Repositório RCAAP

This master\'s research in the search line \"practices and processes in the arts,\" has a proposal to look and reflect on the city (Uberlândia, MG) from art projects, considering their physical appearance as opposed to users perceptions of their urban space, what they observe and what they think and report through their lines. Seeks to address this town contextualized and which blends the dynamics of life, trade, power, conformation and longings. Give yourself through artwork interspersed reflection and theoretical approaches of these exercises plastics. So is contextualized in the exercise of artistic and dialogue between these thinkers and art, the city, the geography and the human condition. Five plastic works were carried out during the research: \"The Imagined City\" triggering situations and contradictory conditions of the real city, from its appearance factual and crisscrossed the spoken it; \"Urban Itineraries\" that causes the viewer from a invitation to meet this city real or imagined. Both were lodged in the public municipal art gallery \"Oficina Cultural\" in Uberlândia. As an outcome of the research were also carried out two urban interventions: \"Artist Lunch (who is the owner of the square?)\" Action that held the square Colonel Virgilio Rodrigues da Cunha, discussing the relationship between what is public and what is private in the city, and \"Turning Point\" conducted in two districts of Uberlandia, a look back to the equipment and appliances urban, in this case the bus stops from their plates. The fifth, and last work - \"Classifieds\" - was presented at the University Museum of Art (Muna - Uberlândia, MG), triggering a city constantly surrounded by negotiations that include alleged rents its public buildings, political decisions being bartered and other events that also move between the real and the imagined, leaving tracks doubtful situations to exhibition visitors. In the course of the research work feeds the plastic reflection on the theme of the survey, while this reflection also brings support for the preparation of work aligned with the proposal presented here. Acting with artwork in the city and taking the city as a territory of investigation is also exerting a constant negotiation in the sphere of public power through authorizations and desautorizações, issue also addressed by research.

The object of this study is the relationship between learning music and making a fourhand piano arrangement. This research was based on an understanding of music and of the ways of learning and making arrangements as a sociocultural phenomenon; and considered the way subjects choose, experience and create music. The question that I set out to investigate was: How two students at the Technical State Conservatory of Music Cora Pavan Capparelli of Uberlândia/MG could learn music making a four-hand piano arrangement? Other questions unfolded in the process of approaching the empirical field: Is the arrangement a creative process? In what situations and contexts of arrangement creation can music learning be uncovered? What modes of learning can be observed? These questions represent some of my main concerns and interests regarding this theme. The subjects who collaborated with the research are piano students at the State Conservatory of Music Cora Pavan Capparelli in Uberlândia (CMCPC) who agreed to participate. To understand these relationships there was a dialogue between Music Education, other areas of knowledge and the musical practice of making four-hand arrangements. This study was based on articulation between the theoretical concepts related to the research theme with the data brought from the empirical field so that my reflections could be grounded in a more meaningful gaze towards the way students learn while making a four-hand piano arrangement. It took as a point of departure my experience as a piano teacher. Reviewed in this final report, it proved to be open to new questions for future research, since I envisioned that the categories constructed here can be extended and crossed by diverse contextual dimensions of music learning. The unique experience that I lived while doing this research reinforced the need for a critical analysis of youth training in the realm of the musical creation practice. \"Learning during research\" was what excited me the most in this activity. I could understand the broader senses in which the concept of learning works and, through scientific research, reflect more about myself performing teaching activities. The data results show learning modes with dialogical, emotional, intellectual and reflexive responses related to the meanings created in the course of making the arrangement. The relevance of this research is to give a contribution to the advancement of an environment at Conservatório which creates possibilities of a broader intervention of Music Education.

En esta tesis se presenta un estudio del texto O circulo de giz caucasiano, de Bertolt Brecht (1898-1956). El faro de la investigación es iluminado por el reconocimiento de los elementos y características del género melodramático presente en la tesitura del texto del dramaturgo alemán. Para apoyar mi investigación, me dirijo a algunas notas en el género melodramático existentes, en particular los estudios de Jean-Marie Thomasseau (2005), Ivete Huppes (2000), sumados al teatro épico brechtiano. La idea de Brecht acerca de fábula, copia relación texto/escena, apunta a otras posibilidades de significado distintos de las expectativas generadas por la estética melodramática. Este diálogo entre los discursos con el apoyo de la parcialidad de dialogismo y el discurso paródico de Mikhail Bakhtin (1999, 1992). En consecuencia, el resultado del trabajo se caracteriza en un constante ir y venir entre los \"espacios\", \"tiempo\" y las \"ideas\" en las que el ejercicio de reinterpretación de las formas y los discursos, socialmente diversos, revela una tesis del pensamiento brechtiano: un mundo en cambio en que el sujeto no anula sus emociones, sino que las eleva hasta el horizonte de lucidez. El juego de aproximación y distanciamiento ten el enfoque, en estética de la exageración, la propagación de calidades artísticas a ser irrigadas por la objetividad del teatro épico, proceso que culminaría, en la fábula, una discusión y crítica del sentido de la propiedad, no sólo en boga de los melodramas del período clásico, sino también en la dramaturgia de Brecht.

This dissertation focuses on the contributions of Phonetics in the teaching and learning processes of languages pronunciation in Singing. For that, it investigates a teaching proposal based on this discipline of Linguistics, the Phonetics, with emphasis on articulation and representation of speech sounds - the Articulatory Phonetics and the International Phonetic Alphabet (IPA) in practice, the phonetic transcription. It is based on the literature on Phonetics and Phonology, in the Linguistics area, on the Teaching of Languages, in the Applied Linguistics, and on the Diction for Singers, in the Arts - specifically, the field of Music, singing. Based on the diagnosis made on the subject of Diction in technical and undergraduate courses of Singing in institutions in the triangle region of Minas Gerais, it reflects and suggests changes on didactic and pedagogical aspects, related to the training of singers and singing teachers. It intends to contribute with theoretical reflections, teaching materials and methodological approaches for the teaching of pronunciation of the major languages in the classical repertoire performed in Brazil.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Geraldo Queiroz is considered one of the most important artists of Uberlândia in the twentieth century. The wall paintings made in the Market Hall and the artist s mosaics spread in different buildings of the city and region are among his most prominent works. However, the Public Archives of Uberlândia holds a large collection of Geraldo Queiroz s works made on paper. Due mainly to the precarious storage conditions for several years, many of these works are in a relatively high state of degradation. Through this research we try to catalog the entire collection of the artist belonging to ArPU, survey the initial state of conservation of each work and, finally, implement intervention procedures aimed at prolonging the lifetime of the artist\'s works. Considering that conservation is aimed at minimizing possible damage that can affect an artwork, it helps in the preservation of cultural heritage maintaining accessible the original material for the art historian, without which there can be no written history and no reflection on the work of art. Thus, treatment of the works of Geraldo Queiroz is an important action for the maintenance of this collection.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Fundação de Amparo a Pesquisa do Estado de Minas Gerais

MARIANA PINEDA: A REVOLUTIONARY IN RECREATION OF FEDERICO GARCÍA LORCA García Lorca analyzes the dramatic transposition of the political process of the eponymous heroine grenadine. Celebrated in popular songs who sing their fight, Mariana edge a liberal flag during the government of Don Fernando VII to please the man she loved, and ends up being convicted and executed. Lorca composes a dramatic play based on elements of the character that make telluric discussion intrinsically human affairs from his heroine, with her embroidery, stands for love and freedom. Mariana Pineda who inspires Lorcas s artistic production lived in the early nineteenth century, and served in the fight against a dictatorship, conducting partisan political actions, which committed her to the despotic government of her time. The heroine defends her values of honor and freedom, common feature of other female characters in the traditional Spanish theater, especially the dramaturgist of the Golden Age. Lope de Vega is focused due to telluric features, appreciation of the female and elements of folk tales that gets close to the lorquiano drama. Therefore, a comparative study of the project of the two Spanish authors built on the drama under study Mariana Pineda by Lorca and tragicomedy Fuenteovejuna by Lope de Vega will be held.

This paper brings the possibility of thinking about the connections among body, art and the city throughout dancing in its contemporary aspects. It refers mainly to the concept of modern city, guided from the point of view from Post Modernity. The research interacts with theories and concepts from visual arts, architecture, philosophy and sociology, analyzing the break point path with institutionalized art and checking for proposals of occupying though dance urban spaces, which has the performance ―Anjos d Água‖ as main object of research. The conceptual focus of reflection introduces the operation of Sit Specific Art inscenic arts, emphasizing dancing and bringing out methodologies, esthetics and languages for the flow of art in the environment of the city, with focus in the public space. Analyzing the identities: piece of art and public management, the research introduces a cutting of the recent production in contemporary dance performed in Uberlândia/MG. Giving aspects of development, it shows the possibility of apprehend the creative process in the spectacle ―Anjos d Água‖ as an experience of recording the activities from the group TerraCotta Dança Contemporânea, organized and publicized aiming to highlight its contribution to the history of brazilian dancing. The research presents, in general lines, a political bias for recognizes the relevance of welcoming in the scope of the University researches focused in contemporary dancing, which contributes to amplifying that language, its interdisciplinary processes and dialogues with society.

The purpose of this study is to understand how a teacher training course was undertaken for two guitar teachers of a Bachelor s Degree course at two public universities in the South-East region of Brazil. The more specific aims involved finding out about the training they had had before enrolling for the degree course, together with their initial, continuing and post-graduate instruction. There was also an attempt to understand the challenges/problems they faced as members of the teaching staff in higher education, as well as the way they regarded and conceived the prospect of being guitar teachers in a Bachelor s music course. The research study adopted a qualitative approach. The method employed was a multiple case study and the procedures for data collection were based on semi-structured interviews. The theoretical framework was underpinned by the following authors: Tardif (teaching skills), Vázquez (the concept of práxis) and Setton and Saraiva (the concept of socialization).The results suggest that the Teacher Training of the participants comprises influences which originate from both academic and non-academic situations and practical and theoretical teaching skills. Other results show the reproduction of pedagogical procedures that derived from models which they had experienced as students. This reproduction of models serves as a basis for pedagogical adaptations and adjustments through a process of reflection (práxis).

Reflect on the cultural and historical process of black women in theater through the artistic work of actress Ruth de Souza, from the look of my photographer, female and black. Establish facts and reflect on his career are some of the goals that permeate this search on Ruth de Souza. The research was based productions actress, published in magazines and books of authors who have borrowed speech Ruth de Souza, to present and produce reflections on their artistic journey. The dissertation is divided into three chapters: the first chapter make a presentation of the history of Ruth de Souza, discussing the African descendant, its trajectory the \"Black Atlantic\" to his stay in Brazil. In the second chapter, there is a survey on women in theater, television and film and the factors that the missing black women left the stage. The issues surrounding the prevention of insertion of black women, through social and cultural aspects, in the arts, from the route of Ruth and confrontations experienced by actress are addressed. The third chapter provides a case study of the film Daughters of the Wind by Joel Zito Araujo, starring Ruth de Souza, focusing on the work developed through the script, theme presented, acting work, characters, achievements and setbacks.

The work goes from the contemporary concept of artist-teacher in order to define and discuss the working ways and possibilities for the artist who teaches in the context of the University courses of Art in Brasil, specifically Theatre courses. Thus, the work uses examples and experiences of the actress and teacher Ana Maria Pacheco Carneiro, as to define forms of being and working of the artist inside brasilian university art courses, through their practices in class and in the transposition of the artistic experiences to the teaching.The work discusses the notion of artist-teacher, at first in a conceptual and terminological approach, for then broaden it and propose dialogs between different points of view concerning the contemporary relations between arts and teaching. It can not be ignored, also, how my own experience in acting and teaching directs and particularizes the discussion.The experiences collected among some teaching artists led to a discussion supported in part by the writings of Michel de Certau, mainly his notions of tactics and strategy. These concepts supported the understanding, here expressed, of the artsist´s actions inside the learning institutions, and acts as a touchstone for the selection as for the discussion of the precedures and postures assumed by the teaching artists studied, such as Tácito Borralho, Adriana Schneider Alcure, besides Ana Carneiro.

This work deals with the creation of videodance based on the analysis of the relationship between the visual artist and the dancer. The confluence and vague outlines marking the field of dance and visual arts result in diverse ways of doing videodance stemming from the collaboration between these two artists. The starting point of this study is the following question: what are the possible ways of creating videodance bearing in mind such relationship? This study focuses on the possible ways of creating videodance by analyzing certain experiences in creation processes shared with a company dance from Uberlândia, Brazil. Research\'s analytical categories dialogue with a theoretical basis and with the many relationships the visual artist and the dancer may establish between them.

The research has as main my experience as congadeira in Family Mapuaba focus. The Mapuabas constitute a nuclear family in the city of Uberaba, Minas Triangle, and between cultural manifestations of this family, is Congada. For a deeper understanding of this mapuense body, seeking out some principles of Theatre Anthropology, and also some concepts of corporeality. The research brings intervention \"Waltz of Mirrors\" as a result of an experience with family and Mapuaba integral Suit Congo \"Minas Brazil\". This intervention some symbologies and gestural rituals involving Congada, surveyed the suit Mapuabas were used.

Este trabajo tiene como objetivo llevar a cabo un análisis de los personajes populares, especialmente las camareras, presentes en la trilogía rural: Bodas de Sangre, Yerma y La casa de Bernarda Alba, de Federico García Lorca autor. Las tres obras citadas se aclimataron en los pueblos pequeños, y probablemente inspiradas en hechos reales conocidos por el autor, que vivía muy cerca de la gente sencilla de su tierra natal. En los textos hay problemas de confinamiento, la represión, la sumisión, los conflictos íntimos y complicidad. Los protagonistas viven de acuerdo a las reglas impuestas por una sociedad hostil y control para lograr sus limitaciones humanas, y luego rebelarse. Junto a ellos, están las figuras populares importantes que acompañan y ayudan; guardando sus secretos y conocer su dolor y actuar como narradores del texto que está detrás de la trama principal. El análisis se refiere a la posición de las empleadas domésticas, niñeras y territorios en el contexto social español en el que aparece la obra del autor. Resulta que la importancia fundamental de estos \"no-actores\" figuras, sino cómplices angustiados de la tragedia en la que viven los protagonistas.

Esta tesis tiene como objetivo discutir las formas que el arte teatral se puede utilizar para la realización de la crítica política y social en la actualidad. Discutir cómo el teatro político se ve hoy en día, sigue siendo parte de los objetivos del trabajo. Por lo tanto, fue elegido como objeto de estúdio el texto As Grandes Lonas do Céu de Fernando Limoeiro. Llevar a cabo reflexiones sobre algunos puntos de la relación entre el texto y la escena, se convierte en esencial para evaluar cómo el teatro puede ser político sin perder la teatralidad. En consecuencia el trabajo del grupo Cia Candongas de Belo Horizonte MG, quien realizo la puesta en escena del texto, también se aborda en nuestro trabajo. El texto elegido ofrece la posibilidad de realizar conversaciones de teatro político,que son parte de nuestro objetivo principal, pero en última instancia, también aportan reflexiones sobre la historia del circo y el melodrama.

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