Très peu d'études ont analysé comment le travail intellectuel affecte notre incorporation (embodiment). Mon cas, une intervention de danse dans une banque faisant participer les salariés, est une occasion inédite d'étudier les corps en action. Lors de leur travail avec les artistes, les salariés se tenaient sur un seuil, hésitant entre une attitude professionnelle ou plus personnelle. Des observations, des entretiens sur le corps et une analyse de leurs gestes s'appuyant sur des données visuelles (photographies, vidéo) donnent une description complète de leur incorporation dans cette situation de non-routine. Les corps restent souvent dans la retenue, la fermeture et la distance, mais certains d'entre eux s'ouvrent au jeu, proposant parfois des gestes rares, voire risqués. Mes résultats suggèrent que les frontières du corps sont plus instables qu'on ne le croit, l'expérimentation artistique étant un moyen de comprendre "ce que peut un corps" au travail. Le jeu corporel (embodied play) n'est pas seulement une expérience individuelle ; il est aussi un moyen de critiquer les normes corporelles existant au sein d'une organisation. Certaines manières de s'incarner proposent ainsi une sortie hors de l'organisation, ce qui se matérialise par une non-organisation du corps. / As only very few studies have investigated how intellectual (and hence mainly digital) work affects our embodiment, my case, a dance intervention in a bank involving employees, was a good way to study bodies in action. During their work with the artist, employees were standing on the boundary between work and leisure, hesitating between professional and personal embodiment. Observations, interviews and an analysis of their gestures relying on various visual data give a complete description of their embodiment process in this specific moment. On the one hand, bodies remain very constrained, distant and closed, but on the other hand, some employees open up to play, displaying rare and sometimes risky gestures. My findings suggest that the body’s boundaries are much more unstable than we think and that artistic experimentation is one way to understand what a body can do at work. Embodied play is not only an individual experience; it also has the potential to criticize dominating bodily norms existing in an organisation. Alternative embodiments thus propose a way out of organisation.

Orientador: Mário Alberto de Santana / Acompanha 2 DVD's com o seguinte conteúdo: DVD 1- Gravação do espetáculo teatral Teresa e o Aquário da Cia. Espaço em BRANCO POA - RS; DVD 2 - Documentação do processo de pesquisa: Fotos e Videos dos Casulos, Processo de Ensaios de Teresa e o Aquário, oficina Processos Híbridos de Criação e documentação dos espetaculos anteriores da Cia. Espaço em BRANCO: Extinção e ANDY/EDIE / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T10:38:10Z (GMT). No. of bitstreams: 1 Santos_JoaoRicardodaCunha_M.pdf: 276084863 bytes, checksum: 209e0972c7738f5bd9381a186ff43728 (MD5) Previous issue date: 2010 / Resumo: O que se pretende nessa dissertação é agenciar, através de conceitos, metáforas e analogias, o processo de investigação teórico prático do encenador João de Ricardo, da Cia. Espaço em BRANCO - Porto Alegre - RS, na preparação e apresentação do espetáculo teatral "Teresa e o Aquário", que teve estréia em 2008. Para tanto, toma-se como território de reflexão as zonas de contato entre o teatro e a performance arte. Este também é um memorial do processo criativo vivido pelo encenador, abrangendo a documentação da série de ações performáticas "CASULOS" que deram início à preparação de "Teresa e o Aquário" e os ensaios do mesmo. / Abstract: This study aims to agency, through concepts, metaphors and analogies, the process of theoretical-practical investigation of director João de Ricardo, of Cia. Espaço em BRANCO - Porto Alegre, Brazil, in the preparation and performance of theater play Teresa e o Aquário, which premiéred in 2008. In order to do so, the territory for reflection is made up of contact zones between drama and performance art. This is also a memorial of the creative process experienced by the director, and includes documentation of the series of performance actions "CASULOS", which served as a starting point for the preparation of Teresa e o Aquário and for the director's rehearsals. / Mestrado / Artes Cenicas / Mestre em Artes

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A body without organs is fabricated in a fictional space, an island extended on a plane of consistency where there are contaminations by writing lines and images which pervades a collage in overjuxtapositions. Inventive overlappings and juxtapositions which do not recognize any genetic axis, neither hierarchy of fixed order or positions. These are overlappings and juxtapositions of affection triggers (as transformation drivers) in a furtive present. A delicate exercise: doubting the institutionalized ways of doing research in education, but acting to forget without reporting them. Who does it think it is? Making research the way it is, injecting productive and inventive desires into a rigid plane of organization and development (stratified territorial agencies) which hides major investigations, connecting to them a whole thinking machinery that deflowers its own thinking to think. Deleuze & Guattari, Artaud, Spinoza and its respective crowds and constellations penetrate this handcrafted writing/reading. Everything occurs in spans and mazes possible to be crossed in the alchemies of reading and writing through images as small but powerful earthquakes. / Um corpo-sem-órgãos se fabrica em um espaço ficcional, uma ilha estendida sobre um plano de consistência onde o que há são contaminações por linhas de leitura/ escrita e imagens que perfazem uma grande colagem em sobrejustaposições. Sobreposições e justaposições inventivas que não reconhecem eixo genético qualquer, tampouco hierarquia de ordem ou posições fixas. Tratase de sobreposições e justaposições de disparadores de afectos (enquanto desencadeadores de devires) em um presente furtivo. Um exercício delicado: duvidar dos modos já instituídos de fazer pesquisa em educação, no entanto agir por esquecimento e não denunciálos. Quem ela pensa que é? Fazer da pesquisa o que se quer que ela seja, injetando em um rígido plano de organização e desenvolvimento (agenciamentos territoriais estratificados) que encobre investigações majoritárias, desejos produtivos e inventivos, acoplando nas mesmas toda uma sorte de maquinarias pensamentais que defloram o próprio pensamento a pensar. Deleuze & Guattari, Artaud, Spinoza e suas correspondentes multidões e constelações, penetram esta escrita/leitura tecida ao modo de artesania. Tudo ocorre nos vãos e labirintos possíveis de serem percorridos, nas alquimias de ler e escrever em meio às imagens, como pequenos - porém potentes - abalos sísmicos.

This essay analyses escape artistry and its relation to body and mind. Drawing mainly from Finnish escape artist Uno Sunell’s life and advertisements for circus and vaudeville, escape artistry is analysed in relation to two themes: body – mind, and disenchantment – sense of wonder. The theoretical framework consists of modern performance theory influenced by Asian cultural traditions, combined with Deleuze’s and Guattari’s concept Body without Organs. The analysis is divided into two main parts. The first part shows how escape artistry incorporates spiritualistic and exotic elements in the performance, how it addresses contemporary ideals of masculinity, and how it makes use of pain to inspire a sense of wonder in the audience. The second part is a reflection on escape artistry in relation to its historical context, focusing on the biography of escape artist Uno Sunell. Here, the relationship between individual and stage persona is discussed in relation to mental and physical illness, authorities and disciplinary institutions, and the economic strains on the travelling entertainer.

Human sexuality has been overrun with narratives that limit the possibilities of pleasure. Sex-positive workers have the potential to challenge the ways in which these limitations become embodied. In this research I explore narratives of sex education and youth, pleasure as prevention, and the medicalization of sexuality. I engage in collective biography as a way to identify how these narratives shape the way bodies and pleasure get taken up in specific places. Drawing from poststructural feminist theory I propose three ways of reconceptualizing bodies and pleasure as emergent sites of change and potential. Through an analysis of the experiences of sex-positive service workers in Canada, I consider what else, and for whom, bodies, pleasure, and sex education might look like. / Graduate / 0680 0733 0573 / yorkchender@gmail.com

O objetivo deste trabalho é compreender o que a Oficina de Dança e Expressão Corporal produz em seu entorno, pelos territórios por onde passa e nos sujeitos que a vivenciam no espaço da cidade. Como objetivo específico, sistematiza a metodologia desenvolvida nos encontros da Oficina de Dança e Expressão Corporal como uma possibilidade de atuação que prioriza a arte da dança com finalidade artística, em grupo aberto e heterogêneo, de forma pública e gratuita. Como método, opta pelo uso de narrativas (Benjamin, 1994) de vivências da pesquisadora como coordenadora e dançarina da Oficina e da transcrição de depoimentos/testemunhos oferecidos pelos participantes do grupo. Deleuze e Guattari (2010) apresentam-se como importantes interlocutores para fundamentar a leitura cartográfica dessa história e o registro que subsidiou a postura indagativa e reflexiva sobre o que se cria, no processo em andamento da Oficina de Dança e Expressão Corporal, a qual foi tratada neste estudo como lugar-ponte para o sujeito/grupo transitar pelos polos institucionais e abrir passagens, em devir subjetivo e territorial, para além deles. A contribuição da filosofia de Espinosa (2009) mostra-se relevante à dimensão analítica deste trabalho, a qual permitiu a identificação de cinco eixos reflexivos acerca do que pode produzir a Oficina. São eles: singularidade, intensidade, expansão, dança para todos e trabalho para a subjetivação, os quais puderam ser compreendidos como caminhos para promoção de saúde no campo das práticas antimanicomiais / The objective of this work is to understand what the Dance and Body Expression Workshop produces in its surroundings, in the territories where it passes and in the people who experience it in the city space. As specific objective, systematize the methodology developed in the meetings of the Dance and Body Expression Workshop as a possibility of action that prioritizes the art of dance with artistic purpose, in an open and heterogeneous group, in a public way, free of charge. As method, chose the use of narratives (Benjamin, 1994) of experiences of the researcher as coordinator and dancer of the workshop and the transcription of statements/testimonies offered by the participants of the group. Deleuze and Guattari (2010) present themselves as important interlocutors to substantiate the cartographic reading of this story and the record that supported the questioning and reflective stance on what is created in the ongoing process of the Dance and Body Expression Workshop, which was treated in this study as a bridge place for the person/group to transit through the institutional centers and to open passages, in a subjective and territorial change, to go beyond them. The contribution of the philosophy of Espinosa (2009) shows to be relevant to the analytic dimension of this work, which allowed the identification of five reflective axes concerning what the Workshop can produce. They are: uniqueness, intensity, expansion, dance for all and work for the subjectification, which could be understood as pathways to the production of health in the field of the anti-asylum practices

The main objective of this thesis is to examine the theory of capitalism and its ontological foundations through the major works of Marx and Deleuze&amp / Guattari. In his monumental book called Capital, Karl Marx develops an account of capitalism based on his understanding of philosophy of which takes its roots from Hegel and Feuerbach. Additionally, English political economy and French socialism serve as reliable grounds for Marx&amp / #8217 / s analysis. In light of the writings of these historical precursors, Marx constitutes a profound critique of capitalist mode of production. On the other hand, Deleuze and Guattari, as the representatives of contemporary French philosophy, develop a different account of capitalism in their influential book called Anti-Oedipus. By relying upon Nietzsche, in Anti-Oedipus, Deleuze and Guattari examine capitalism in a non-dialectical manner. Despite the fact that they reject the major aspects of Marxian mode of thinking, they concentrate on the similar questions shared by Marx. The question of capitalism and its conception as an immanent system which reproduces itself by means of capital appears as the common problem that directs them to think analogously. In this respect, this thesis is an attempt to discover the points of ruptures and the points of continuities in two different account of capitalism.

O objetivo deste trabalho é compreender o que a Oficina de Dança e Expressão Corporal produz em seu entorno, pelos territórios por onde passa e nos sujeitos que a vivenciam no espaço da cidade. Como objetivo específico, sistematiza a metodologia desenvolvida nos encontros da Oficina de Dança e Expressão Corporal como uma possibilidade de atuação que prioriza a arte da dança com finalidade artística, em grupo aberto e heterogêneo, de forma pública e gratuita. Como método, opta pelo uso de narrativas (Benjamin, 1994) de vivências da pesquisadora como coordenadora e dançarina da Oficina e da transcrição de depoimentos/testemunhos oferecidos pelos participantes do grupo. Deleuze e Guattari (2010) apresentam-se como importantes interlocutores para fundamentar a leitura cartográfica dessa história e o registro que subsidiou a postura indagativa e reflexiva sobre o que se cria, no processo em andamento da Oficina de Dança e Expressão Corporal, a qual foi tratada neste estudo como lugar-ponte para o sujeito/grupo transitar pelos polos institucionais e abrir passagens, em devir subjetivo e territorial, para além deles. A contribuição da filosofia de Espinosa (2009) mostra-se relevante à dimensão analítica deste trabalho, a qual permitiu a identificação de cinco eixos reflexivos acerca do que pode produzir a Oficina. São eles: singularidade, intensidade, expansão, dança para todos e trabalho para a subjetivação, os quais puderam ser compreendidos como caminhos para promoção de saúde no campo das práticas antimanicomiais / The objective of this work is to understand what the Dance and Body Expression Workshop produces in its surroundings, in the territories where it passes and in the people who experience it in the city space. As specific objective, systematize the methodology developed in the meetings of the Dance and Body Expression Workshop as a possibility of action that prioritizes the art of dance with artistic purpose, in an open and heterogeneous group, in a public way, free of charge. As method, chose the use of narratives (Benjamin, 1994) of experiences of the researcher as coordinator and dancer of the workshop and the transcription of statements/testimonies offered by the participants of the group. Deleuze and Guattari (2010) present themselves as important interlocutors to substantiate the cartographic reading of this story and the record that supported the questioning and reflective stance on what is created in the ongoing process of the Dance and Body Expression Workshop, which was treated in this study as a bridge place for the person/group to transit through the institutional centers and to open passages, in a subjective and territorial change, to go beyond them. The contribution of the philosophy of Espinosa (2009) shows to be relevant to the analytic dimension of this work, which allowed the identification of five reflective axes concerning what the Workshop can produce. They are: uniqueness, intensity, expansion, dance for all and work for the subjectification, which could be understood as pathways to the production of health in the field of the anti-asylum practices

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

Made available in DSpace on 2014-12-17T14:00:15Z (GMT). No. of bitstreams: 1 SandroSS_DISSERT.pdf: 1757287 bytes, checksum: 669a9ffceafd1badcce31570d70525a8 (MD5) Previous issue date: 2011-06-17 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process / O termo corpo sem ?rg?os est? presente em um poema do escritor, ator e encenador franc?s Antonin Artaud, escrito em 1947 e intitulado: Para Acabar com o Julgamento de Deus. Busco, nesta disserta??o, a partir do que chamamos escrita c?nico- investigativa, problematizar este termo e suas rela??es poss?veis com o teatro e tamb?m com alguns aspectos da m?tica hindu. Uno ? id?ia do corpo sem ?rg?os o corpo em transe presente nas hist?rias de um mestre indiano chamado Caitanya Mahaprabhu. Estas id?ias, juntamente com o desenvolvimento de pr?ticas que partem de alguns princ?pios da Antropologia Teatral, s?o est?mulos para um processo de cria??o que destaca o trabalho de prepara??o e cria??o corporal do ator. As articula??es entre os conceitos e a pr?tica suscitam discuss?es onde me coloco como ator-pesquisador em processo