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Escola de palco método em artes cênicasMaia, Cícera Vanessa 02 May 2016 (has links)
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Previous issue date: 2016-05-02 / The research initiated when observing a phenomenon in the classroom and when searching for
understanding this processes that was taking place during classes of Performing Arts, through
experiences of students in front of the mirrors. Therefore, there was the need to find scholars
who could support such knowledge. It was then that the phenomenological method, from
Goethe, expanded research offering students freedom in the process and intensifying the
observation of the phenomena. Firstly, throughout a period of fifteen years the role of the mirror
in the Theatre Group of Centro Federal de Educação Tecnológica (CEFET-MG) is reported by
analyzing aspects of the context of each scene and the tool used by the group of actors.
Supportive sources of knowledge and theatrical techniques that established the trajectory of the
group during this first part, were theater’s authors, such as Boal, Brechet, Koudela, Spolin.
Other authors being, Sartre, Ponty, Ostrower were examined to assist in the understanding of
subjective interpretation processes, as well as to describe the object of research, to deepen in
the concept of image and in the action of the students when seeing themselves in mirrors in the
room. During the experiment, the adaptations to the process were taken note and the mirror tool
described throughout the steps of formatting the class method. To this point, the methodology
chosen was ethnography based on the autobiographical narrative that can take the phenomenon
and its processes to an empirical research. Duvignaud, Morin, are authors who have made the
languages of dialogue processes and phenomena. In phenomenology, the seven steps are very
clear principles that have been experienced, first, by the researcher and then systematized into
steps of enjoyment between students and mirrors, and, only later, to systematize the phases of
method. The author that supported this study was Bach Jr., when clearly presenting, the phases
of Goethe's phenomenological. The research, after presenting the method and its applicability
proven in the past ten years, presents a format that might be a menu for the discipline of
Performing Arts / A pesquisa partiu dos fenômenos observados em sala de aula e na busca do entendimento dos
processos que ocorriam nas aulas de Artes Cênicas a partir das vivências dos alunos frente aos
espelhos. Buscamos teorias que pudessem ampliar meus conhecimentos. Foi então que o
método Fenomenológico, de Goethe, amparou a intensificação na observação da pesquisadora
aos fenômenos. Primeiramente, durante quinze anos a função do espelho no Grupo de Teatro
do Centro Federal de Educação Tecnológica (CEFET-MG), são analisados os aspectos do
contexto da cena como a ferramenta utilizada pelos atores do grupo. Nesse percurso, os autores
de teatro Boal, Brecht, Koudela e Spolin, como fontes de conhecimento e técnicas teatrais,
estabeleceram a trajetória do grupo. Na segunda parte, a Fenomenologia e sua Epistemologia
foram incorporadas como base para a compreensão dos passos, na sistematização do processo
observado e a intuição como experimentação da pesquisadora. Outros autores, Ricoeu, Sartre,
Ponty e Ostrower, foram visitados para auxiliar a compreensão da subjetividade, interpretar os
processos, descrever o objeto da pesquisa e aprofundar o conceito de imagem, na ação dos
alunos quando eles se veem nos espelhos na sala. Na ação do experimento, as adaptações ao
processo iam sendo aferidas e a ferramenta espelho, descrita nas etapas das aulas, formatando
um método. A metodologia escolhida foi a etnografia que, junto a narrativa autobiográfica pode
descrever os fenômenos e seus processos e sub processos em uma pesquisa empírica. As
análises de dados vão sendo apresentadas no estudo, em paralelo as adaptações do processo
fenomenológico, até chegar à sistematização de sete passos, etapas do método quando da
utilização dos espelhos. Duvignaud e Morin são autores que fizeram o diálogo das linguagens
dos processos e os fenômenos. Na fenomenologia, as sete etapas têm princípios bem claros que
foram vivenciados, primeiramente, pela pesquisadora para depois sistematizar as etapas de
fruição dos alunos com os espelhos e, posteriormente, as fases do método. O autor que sustentou
esse estudo foi Bach Jr., quando apresenta, de forma clara, as fases da fenomenológica de
Goethe. A pesquisa, após apresentar o método e sua aplicabilidade conferida nestes dez anos,
apresenta um formato que possa vir a ser uma ementa de disciplina em Artes Cênicas
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Arrangering för stråkinstrument : En fenomenologisk självstudie i arrangering utifrån musikaliska parametrar / Arranging for string instruments : A phenomenological self-study in arranging based on musical parametersNordliden, Johanna January 2021 (has links)
I detta självständiga arbete undersöks upplevelsen av arrangering för stråkinstrument utifrån olika musikaliska parametrar. Syftet med arbetet är att analysera dessa upplevelser samt att studera hur inställningen och självförtroendet till arrangeringen varierar och utvecklas. Under tre månader skapas arrangemang av åtta låtar av varierande karaktär, där processen dokumenteras med hjälp av loggbok och analyseras med tematisk analys. Med stöd från det fenomenologiska perspektivet och vald litteratur presenteras ett resultat utifrån följande frågeställningar: Hur påverkar olika musikaliska parametrar så som gehör, rytmik och harmonisering vid arrangering? Hur upplevs arrangeringsprocessen utifrån inställning, självförtroende och utmaningar? Resultatet delas in i två teman som baseras på dessa frågeställningar, Musikaliska parametrar och Upplevelsen av arrangering. I resultatet framkommer att plankning och gehörsbaserad arrangering upplevs som lustfylld och utmanande. Utveckling vad gäller harmonisering och musikteori analyseras och vid arrangering för elever dras slutsatsen att balansen mellan utmaningar och tydlighet i arrangemanget är en utmaning även för arrangören. Struktur lyfts som en betydelsefull faktor i processen och inställningen till arbetet är mestadels positiv. Motgångar ger ny drivkraft och inspiration till nya idéer och självförtroendet växer under arbetets gång. Avslutningsvis följer en diskussion kring arbetets resultat i relation till vald litteratur och det fenomenologiska perspektivet. / In this self-study the experience of arranging for string instruments is examined based on different musical parameters. The purpose of this study is to analyze these experiences and to examine how the attitude and self-confidence varies and develops. During three months, arrangements of eight songs of varying character are created, where the process is documented with the help of a journal and analyzed with thematic analysis. With support from the phenomenological perspective and selected literature, a result is presented based on the following questions: How do different musical parameters such as hearing, rhythm and harmonization affect when arranging? How is the arrangement process experienced based on attitude, self-confidence and challenges? The results are divided into two themes based on these issues, musical parameters and the experience of arrangement. The results show that an aural-based arrangement is experienced as pleasurable and challenging. Development in terms of harmonization and music theory is analyzed and when arranging for students, it is concluded that the balance between challenges and clarity in the arrangement is indeed a challenge for the arranger as well. Structure is highlighted as a significant factor in the process and the attitude to the study is mostly positive. Adversity provides new impetus and inspiration to new ideas and self-confidence grows during the study. In conclusion, a discussion follows about the results of the study in relation to selected literature and the phenomenological perspective.
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