Repositório RCAAP

In this research, based on my everyday practice as a photographer technician of the Dance BA at the Federal University of Uberlândia (UFU) registering events, as well as students and teachers‟ works, I analyze what are the possibilities of documenting dance through photography and how they articulate in the context which I am inserted. I had done some exercises/theoretical reflections, aiming to point out a few experiences of this practice, that have helped me consolidate both making and thinking about photographing dance in interaction whit its environment; and have also given me the possibility to think that images have their own emancipation from themselves, expanding their meanings, offering new ways of observation and refreshing the memory

This dissertation addresses the presence of the piano performance in the city of Uberlândia, Minas Gerais State and it proposes to investigate pedagogical and musical actions involving this instrument in the city through the perspective of music education. The research covers the period of time from year 1888 when village of Uberlândia was elevated to city status until year 1957, when the Music Conservatory of Uberlândia was created. It is a documentary research, whose sources were articles from newspapers that circulated in the city during this period. Based on newspapers analysis it was possible understand musical and pedagogical actions throughout various activities involving the piano performance in the city. Among the pedagogical and musical actions well documented in this research, the piano lessons, musical presentations in spaces such as radio, cinema, schools and the various music halls of the city were clearly highlighted. The theoretical supports for the reflection and the data analysis were focused on the music education as a social practice (SOUZA, 2004), the musical practices as processes of civilization (ELIAS, 1994) and also in pianistic activities as elements of social distinction (BOURDIEU, 2007b). The relationship that the townspeople has established with the piano, including practices of attending concerts, learning how to behave in musical performances and also creating listening habits were cultivated by citizens of Uberlândia during the period of time studied. Many of these practices were maintained (1888-1957) in society as search of an ideal of a civilized city whereas people knew how to behave and enjoy the piano music.

This research approaches reflections on the creative process during the elaboration of a visual poetics, that is themed upon political art and the micropolitics. The methodology used to approach such subject was given by a previous contact with the research field, the artistic operations were conceived from the poetic inquiring, mainly from photograph sessions done in passageways. These inquirings are made from an ethical, aesthetic and political approach, presenting a cut-off line between the relationship that can be established with animals in an urban context. Two artistic actions synthetise the efforts of this research: Boa viagem and Vida de cão. The pain and suffering of the animals are raised on the poetic approaches and the artistic language ellected to deal with such issues were the actions performed with the support of photographic images in a public areas. The notions of space, context and quotidian are demanded to the accomplishment of this reseach, as they substantiate the choices and strategies of the artistic projects.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

This dissertation focuses on retirement as a moment of musical learning. This work has as main objective to understand the retirement as a moment of life to seek to learn music, and as specific objectives intend to understand how the musical experiences are lived and shared with/by these retired people in areas of teaching/learning, collective or not, as in the cases of choir practice, or learning an instrument, individually or collectively. In a qualitative approach, the research method adopted was the case study, using such procedures for data collection interview. The music education as a social practice (SOUZA, 2004), the thought of retirement associated to leisure (DUMAZEDIER, 1994, 1999), and leisure associate to the potential of education in retirement (MARCELLINO, 1987, 1995, 2000, 2002, 2007) were the theoretical basis for the reflection on all the collected material from the interviews. The final considerations of this research are associated with the process on which people that retire experience, the way that musical learning becomes important in their lives, and also how these people experience music in their lives and share in spaces of teaching / learning collective or individual.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Esta investigación Cuerpo de Sonido: Voz que usted ve informes algunas de mis experiencias y conocimientos en el proceso de investigación sobre el trabajo y la poética del actor, centrándose en la persona sorda. Podemos encontrar aquí el análisis de dos etapas: la primera, esta es mi experiencia como monitor de la disciplina Técnica Vocal I, impartido por el profesor Dr. Fernando Aleixo en el Curso de Teatro de la Universidad Federal de Uberlândia (UFU): era una trabajar con un estudiante sordo de Curso Teatro de UFU; la segunda vez es la observación de dos grupos de sordos (un grupo de jóvenes y outro adultos), tanto en las prácticas de la vida social. El objetivo de la investigación fue evaluar cómo la persona sorda se acopla al cuerpo en el proceso de producción de la vibración de voz. La investigación me ha llevado desde el principio, la conciencia de la necesidad de profundizar en el universo sordos: comprender mejor viniendo de él antes de doma a ella. El surgimiento durante los hallazgos de la investigación podría posiblemente servir como herramienta para la preparación del actor para los Libras2 de aprendizaje tanto para los sordos y los oyentes y de Libras formación de intérpretes.

Fundação de Amparo a Pesquisa do Estado de Minas Gerais

SonorAção ISVI is a hybrid artistic production in between Music and Visual Arts, implemented as an Interactive Sound and Visual Installation (ISVI3), developed in this master\'s research, with the following objectives: to introduce other possibilities of sound production and its relations with other languages and technologies by exploring ways of interaction and computer processing in real time; to develop and research other means of presentation and audio-visual exploration, which are not present in the composition of traditional music; an encounter between the expressive possibilities of digitized sound, its perception and acoustic-visual relation in time/space creating a synesthetic, multisensory environment which enables the public, now as ―users‖ and not just ―visitors‖, to establish their own, individual, personal interpretations, promoting active participation. The installation carried out in this research can be conceptualized as an artistic production in the scope of Sound Art. This way, it was made a brief contextualization on the repertoire of the Sound Art and on the cultural manifestations of the modern period to the post-human; the survey and research of some Sound Installations that influenced the design and set-up of SonorAção ISVI. The second stage involved the experimentation design and set-up of SonorAção ISVI; and also an analysis about the similarities and differences between the elements that constituted the artistic production carried out in this research and the elements and features that are present in works in the field of Sound Art, including an approach the behavior of the users in SonorAção ISVI s environment through the analysis of photographic records, videos and observation carried out on site during the interaction of users in the installation environment. Finally, we present the results, concepts and Sound Art settings related to the installation on this research; and sound as a key element of creation. This sound exploration that does not follow a specific time line, but is oriented by other stimuli, such as the physical space where it is presented; the interactive space offered to users to be experienced and discovered through their movements; the reconfiguration of spatial and sound presentation; the users behavior in the installation environment; the aesthetic and kinesthetic character (multisensory); a spatial sound exploration that can be: social, conceptual, psychological, representational and acoustic.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

La presente investigación tiene como objetivo elucidar la composición de los géneros en el Teatro de calle popular, utilizando el recorte de dos espectáculos: O barão nas árvores, e Sôroco, sua mãe, sua filha (ambos adaptados por el dramaturgo William Neimar) del grupo Mambembe música y teatro itinerante. El objetivo es comprender la relación del texto dramático con la escena considerando los géneros híbridos presentes en las dramaturgias de los espectáculos foco de esa disertación. A través de ese recorte es posible ampliar la mirada para la interlocución entre dramaturgia y escena del Teatro de Calle popular contemporáneo. Para comprender la finalidad texto/escena en el grupo Mambembe, analizo en el primer momento el proceso de adaptación del texto no dramático para la dramaturgia. En el segundo momento busco averiguar la presencia narrativa, lírica, e dramática en los textos adaptados, Sôroco, sua mãe, sua filha, e O barão nas árvores de Neimar. Utilizo entrevistas con artistas involucrados y el público, con el objetivo de enfatizar relación texto/escena. En el tercer momento hago un análisis de los espectáculos considerando todos sus elementos. En el cuarto traigo un breve panorama de la dramaturgia popular a lo largo de su recorrido, a fin de comprender la presencia de los rudimentos que perduran hasta los días de hoy, siendo posible trazar una estructura de la composición de ese lenguaje. Como amparo teórico utilizo Staiger y Rosenfeld en el estudio de los géneros épico, lírico y dramático. En la relación texto/escena, traigo Guénoun en el cual se verifica el juego del actor con la palabra en escena. Como resultado de esa investigación me concentro en los diversos elementos teatrales, así como dramatúrgicos. Finalmente son identificadas reflexiones respecto a la apreciación del público popular delante de escenificaciones situadas en esa investigación, a fin de elucidar la funcionalidad del texto contemporáneo en el Teatro de Calle popular.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Este trabajo trae consideraciones acerca del uso del espacio teatral en el Teatro de Calle. Expone definiciones y términos vinculados al concepto de espacio cuando relacionado al teatro. Suscita reflexiones sobre metodologías adoptadas durante presentaciones teatrales ocurridas en espacios fuera de los locales habituales, o sea, además de aquellos convencionalmente construidos para recibir espectáculos (salas de espectáculos, teatros a la italiana, arenas, etc.). La mayor parte del análisis aquí discutida parte de experiencias vividas, en un determinado periodo, en el Mambembe Música e Teatro Itinerante, no obstante también valga de otros conocimientos además de aquellos percibidos y ocurridos en ese grupo. Discurre también sobre elementos constitutivos de espacios en el convencionales, buscando percibir situaciones que comúnmente compone ese tipo de espacio, y así, configurando inúmeras posibilidades que inciden en la relación con el espectáculo allí presentado.

After two centuries since the emancipation of the main cities in the Alto Vale do Jequitinhonha / MG, the traditional rural fairs in the region maintain the dynamic flow of subjects, their wares and stories. Through observations of narrative events recorded in the logbook, audio and video from December 2012 to August 2014 propose a theoretical review that understands the spectacular dimension of narrative performances of rural fairground of high Jequitinhonha Valley. Using the Etnocenologia as research perspective, adding the looks methodological approaches of theatrical anthropology, phenomenology and sociology of the body, I wonder about the concepts of narrative performance, spectacular behavior, memory, body, oral and spatiality in order to better understand the social interactions and . aesthetic evident in the storytelling of four cities farmers (Itamarandiba, Tourmaline, Carbonita and Aricanduva) and the rural district area of Canjuru This study is divided into three sections: the first presents the universe of this research, a brief ethnography of orality Jequitinhonha, spaces and memories that make up the stories and subjects; the second discusses the implications on the performance and spectacle, analyzing the mechanisms and behaviors of narrators observed in the field, and the third session and present an imagery raid sound, guided by the Link youtube video accompanying this work in order to better approach the spectacular phenomenon of the player that is the experience of orality in Jequitinhonha.

This dissertation presents the stylistic analysis of the art songs Prece , Catita , Virgens Mortas , A canção de Romeu and Desejo composed between 1901 and 1910 by Francisco Braga (1868-1945) whose texts are by Brazilian poets in Portuguese language. The analysis of these songs was based on the method proposed by Jan LaRue. We attempted verifying the relationship of these songs to those from the French National Society under the motto Ars Gallica, emphasizing the song from composer Massenet (1842-1912). Based on the results of our analysis we present suggestions for the interpretation of these selected songs.

This research has started on pondering over the scenic area in contemporary dance real-time composition. The scenic area, while articulating the scene, congregates architectural space, scenic space and bodies-spaces (interpreters) interdependently. This makes this interrelation as a condition for the outcome of choreographic layers produced in the creation process in the real-time composition, which are also necessary as an artistic object. Thus, the research aims at contextualizing and conceptualizing in a interdisciplinary way the research areas (scenic area and real-time composition) using theoretical remarks on research methodology in arts, contemporary dance, architecture, visual arts and scenography. In practice, this research has pondered overan experience, the performance Sobre pontos, retas e planos [About points, lines and planes], created by the Dramaturgia do Corpo- Espaço e Territorialidade research group [Body-space Dramaturgy and Territoriality], which was presented in five different places in the city of Uberlândia

This research, with autobiographical and performative character, features my unveiling as artist, educator and wife. The creative procedural research reveals me and shows me as visible in the space of public invisibility. In this poetic, I unmask myself by imagination, imaginary, dreams, fantasies, sung points of popular culture, awareness, corporeomental and written expression of experienced impressions. In the performative process the grotesque embodiment of no mask tells about the implication of the artist with his work. The proposal, as a performance, questions and builds aesthetics and returns to the public a artistic creation of unfinishes. The procedure in personal is intimate and a surrender of the body to the floor, arousing dialogue with the personal energies and deepening research in looking at itself (myself). By means of the sensitive no movement in personal, in sincere dialogue with myself, I release myself of tensions, nodules, headaches, immobility points and mental injuries. In this growth relationship between woman and and artist happens, for the educator, the teaching in a state of creation. In a comes and goes from the academic to the institutional, the creativity changes owing to the otherness with the teratological mask, here called malafincado apaeano. We understand that the teratological don‟t have a beautiful face or body, within the normative standards of children on the covers of magazines. Its corporeomental mask is shapeless. The teratological with which we dialogue is the mental and or intellectual deficiente studying at APAE in the city of Prata, state of Minas Gerais, Brazil. The malafincado apaeano don‟t have individual or people status, therefore is in the social invisibility, and his drama is not funny. In the educational process, the no mask, the performance, the dialogical relationship, motion and no movement were desirable for the interaction, with emotional exchanges of knowledge. In education, the sensitive and the cultural facilitated both the learning and the teaching. And the processual of education happened by tactile awareness (hands and feet), the circularity of movement in Cacuriá dances and ciranda.

This research aims to investigate the relevance of improvisation work to THEATRESPORTS and the MATCH OF IMPROVISATION in \'scenic training\' and in the actor s preparation, analyzing their components, execution dynamics and development that has been consolidating in Canada, Argentina and European countries as an artistic practice and not so much explored as a pedagogical-theatrical instrument. In Brazil, there are groups working with these practices, but in literature there are few academic researches on Theatresports and Match. Moreover, it has not so far made for Portuguese translations of Keith Johnstone s works. As base study structures about the importance of improvisation in actor training, the principles researched are Keith Johnstone s \"Theatresports\" and Gravel s and Leduc s \"Match of Improvisation\" as well as an experience based on Melodrama games as enhancers of GAME CAPABILITY and SPONTANEOUS FLOW of actors creations.

This research aims the elaboration of rhythmic exercises based on rythmic aspects analyzed from minimalist composers. We start from the hypothesis that musical learning in most Brazilian universities does not prioritize contemporary music studies. It is not, therefore, a conceptual hypothesis, but a hypothesis that shows the importance of investing in that subject, that has taken us to get a glimpse of pragmatic questions (Boaventura, 2008) that mold the teaching and conceptual questions that may enrich the learning of the rhythmic aspect from a embodied mind (Fridman, 2013). Therefore, the research had as its general goal: the elaboration of exercises based on rhythmic structures utilized in Minimalism, highlighting the Phase Shifting processes and additive processes such as the Block Additive Process, and the Linear Additive Process, and as objective goals: to make a reflexion upon rhythm definition highlighting some approaches about this musical element throughout the musical history of the Ocidental Europe; to search for enlightenment on the minimalist movement (pre-classical phase) pointing out the intentions, influences and purposes of the compositions; to describe/analyze the processes utilized by Steve Reich (1936-) and Phillip Glass (1937-) in the previously mentioned phase; to elaborate rhythmic exercises based on those processes; to experience the elaborated exercises in Music Perception classes in the Music course at UFU. In order to reach these goals the methodology was based on the following steps: bibliographic review about the definition of rhythm; studies about rhythmic processes created in the twentieth century, especially in the minimalistic repertoire; elaboration of musical exercises (studies) involving Phase Shifting, Linear Additive Process and Black Additive Process; application of the exercises created on music grad-students at UFU; and, study of the results achieved with the application of the exercises. In the final considerations we highlight the need for elaborating musical practices befitting from paradigmatic emergent principles, the transference of a holistic vision to musical learning, considering that those legacies showed themselves as challenging to musical-educators nowadays