Orientador: Ernesto Giovanni Boccara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T21:58:00Z (GMT). No. of bitstreams: 1 Ancelmo_Ozenir_M.pdf: 40560467 bytes, checksum: bf9b374f872eaaba1030c5d326468781 (MD5) Previous issue date: 2007 / Resumo: A criação do figurino/vestimenta para a performance, forma de expressão escolhida para esta proposição de trabalho, foi o subsídio para esta dissertação de mestrado, tendo todo seu processo documentado. O foco está no processo de criação, o qual poderá contribuir para futuros trabalhos que envolvam a criação de figurinos, seja para o teatro, a dança, performance ou qualquer forma de expressão que pressuponha uma ação cênica. Partindo da relação existente entre vestimenta-figurino e corpoator/performer, tendo como fundamentação a investigação da artista plástica Lygia Clark, onde o espectador interage com os objetos e esta intervenção se torna a obra e, a filosofia mestiça de Michel Serres, que enuncia que o corpo é um campo de forças onde fica impresso a aprendizagem, este trabalho pretende enquanto processo, imprimir uma concepção holística de criação em que não exista separação entre a parte e o todo, ou entre figurino-ator-personagem. O que se configura no terceiro corpo. Esta pesquisa visa a convergência entre as Artes Cênicas e as Artes Plásticas através da vestimenta-figurino, território expressivo a ser estudado. A vestimenta-figurino vai sendo esculpida através das ações do corpo: sujeito na criação e objeto do criador. As vestimentas serão expostas em uma instalação onde a perfomer interferirá com as mesmas. Trata-se aqui de reconstituir e totalizar o corpo através da ação artística, de contaminar de arte o espaço social. Um exercício para desenvolver um sentido expressivo, um despertar da percepção da vitalidade criadora / Abstract: Creating patterns/garment for performance, way of expression chosen for the proposition of this work, was the subsidy for this master's thesis, which reports all the process of creation. The focus is on the creation process, which will make contribution to future researches that involve creation of patterns, either for the theater, the dance, performance or any other way of expression that presuppose some scene action. Starting from the relationship between garment-patterns and bodyactor/ performer, and being based firstly upon the researches of the plastic artist Lygia Clark, in which the spectator interacts with the objects and this intervention turns into the work of art, and secondly upon Michel Serres's "blended" philosophy, which suggests that the body is a field of strengths where learning is inculcated, this work, as a process, intends to establish a holistic conception of creation in which there is no separation between the part and the whole, or between patterns-actor-character, which is configured in the "third instructed". This research aims to the convergence between Scene Arts and Plastic Arts through the garment-patterns, which is the expressive field to be studied. The garmentpatterns is sculpted through body actions: subject in the creation and object in the creator. The garments will be exhibited in an art installation where the performer will interfere with them. It is a matter of recomposing and expressing the body as a whole through artistic action, or of infecting the social space with art. An exercise to develop expressive sense, an awakening of the creative vitality / Mestrado / Mestre em Artes

Orientador: Lúcia Eustáchio Fonseca Ribeiro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T15:22:03Z (GMT). No. of bitstreams: 1 Venturini_RacheldeCastro_M.pdf: 6049730 bytes, checksum: f0134aea73d73c6237ae3ad68877e47e (MD5) Previous issue date: 2013 / Resumo: A pesquisa aqui apresentada busca o entendimento, sob o ponto de vista das Artes Visuais, do processo criativo dos recintos expositivos pertencentes à exposição "O Caminho da Serpente". Sediada na Fundação Parque Zoológico de São Paulo (FPZSP), essa mostra é direcionada para a manutenção e exposição da população de serpentes pertencente à Fundação. Contudo, o seu objetivo não se limita a apresentar ao público espécimes nativos e exóticos em um cenário "bonito" e, sim, construir um ambiente propício ao bem-estar dos animais, bem como a vivências que resultem na educação ambiental e no vínculo positivo do visitante com as serpentes. Dentro desse projeto expositivo abrangente, encontra-se o objeto de estudo: o processo de criação coletivo e multidisciplinar de ambientações realistas, fundadas na representação de um habitat selvagem, e destinadas à manutenção e exposição de um ser vivo. E considerando que a pesquisa está imersa em um contexto de interface entre áreas, abarcando a criação em artes visuais, bem como o universo dos zoológicos, optou-se por abordar e discutir esse mesmo objeto, a partir de um elemento que sempre se manteve como campo propício de englobar a criação, identificado como mediador de ambos os universos e constantes em todo o processo: a paisagem / Abstract: The research presented here seeks to understand, under the point of view of the Visual Arts, the creative process of exhibition venues belonging to the exhibition "O Caminho das Serpentes". Headquartered in the Zoological Park of São Paulo, this show is directed to the maintenance and exposure of the population of snakes belonging to the Foundation. However, its goal is not limited to present to the public native and exotic specimens in a "beautiful "scenario, and yes, build an environment favorable to the welfare of animals, as well as the experiences that result in environmental education and the positive bond of the visitor with snakes. Within this extensive exhibition project, is object of study: the processes of creating collectives and multidisciplinary realistic ambientations, based on the representation of a wildlife habitat and designed to the maintain and exposure of a living being. And considering that research is embedded in a context of interface between areas, encompassing the creation in visual arts as well as the world of zoos, it was decided to address and discuss the same subject, from an element that always kept as favorable field to encompass creation, identified as a mediator of both universes and constant throughout all process: the landscape / Mestrado / Artes Visuais / Mestra em Artes Visuais

Nous souhaitons penser l’improvisation théâtrale « libre » dans une continuité de nature avec le théâtre à deux temps. L’improvisation théâtrale s’est en effet déterminée au cours des quarante dernières années comme un champ à part, avec son histoire et ses règles propres. En nous consacrant à l’improvisation « libre », nous considérons une improvisation qui ne fait pas intervenir a priori de structure d’ensemble, de règles formelles ou stylistiques, qui laisse aux improvisateurs la responsabilité de les déterminer eux-mêmes. Si ce type d’improvisation est courant en musique ou en danse, il reste rare ou ponctuel au théâtre. C’est à travers la notion d’acteur-créateur, telle que l’ont définie Alain Knapp et le Théâtre-Création, que nous la retrouvons. Ce groupe (Lausanne, 1968–1975) a été l’un des premiers en Europe à produire des spectacles improvisés sur des thèmes proposés parle public. Alain Knapp, en héritier de Brecht, nous aide à penser un acteur-créateur qui se distingue de l’improvisateur contemporain par son autonomie créatrice, et par l’attention qu’il porte à l’inscription de ses actes artistiques dans un contexte et une histoire. Revenant à aujourd’hui, nous réinvestissons cette notion d’acteur-créateur à travers celle de performativité. Un ensemble d’expériences et un laboratoire de recherche-action centré sur les perspectives (viewpoints) nous permettent de développer une conception pratique de l’improvisation comme étude d’un contexte par un répertoire. Enfin, ayant explicité quelle liberté est à l’oeuvre dans l’improvisation « libre »et comment la reconnaître, nous décrivons le continuum qui relie cette dernière à la représentation verrouillée. / We want to think of free-improvisation in theater in a continuity with traditional theatre. Theatrical improvisation has indeed grown over the last forty years as a separate field, with its ownrules and history. By dedicating ourselves to free-improvisation, we concentrate on an improvisation that does not involve a preconceived overall structure, or formal or stylistic rules, which leaves improvisers with the responsibility to decide them on the spot. Whereas common in music and dance, free-improvisation is rare or occasional in theatre. It is approached through the notion of actor-creator, as it was defined by Alain Knapp and the Théâtre-Création. This group (Lausanne,1968-1975 ) was one of the first in Europe to perform improvised plays on themes proposed by the audience. Drawing a lot from Brecht, Alain Knapp’s actor-creator has a creative autonomy and pay great detail to the way his artistic acts are inscribed in a given background and history.This distinguishes him from contemporary improvisers. Back to the present, we renew the notion of actor-creator through performativity. A set of experiments and a laboratory focused on Mary Overlie’s Viewpoints allow us to develop a practical approach to improvisation as a study of a context through a repertoire. Finally, having explained which idea of liberty is at work in free-improvisationand how to recognize it, we describe a continuum that connects it to set performances.

Orientador: Grácia Maria Navarro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T14:55:44Z (GMT). No. of bitstreams: 1 Costa_DanielSantos_M.pdf: 16488446 bytes, checksum: 1c8379dbcd0464841316d500a8d233f2 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação apresenta as encruzilhadas de um corpo em processo de criação, profanando possibilidades autorais para a produção de conhecimento nas artes da cena a partir de uma perspectiva dialógica a qual busca friccionar arte e vida. O corpo (em) processo, visto sob um prisma da autobiografia de um sujeito que fala de si, experimenta epistemologias locais advinda do universo da oralidade popular brasileira como tentativa de fuga dos processos centralizadores, além disso utiliza a autoetnografia como uma possibilidade metodológica para projetar seu ponto de vista sobre o mundo através das artes da cena. Nessa práxis, o corpo sensível percebe o mundo e dialoga com ele, destacando um peculiar modo de fazer-pensar a cena contemporânea neste entrelugar que é a encruzilhada, um espaço possível para o híbrido. De tal local, foi possível emergir um ponto de vista privilegiado no sentido da multiplicidade que o referido espaço provoca, seja na possibilidade do novo, do vir a ser, ou, mesmo, nas provocações e referenciais deste. A resultante experimental do processo em questão é apresentada na forma de uma dança-teatro brasileira a qual problematiza uma construção teórica a partir da prática. O diálogo revelou um sujeito/personagem singular que entrecruza, em seu cotidiano, devoções populares ¿ Umbandas e Folias de Reis, realidade e ficção, memória e presentificação, constituindo um personagem que apresenta comportamento cultural de "um brasileiro" dentre as tantas possibilidades de "ser brasileiro" que a pluralidade da cultura nacional promove. Elucida-se, então, a importância da instauração de processos de criação para a produção das especificidades que geram conhecimento nas artes da cena com levando em conta as possibilidades de descobrir caminhos próprios, singulares, além de questionar a inversão ou o descarte de hierarquias, problematizando suas essências e produzindo uma cena pautada na diferença, na desestabilização dos centros reguladores do pensamento dominante / Abstract: This master¿s thesis presents the crossroads of a body in a creation process, profaning authorial possibilities for the production of knowledge in the performing arts, from a dialogic perspective, which desires to friction art and life. The body (in) process, seen by the prism of an autobiographical individual that speaks of himself, experiences local epistemologies coming from the universe of Brazilian popular orality as an attempt to escape from centralizing processes. Moreover, he uses autoethnography as a methodological possibility to project his point of view about the world through the performing arts. On this praxis, the sensible body realizes the world and dialogues with it, highlighting a peculiar way of doing - and thinking over - the contemporary scene in this in-between place, the crossroads, a possible space for the hybrid. From such position, it was possible to emerge a privileged point of view in the sense of the multiplicity that the reported space provokes, either when it comes to the possibility of the new, of something that comes to become something else, or even when related to its provocations and references. The experimental process result under discussion is presented in the form of a Brazilian dance-theater, which will be capable of problematizing a theoretical construction through practice. The dialogue revealed a singular subject/character that intersects in their daily life, popular devotions - Umbanda and Folia de Reis, reality and fiction, memory and presentification, constituting a character presenting cultural aspects of a "Brazilian" among the many possibilities "be Brazilian" that the diversity of national culture promotes. Hence, it is elucidated the importance of establishing creation processes for the production of specificities that beget knowledge in the performing arts taking into account the possibilities of discovering personal, singular ways, besides questioning the inversion or the discard of hierarchies, problematizing their essences and producing a scene based on difference, on the destabilization of centers that regulate dominant thinking / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Educators employing process drama, a non-presentational dramatic form, establish memorable classroom environments where students co-author their learning with teachers. Process drama facilitators often use the dramatic structure of teacher-in-role to guide and support the students. An instructor heightens tension, introduces new ideas, and encourages participation by engaging alongside students as a character. An educator employing process drama needs to determine the appropriate type of role to impact the development of a classroom drama; while negotiating tension felt between desires for student-led discovery and the necessity of meeting curriculum benchmarks. Academic studies establish process drama as a tool to aid English Students of Other Languages or ESOL classrooms. Process drama heightens comprehension, whole language usage and ownership of learning. Using the methodology of reflective practice I analyzed my teaching in role to determine how I negotiate diverse and conflicting objectives. I facilitated a six week process drama with four to six-year-old ESOL students at a learning centre in Hong Kong. This study improved this teacher’s understanding and usage of teacher-in-role. The ideals of a process centered classroom were not always realized, but the needs of the population necessitated adaption from expectations. The experiences of the researcher indicate ambiguous character may not be the best way to motivate dialogue among this population of ESOL students. Students’ age and English experience suggests using co-participant characters whose motivations are clearly defined. This study contributes to the discussion on what differing "role iv types" offer facilitators of process drama and how it may be used to meet demands of curriculum including development of performances. Process drama with very young students presents a field for further research investigating methods and practices to effectively structure process dramas that address their learning.

A research report presented to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the Masters Degree in Arts, February 2013 / Mapiko is a dance that is practiced in northern Mozambique. This dance is usually associated with the rites of passage from youth to adulthood. Over time Mapiko has undergone several mutations according to the social, cultural and economic changes in the community. The adaptation described in this paper came out of many years of theatrical practice and research into the traditional values of Mozambique. The aim was o produce a theatre experience which has cultural elements that could be recognized by Mozambicans and which would link them to modern, contemporary and perhaps post-modern theatre techniques. the resulting play made use of elements of Mapiko dance, playback theatre and the text "We killed Mangy-Dog" written by Luis Bernardo Honwana. [Abbreviated Abstract. Open document to view full version]