Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-03T21:28:46Z No. of bitstreams: 1 LidiaBorbaPereira_DISSERT.pdf: 754563 bytes, checksum: 6255edf866bf8b161abf9e4dd49c6094 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-07T23:35:04Z (GMT) No. of bitstreams: 1 LidiaBorbaPereira_DISSERT.pdf: 754563 bytes, checksum: 6255edf866bf8b161abf9e4dd49c6094 (MD5) / Made available in DSpace on 2017-04-07T23:35:04Z (GMT). No. of bitstreams: 1 LidiaBorbaPereira_DISSERT.pdf: 754563 bytes, checksum: 6255edf866bf8b161abf9e4dd49c6094 (MD5) Previous issue date: 2017-02-20 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Por meio da via dial?gica, este trabalho possibilita pensar uma articula??o de ?reas do conhecimento, em que neuroplasticidade e educa??o, em dan?a, se interconectam para uma compreens?o ampliada de homem e das a??es educativas. Reconhe?o na vasta obra de Edgar Morin e de seus interlocutores, significativas contribui??es sobre a quest?o cerebral sob lentes polif?nicas. Reflito para al?m das concep??es que separam e fragmentam o corpo, o homem, o conhecimento e seus desdobramentos para a vida do indiv?duo e para a educa??o. ? no intuito de unir n?o s? ?reas, mas o pr?prio ser humano que trago a neuroplasticidade em tr?s entradas: como conceito, como ato pol?tico e como met?fora. Considero que a dan?a pode propiciar a cria??o de novos circuitos neurais ao permitir a experimenta??o, o incerto e o novo e assim, propiciar tamb?m mudan?as de atitudes, de pensamentos, valores e a??es tanto nos educadores quanto nos educandos. Tomo como refer?ncia o m?todo complexo que sugere princ?pios reorganizadores do pensamento. O texto se constitui numa narrativa ensa?stica, onde h? continuidade da composi??o textual, evitando-se a organiza??o em cap?tulos, embora haja uma sequ?ncia de ideias que se interligam numa tessitura com os autores, com as pesquisas do GRECOM, com as orienta??es e com minhas viv?ncias de dan?a. Compreendo o inacabamento e a incompletude deste trabalho, mas sei que a plasticidade do mesmo ocorrer? como que numa espiral de ideias. / Ce travail dialogique rend possible de penser une articulation entre les domaines de la neuroplasticit? et de l'enseignement de la danse, qui s?interconnectent pour arriver ? une compr?hension accrue de l'homme et des actions ?ducatives. Je reconnais dans la vaste oeuvre d?Edgar Morin et de ses interlocuteurs, des contributions significatives sur la question c?r?braliste des lentilles polyphoniques. Une r?flexion au-del? des conceptions qui s?parent et fragmentent le corps, l'homme, la connaissance et leurs cons?quences pour la vie de l'individu et de l'enseignement. Dans le but de rapprocher ces deux domaines, ainsi que l??tre humain lui-m?me, j?aborde la neuroplasticit? comme concept, action politique et m?taphore. A partir de la m?thodologie de la complexit? qui sugg?re des commencements r?organis?s de la pens?e, et consid?re que la danse peut promouvoir la cr?ation de nouveaux circuits neuronaux tout en permettant l'exp?rimentation, l'incertain et le nouveau, ainsi que les changements d'attitudes, de pens?es, de valeurs et des actions chez les ?ducateurs et chez les apprenants. Le texte consiste en un essai narratif dont la continuit? de la composition textuelle ne s'organise pas en chapitres, mais par ordre d?id?es des auteurs, des recherches du GRECOM, des orientations et de mes propres exp?riences en mati?re de danse. Je comprends l?aspect inachev? et incomplet de ce travail; mais j?esp?re que la plasticit? du texte m?me se d?gagera comme dans une spirale d'id?es.

Esta dissertação consiste em uma abordagem do fenômeno da luz que interesse ao Design da Iluminação. Isso se faz aqui através da leitura da obra de Dan Flavin, artista americano que utilizou a lâmpada fluorescente como material quase que exclusivo em seus trabalhos. Flavin conhece e explora a luz como um fenômeno intangível. Recusa noções preconcebidas de espaço, e busca novas experiências perceptuais e espaciais. Assim, sua obra nos permitiria uma leitura múltipla, levantando diversos aspectos importantes para a atividade do designer da Iluminação. Pesquisar Flavin é uma imersão na luz, na cor, no espaço e na percepção humana. A riqueza visual e conceitual de sua obra nos levaram a explorar o conhecimento que se tem sobre a presença da luz no espaço que complementem a prática do Design. / This essay proposes an approach to the phenomenon of light that involves Lighting Design. The route to this exploration is the work of Dan Flavin, an American artist who used fluorescent lamp as the practically exclusive material of his work. Flavin knows and explores light as an intangible phenomenon. He refuses preconceived notions of space and seeks new perceptual and spacial experiences. As a result, his work allows multiple readings and raises several key aspects for the activity of the Lighting designer. To research Flavin is to immerse oneself in light, color, space and human perception. The visual and conceptual richness of his work led us to explore the knowledge we have of the presence of light in space, which complements the Design practice.

Dan Jacobson has written short stories, many non-fiction articles and eight novels: The Trap (1955), A Dance in The Sun (1956), The Price of Diamonds (1957), The Evidence of Love (1959), The Beginners (1966), The Rape of Tamar (1970), The Wonder-Worker (1973), and · The Confessions of Josef Baisz (1977) . The first five are all set in South Africa, though Jacobson has been living in England since 1954, i.e. since before his first novel was published. A distinct break in terms of subject matter and voice occurs after The Beginners , giving Jacobson what he calls "two rounds as a novelist. But critics recognizing this break seem not to have recognized that all eight novels are linked by certain thematic preoccupations, notably the notion of the trapped identity, which this thesis will attempt to demonstrate. On a first reading of Jacobson's work one is drawn to affirm his portrayal of the position of the white English-speaking South African, but a closer reading reveals that he does not speak as vitally to the South African situation as he seems to, or has been taken to do. Why this should be so is the second main concern of this thesis. In the first chapter the expectations underlying English literary activity in South Africa are outlined, as this is a necessary background to the discussion of Jacobson's South African novels. (Introduction, p. 4)

No description available.

A renewed merging of art and design accompanied by the inflation of design in relation to art has been increasingly noted by writers since the 1990s. Some critics and artists such as Dan Graham have celebrated this phenomenon as a critical opportunity; others such as art historian and critic Hal Foster have criticized the trend as a catastrophic loss of the limits required for liberal subjectivity. In the first chapter, I consider Graham's position as outlined in "Art as Design/Design as Art" (1986) and contrast it with Hal Foster's argument as presented in "Design and Crime" (2002). While the writers share some points of reference, it becomes clear that the two texts are based on different critical models. My second and third chapters present case studies of works often considered to be part of the "design art" trend. At either end of the 1990s, Dia Center for the Arts realized large-scale projects: Dan Graham's Two-Way Mirror Cylinder Inside Cube and a Video Salon: Rooftop Urban Park Project for Dia Arts Center (1981- 1991) and Jorge Pardo's Project (1998-2000). Both works fit the profile of art projects that make use of the modes and methods of the fields of architecture and design. My study considers how each project related to its art institutional site, to the greater art historical and contemporary context and to changes in social, political and cultural conditions that unfolded during the 1990s. My third chapter considers works by Andrea Zittel, an artist also often discussed in terms of design, architecture and life style. While Zittel's "critical optimism" offers promise, there are some critical failings of her project. I analyze some of the problems presented by Zittel's works in relation to comparable projects by Dan Graham and Jorge Pardo. These projects question, but also contribute to, the overvaluation of design that accompanies the contemporary phenomenon of obsession with styling self. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Made available in DSpace on 2015-04-14T13:48:22Z (GMT). No. of bitstreams: 1 467134.pdf: 4820364 bytes, checksum: 6d8a8dcc4238b66c93652fe128238568 (MD5) Previous issue date: 2015-03-23 / This research aims to analyze and understand the institutional background of Dance Course Full Degree, from the University of Cruz Alta, here named Course of Dance UNICRUZ (1998-2010), from the project of its founders to the speeches of its final protagonists, bringing subsidies for reflections on the historical and social context as to its existence. It presents the historical process, pioneering, integration and relevance for the State of Rio Grande do Sul, especially regarding to the professionalization of dance activity. It attents, also, to the trajectory of the Course - the context of its creation, implementation, recognition, leadership and discontinuity discussing about the academical graduation in Dance in Brazil. The research is characterized as qualitative and adopts the methodology of oral history, especially the semi-structured interviews, which were conducted between July and October 2014. There were also collected various documents, such as minutes, ordinances, brochures, newspaper clippings and photographic images. This is, therefore, a study of memories of former exteachers, ex-students and people who were involved with the Course of Dance UNICRUZ. In addition to the reconstruction of the history of this course, the research was interested in the senses and meanings attributed by respondents to their experiences in this space, in the ways in composing their memories, the memories and forgetfulness that they actively built when instigated, provoked, mobilized by their memories, when narrating them during the interviews. Thus the Dance Course was subject and theme of the speeches and, these, in turn, the threads of the plot of this study. The work followed and analyzed the three phases of the Course: its creation, its consolidation and its consequences. Although the Course has been consolidated and contributed to advances in dance studies in Rio Grande do Sul, in 2010 formed its last group. These events do not annihilate the Course, they make it intelligible when we notice the relationship of a Course with its time. The analysis of the memories gave the possibility to evaluate that the course followed a trajectory depending on the conditions of the context in which it was developed. The history of the Course of Dance UNICRUZ represents a milestone in the history of the academical degree in Dance in Rio Grande do Sul, as since its creation, there were settled seven other courses in the State. / Este trabalho tem por objetivo analisar e compreender o percurso institucional do Curso de Dan?a Licenciatura Plena, da Universidade de Cruz Alta, aqui nominado de Curso de Dan?a da UNICRUZ (1998-2010), desde o projeto de suas fundadoras aos discursos de seus protagonistas finais, trazendo subs?dios para reflex?es acerca do contexto hist?rico-social enquanto de sua exist?ncia. Apresenta o seu processo hist?rico, pioneirismo, inser??o e relev?ncia para o Estado do Rio Grande do Sul, especialmente no que se refere ? qualifica??o da atividade de dan?a. Atenta, ainda, para a trajet?ria do Curso o contexto de cria??o, implanta??o, reconhecimento, protagonismo e a descontinuidade discorrendo sobre o ensino superior em Dan?a no Brasil. A pesquisa caracteriza-se como qualitativa e adota a metodologia da hist?ria oral, destacando-se as entrevistas semiestruturadas, que foram realizadas no per?odo de julho a outubro de 2014. Tamb?m foram coletados documentos variados, como atas, portarias, folders, recortes de jornais e imagens fotogr?ficas. Este ?, pois, um estudo sobre mem?rias de ex-professores, ex-alunos e de pessoas que se envolveram com o Curso de Dan?a da UNICRUZ. Para al?m da reconstru??o da hist?ria deste Curso, a investiga??o esteve interessada nos sentidos e significados atribu?dos pelos entrevistados ?s suas viv?ncias nesse espa?o, nos modos como comp?em suas reminisc?ncias, nas lembran?as e nos esquecimentos que ativamente constru?ram quando instigados, provocados, mobilizados pelas mem?rias, a narr?-las nas entrevistas. Dessa forma o Curso de Dan?a foi motivo e tema das falas e, estas, por sua vez, os fios da trama deste estudo. O trabalho acompanhou e analisou as tr?s fases do Curso: da sua cria??o, da sua consolida??o e dos seus desdobramentos. Embora o Curso tenha se consolidado e contribu?do para os avan?os nos estudos de dan?a no Rio Grande do Sul, em 2010 formou a ?ltima turma. Estes acontecimentos n?o o aniquilam, eles o tornam intelig?vel ao percebermos as rela??es de um Curso com seu tempo. A an?lise das mem?rias permitiu avaliar que o curso seguiu uma trajet?ria consoante ?s condi??es do contexto em que se desenvolveu. A hist?ria do curso de Dan?a da UNICRUZ representa um marco na hist?ria da educa??o superior em Dan?a no Rio Grande do Sul, pois, a partir dele, se instalaram sete outros cursos no Estado.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-12-04T21:23:19Z No. of bitstreams: 1 ArianeDoNascimentoMendes_DISSERT.pdf: 1882940 bytes, checksum: f9506363f4cefaae477e93382af75348 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-12-09T00:34:11Z (GMT) No. of bitstreams: 1 ArianeDoNascimentoMendes_DISSERT.pdf: 1882940 bytes, checksum: f9506363f4cefaae477e93382af75348 (MD5) / Made available in DSpace on 2017-12-09T00:34:11Z (GMT). No. of bitstreams: 1 ArianeDoNascimentoMendes_DISSERT.pdf: 1882940 bytes, checksum: f9506363f4cefaae477e93382af75348 (MD5) Previous issue date: 2017-04-18 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico (CNPq) / O objetivo desta pesquisa foi investigar a experi?ncia est?tica em Dan?a Contempor?nea a partir de obras constru?das com movimentos n?o-representativos, considerando que sua dramaturgia prima por ser n?o-linear, e sua constru??o se d? atrav?s da materialidade do movimento e do corpo, pela sua investiga??o. Assim, discutimos sobre como acontecem as experi?ncias est?ticas a partir de entrevistas com apreciadores das obras coreogr?ficas escolhidas para compor a pesquisa, al?m do referencial te?rico sobre Dan?a Contempor?nea e sua dramaturgia com autores como Laurence Louppe, Patr?cia Leal, Rosa Hercoles, Paulo Caldas, Ana Carolina Mundim, entre outros. A pesquisa foi conduzida pela metodologia qualitativa, de car?ter participante, e se caracteriza ainda em um estudo de caso, tendo como objeto norteador a dramaturgia e a experi?ncia est?tica do espet?culo ?Ego? (2015) do Grupo de Dan?a da UFRN, e do espet?culo ?ESCrito Absurdo? (2016) dos criadores Vladimir Rodriguez (Col?mbia) e Omar Carrum (M?xico). Tamb?m buscamos informa??es com Diana Fontes, coordenadora geral do Encontro de Dan?a de Natal/RN, por ser um evento que lida diretamente com apresenta??es e, portanto, com experi?ncias est?ticas em Dan?a Contempor?nea de diversas vertentes. Assim, fizemos recolhimento de material bibliogr?fico atrav?s das entrevistas realizadas com os artistas e apreciadores dos espet?culos supracitados. Al?m dos depoimentos recolhidos dos apreciadores do trabalho coreogr?fico ?Nuance?, que foi constru?do para experimentar a constru??o de dramaturgia apenas com o movimento n?o-representativo e a possibilidade de uma obra coreogr?fica ser atividade de media??o de si mesma, bem como atividade de forma??o de p?blico. A relev?ncia da pesquisa se d? pela contribui??o para as discuss?es sobre p?blico e experi?ncias est?ticas em Dan?a Contempor?nea, pois ainda h? poucos estudos registrados no Brasil, e mais especificamente em Natal/RN sobre este tema. / The objective of this research was to investigate the aesthetic experience in Contemporary Dance from works built with non-representative movements, considering that its dramaturgy is nonlinear, and its construction takes place through the materiality of movement and body, through its investigation. Like this, we discussed about how happen the aesthetic experiences starting from interviews with connoisseurs of the choreographic works chosen to compose the research, beyond the theoretical reference about Contemporary Dance and its dramaturgy with authors like Laurence Louppe, Patr?cia Leal, Rosa Hercoles, Paulo Caldas, Ana Carolina Mundim, among others. The research was conducted by the qualitative methodology, of participant character, and was characterized still in a case study, having as a guiding object the aesthetic experience of the spectacle ?Ego? (2015) of the Grupo de Dan?a da UFRN, and of the spectacle ?ESCrito Absurdo? (2016) of the creators Vladimir Rodriguez (Colombia) and Omar Carrum (Mexico). We also sought information with Diana Fontes, general coordinator of the Encontro de Dan?a de Natal/RN, as it is an event that deals directly with presentations and, therefore, with aesthetic experiences in Contemporary Dance from various perspectives. Like this, we collected bibliographical material in field research, produced through interviews with the artists and connoisseur of the two spectacles above mentioned. Beyond the testimonials collected from the connoisseur of the choreographic work ?Nuance?, which was built for to experience the construction of dramaturgy with only the non-representative movement and the possibility of a choreographic work as an activity of mediation of itself, as well as to be activity of formation of public. The relevance of the research is given by the contribution to the discussions about audiences and aesthetic experience in Contemporary Dance, because still there are few studies registered in Brazil, and more specifically in Natal/RN about this subject.

Made available in DSpace on 2014-12-17T14:00:21Z (GMT). No. of bitstreams: 1 RafaellaLA_DISSERT.pdf: 5449757 bytes, checksum: d9c7c28500e7a013f6299bdacd174a37 (MD5) Previous issue date: 2014-05-22 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This research investigated the dance piece Caldo da Cana which premiered in Jo?o Pessoa-PB, in September 1984. It problematizes theoretical and practical way to make dance history, investigating this possibility through the dance itself. Arises from the fact that the dance has specific characteristics that can not be neglected by the historical account. In this sense, it was initiated by the raising of a theoretical framework that speaks to the indicated issues and unfolds through a field study, which included collecting testimonies from people who participated in the show, documentary research, gathering material traces and finally consists a practical part by transposing elaborated historical knowledge into the body through a creative process, resulting on this moment, in the construction of a duo dance / Esta pesquisa investigou o espet?culo de dan?a Caldo da Cana que estreou em Jo?o Pessoa-PB, em setembro de 1984. Problematiza de modo te?rico-pr?tico o fazer hist?ria da dan?a, investigando essa possibilidade atrav?s da pr?pria dan?a. Surge a partir da constata??o de que a dan?a possui especificidades que n?o podem ser negligenciadas pelo relato hist?rico. Neste sentido iniciou-se o levantamento de um referencial te?rico que dialoga com as quest?es apontadas e se desdobra por meio de uma pesquisa de campo, que incluiu coletar testemunhos de pessoas que participaram do espet?culo; uma pesquisa documental, reunindo vest?gios materiais e finalmente ? composta de uma parte pr?tica que transp?e o conhecimento hist?rico elaborado para o corpo, atrav?s de um processo criativo, tendo como resultado, para este momento, a constru??o de um duo de dan?a

Made available in DSpace on 2014-12-17T14:00:20Z (GMT). No. of bitstreams: 1 ChrystinePS_DISSERT.pdf: 2037695 bytes, checksum: 1cdce9c08277a41924f14e44bf173871 (MD5) Previous issue date: 2014-03-27 / Tanto no contexto acad?mico quanto no art?stico e mercadol?gico, ? crescente a discuss?o sobre o espa?o de conceitua??o da dan?a contempor?nea e suas fissuras, que deixam de abarcar esta ou aquela manifesta??o art?stica ou mesmo acaba por abarcar aquelas manifesta??es que n?o se encaixam em outros espa?os de conceitua??o. No presente trabalho objetivamos a investigar, a Dan?a na Contemporaneidade, para al?m do que se entende por dan?a contempor?nea, em sua capacidade de atravessar os espa?os de conceitua??o j? estabelecidos, para implicar em uma pluralidade de fazeres. Objetivamos tamb?m pensar a pot?ncia que a Dan?a imprime no corpo do artista criador, pensando tamb?m como este se comporta no espa?o de entre linguagens . A disserta??o que aqui se apresenta encontrou enquanto estrat?gia metodol?gica o recurso da met?fora, partindo das ideias de travessia, cartografia e cidades invis?veis para a constru??o do pensamento sobre o corpo do artista e suas rela??es com as diferentes linguagens art?sticas, tomando por base uma retomada das experi?ncias est?ticas e art?sticas de sua proponente. Dialogando experi?ncias pr?ticas e referenciais te?ricos, inicialmente tratamos da dan?a contempor?nea em seus problemas de classifica??o que apontam para a necessidade de um pensamento contempor?neo em dan?a, que pense as manifesta??es art?sticas em seus pontos convergentes, e n?o nos divergentes que as situam sob diversas nomenclaturas. No cap?tulo seguinte discutimos a possibilidade de contamina??o entre as linguagens art?sticas a partir do pr?prio corpo-artista. Discorremos tamb?m sobre a dan?a enquanto agenciamento e resposta aos impulsos resultantes da rela??o com o espa?o e outros corpos, pensando como o corpo do vivente se organiza nesta rela??o de compartilhamento de experi?ncias. Mostrando uma pot?ncia do corpo artista criador que se dedica ? transvalora??o das fronteiras entre as linguagens para a organiza??o do seu fazer. Por fim, apontamos para a diversidade na metodologia de processos de cria??o que variam de acordo com as possibilidades t?cnicas e necessidades est?ticas de cada artista criador

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-05-10T23:07:24Z No. of bitstreams: 1 CibeleRibeiroDaSilva_DISSERT.pdf: 4168823 bytes, checksum: 76c237aee7ce05bfb8f2b3f77e0b8a0c (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-05-17T23:03:59Z (GMT) No. of bitstreams: 1 CibeleRibeiroDaSilva_DISSERT.pdf: 4168823 bytes, checksum: 76c237aee7ce05bfb8f2b3f77e0b8a0c (MD5) / Made available in DSpace on 2016-05-17T23:03:59Z (GMT). No. of bitstreams: 1 CibeleRibeiroDaSilva_DISSERT.pdf: 4168823 bytes, checksum: 76c237aee7ce05bfb8f2b3f77e0b8a0c (MD5) Previous issue date: 2013-04-30 / RESUMO: A presente disserta??o tem objetivo como investigar a improvisa??o - tal como ? realizada no contexto da Dan?a Contempor?nea - como possibilidade de prepara??o corporal do artista c?nico. Prop?e realizar uma reflex?o sobre o processo da prepara??o corporal proposto por mim atrav?s da observa??o dos procedimentos experimentados no Grupo de Pesquisa Corpo-devir, especialmente criado nessa pesquisa, que estudou e vivenciou a improvisa??o em dan?a e, ainda, apresentar relatos e reflex?es dos participantes sobre sua experi?ncia, com ?nfase especial na poss?vel contribui??o para a forma??o dos artistas da cena. Justifica-se, assim, no ensejo de que o artista c?nico usufrua dos conhecimentos trazidos pela pr?tica da dan?a e se perceba sujeito criador da pr?pria forma??o art?stica, e, ainda, que essa pr?tica possa contribuir com perspectivas art?stico-pedag?gicas do corpo c?nico, da cena e dos processos criativos nas artes c?nicas. O trabalho tem abordagem qualitativa com tratamento descritivo das observa??es e est? baseado em pesquisa bibliogr?fica, videogr?fica e som?tica dos procedimentos de improvisa??o em dan?a contempor?nea. Os principais interlocutores te?ricos dessa disserta??o s?o Gilles Deleuze, F?lix Guattari, Maurice Merleau-Ponty, Jorge Larossa, Jo?o Francisco Duarte Jr., Rudolf Laban e Klauss Vianna, sendo que os dois ?ltimos e o coletivo Judson Dance Theater contribuem ainda, com as concep??es metodol?gicas utilizadas nas oficinas. ABSTRACT: This master thesis aims to investigate the improvisation - as it is realized as the context of Contemporary Dance - as a possibility of body preparation of the scenic artist. It proposes to realize a reflection on the process of body preparation, proposed by me through the experiment procedures the observation with Grupo de Pesquisa Corpo-devir, specially formed in this research. This group studied and lived the improvisation in dance and also presented reports and reflections of the participants about their experience, giving special emphasis in the possible contribution for the formation of artists of the scene. In this way it is justified that the scenic artist enjoys the knowledge through the practice of the dance and realizes as being the creator of this own artistic formation. Also, the artist realizes that this practice may contribute with the artistic-pedagogic perspectives of the scenic group, of the scene and the creative processes in the scenic arts. The work has a qualitative approach, with descriptive treatment of observations, and it is based in bibliographical, video graphic and somatic of the improvisation procedures in contemporary dance. The main theoretical-practical interlocutors of this dissertation are Gilles Deleuze, F?lix Guattari, Maurice Merleau-Ponty, Jorge Larrosa, Jo?o Francisco Duarte Jr., Rudolf Laban and Klauss Vianna, being the last two and the collective Judson Dance Theater, still contribute with methodological concepts used in the workshops. / This master thesis aims to investigate the improvisation ? as it is realized as the context of Contemporary Dance - as a possibility of body preparation of the scenic artist. It proposes to realize a reflection on the process of body preparation, proposed by me through the experiment procedures the observation with Grupo de Pesquisa Corpo-devir, specially formed in this research. This group studied and lived the dance improvisation and also presented reports and reflections of the participants about their experience, giving special emphasis in the possible contribution for the formation of artists of the scene. In this way it is justified that the scenic artist enjoys the knowledge through the practice of the dance and realizes as being the creator of this own artistic formation. Also, the artist realizes that this practice may contribute with the artistic-pedagogic perspectives of the scenic group, of the scene and the creative processes in the scenic arts. The work has a qualitative approach, with descriptive treatment of observations, and it is based in bibliographical, video graphic and somatic of the improvisation procedures in contemporary dance. The main theoretical-practical interlocutors of this dissertation are Gilles Deleuze, F?lix Guattari, Maurice Merleau-Ponty, Jorge Larrosa, Jo?o Francisco Duarte Jr., Rudolf Laban and Klauss Vianna, being the last two and the collective Judson Dance Theater, still contribute with methodological concepts used in the workshops.