ALMEIDA, Paulo Sérgio Caldas de. O coreógrafo e a coreografia: derivas artístico-pedagógicas a partir das proposições de William Forsythe. 2017. 255f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-08-11T11:43:36Z No. of bitstreams: 1 2017_tese_pscalmeida.pdf: 3923626 bytes, checksum: 0cc271ac19c7a45c48ac704fc073280e (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-08-11T14:04:04Z (GMT) No. of bitstreams: 1 2017_tese_pscalmeida.pdf: 3923626 bytes, checksum: 0cc271ac19c7a45c48ac704fc073280e (MD5) / Made available in DSpace on 2017-08-11T14:04:05Z (GMT). No. of bitstreams: 1 2017_tese_pscalmeida.pdf: 3923626 bytes, checksum: 0cc271ac19c7a45c48ac704fc073280e (MD5) Previous issue date: 2017 / A presente tese objetiva investigar os modos emergentes do fazer coreográfico e suas implicações artístico-pedagógicas. A palavra coreografia recobre, hoje, proposições que podem versar sobre os mais minuciosos e específicos detalhes do gesto de um corpo ou, inversamente, sobre as mais abertas e genéricas instruções de ação de múltiplos corpos; a coreografia escapa de sua vinculação à dança para nomear configurações de movimento as mais diversas, por vezes sequer ligadas a um fazer humano; deixa de implicar uma autoria única e nomeável para, eventualmente, dissolver-se num fazer coletivo; enfim, parece reclamar por novas compreensões. Aqui tratamos portanto de uma pedagogia da dança que se complexifica a partir de um contexto no qual os modelos de processo criativo e os modos de mover se multiplicam. Em tal contexto, o criar e o performar convergem e qualquer corporeidade só pode ser pensada a partir do projeto estético a que se vincula. Para nossa investigação, tomamos como base as proposições coreográficas de William Forsythe, artista que – além de atuar em diferentes instâncias de criação (composições cênicas, videográficas, instalativas e expositivas) e multiplicar práticas colaborativas – desenvolveu os projetos em mídia digital Improvisation technologies: a tool for the analytical dance eye e Synchronous objects for One Flat Thing, reproduced, ambos de declarado cunho pedagógico e que são utilizados correntemente em vários contextos formativos no mundo. A abordagem de William Forsythe – principalmente quanto ao corpo balético – emerge mesmo como um poderoso referencial para o estabelecimento de processos artísticos e pedagógicos de autonomização e invenção; a concepção de coreografia como proposição abre espaço para a experimentação de alteridades e para a emergência de novas corporeidades.

A pesquisa intitulada Acumular tesouros: um olhar sobre os cadernos de desenho analisa um conjunto de cadernos de desenho, elaborados por mim, entre 2006 e 2015. O objetivo desse estudo é investigar de que modo a utilização frequente dos cadernos de desenho constitui uma poética e de que forma os cadernos são abordados na história da arte. A metodologia, de ordem qualitativa, possui por principal ação a continuidade da produção prática, assim como as relações estabelecidas entre os meus cadernos e os de outros artistas. Neste estudo, evidencio o aspecto heterogêneo dos cadernos, já que estes comportam e agregam grande quantidade de elementos gráficos, além dos desenhos, tais como colagens e escritos. É explorada a hipótese de que os cadernos não são apenas instrumentos para obras futuras; mas que são, principalmente, veículos que possibilitam experimentações artísticas das mais variadas naturezas. São abordados os conceitos de hupomnêmata a partir de Michel Foucault (2004; 2010; 2011); colagem por Antoine Compagnon (1996); e desenho a partir de John Berger (2010). / The present research entitled Accumulating treasures: a look upon sketchbooks analyzes a set of sketchbooks, created by myself between 2006 and 2015. The main objective of this research is to investigate in what way the frequent use of sketchbooks constitutes a poetics and how sketchbooks are addressed in Art History and in contemporary artistic production. The methodology – which follows a qualitative approach – has as main procedure the continuity of practical production as well as the establishment of relations among my sketchbooks and other artists’. I emphasize, in this study, the heterogeneous aspect of the sketchbooks, considering that they contain and aggregate a considerable amount of graphic elements besides the drawings, as well as collages and writings. The hypothesis explored is that the sketchbooks are not just an instrument to future works, but they are mainly means that allow artistic experiments of several kinds to be carried out. The concepts of hupomnêmata by Michel Foucault (2004; 2010; 2011); and collages by Antoine Compagnon (1996) are addressed along with the concept of drawing according to John Berger (2010).

This thesis project analyzes the influence of T.S. Eliot, named "the first Cambridge poet" by Jeremy Noel-Tod, on Cambridge poets Andrew Crozier and Peter Riley, particularly through their representations of the quotidian. At stake is the larger question: what is the often hidden effect of the objects that surround us in daily life? Or even--what is the value of daily life? By extension, their representation of the quotidian directly affects their depiction of the physical environment allowing for an ecocritical debate in which landscape determines how individuals place themselves in a familiar physical environment defined by tradition, culture, and the routine. Regarding the influence of landscape on the poet, Eliot said, "[m]y poetry, like that of other poets, shows traces of every environment in which I have lived." He, of course, was not referring to Nature, but how social geographies encapsulate traditions, culture, and language, in what can be classified as ecologically-informed memories. One section of this project addresses the present scholarly (mis)interpretation of ecocritism, moving it beyond a discourse of global sustainability or sustainable environmental practices to a more distinct focus in what phenomenologists refer to an ecological sphere of existence in which the daily lives of people become inseparable from the environments in which they have lived.

Mary Manjikian and other critics argue that post-911 apocalyptic Literature is anarchic, breaking away from the state through its destruction. This thesis challenges this claim, looking at the state through the abstract form presented by Deleuze and Guattari in A Thousand Plateaus to argue that while the state in its physical manifestation is indeed removed within the post-apocalyptic narrative, an internal desire for governance and a return to status-quo remains. Chapter 1 examines Cormac McCarthy’s novel The Road in relation to this theory, particularly within the interactions between the father and son, showing that through the father, an argument can be made for the characters’ wish to return to a time where a physical state existed. Chapter 2 examines the relevance of the zombie narrative in relation to other “post-911 apocalyptic Literature” to examine both where these texts and media fit in relation to the state and contemporary culture – particularly in relation to politics. Through AMC’s “The Walking Dead”, the zombie narrative not only exhibits similar tendencies for a yearning of state power, but also expands the definition of a post-apocalyptic narrative, as when the state returns, not only is the narrative altered to one of dystopian fiction, the “other” becomes more ambiguous, as the zombies begin to pose little threat, leading to political tension amongst survivors. Chapter 3 and 4 examine the return to popularity of Lovecraft-esque fiction alongside the cultural infectiousness of the zombie. Beginning with Lovecraft’s “The Call of Cthulhu” and moving to China Miéville’s novel Perdido Street Station, the thesis will conclude with an examination of eldritch horror as an alternative to the post-apocalyptic in terms of rethinking the relationship of the state in contemporary culture, and arguing that the political “other” is now viewed as monstrous and difficult to define in a manner which zombies are unable to fully represent.

During the period of economic expansion and openness to personal expression and individuality following Deng Xiaoping's reforms, the Chinese avant-garde women writers engaged in a project of resistance to the traditionally appropriated use of the female body, image, and voice. This resistance can be seen in the ways they consciously construct a private space in their fiction. In this dissertation, I argue that this space is created by presenting alternative forms of female sexuality, in contrast to the heterosexual wife and mother, and by adding details of their own personal histories in their writing. Key to this argument is the Chinese concept of si (privacy) and how the female avant-garde writers turn its traditionally negative associations into a positive tool for writing the self. While male appropriations of images of the female body for political or state-authored purposes are not new to the contemporary period or even the twentieth century, the female avant-garde writers are particularly conscious of the ways in which their bodies are not their own. Moreover, contemporary criticism that labels the works of the female avant-garde writers as self-exposing, titillating, and trite overlooks the difference between authorial intent and commercial or political appropriation, which has led to a profound misunderstanding of these works. In addition, it has also led to a conflation of the female avant-garde writers' works with those of the later body writers. Therefore the purpose of this dissertation is to provide a closer look at the concept of si-privacy and how it intersects with various forms of self-writing, as well as how it is used as a narrative strategy by three contemporary female authors, Xu Kun, Lin Bai, and Hai Nan. Specifically, I consider the similarities and differences in the ways that these authors create and orient themselves in both their memoirs and their self-referential fiction.

Kara Walker is one of the most successful and widely known contemporary African-American artists today--remarkable for her radical engagement with issues of race, gender, and sexuality. Walker is best known for her provocative installations, composed of cut-paper silhouettes depicting fantastic and grotesque scenes of the antebellum South. This thesis examines Walker's work in silhouettes, text, and video in order to establish the unifying logic that unites her media. Walker's use of racist stereotypes has incited vehement criticism, and the debate over the political meaning of her work has been worked and reworked in the voluminous literature on her artistic practice. This thesis focuses on how Walker's defense and explanation of her own work functions as a performative and political component of the art itself. Walker's construction and performance of an artistic identity is an integral and intentional part of her overall practice and a key component to the interpretation of her work.

This thesis aims to reexamine the index as a sign that generates meaning in the sculptural oeuvre of contemporary British artist Antony Gormley. The artist has consistently proclaimed his work to be indexical but has never offered clarification of the term. Rather, he adheres to the definition developed in the late nineteenth century by the term's originator, Charles Sanders Peirce. This is problematic because it gives false meaning to the indexical sign in a contemporary context. By comparing Gormley's use of the term in his sculptural practice to Peirce's theories and those of art historian Rosalind Krauss, who was the first to significantly and convincingly relate the index to art, this study will attempt to provide a contemporized definition of the index. This thesis aims to offer a clarification in the meaning of Antony Gormley's sculpture and demonstrate the index's ability to offer resolution to what is contemporary about contemporary art.

This thesis addresses reenactment and archival practice in the work of Sharon Hayes, a mid-career multi-media artist renowned for her use of archival documents to pose questions about history, politics, and speech. I do this through analyses of two of Hayes’s projects: the series In the Near Future (2005-2009) and a series of projects the artist refers to as “love addresses.” While these projects appropriate and repeat historical documents, Hayes’s work is especially interesting for the way it emphasizes difference over authenticity and explores the ways meaning shifts across temporal, geographic, and social contexts. In contrast to scholars who argue that Hayes’s practice is nostalgic and serves to decontextualize and depoliticize history, my thesis argues that the pedagogical aspects of Hayes’s work and her performative engagements with historical material are deeply political and contextual. My thesis demonstrates that Hayes’s distinctive contribution is to model historical agency and imagine alternative futures.

This thesis examines the digital photo composites of Chinese artist Yang Yongliang (b. 1980, Shanghai) from 2007-2012 by selecting three distinct series that focus on three cities. This thesis approaches Yang’s Shanghai-based digital landscape prints (shuma shanshui), his 2012 series A Bowl of Taipei, and his 2010 series Greece, Greece and investigates how they relate to Asian art history, contemporary art discourse, and urban theories, including Rem Koolhaas’s 1995 essay “The Generic City.” This thesis moves beyond the simple binaries with which Yang’s works are often described – past versus present, nature versus city, tradition versus modernity – dichotomies similar to those used to characterize recent urbanization in most major cities, as observed in Koolhaas’s writing. This thesis argues that Yang’s works inhabit multiple positions simultaneously and offer new potentials for expanding beyond the generic city.

This mixed methods investigation analyzes the effect of a novel somatics training program on dance skills. Fourteen dancers were divided into treatment and control groups. The treatment group participated in an eight-week workshop on the use of the spine utilizing sensory experiences, mini-lectures, and dance exercises. During entry and exit, all dancers learned two phrases by video containing the same motor-patterns with contrasting choreographic intents; Phrase A fluid, sustained and slow, Phrase B, dynamically enhanced. Participants performed each phrase for the camera, to be scored by a judging panel. Descriptive statistical analysis of judging data suggests the workshop positively affected their execution of skills in Phrase A, over B. Data reduction and interpretation of the participants’ interviews, questionnaires, and journals yielded several themes. This study has vast implications, suggesting combination of dance science and somatics in dance as efficacious for dancers’ experiences and execution of technical dance skills.