Orientador: Renato Ferracini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T02:32:43Z (GMT). No. of bitstreams: 1 Lemes_RenataKelydaSilva_M.pdf: 6044153 bytes, checksum: 0e30990b15bce433e8dcad7b74f1a4d9 (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa aborda, por meio do trabalho da Companhia do Miolo, experiências que visam refletir acerca da preparação do ator para a linguagem cênica de rua. As perguntas a que se tenta responder no decorrer do trabalho formularam-se a partir da pratica da pesquisadora e agora resultam no que se designou como percurso, visto tratar-se de uma abordagem hibrida e movente, que se atravessa e se transforma a medida do trilhar, pois este e o principio do trabalho do ator na rua. Desse modo, a pesquisa observou cuidadosamente três aspectos considerados fundamentais para a preparação do ator na rua: O principio do olhar sobre a paisagem; a relação corpo e espaço urbano; a relação entre o ator e o outro (espectador). O trabalho do ator na rua visto pela experiência artística da Companhia do Miolo leva em consideração elementos da urbanidade no contexto da cidade de São Paulo e investiga essa preparação tendo em vista essa experiência urbana. Por fim, a pesquisa apresenta relatos de grupos de teatro de rua sobre essa preparação, tentando flagrar a diversidade e a multiplicidade que perpassam a resposta a pergunta inicial desta pesquisa: em que consiste a preparação para o ator na rua? / Abstract: This research tackles, through the work of the Companhia do Miolo, with experiences that seek to reflect on the preparation of the actor for the cenic language of the street. The questions that we try to answer along this work were formulated based on the pratic of the researcher and now result in what is refered as track, since it is an hibrid and moving approach, that one crosses and changes while tracking it, for this is the principle of the work of the actor in the street. So, the reserach carefully observed three aspects considered as basic for the preparation of the actor in the street: The principle of the look at the landscape; the relation between the body and the urban space; the relation between the actor an the other (espectator). The work of the actor in the street seen through the artistic experience of the Companhia do Miolo takes in consideration elements of the urbanity in the context of the city of Sao Paulo and investigates this preparation having in mind this urban experience. Finally, the research presents the testimony of groups of street theatre about this preparation, trying to catch the diversity and multiplicity that are present in the inicial question of this research: in what consists the preparation for the actor in the street? / Mestrado / Artes Cenicas / Mestre em Artes

Orientador: Ernesto Giovanni Boccara / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:33:56Z (GMT). No. of bitstreams: 1 Campos_JoaoCarlosBaptista_D.pdf: 6534803 bytes, checksum: f05c1c400fe0140740838fa58979d3ca (MD5) Previous issue date: 2014 / Resumo: Através da análise do sagrado como linguagem e sua especificidade no contexto da Arte e da Arquitetura, como simbolização e construção espaço-temporal, a tese procura elaborar uma matriz conceitual e formal para a articulação de linguagens de uma nova sacralidade para a Arte e a Arquitetura. O caráter sensível e intuitivo próprio da criação em Artes e Arquitetura exige uma compreensão metafísica da natureza do real, uma dimensão ao mesmo tempo visual, mas também um olhar para além das formas, no âmbito da reflexão existencial. Classificam-se esses elementos pela análise intelectual daquilo que essa obra manifesta em sua dimensão simbólica, do significado dos elementos sígnicos que maneja, daquilo que exprime. Distinguem-se a partir do que mais as aproximam: uma análise metafísica sobre a forma na Arte e Arquitetura sagradas, que tem seus fundamentos no eterno, no transcendente, pois o sagrado não é senão a manifestação do eterno no temporal, do espiritual no tangível. Importante a análise da consciência existencial na Antiguidade, com sua característica de exatidão de simbolização, como forma de compreensão para muitos dos fenômenos contemporâneos na Arte e Arquitetura sagradas. Sempre coexistiu uma forma de arte sagrada que encarna uma autenticidade primordial quanto às verdades espirituais do cristianismo, com uma forma de arte religiosa. O conceito adjacente à Espaço que nos interessa é o do Espaço do Sagrado. Contudo o homem contemporâneo diante de mecanismos cada vez mais autônomos perde contato com as realidades do espírito. O empenho reconstrutivo que liga o arquiteto e o artista às suas raízes de expressão de ordem e harmonia com o cosmos e em especial na expressão artística do sagrado nas artes e arquitetura poderá renascer com vitalidade desde que suas fundações situem-se naquilo que as caracterizou ao longo da história da civilização: a importância transcendental do espírito / Abstract: Through the analysis of the sacred as language and its specificity in the context of Art and Architecture, as spatio-temporal symbolism and construction, the thesis tries to develop a conceptual and formal matrix for the articulation of language and a new sacredness for Art and Architecture. The sensitive and intuitive character of creation itself in Arts and Architecture requires a metaphysical understanding of the nature of reality, a dimension visual at the same time, but also look beyond the forms within the existential reflection. Classified these elements by intellectual analysis of what this work manifested in its symbolic dimension, the meaning of the sign elements that handles, what is expressed. They are distinguished from the more than approximate: a metaphysical analysis of the way in sacred art and architecture, which has its foundations in the eternal, the transcendent, since the sacred is nothing but the manifestation of the eternal in the temporal, the spiritual in the tangible. Important analysis of existential awareness in antiquity, with its characteristic accuracy of symbolization as a means for understanding many phenomena in contemporary art and sacred architecture. Always coexisted a form of sacred art that embodies a primordial authenticity as the spiritual truths of Christianity with a form of religious art. The concept space adjacent to what interests us is the Sacred Space. However, contemporary man facing increasingly autonomous mechanisms lose touch with the realities of the spirit. The reconstructive efforts linking the architect and the artist to his roots expression of order and harmony to the cosmos and especially in the artistic expression of the sacred in art and architecture can be reborn with vitality since its foundations situated in what is characterized by the throughout the history of civilization: the transcendental importance of the spirit / Doutorado / Artes Visuais / Doutor em Artes Visuais

This study will focus on confined, negative space, the claustrum, in its varied manifestations, and on ascents and descents within both the cities themselves and the specific buildings which house these claustra. By definition, the claustrum signifies psychological and often physical confinement. In both films, the major characters are restricted by claustra which simultaneously reflect their psychological conditions or stages of development and also confine them physically. Both Roeg and De Palma are keenly aware of how to manipulate the spectator’s own fears of claustra and exploit them to the full in all of their films. This analysis deals with the aesthetics of space interpreted towards psychological ends: the malevolent space of the claustrophobic nightmare, rather than the positive space of the felicias dream. One model of positive psychological space can be found in Gaston Bachelard’s The Poetics of Space (1964). His essential comments on enclosed spaces - especially on the diametric opposition of garret and cellar - and his insights into the nature of the city and its influence on its inhabitants are briefly examined and then inverted to provide a starting point for this study.

Entre la première photographie jamais prise de la Lune en 1840 par J.W. Draper et la première photographie prise depuis le sol de notre satellite en 1969 par la mission Apollo 11, l’aventure spatiale occidentale a donné lieu à une vaste production d’images. Toutes ont cherché à comprendre, capturer et communiquer au plus grand nombre l’aspect du cosmos. Absorbé comme une évidence par la culture collective, ce corpus hétérogène, protéiforme et aux délimitations complexes, relève d’une histoire culturelle qui reste difficile à classer, entre histoire des sciences et histoire des images. Les visualisations qui en résultent, marquées par les traditions de l’histoire de la représentation et fabriquées en parallèle des évolutions technologiques de l’astronomie et de ses moyens d’observation, ont tout autant façonné le regard de l’astronomie physique et la culture visuelle de ses observateurs néophytes. L’analyse de la formation et de l’épanouissement de l’Art spatial au XXe siècle nous ouvre ainsi les yeux sur un corpus visuel où la coalescence entre science et style est une condition nécessaire à son existence. A l’épreuve de l’histoire de l’histoire de l’art et des études visuelles, ce dernier trouve également toute sa place dans une analyse qui vise à dévoiler la puissance et la qualité performative des images. Qu’il s’agisse d’une imagerie vulgarisant le savoir savant à des fins didactiques, d’une volonté de saisir l’image du cosmos pour le découvrir ou d’une dissémination culturelle au cœur des grands mythes du siècle, l’exploration spatiale fut aussi une entreprise du regard qu’il nous incombe d’observer. / Between the first photograph taken from the moon in 1840 by J.W. Draper and the first photograph taken from our satellite’s ground in 1969 by Apollo 11’s mission, western space odyssey led to a wide range of images. They all had the common goal of understanding, apprehending and sharing the aspect of cosmos with as many people as possible. Evidently absorbed by a collective culture, this heterogeneous and multifaceted corpus with many complex boundaries is based on a cultural history, which remains hard to classify, between science history and images history. The resulting visualizations, heavily influenced by the traditions of the history of representation and made in parallel of the technical evolutions of astronomy and its means of observation, have equally shaped the look of physical astronomy and of the visual culture of its neophyte observers. The analysis of the creation and the fulfilment of Space Art in the twentieth century make us open our eyes on a visual corpus where the coalescence between science and style is a necessary condition to its really existence. Confronted to History of Arts and to visual studies, this corpus finds its place within an analysis, which pursues to disclose the power and the performative quality of images. Whether it be an imagery popularizing the deepest knowledge for teaching purposes, a will of grabbing the image of cosmos in order to discover it or a cultural dissemination at the heart of the most important myths of the century, spatial exploration was also an experience of the look we need to observe.

A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the degree of Masters of Arts in Fine Arts (MAFA) Johannesburg, 2017 / This dissertation aims to examine Gerhard Richter and Serge Nitegeka’s artistic practices, in order to understand and identify how artists can potentially use space as a medium and contextualise my own practice within this realm. I position the conventions and principles of space through reference to French theorists’ Henri Lefebvre, Michel de Certeau and Michel Foucault. The thesis begins with a brief overview of the window as a painterly motif and spatially familiar everyday device in the introduction. In the first chapter, I explore the surface and reflection of the medium of glass, the colour gray, the monochrome, as well as the pictorial, in Gerhard Richter’s Eight Gray (2002). The second chapter examines the role of the frame or line in Serge Nitegeka’s Black Lines (2012), as an environment of experience that relies on painted diagrams and the illusion of perspectival space. The third chapter observes a shift in the manner in which Richter and Nitegeka experiment and extend their practices through an engagement with the mirror and the door, respectively, as ways of exploring the threshold. Finally, I discuss my own practice and reflect on the exhibition Through the Extent (2015), which was submitted as the practical component of this research. / XL2018

Thesis (Ph. D.)--University of Sydney, 2008. / Title from title screen (viewed Apr. 22, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Sydney College of the Arts. Includes bibliographical references. Also available in print form.

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1987. / Document électronique également accessible en format PDF. CaQCU

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994. / Cette communication a été réalisée à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en arts plastiques de l'Université du Québec à Montréal extensionné à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU

Mémoire (M.A.)--Université du Québec à Chicoutimi, 1995. / Document électronique également accessible en format PDF. CaQCU

Thèse (M.A.) -- Université du Québec à Chicoutimi, [2003]. / Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de la maîtrise en art, concentration Création, pour l'obtention du grade maître ès arts (M.A.). CaQCU Bibliogr.: f. 54-55. Document électronique également accessible en format PDF. CaQCU