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Previous issue date: 2017-07-28 / O presente trabalho aborda o espet?culo teatral ?O que os olhos n?o veem?, que amparado pelo
universo da cegueira, tem como prerrogativa de aprecia??o a cena n?o vis?vel e prop?e uma
discuss?o no campo da recep??o teatral, sobre o olhar do espectador no contexto de uma
proposta amparada pela n?o vid?ncia. A pesquisa objetiva investigar como a caracter?stica n?o
vis?vel da referida proposta c?nica possibilita a percep??o do espectador emergida da rela??o
corpo-espa?o; e compreender como a possibilidade da n?o visibilidade da cena potencializa a
capacidade de aprecia??o do espectador. Para tanto s?o colocadas as seguintes quest?es: ?
poss?vel a aprecia??o de um espet?culo teatral sem o agenciamento da vis?o? De que forma o
corpo assiste um espet?culo teatral que dispensa o recurso da vis?o? Como se d? o olhar a partir
de uma experi?ncia em que a n?o vid?ncia ? prerrogativa da aprecia??o? O l?cus da pesquisa ?
o projeto de extens?o ?O que os olhos n?o veem o cora??o (n?o) sente?, vinculado ao Centro
de Educa??o e Departamento de Pr?ticas Educacionais e Curr?culos da Universidade Federal
do Rio Grande do Norte. A pesquisa centra-se no campo da recep??o teatral e tem a
fenomenologia como aporte metodol?gico para compreender a experi?ncia de aprecia??o do
espectador interditado da vis?o ocular. Os relatos dos espectadores s?o gravados, transcritos e
organizados em tr?s temas de discuss?o: o espa?o da cena e o espa?o do corpo; a reversibilidade
dos sentidos na cena; e a emancipa??o do olhar. O texto ? conduzido pelo pensamento de
Maurice Merleau-Ponty (2004; 2011; 2014; 2015), e seus interlocutores, tra?ando redes de
comunica??o com os estudos de Fl?vio Desgranges (2011; 2012; 2015), no campo brasileiro da
recep??o teatral, e Jacques Ranci?re (2010; 2012), no que tange a emancipa??o do olhar do
espectador. A experi?ncia teatral no contexto da discuss?o compreende o espectador como
coautor da cena. A interdi??o da vis?o ocular faz esfuma?ar os corpos no espa?o c?nico e
configura um labirinto de caminhos a serem desbravados pelo espectador, que diante da n?o
vid?ncia percebe outros modos de apreciar a cena, reorganizando sua experi?ncia para ver de
corpo inteiro, tal qual Argos Panoptes. Esta situa??o permite desvelar uma emancipa??o do
olhar no ?mbito da cena teatral. / The present work deals with the theatrical spectacle "O que os olhos n?o veem", that supported
by the universe of blindness, has the non-visible scene as prerogative of appreciation and
proposes a discussion in the field of theatrical reception, on the view of the spectator in the
context of a proposal supported by non-vision. The research aims to investigate how the nonvisible
characteristic of said scenic proposal allows the viewer's perception emerged from the
body-space relationship; and to understand how the possibility of non-visibility of the scene
enhances the capacity of appreciation of the spectator. Thereunto the following questions are
posed: is it possible to appreciate a theatrical spectacle without the agency of vision? How does
the body watch a theatrical spectacle that dispenses the resort of sight? How does one look from
an experience in which the non-vision is a prerogative of appreciation? The locus of the research
is the extension project "O que os olhos n?o veem o cora??o (n?o) sente", linked to the
Education Center and Department of Educational Practices and Curricula of the Federal
University of Rio Grande do Norte. The research focuses on the field of theatrical reception and
has the phenomenology as a methodological contribution to understand the experience of
appreciation of the viewer interdicted of the ocular vision. The accounts of the spectators are
recorded, transcribed and organized into three topics of discussion: the space of the scene and
the space of the body; the reversibility of the senses in the scene; and the emancipation of the
look. The text is driven by the thoughts of Maurice Merleau-Ponty (2004; 2011; 2014; 2015),
and its interlocutors, drawing networks of communication with the studies of Fl?vio Desgranges
(2011; 2012; 2015), in the brazilian field of theatrical reception, and Jacques Ranci?re (2011;
2012; 2015), regarding the emancipation of the spectator?s look. The theatrical experience in
the context of the discussion understands the spectator as coauthor of the scene. The interdiction
of the ocular vision makes the bodies smoke in the scenic space and forms a labyrinth of paths
to be explored by the spectator, who in light of the non-vision perceives other ways of
appreciating the scene, reorganizing their experience to see with the entire body, such as Argos
Panoptes. This situation permits to unveil an emancipation of the look within the theatrical
scene.
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.ufrn.br:123456789/24881 |
| Date | 28 July 2017 |
| Creators | Cruz, Everson Oliveira da |
| Contributors | 56613067415, Santana, Ar?o Nogueira Paranagu? de, 11662751168, Alves, Jefferson Fernandes, 40692345434, Marques, Larissa Kelly de Oliveira, 59778172404, Porpino, Karenine de Oliveira |
| Publisher | PROGRAMA DE P?S-GRADUA??O EM ARTES C?NICAS, UFRN, Brasil |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/masterThesis |
| Source | reponame:Repositório Institucional da UFRN, instname:Universidade Federal do Rio Grande do Norte, instacron:UFRN |
| Rights | info:eu-repo/semantics/openAccess |
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