Made available in DSpace on 2016-03-15T19:42:22Z (GMT). No. of bitstreams: 1 Celia Cristina Rodrigues De Donato.pdf: 781065 bytes, checksum: f2ccf5445109924e89208f244d47cea7 (MD5) Previous issue date: 2012-12-13 / The main aim of this research is to investigate the Municipal Theater of São Paulo that was built by the high society s patronage of the São Paulo s coffee industry to be the city s opera house in 1911. The Municipal Theater was recognized as a cultural heritage by its history, architecture and active place, and it offers many attractions, such as the School of Music, the School of Ballet and the Museum. The search had the purpose of checking the relation between who lives in town and at the Municipal Theater, so the focus is directly to the passerby who sits on the steps and their perceptions of the cultural heritage, the Theater attendance, their feelings, the concerned of the Theater, and the exercise of practicing the musical listening, which is a mechanism for an aesthetic experience. Furthermore, others efforts were a better view of the cultural heritage and its important contact, the artistic enjoyment, the cultural mediation, which allowed the cultural heritage s access, the cultural areas and all the artistic languages involved, the belief on the potential of the art and the mediator- educator that influences the art. / Este trabalho buscou levantar a trajetória do Teatro Municipal de São Paulo que foi construído pelo patrocínio da elite cafeeira paulista para ser a casa de ópera da cidade em 1911. Reconhecido como patrimônio cultural por sua história, por seu valor arquitetônico e por ser um espaço culturalmente atuante, oferece uma extensa programação de espetáculos e ações educativas, como a Escola de Música, Escola de Dança e o Museu. A pesquisa de campo visou verificar qual é a relação do habitante da cidade com o Teatro Municipal, focalizando o transeunte que se senta nas suas escadarias e suas percepções sobre o patrimônio cultural, a frequentação do Teatro, os sentimentos e sensações em relação ao Teatro e ao exercício da escuta musical proposto, tendo a música como dispositivo disparador para a experiência estética. Ressaltou-se a conscientização do valor do patrimônio cultural e a importância do contato, da fruição, da mediação cultural para um acesso mais amplo ao patrimônio cultural, aos territórios culturais e a todas as linguagens artísticas, acreditando na potencialidade da arte e no educador mediador, consciente de sua atuação mediadora em arte.

Diploma thesis Background identity is a series of events through which I am trying to find a harmony between the magic of art and life. I decided to initiate the situation, "performance" mediating an authentic, strong feelings. I tend to performance associated with life in the self-reflective approach. Based in my own performative practice in which the strength and authenticity is reflected primarily in the exchange of energy between the audience and the performer. I started to define an ideal conditions for performance to achieve this exchange, authentic experience and mutual perception of the situation within the relationship between "performer" and "spectator". In November 2015 I planned "authentic performances " series . The mutual forming of "performing" act I have anchored in the concept of identity, which is infinitely formed in relationships and the never-ending negotiation process. In the name of authenticity I am exposing myself within the anonymity of public space and waiting for the moment of identification. Waiting for concrete spectator who is already a part of me within a certain social role. Unexpected intervention into the everyday life of concrete person make the opportunity of authentic experience. Experience which is a part of his everyday life completes the action, giving the context. During the realization I got the opportunity to exhibit in the Palais de Tokyo. Aware of the significance of this opportunity for the development of my own artistic career I have decided to accepted it as a challenge. Although the terms of institution are utter contradiction of those conditions I had defined previously for authentic experience. In the name of authenticity and my principles I decided to be present in the role of spectator. To be invisible to this prestigious gallery. Be invisible to the artistic group Delta Total through which I had the opportunity to exhibit. To be inside and outside in the same time. The starting point of the last part is a necessity with the goal to get a master's degree. The necessity of outcome for jury can also betray my ideals of living authentic event. I should mediate all the experience of past events (to date 20th of April- thirty-three events) which happened in so many different places in the space of "Malá Amerika" in Brno...