market conditions, while in the second one, the developed scene was similar to the auction situation. From the scenography analysis, it has emerged the Ethos of the enunciators of both groups. In the slogan-discourse, the presented Ethos is from an agile, discreet and invisible enunciator, while in the advertisement-discourse, the presented Ethos is from a good-tempered, calm, sympathetic, agile and considerate enunciator. Thus, the workers mobilize many mechanisms in order to create a new model of publicity that aims to legitimate its discourses, generating scenographies and presenting an Ethos / A observação das diversas maneiras de manifestações criativas do povo brasileiro nos permitiu localizar pessoas que encontraram um meio diferente de trabalho para enfrentar o problema da falta de emprego: produzir publicidade e vender produtos no interior dos trens metropolitanos de São Paulo. Trata-se de discursos produzidos pelos vendedores informais cuja publicidade não aparece em revistas, jornais, panfletos, outdoors etc., mas que apresentam os mesmos objetivos, o de divulgar, de propagar idéias e, principalmente, o de vender seus produtos. Nesse sentido, a pesquisa tem por objetivo analisar os mecanismos discursivos que caracterizam a fala do vendedor informal. A investigação se enquadra na perspectiva desenvolvida por Dominique Maingueneau, mais precisamente, nas noções de interdiscurso, cenografia e ethos. Do ponto de vista metodológico, foram seguidas as seguintes etapas: (i) observação da atividade de trabalho dos vendedores e dos discursos produzidos por eles, (ii) anotações de campo sobre a atividade em situação de trabalho e sobre os discursos veiculados pelos vendedores e (iii) transcrição de algumas de suas falas. A análise revelou dois grupos de discursos: os discursos-slogans e os discursos-anúncios. Os primeiros apresentam uma cena de enunciação compatível com à de feira livre e os segundos, são semelhantes à cenografia de um leilão. A partir da análise da cenografia, emergiu o ethos dos enunciadores dos dois grupos. No discurso-slogan, o ethos é o de um enunciador ágil, discreto, invisível, enquanto no discursoanúncio, a imagem discursiva é o de um enunciador bem-humorado, calmo, simpático, ágil e atento aos chamados dos clientes

Made available in DSpace on 2016-04-28T18:24:02Z (GMT). No. of bitstreams: 1 Beatriz Tavares de Souza.pdf: 2701274 bytes, checksum: 6169b8ac66eec8f1bcb8e99ca33a8579 (MD5) Previous issue date: 2009-05-18 / The changes in advertisement speech that goes around in the media is the result that is coming from the social capitalism behavior which has a dynamic consumism. So, the purpose of this research is to investigate the language mechanism which Folha of São Paulo Brazilian Newspaper has all the classified advertisement. The objective is to understand how to build the ethos in enunciation and by enunciation showing as a suitable relation established between enunciator Folha of São Paulo newspaper and co-enunciator reader/consumer, as such setting speech. This scenery was created and developed around the mouse cartoon, protagonist, who is the advertisement boy of Folha of São Paulo classified advertisement who image was changed from time to time by constantly modification specially involving in a inter-speech approach originating from several fields. The theoric perspective based on speech studies, the linguistic structure applied speech and work, linked to research group Atelier speech study that dispatch to language activity in differents contexts that my research look for abstract from advertisement the inter-relation speech showed by the newspaper using a mouse cartoon. . By the material collection to be analyzed, classified advertisement of Folha newspaper, that includes verbal texts and drawn images, turning to an specific discursive speech verb-visual, postulating the theories of the speech analysis on spilling enunciative formulated by Maingueneau (2005a and 2005b) mainly guiding the analytic activity by conception of interdiscursive practice, proposed by this author, that says domain texts in a same field must be interpret using the same semantics level. The methodology will use data that has been already collected; delimit of corpus for analysis; category establishment, analysis strictly speaking / As mudanças nos discursos das propagandas que circulam nos meios de comunicação se devem ao comportamento social capitalista que tem em sua dinâmica o consumismo. Assim, esta pesquisa pretende investigar os mecanismos de linguagem dos quais se dispõe a Folha de S. Paulo, com base na análise do discurso das campanhas publicitárias dos classificados, com o objetivo de depreender como se constrói o ethos na enunciação e pela enunciação para se apresentar como competente por meio da relação estabelecida entre enunciador - jornal Folha de S. Paulo e coenunciador leitor/consumidor, em uma dada cenografia discursiva. Esta cenografia desenvolve-se em torno da figura do rato , protagonista, que se constitui como o garoto propaganda dos Classificados Folha de S. Paulo impressa, cuja figura foi se modificando de tempos em tempos e caracteristicamente envolvendo-se numa abordagem interdiscursiva provenientes de diversos campos. A perspectiva teórica se articula nos estudos da Análise do Discurso, alicerçados em Linguística Aplicada à Linguagem e Trabalho, vinculados ao grupo de pesquisa Atelier estudo dos discursos que remetem à atividade de linguagem em diferentes contextos, em que minha pesquisa procura abstrair dos anúncios a inter-relação discursiva veiculada pelo jornal por meio da figura de um rato. Pelo conjunto do material a ser analisado, propaganda dos classificados jornal Folha, que incluem textos verbais e figuras desenhadas, recorre-se, especificamente, sob a perspectiva discursiva verbovisual, aos postulados teóricos da análise do discurso na vertente enunciativa formuladas por Maingueneau (2005a e 2005b), guiando, principalmente, a atividade analítica pela concepção de prática interdiscursiva, proposta por este autor, a qual alega que textos de domínios em um mesmo campo devem ser interpretados por meio da mesma grade semântica. A metodologia fará uso de caracterização dos dados já coletados; delimitação do corpus para análise; estabelecimento das categorias; análise propriamente dita

Made available in DSpace on 2016-04-28T19:33:48Z (GMT). No. of bitstreams: 1 Anderson Ferreira.pdf: 957266 bytes, checksum: 8080f024791af3d76e84cd18809b43e8 (MD5) Previous issue date: 2014-07-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research is based on studies of the francophone Discourse Analysis and theme is the study of the organization and functioning of discourse in the School of Development and Improvement of Teachers of São Paulo - SDIT, produced under the Department of Education State of Sao Paulo - DESSP. Justified in the present study the possibility of examining how the values and tensions in the discourse of teacher education offered by DESSP are generated, since the circumscribed speeches in Training School mitigate issues essential to the promotion of quality education in nowadays, such as violence in schools, the precariousness of public education, professional development, the autonomy of school management and continuing education of teachers. Our research aims to examine how discursive practices, discourses that produce teacher education at the institutional level, seeking to contribute to the study of discourse and interdiscursive reading in teacher training. The categories of analysis that operationalize reveal us that the discourse of teacher education is rooted in economic and political factors , the hegemonic pedagogies and respond more readily to these clashes , apparently the school setting . The analysis of the relationship of speech interdiscursive SDIT made us watch values and tensions it engenders , but it was from the constitution of the scenography and the discursive ethos that we could see the working mechanisms of this discourse / A presente pesquisa fundamenta-se nos estudos da Análise do Discurso francófona e tem como tema o estudo da organização e do funcionamento do discurso na Escola de Formação e Aperfeiçoamento dos Professores do Estado de São Paulo EFAP, produzido no âmbito da Secretaria de Educação do Estado de São Paulo SEESP. Justifica-se o presente estudo a possibilidade de exame de como são gerados os valores e as tensões no discurso de formação de professores oferecido pela SEESP, já que os discursos circunscritos na Escola de Formação mitigam questões essenciais para a promoção de uma educação de qualidade na atualidade, como a violência nas escolas, a precarização do ensino público, a valorização profissional, a autonomia da gestão escolar e a formação continuada de professores. Nossa pesquisa visa a examinar, como práticas discursivas, os discursos que engendram a formação de professores no âmbito institucional, buscando contribuir para os estudos do discurso e da leitura interdiscursiva nos cursos de formação docente. As categorias de análise que operacionalizamos nos revelam que o discurso de formação de professores está arraigado a fatores econômicos e políticos, às pedagogias hegemônicas e respondem mais facilmente a esses embates, aparentemente, de âmbito escolar. A análise da relação interdiscursiva do discurso da EFAP fez-nos observar valores e tensões que ele engendra, mas foi a partir da constituição da cenografia e do ethos discursivo que pudemos vislumbrar os mecanismos de funcionamento desse discurso

Made available in DSpace on 2016-04-28T19:34:02Z (GMT). No. of bitstreams: 1 Cristiane da Silva Ferreira.pdf: 1980075 bytes, checksum: 06433258777a5f9ba249eca8fe3e1d1c (MD5) Previous issue date: 2015-12-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study deals with the discursive ethos in the literary and musical constituency of country music manner- songs written in verse based on oral narratives that express their composers rural context and whose musical accompaniment is made only by the guitar - produced in 1950 s in São Paulo. Our main objective is to examine how the incorporation of the discursive ethos s intersemiotic traits operates in the construction of the identity of the country music manner songs enunciator s discourse and provides us with different interdiscourses evincing their underlying pretexts. This work s subject has great social and academic relevance, contributing to studies of one of the main cultural expressions of the people who compound São Paulo s historic, social and cultural scenario, which is the country music manner, as well as discussing the ethos s efficiency in the literary and musical genesis. Thus, we advocate that the discursive ethos - comprehended in its intersemiotic dimension, including the linguistic and melodic components - reveals an enshrined corpus, revealing the founding intentions of country music manner s discourse. The corpus is composed of song lyrics, which are nowadays, according to Ribeiro (2006b), the most known and played ones. For this purpose, we based this study on the theoretical and methodological assumptions of the French Discourse Analysis, specifically Maingueneau s theoretical works and the studies of Costa (2011) about the literary and musical discourse. In view of a more consistent apprehension of the discursive ethos, we introduced the methodology of song analysis proposed by Tatit. The analyses showed that the enunciator invests himself of an ethos which values the identity practices established in the discursive memory of the co- enunciator, revealing the founding intentions of the country music manner songs discourse / Esta pesquisa trata sobre o ethos discursivo na constituência lítero-musical da moda de viola produzida na década de 1950, em São Paulo. Para tanto, traçamos como objetivo principal examinar de que forma a incorporação dos traços intersemióticos do ethos discursivo opera na construção da identidade do enunciador do discurso da moda de viola e nos oferece elementos para identificarmos diferentes interdiscursos que comprovem sua ação fundadora. O tema mostra-se de grande relevância social e acadêmica, pois amplia o estudo de uma das principais manifestações culturais de sujeitos que compuseram o cenário histórico-social e cultural de São Paulo, que é a moda de viola; além de discutir sobre a eficácia do ethos no processo de constituência lítero-musical. Diante disso, defendemos a tese de que o ethos discursivo, apreendido em sua dimensão intersemiótica, que compreende os componentes linguístico e melódico, explicita um corpo consagrado, de forma a revelar a ação fundadora do discurso da moda de viola. O corpus é constituído por textos da moda de viola os quais, conforme Ribeiro (2006b), são exemplos dos mais conhecidos e tocados atualmente. Para tanto, embasamo-nos nos pressupostos teórico-metodológicos da Análise do Discurso de linha francesa, advindos dos estudos de Maingueneau (1997, 2007, 2008, 2009, 2010, 2013, 2015) e nos estudos de Costa (2011), acerca do discurso lítero-musical. Tendo em vista uma apreensão mais consistente do ethos discursivo, inserimos a metodologia de análise de canção proposta por Tatit (2012). As análises apontam que o enunciador investe-se de um ethos que valoriza as práticas identitárias alojadas na memória discursiva do co-enunciador, de modo a revelar a ação fundadora do discurso da moda de viola

Identificação e reconstituição das preceptivas da prática cênica no século XVI italiano a partir da análise exegética do \"Tratado sobre as cenas\", pertencente à obra Da arquitetura e Perspectiva do arquiteto e preceptor bolonhês Sebastiano Serlio. O esquadrinhamento dos três gêneros de cenas antigos - tragédia, comédia e sátira -, normatizados por Serlio a partir do escrito vitruviano sobre arquitetura, tem em vista modificações e adequações consoantes à proposição da \"cena moderna\", cuja matéria baseia-se na pintura e na arquitetura, das quais se distingue ao compor assunto próprio às artes cênicas. A cena, perspectiva e tridimensional, ornada com relevos e materiais diversos, é caracterizada por volumes com os quais as personagens interagem, tornando-se espaço próprio à ação cênica, conveniente com o gênero e aparatos. Estendendo-se além da preceituação e confecção dos aparatos cênicos, amplia o ingenium arquitetônico, pela prescrição de ações corporais distintas na figura de personagens em movimento, qualificando matéria da representação cênica, mesmo que ainda não reconhecida como arte autônoma. / Identification and reconstitution of the precepts of stagecraft in the Italian sixteenth century, from the exegetical analysis of the \"Treaty on the scene\", belonging to the work Of architecture and perspective, of the bolognese architect and preceptor, Sebastiano Serlio. The scrutinizing of the three ancient genres of scenes - tragedy, comedy and satire - normalized by Serlio from Vitruvius writing about architecture, aim modifications and adaptations according to the proposition of the \'modern scene\', whose subject matter has its foundations in painting and architecture, from which it distinguishes itself by being proper subject to the performing arts. The scene, three-dimensional and perspective, adorned with reliefs and various materials, is characterized by volumes with which the characters interact, becoming appropriate space to stage action, convenient to the genre and apparatuses. Extending beyond the preception and confection of scenic devices, amplifies the architectural ingenium, by prescribing distinct corporal actions in the figure of characters in motion, qualifying it as matter of scenic representation, even if not yet recognized as autonomous art.