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Frey, Connie Jean. "Improvisation, ? motions for living texts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32709.pdf.
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Calburn, Caroline. "A critical documentation of Mavis Taylor's teaching of improvisation." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/13849.
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Bibliography: leaves 186-191.<br>This study documents Mavis Taylor's teaching of Improvisation at the University of Cape Town and provides a critical analysis of the improvisational methods she uses in the training of actors. It places her teaching within the wider field of improvisation understanding the importance of knowledge of 'self for the craft of acting. There is discussion around the role of the imagination and spontaneity in actor-training, and debate is raised regarding the concepts and practice of sensory and emotional memory training. The significance of teaching structure and form as a method for students to manipulate the medium of improvisation is argued, proposing that the creation of alternative meanings and 'realities' is the essence of acting.
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Skordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.
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Thesis (MDram)--Stellenbosch University, 2003.<br>ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and
improvisational methods, techniques and exercises by modem practitioners.
The study commences with a look at the beginnings of modem improvisation in the
nineteenth century, when improvisation was used only tentatively by performers as a preproduction
aid to the exploration of character and personal response. In more recent
times the process has become one of collaboration and research; as a means of selfdiscovery,
as a means of text creation and as a vehicle for finding a 'voice' for the silent
majority within a particular community or society.
This study also traces the use of improvisation in South Africa where the improvisational
process has been incorporated into democratic and collaborative forms like workshop
theatre and workers' theatre, and serves as a useful method of political investigation and
conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment',
since its practitioners make extensive use of improvisational techniques,
and its techniques are allied to those of workers' and workshop theatre.
The final chapter provides an application of the theories discussed in the bulk of the study
in a brief discussion of the author's own attempts at utilising improvisation as a directing
and scriptwriting tool in a student production.<br>AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende
metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns.
Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe
imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n
hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het
onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking,
'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir
die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing.
Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die
improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en
werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke
ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling',
aangesien die praktisyns daarvan grootliks gebruik maak van
improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van
werkswinkelteater en werkersteater.
Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte
van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om
improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.
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Fortier, Brad. "Long Form Improvisation - Creating Spontaneous Communities Through Collaborative Comedic Performance." PDXScholar, 2008. https://pdxscholar.library.pdx.edu/open_access_etds/32.
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Improvisational theater can tell us much about the driving social and cultural forces behind collaboration and collective constructions of reality, as well as the sorts of behaviors and practices that bolster their efficacy. The collaboration of the performers on generating a comedic piece of theater spontaneously from audience suggestions in a long improvisation creates a sense of what Victor Turner called communitas for the performers. That phenomenon can create a larger sense of socio-emotional unity between the audience and performers. Turning an anthropological lens on comedy theater, this presentation explores the performer-audience dynamic and its impact on the success of an improvised comedic performance. Research was conducted through an ethnography of improvisational acting troupes and their audiences in Rochester, New York, and presents a series of unique situated references that help delineate a social bond between the audience and performers, or a "micro" version of what Gary Allan Fine and Michaela DeSoucey term a "joking culture."
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Garrett, Yanis. "Offer, Accept, Block, Yield: the poetics of open scene additive improvisation." Faculty of Education and Social Work, 2006. http://hdl.handle.net/2123/1901.
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Master of Philosophy<br>This single case study examines the way that Johnstone’s (1981) Impro ‘Poetics’ are being used in the contemporary practice of Open Scene Additive Improvisation (OSAI). Johnstone’s Poetics have become a ubiquitous part of contemporary drama improvisation parlance, yet they have never themselves been the subject of any academic examination. This study attempts to fill that void by looking at their use in Open Scene Impro, the purest form of theatre improvisation (since OSAI relies on no structures other than the audience suggestion around which to improvise a ‘Scene’.) To do this, the research analysed seven OSAI Scenes performed by 3 undergraduate student improvisers at the University of Sydney in July 2003, and looked at the ways in which the actions that Johnstone’s Poetics describe are actually being used. Looking closely at Scene segments, the study identifies a number of features: the ways that Offers are used to initiate, re-initiate, confirm or redirect meaning across five identified fields; the ways that Accepts temper these meanings; the productive use of Blocking in a Scene; and many other functions. It was also found that in-Scene negotiations about definition of situation became a subtextually enmeshed part of the Scene’s meaning (often in Phases of improvisers’ conflicting Endowments), while the predictive and framing control of narrative-indexing Offers ensured that character roles became defined early on in all Scenes. Overall, the study’s analysis dissects each of the Poetics to show that improvisers use them for a number of major purposes crucial for the reality, forward-movement and coherence of a Scene to obtain. The study concludes by elucidating how the nine main Poetics (Offer, Endow, Justify, Advance, Extend, Reincorporate, Accept, Block and Yield) serve these purposes. These purposes are then abstracted into the TOE Model, which in turn forms the basis of a proposed dynamic and holistic model for understanding OSAI at each moment of its (re-)creation. The ultimate aim, beyond the reach of the present study, is to be able to understand an Open Scene’s every moment, and each moment’s reference historically backwards, and, to some degree, predictively forwards in time. To this end, the fundamental dynamic of contextualised giving and receiving in OSAI is morphed into a Taoist energetic model, a “Tao of Impro”, along with the notion, derived from Mandelbrot, of ‘cybernetic semantic iteration’, by which information seems to get processed in Open Scenes. The educational implications of these models are then sketched, and future directions for research in OSAI pointed to.
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Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.
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Maples, Carol J. "Giving voice the use of interactive theatre as professional development in higher education to reduce alienation of marginalized groups /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5506.
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Thesis (Ed. D.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on June 9, 2009) Vita. Includes bibliographical references.
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Foley, Damian T. "Fleshing out the fictive soul: A screen actor’s personalisation of characterisation through collaborative subtextual improvisation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2600.
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This practice-led research formulates a method for collaborative characterisation by merging the filmmaker/director’s approach and the screen actor’s technique. This method provides access to a deeper emotional ‘inner world’ submerged within the imagined subconscious of the fictive character. This exploration into varying improvisational filmmaker/director’s practices aimed to identify the most effective methods of supporting the screen actor’s access to emotional subtext by submergence and living through the fictive character’s subjective experience. The outcome is a flexible directorial approach focused on collaborative characterisation method/s to be employed during the filming process while remaining within the scripted context.
The research was inspired by luminary improvisational and collaborative filmmakers, including John Cassavetes and Mike Leigh, and further contextualised by contemporaries such as Derek Cianfrance, Milos Forman, Darren Aronofsky and Lynn Shelton. This thesis draws parallels between the theoretical underpinnings of their approaches and the pedagogical frameworks of acting technique authors, teachers and coaches, including Judith Weston, Sandford Meisner, William Esper and Robert Carnegie.
Apart from literature and practice reviews, this research involved three practice-led phases: shadowing improvisational filmmaking practice alongside studio exploration, semi-structured interviews (with the student actors), and journaling. Investigation into Leigh’s process was extended by direct observation and participation in the creative practices of directors Chris Edmund and Robert Marchand. The initial inquiry into Leigh’s process investigated whether any improvisational techniques could be extended to evoke an unexpected moment-to-moment awareness in an actor’s performance during the actual filming.
This led to the second phase of questioning to determine which techniques practiced by Leigh could be reformulated and extended to those of filmmakers such as Cassavetes, Cianfrance and Shelton. In addition, Judith Weston’s active engagement in improvisational rehearsal techniques led me to participate in her directors’ workshop at Judith Weston Studio in Los Angeles, California.
The findings from the first two phases resulted in a third, unexpected question, suggesting this directing approach be reframed and contextualised by the acting technique pedagogies of Weston and Meisner. Consequently, the final significance of my research findings occurred while auditing a Meisner acting class taught by founding director Carnegie at the Playhouse West, North Hollywood, California. This research offers an alternative model for collaborative directors, which is based on Meisner’s acting technique and newly aligned with the directing practices of Cassavetes and Shelton. My conclusive outcome involved reformulating screen acting techniques based on Meisner’s departure from Konstantin Stanislavski. Subsequently, this reformulation clarified and revealed my own pedagogical schism with Leigh’s and Weston’s approaches.
The goal remained to find an acting technique that would cohesively merge with a directing approach that allowed the actor to retain immediacy and spontaneity while staying emotionally congruent with the character’s imaginative backstory and yet working moment-to-moment with their still emerging ‘life script’. The significance of this research is its formulation of a collaborative language and working method for actors, directors and filmmakers focused on evoking an authentic voice for the fictive character as if they possessed a consciousness of their own volition while living through the actor.
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Charton, Hervé. "L'improvisation théâtrale "libre" : genèse, histoire et pratique d'un concept rare. Du Théâtre-Création (Lausanne, 1968-1975) à aujourd'hui. Étude appuyée par un laboratoire de recherche-action." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030158.
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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<br>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
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Yamamoto, Ruth H. "Serious Fun: The Perceived Influences of Improvisational Acting on Community College Students." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1453.
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Research in extracurricular activities and arts education demonstrate how experiences in those areas contribute to the well-being and ongoing development of students in higher education. Although practiced and performed across the United States, theatrical improvisation, as an art form or extracurricular activity, lacks investigation within the context of higher education. Without an understanding from the student perspective, higher educational stakeholders miss an opportunity to incorporate experiences that address the institutions' mission and learning goals or worse, inadvertently produce student disenfranchisement. The purpose of this phenomenological study was to explore and describe the experience of improvisational acting training, practice, and performance of 7 college students who participated in an improvisation group. Huizinga and Caillois's theories of play and Csikszentmihalyi's theory of flow served as the conceptual framework for the study. Data collection occurred at a community college in the mid-Atlantic region through 2 interviews with each participant and 1 focus group until reaching saturation of data. Data were analyzed through iterative coding of significant statements through which themes emerged. Themes included attraction to the activity, practice of the craft, applications of skills to life, and a continuance of improvisation in the participants' lives and at college. The findings lend credibility to other research supporting arts and extracurricular activities and provide educational stakeholders with insights from students on what they value in their educational experience. Positive social change can come from providing students with an education that includes fun, creativity, and socialization for a successful future.
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Patton, David Dellus. "THE PEDAGOGY AND ETHICS OF IMPROVISATION USING THE HAROLD." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/906.
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Scenic improvisation is dramatic performance without a script. Performers develop scenes in real time in front of an audience. They do this by submitting to a set of rules of relating on-stage which allow them, by mutual assent, to develop scenes and stories based on their relationships with one another. This methodology by which improvisers develop their scenes can give us a tangible vocabulary and model by which we can fulfill the requirements of love. The Harold, an improvisational form created by Del Close and Charna Halpern and taught and performed at IO (formerly ImprovOlympic), emphasizes this relational ethic as the means to create consistent and sustainable theatrical performances. This paper will examine the performance methodology and pedagogy of long-form improvisation and particularly the Harold as a guide for ethical decision-making and behavior in our personal relationships.
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Horn, Elizabeth Georgia Brendel. "Developing the individual to strengthen the whole the application of viewpoints training to impact the social cognitive development of actors in a high school ensemble /." Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0002996.
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Katritzky, M. A. "A study in the commedia dell'arte, 1560-1620 : with special reference to the visual records." Thesis, University of Oxford, 1995. http://ora.ox.ac.uk/objects/uuid:e9e53854-2a31-4bbf-8ed1-ee414aa7f5a3.
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The research field addressed by this thesis is the commedia dell'arte and its iconography in the period preceding Callot's Balli di Sfessania engravings of c. 1621. Its main aim is to provide a broad overview of the surviving early pictures in order to contribute towards a more detailed understanding of the history of the commedia deH'arte in the opening decades of its existence, 1560-1620, by using late renaissance pictures as a documentary source. My research method has three main steps. These are firstly, the identification of relevant pictures, on the basis of a detailed understanding of the early history of the commedia dell'arte, and taking a deliberately inclusive approach; secondly, the classification of such pictures according to art-historical methods, in order to associate them with specific named artists so that they can be placed in the context of an oeuvre and place of production; thirdly, interpretation of their theatrical content. Integral to the thesis are the 340 plates. Many feature pictures which were anonymous or implausibly attributed, and unknown to theatre historians, before they appeared here or in my publications. My inclusive approach has contributed towards the marked rehabilitation of carnival pictures which is evident in the most recent scholarship in this area. My new discoveries, and attributions and re-attributions of some of the 340 plates, summarized in the plate list, have enabled me to identify significant bodies of commedia-related pictures by a number of named late renaissance artists not previously associated with theatre iconography, and provide a broad overview of the early stock types, their costumes and settings; contributions which are stimulating further research in this area. Section I summarises the rise and spread of professional acting in sixteenth century Italy, some forerunners of the commedia dell'arte, and its early stock types. It also presents new documentary material, discovered in the course of my archival researches, which is relevant to the earliest commedia performance for which a comprehensive description survives, staged in Munich in 1568. Section II presents art-historical analyses of three groups of prints in Stockholm, and six paintings which are the subject of an article published in 1943. It also presents an overview of a large group of Flemish pictures whose relation to two Italian prints demonstrates the progressive stereotyping of commedia-related motifs which was already occurring around 1600. Section III offers theatrical interpretations of the pictures, concentrating on scenery, set and stages; actresses; a selection of stock characters, including Harlequin, Zanni and Pantalone, and also some less wellknown figures such as tedescos and matachins; and multiple and serial images. The renaissance Italian comedians' multiple roots in amateur humanist comedy, professional entertainment and popular carnival ritual gave them their early creativity and wide appeal, and left their mark on the iconography which, by the seventeenth century, like the commedia dell'arte itself, was, for the most part, settling into a predictable routine based on precedents and conventions.
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Ribas, Mariane Magno. "A imaginação do ator, um voo indizivel." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284684.
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Orientador: Sara Pereira Lopes<br>Anexo 1 DVD-R: Curta-metragem Talita, Registro da partitura de ações da Clarissa: Exercicio n.2<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-13T19:27:44Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009<br>Resumo: O texto que se constitui a seguir é uma extração dos processos empíricos com a imaginação do ator, trabalhada como ordenadora da presença cênica - ator e espaço . O trabalho desenvolvido e observado, em laboratório, teve como foco o processo criativo do ator; a partir do trabalho com as imagens apresentadas, atingir aquelas que emergem como conteúdo do agir e como meio de organização do tempo e do espaço, e ainda, como procedimento eficaz para que o ator possa evocar o seu próprio dizer. A partir destas formas de experimentação, aquilo que se configura como corpoator foi resultante do processo de preparação denominado nãoator - preparações específicas que criaram sustentáculos e ampliaram a consciência do ator sobre o corpoator e sobre seu ofício ; resultando da experiência um outro olhar denominado nãodireção<br>Abstract: This text is an extract of empirical processes with the imagination of the actor worked as orderer of the theatrical presence - actor and space. The work developed and observed, in laboratorial, had as a focus the creative process of the actor; departing from the work with the images presented, touch those that emerge as content of the action and as a means of organizing time and space, and also, as a effective procedure that allows the actor to evoke his own saying. Departing from these forms of experimentation, that which builds up as bodyactor resulted from a preparing process named nonactor - specific preparations that created a sustaining and broadened the conscience of the actor towards his bodyactor and over his office ; which resulted in another view named nondirection<br>Doutorado<br>Doutor em Artes
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Gramolelli, Mariana Gambini Damasceno. "Desenhos (entre) esculturas olhares e conversas = obras de Amilcar de Castro, Ester Grinspum e Paulo Monteiro a partir da década de 90." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284452.
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Orientador: Verônica Fabrini Machado de Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-18T17:24:50Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Este trabalho aponta diálogos possíveis entre desenhos e esculturas, obras e artistas, dentro de seus processos de criação. Ele foi construído a partir do olhar de artista, o olhar sensível de quem trabalha com ambas as linguagens e conta com a experiência da arte-educação em museus. Amilcar de Castro, Ester Grinspum e Paulo Monteiro são artistas significativos no meu processo de aprendizagem e de relevância no cenário artístico nacional. Trata-se de uma escolha afetiva, mas referendada por exposições onde figuraram juntos. Castro trabalhava a escultura a partir do desenho projetivo, criava a forma bidimensional, recortava-a e estudava maneiras de tridimensionalizá-la a partir do corte e da dobra. Uma geometria sensível domava a rigidez de formas geométricas elementares. Esta mesma geometria era refletida em seus desenhos, ora feitos à régua, ora incorporando o vigor do gesto onde a forma aquiescia o ritmo do corpo. Grinspum possui uma poética traçada na materialização de conceitos. Desenho e escultura dão origem um ao outro através de formas fechadas que engendram o lugar privilegiado das significações. Em ambas linguagens, transita entre o orgânico e o geométrico numa escolha por formas depuradas enlaçadas a uma linha de respiração, de amolecimento. Em Monteiro, escultura e desenho são criados no embate do gesto com a matéria. A organicidade que permeia toda obra traduz a força vital que lhe é aplicada no momento da criação. Através do risco ele reordena massas de um espaço interno, sejam as do plano do papel ou as amorfas da argila. Entre as linguagens percebemos a migração de características de forma, matéria, tempo e espacialidades. Sem a preocupação de uma teoria geral ou mesmo de tentar esgotar as possibilidades, o que temos são estudos de casos dentro da obra destes artistas a partir da década de 90<br>Abstract: This work shows dialogs that may exist between drawings and sculptures, works and artists inside their process of creation. It has been built by the look of the artist, the sensible look of someone who works with both languages and reckons upon the experience of art-education in museums. Amilcar de Castro, Ester Grinspum, and Paulo Monteiro are significant artists in my process of apprenticeship, and prominent in the national art scenario. An affective choice is at stake, but it has been countersigned by expositions in which they figure together. Castro used to mould the sculpture from the projective drawing, create the two-dimensional form, cut it, and then reflected upon ways of three-dimensioning it by cutting and folding. A sensible geometry overcame the rigidity of the elementary geometrical forms. The same geometry was reflected in his drawings, which were sometimes made by ruler, sometimes incorporating the strength of the gesture in which the form acquiesced the rhythm of the body. Grinspum, a poetics delineated in the materialization of concepts. Drawing and sculpture give rise to one another through closed forms which engender the privileged place of significations. In both languages, she transits among the organic and the geometric in order to choose the elementary forms, enlaced to a breath line, a softening line. In Monteiro, sculpture and drawing are created by the clash between the gesture and the matter. The organity which permeates the whole work expresses the vital force that is applied to it in the moment of creation. Through the stroke he rearranges masses of an internal place, even the ones of the paper?s ground or the clay?s amorphous. Among the languages we may perceive the passage of characteristics of form, matter, time, and spaciality. Without the preoccupation of a general theory, or even of trying to deplete the possibilities, what we have are the studies of cases inside the work of these artists from the nineties on<br>Mestrado<br>Artes<br>Mestre em Artes
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Barros, Valdenira. "O sol sangra : memória e afeto." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284597.
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Orientador: Antonio Fernando da Conceição Passos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T08:46:31Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: Esta tese tem como principal objetivo fazer uma reflexão sobre o processo de criação cinematográfica em torno da realização do filme O Sol Sangra, documentário que aborda as memórias de viajantes do trem de Carajás, que circula pelo norte do Brasil. É nossa intenção aprofundarmos o entendimento do cinema como um espaço de lembrança, de memória, de encontro de temporalidades e subjetividades tendo como base a experiência de elaboração desse filme<br>Abstract: This thesis has as its main objective to make a reflection on the process of cinematographic creation around the making of the film The sun bleeds, a documentary that deals with the Carajás railroad's train travelers memories, which runsthrough northernBrazil. It is our intention to deepen the understanding of the cinema as a place of remembrance, of memory, of meeting of temporalities and subjectivities based on the experience of making the film<br>Doutorado<br>Multimeios<br>Doutora em Multimeios
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Kintigh, Monica R. "Peer Education: Building Community Through Playback Theatre Action Methods." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2230/.
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The primary purpose of this study was to use some of the action methods of playback theatre to facilitate the acquisition of knowledge through the experience of building community. The impact of action methods on group dynamics and the relationship among methods, individual perceptions, and the acquisition of knowledge were analyzed. The researcher suggested that playback theatre action methods provided a climate in which groups can improve the quality of their interactions. The Hill Interaction Matrix (HIM) formed the basis for the study's analysis of interactions. Since the researcher concluded there were significantly more interactions coded in the "power quadrant" after training, the researcher assumed that playback theatre action methods are a catalyst for keeping the focus on persons in the group, encouraging risk-taking behaviors, and producing constructive feedback between members. Based on session summaries, individual interviews, and an analysis of the Group Environment Scale (GES), the training group became more cohesive, became more expressive, promoted independence, encouraged self-discovery, and adapted in innovative ways. The experience of an interconnected community created a space where positive growth could occur. The researcher concluded that the process of community building is intricately connected with a person's ability to make meaning out of experiences. Participants in the study noted several processes by which they acquired new knowledge: (a) knowledge through internal processes, (b) knowledge through modeling, (c) knowledge through experiences, (d) knowledge through acknowledgment and application. Acknowledging and applying knowledge were behaviors identified as risk-taking, communication and active listening, acceptance of diverse cultures and opinions, and building community relations. The study suggested further research in the effects of these methods compared to other learning methods, the effects of these methods on other types of groups, the effects of the leader's relationship to the group, and the long-term effects on group dynamics.
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Darland, Jeff II. "The Necessity of Presence and Play." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5742.
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Theater programs that focus solely on the influence of the Stanislavski system are neglecting students’ opportunity to experience additional approaches to performance study that focus more readily on the sensations of the human body and the practices of improvisation to prepare actors to be able to stay present and respond truthfully within any moment. The pedagogical work of Jacques Copeau and Jacques Lecoq, which relies on improvisation, paired with more recent stylings of improv teachers such as Viola Spolin, Keith Johnstone, and Del Close reignite a modern sensation of play, found uninhibited in the world of nature, such as the expressive freedoms found in infants. These techniques bring out a truthful style of performance that is tailored to the individual, instead of tailoring the individual to the style. Not only are these performance methodologies useful to the performance artist, but they also hold proven in communities outside of the arts, helping people understand different perspectives, and improve their compacity for empathy and communication.
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Lopez, Sarah C. "Theatre as Education: Creating and Performing a Play with Elementary School Students." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/685.
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This paper is an exploration of the concept of theatre as education and what I learned about teaching, transformation, and failure through my thesis project. In order to explore these ideas, I reflect on my experience creating and performing a short play with a group of eight 2nd and 3rd grade students over the span of nine weeks. I pinpoint the parts of the process that worked well and discuss how these techniques and activities could be used to enhance curriculum and learning in the classroom. I also discuss which parts of the process failed and what I learned from those experiences. I hope that the paper may serve as a guide for teaching artists undertaking similar work and a resource for teachers looking to incorporate theatre arts into their curriculums.
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D'Abronzo, Thais Helena. ""Foi tarde", a construção da cena pelas vias da imagem : dialogos com o "Teatro da Morte" de Tadeusz Kantor e "A Morta" de Oswald de Andrade." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284708.
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Orientador: Marcio Aurelio Pires de Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T12:00:49Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Este trabalho realiza uma reflexão sobre o processo de criação do espetáculo teatral intitulado Foi Tarde. Investiga alguns modos pelos quais a construção da imagem comparece em procedimentos de criação da cena teatral. Na construção do espetáculo, buscaram-se possíveis relações entre o Teatro da Morte (1975-1990) de Tadeusz Kantor e o texto dramatúrgico A Morta (1937) de Oswald de Andrade, principalmente quanto à "presença da morte" como condução poética. Um terceiro material a somar-se nesta relação viria a ser "o aspecto de exposição à morte em um ambiente hospitalar". À estruturação da cena pelas vias da imagem e à colisão dos materiais do processo criativo chamou-se, neste estudo, de artifícios da morte. No desenvolvimento, ocorre a descrição do processo criativo, e são apresentados o memorial e a escritura do espetáculo. O trabalho com as poéticas de Tadeusz Kantor e Oswald de Andrade solicitou uma abordagem sobre a relação entre o texto dramático e a escritura cênica, a partir do embate iniciado no final do séc. XIX e início do séc. XX. Para tanto, fez-se necessário o resgate de informações sobre o movimento simbolista e sobre as vanguardas históricas, como precursores de novos comportamentos artísticos e de paradigmas de construção teatral e dramática para o século XX e para a atualidade. Por fim, entende-se, que Tadeusz Kantor e Oswald de Andrade revelam, em seus trabalhos, influências e divergências com o simbolismo e com as vanguardas históricas, em nome de uma poética caracterizada pela presença da morte e pela autonomia da cena teatral pelas vias da imagem. Esta reflexão embasa, portanto, a poética de construção do espetáculo Foi Tarde, apresentado publicamente em montagem consonante aos princípios estéticos pretendidos<br>Abstract: This project accomplishes a reflection about the process of creation of the Foi Tarde (Gone Late) play. It investigates some ways trough which is present in procedures of the theatrical scene creation. In the construction of the spectacle, possible relation between the Teatro da Morte (Death Theatre) (1975-2000) of Tadeusz Kantor and the dramaturgic text A Morta (The Dead Woman)(1937) from Oswald de Andrade were searched, mainly about the "presence of the death" as a poetic conduction. A third material to be added to this relation happened to be "the aspect of the exposition to death in a hospital environment". The structuring of the scenes through the image pathways, and the collision of the materials of the creative process were called, in this project, death artifices. In the development, happens the description of the creative process, and are presented the memorial and the script of the spectacle. The work with Tadeusz Kantor and Oswald de Andrade poetics demanded an approach about the relation between the dramatic text and the performing arts scripts, from the clash started in the end of the XIX Century and early XX Century. For it, the rescue of the information about the symbolist movement and about the historical vanguard were made necessary, as precursors of new artistic behaviors and of paradigms of theatric and dramatic constructions for the XX Century and for the present time. At last, it is understood, that Tadeusz Kantor and Oswald de Andrade reveal, in their works, influences and
divergences with the symbolism and with the historical vanguards, in the name of a
poetics characterized by the presence of death and by the autonomy of the theatric
scene through the image pathways. This reflection sustains, hence, the poetic of construction of the spectacle Foi Tarde(Gone Late), presented publicly in an assembling corresponding to the intended aesthetics principles<br>Mestrado<br>Mestre em Artes
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Lovesy, Sarah Caroline. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/22408.
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This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education
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Nardim, Thaise Luciane 1984. "Allan Kaprow, performance e colaboração : estrategias para abraçar a vida como potencia criativa." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284094.
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Orientador: Cassiano Sydow Quilici<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T18:43:57Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009<br>Resumo: Allan Kaprow foi um artista americano que se destacou no painel de fundação da arte contemporânea pelo pioneirismo na exploração dos happenings enquanto expressão artística. Este trabalho procurou analisar sua obra pelo ponto de vista da inclusão do outro - o fruidor, o espectador, o participante, o colaborador - no desenvolvimento de seu trabalho, que o determina no sentido da instalação de uma estética colaborativa. Assim, introduzindo o conceito de experiência conforme desenvolvido por John Dewey, iniciamos olhando para criação das action collages e como elas direcionam o fruidor a uma experiência do tempo e do espaço; depois, passamos para as assemblages e a evocação de uma experiência do virtual; em seguida, os envrionments anunciam os happenings ao solicitar uma proto-participação, a experiência da realização, que os happenings de Nova Iorque irão desenvolver, abrindo espaço para a participação efetiva. Chegamos, por fim, à colaboração, explorada nos happenings da segunda fase e, posteriormente, nas activities. Num segundo momento, analisamos o uso das estratégias compositivas que Kaprow forjou para criar as activities na composição de um dispositivo gerador para um processo colaborativo de criação teatral. Intitulado "Jogos de Dormir", este dispositivo buscou possibilitar a colaboração criativa necessária para o encaminhamento do processo dramatúrgico ao mesmo tempo em que imergia os colaboradores no universo da performance art, constituindo assim um híbrido criativo-pedagógico<br>Abstract: Allan Kaprow was an American artist who stood out in the foundation of contemporary art by the pioneering exploration of happenings as an artistic expression. This study examine his work from the standpoint of the inclusion of the another - the spectator, the viewer, the participant, the collaborator - the development of his work, which determines the direction of implementing a collaborative aesthetic. Thus, the study introduce the concept of experience as developed by John Dewey, looking to the create of action collages and how they direct the spectator to an experience of time and space; then, we see the assemblages and the evocation of a virtual experience; thereafter, the environments announce the happenings in requesting a proto-participation, the experience of the realization that the happenings by the New York scene will develop, opening space for the effective participation. We come, finally, to collaboration, explored inte the happenings from the second stage and later in activities. In sequence, we analyze the use of compositional strategies that Kaprow forged to create the activities in the composition of a device for generating a collaborative process of theatrical creation. Titled "Games to sleep", this device tried to enable the creative collaboration necessary for the routing of the dramaturgical process while immersed developers in the world of performance art, thus constituting a creative-pedagogical hybrid<br>Mestrado<br>Artes<br>Mestre em Artes
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Ary, Rafael Luiz Marques 1982. "A função dramaturgia no processo colaborativo." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284473.
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Orientador: Mario Alberto de Santana<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T06:47:02Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Estudo sobre a função dramaturgia realizada em processo colaborativo, a partir das características matriciais que estabelecem pontos em comum entre experiências de criação teatral deste tipo. A pesquisa reflete sobre o exercício da dramaturgia empreendida por um sujeito com atribuições específicas e capaz de criar em consonância com as outras funções. A análise realizada do fenômeno aponta para a compreensão de sua natureza ética, tendo em vista princípios recorrentes, que permitem a organização de uma diversidade de procedimentos de criação<br>Abstract: Study about the dramaturgy function performed in the collaborative process. This study was conducted based on matrix characteristics to establish common ground among similar experiences of theatrical creation. The research reflects on the exercise of dramaturgy, undertaken by a subject with specific skills and able to create in accordance with the other functions. The analysis of the phenomenon points to the understanding of their ethical nature. Their recurring principles allow the organization of a variety of creating procedures<br>Mestrado<br>Artes Cenicas<br>Mestre em Artes
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Lovesy, Sarah Caroline. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051129.144927/index.html.
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Lutzker, Peter. "The art of foreign language teaching improvisation and drama in teacher development and language learning." Tübingen Basel Francke, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2970328&prov=M&dok_var=1&dok_ext=htm.
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Otani, Daves. "Geratriz improvisacional espetacular = processo criativo da Boa Companhia =Spectacular improvisational generatrix : Boa Companhia's creative process." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284587.
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Orientador: Verônica Fabrini Machado de Almeida<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T22:11:29Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: A presente pesquisa trabalha com a hipótese de que existe uma geratriz improvisacional espetacular (GIE) que, por meio de matrizes criativas definidas anteriormente e/ou encontradas durante o período inicial da montagem de um espetáculo teatral, proporciona que a improvisação, conduzida e provocada pelo tema do espetáculo, gere, ao mesmo tempo, precisão e abertura, rigor e risco. O período inicial marca o espetáculo de forma a dar-lhe uma pré-configuração, a estrutura enquanto um corpo a ser constantemente modelado, no entanto, sedimentado em uma matéria já pré-definida. Para investigar a hipótese, analiso o processo criativo e as apresentações públicas do espetáculo teatral "Primus" (adaptação do conto Comunicado a uma academia, de Franz Kafka) e, via a comparação, investigo ainda o processo criativo de "Mister K. e os artistas da fome" (adaptação do conto Um artista da fome, de F. Kafka) em busca de aprofundar a investigação e comprovar o fenômeno da GIE. Ambos os espetáculos são dirigidos por Verônica Fabrini e montados pelo grupo de pesquisa cênica "Boa Companhia", do qual participo como ator, desde sua formação, em 1992. É uma investigação participativa, do ator em diálogo com a encenação, do atuante que participa e, a partir de sua singularidade, compõe coletivamente. A reflexão toma como mote de partida os princípios conceituais do encenador e teórico russo C. Stanislavski, retrabalhados por E. Kusnet: improvisação como análise ativa, circunstancia propostas, objetivo da encenação, memória, ação interior e exterior, entre outros. Referencia ainda o trabalho aspectos do pensamento do filósofo G. Bachelard: imaginação material, potência do instante e intuição. O estudo conclui que a geratriz improvisacional espetacular de fato se caracteriza no trabalho da "Boa Companhia"<br>Abstract: The following research deals with the hypothesis that it does exist a spectacular improvisational generatrix (SIG) that, through a creative matrix previously defined and /or discovered during the theatrical initial stage, provides that the improvisation, conducted and provoked by the show's theme, generates at the same time precision and openness, rigor and risk. The initial period defines the show and gives it a pre-configuration to be worked - the structure as a body to be constantly shaped, however, settled in a pre-defined subject. To investigate that hypothesis, I do analyze the creative processes and public theatrical performances of the show "Primus" ( Franz Kafka tale's adaptation of "A report to an academy") and, by comparation, I do analyzed too the play "Mister K. e os artistas da fome" (Kafka tale's adaptation of "A hunger artist") both directed by Veronica Fabrini and performed by the scenic research group "Boa Companhia", in which I belong as an actor since it's foundation in 1992. It's a participatory investigation, a dialogue between actor and staging, of the actor that participates and forms the collective from its singularity. The reflexion begins with the russian theoretical Constantin Stanislavski's principles and theorical concepts, reworked by Eugenio Kusnet: improvisation as active analysis, event, given circumstances, staging objective, memory, inner and outer action. This work makes reference also to the philosopher Gaston Bachelard: material imagination, instant and intuition's power. The study concludes that the spectacular improvisational generatrix (SIG) in fact exists in Boa Companhia's performances and theatrical productions<br>Doutorado<br>Artes Cenicas<br>Doutor em Artes
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Day, Fe. ""Patterns in a world in slippage" Playback theatre as professional development in three primary healthcare centres in Aotearoa New Zealand : a thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD), 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/474.
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This thesis is an account of praxis: it examines Playback conceptually, and portrays a programme of practical work exploring the experience of workplace audiences of five Playback Theatre performances, delivered from 2002-2005. The aim of the performances was to assist multi-disciplinary teams of staff in community health centres in Auckland New Zealand to communicate and work together with more understanding of each other. The thesis describes Playback as a way not only to elicit complex narratives which allow for diverse points of view to be expressed, but also as an aesthetic reworking of these narratives using action, music, dance, gesture and speech, in ways which have been influenced by 20th century avant-garde forms such as surrealism, dada, collage, jazz and poetry. Unlike some forms of theatre, Playback calls on elements of ritual and group method, in that it relies on audience members taking an active part in the performance by contributing narratives from their own lives. The thesis interrogates the notion of audience in theatre, using the words audience, spectator, spectactor, participant, public and polis, and specifically investigates two moments of the theatre as polis, in the French and Russian revolutions, when the potential of theatre to engage with the widest cross-section of the nation led to influential experiments and innovations in theatrical practice, each of which influenced the succeeding century. Some Playback discourse and practice is found to contain simplistic, even nostalgic, concepts of personal narrative, and the potential for performers’ interpretations in Playback to reinscribe social privilege is noted. In spite of its simple structure, Playback demands extremely complex skills from all the performers, not only the facilitator. In addition, the complex setting of the practical work encompasses both local NZ health initiatives and developments in global health. The work in each Healthcare Centre is described in a complete chapter: each containing details of the Centre and the Playback, seen through the findings of the patient focus groups, through comments made in interviews by the staff and through the researcher’s observation and experience. In all three Centres, existential and emancipatory metanarratives surfaced in the performances and in interviews. Professionalism was seen as meaning different things: at Ngākau it was a measure by which people were found to be unsatisfactory; at Oranga, it referred to applying the lessons of the Playback to one’s own practice; while at Pātaka, professionalism was evident in narratives of self care, dedication and seeking clarification and support from peers. While the study revealed limitations of Playback, it also pointed to some unique contributions this form of improvisational theatre can make to a programme of staff or group development. In particular, Playback can open up spaces, people and topics, for non-dogmatic, pluralistic, embodied thinking and reflection, leading people to more nuanced understandings of themselves and each other, and can even affect attitudes and behaviours.
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De, Bittencourt Fabio. "Desenhos e pinturas : expressão e construção." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284301.
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Orientador: Luise Weiss<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-09T01:36:06Z (GMT). No. of bitstreams: 1
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Previous issue date: 2005<br>Resumo: Esta dissertação trata de um processo de produção em Artes Visuais, enfocando os desenhos e as pinturas realizadas pelo autor entre 1993 e 2004. Compreende uma análise da produção, descrevendo-se materiais e procedimentos, bem como a exposição de séries de obras realizadas antes e depois da pesquisa. A primeira parte constitui o ponto de partida para a reflexão sobre os procedimentos e a relação entre eles e o modo pelo qual o autor constrói sua linguagem. A segunda parte mostra como mudanças podem ser observadas em seu processo de produção. Por outro lado, a análise mostra como toda a trajetória do artista, do passado aos dias de hoje, bem como sua obra pode ser contextualizada no campo do expressionismo<br>Abstract: This dissertation is on a production process in visual arts focusing the designs and the paintings made by the author from 1993 to 2004. It is an analysis of the production, describing material and procedures as well as the exhibition of the series of artworks, made before and during the research. The first part is the starting point for thinking about procedures and the relationship between them and the way by which the author have built his language.The second part shows how changes can be observed .in his production process. On the other hand, the analysis shows how all the artist¿s trajectory from the past to nowadays can be contextualized in the expressionist field as well as his work itself<br>Mestrado<br>Mestre em Artes
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Rovina, Marcia Regina Porto. "A poetica autobiografica na arte contemporanea." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284682.
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Orientador: Marco Antonio Alves do Valle<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T14:58:07Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Esta dissertação trata da relação da autobiografia como poética na arte contemporânea, onde o artista é o narrador e sujeito de sua produção. Tendo como ponto de partida a relação estreita que alguns artistas fazem entre sua autobiografia e seu trabalho, o gênero autobiográfico na literatura moderna propiciou uma reflexão sobre sua influência nas artes visuais na década de setenta, seus procedimentos e construção de linguagem. Para análise dos processos criativos foram escolhidos três artistas contemporâneos que apresentam um caráter confessional em sua poética e usam a linguagem do desenho em sua trajetória. As questões teóricas, processuais e poéticas estudadas são relacionadas com meu processo artístico, resultando numa análise reflexiva sobre a minha produção dos últimos dez anos<br>Abstract: This dissertation is on the relation of autobiography as poetic in contemporary art, where the artist is the narrator and subject of your production. The starting point is the strait relation that some artists do between their autobiographies and their works; the autobiographic literary gender propitiated a reflection about its influence at the visual arts in the seventies, its procedures and language construction. To analysis of creative process were chosen three contemporary artists who show a confessional character in their poetic and use the language of drawing in theirs trajectory. The theoretical questions, process and poetics studied are associated with my artistic process, as a result a reflexive analysis about my production at the last ten years<br>Mestrado<br>Mestre em Artes
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Cápua, Maria Clara Buffo de. "Da imagem iconográfica à imagem cênica = a mediação do ator." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284963.
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Orientador: Cassiano Sydow Quilici<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-16T19:38:18Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: Esta pesquisa encontra-se no campo do trabalho criativo do ator. Através de um estudo teórico e prático, ela busca potencializar a utilização da imagem, mais precisamente da pintura de Francis Bacon, como um suporte para a sua criação e reflexão. Tendo por base um estudo sobre a obra e o processo criativo de Bacon, pretende-se a construção de uma "Figura" cênica autônoma, cujo foco não repouse na imitação direta da imagem. Para tanto, são utilizados como principais referências bibliográficas: a abordagem de Gilles Deleuze sobre a pintura baconiana e as entrevistas que o pintor concedeu a David Sylvester a respeito de sua produção artística. Por meio desse material, pretende-se o mapeamento tanto de uma estrutura de transposição da imagem, quanto de diretrizes metodológicas de criação ao ator. A partir dessa prática, propõe-se uma nova discussão que amplie as possibilidades de interação entre as artes cênicas e as artes plásticas, tendo como apoio teórico determinados escritos de Antonin Artaud, Josette Feral e Hans-Thies Lehmann. Finalmente, conclui-se a possibilidade de uma constante re-significação da imagem como material de trabalho ao ator, que passa a apropriar-se dela de uma maneira indireta, apreendendo-a não apenas como sugestão de cena, mas principalmente como sugestão de processo criativo: procedimentos e reflexões<br>Abstract: This research is related to the creative work of the actor. Through a theoretical and practical study, it purposes to potentiate the use of the image, most precisely of Francis Bacon's paintings, as a support for the actor's creation and reflection. Based on a study over Bacon's works of art and creative process, it is intended to construct an autonomous scenic "Figure", whose focus does not rest in the imitation of the image. In order to do that, there are used as primary references: the approach of Gilles Deleuze on Bacon' paintings as well as the interviews the painter has given to David Sylvester about his artistic production. Through this material, it is intended to map both a structure of transposition of the image and a methodological guideline of creation for the actor. From that practice, it is proposed a new discussion in order to extend the possibilities of interaction between the performing arts and the visual arts, through the support of certain theoretical writings of Antonin Artaud, Josette Feral and Hans-Thies Lehmann. Finally, the conclusion is the possibility of a constant re-meaning of the image as a working material for the actor, who passes to uses it indirectly, by apprehending it not only as a scene suggestion, but mainly as a suggestion of creative process: procedures and reflections<br>Mestrado<br>Mestre em Artes
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Lobo, Lidiane Gomes. ""Um por todos, todos por um?" : uma reflexão sobre a postura ética na prática teatral colaborativa." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284915.
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Orientador: Suzi Frankl Sperber<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T02:38:03Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: Por meio do estudo do processo de criação teatral chamado processo colaborativo, relacionado com a teoria sobre a Ética espinosana, a presente pesquisa pretende discutir se a maneira como as pessoas se colocam em um coletivo contribui para uma ação mais ampla da colaboratividade no processo de criação teatral. Este modo como as pessoas se colocam em um coletivo é um fator determinante para que a ação conjunta aconteça e se torne tanto geradora de uma reflexão sobre uma postura ética em uma construção teatral coletiva colaborativa, como simplesmente o horizonte ético que facilita e impulsiona o trabalho coletivo. A pesquisa busca perceber quais posturas éticas de relação e de atuação estão envolvidas entre as pessoas de um grupo teatral, para que o desenvolvimento do processo de criação aconteça de uma forma potente e colaborativa para todos os envolvidos e, ainda, aponte suas dificuldades e eventuais ou possíveis soluções<br>Abstract: Studying the process of theatrical creation process called collaborative, related with the theory of Spinoza Ethics, this research intends to discuss how people, put in a collective action, contributes to a broader collaboration in a theatrical creation process. The way people put themselves in a collective is a determining factor to occur the joint action and becomes a generator of a reflection on an ethical stance on building a collaborative theatrical collective, and also an ethical horizon that facilitates and promotes the collective work. The research seeks to understand what ethical stances of relationship and acting are involved between people in a theatrical group, in order that the development of the creative process goes on in a powerful and collaborative way for all involved and also point their difficulties or possible solutions<br>Mestrado<br>Artes Cenicas<br>Mestre em Artes
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Doria, Roberto Rodriguez. "Atores são herois : um processo de construção da mascara a partir de objetos cotidianos : Companhia Teatral Nosconosco." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284742.
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Orientador: Rubens Jose Souza Brito<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-07T11:26:28Z (GMT). No. of bitstreams: 1
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Previous issue date: 2005<br>Resumo: O texto que constitui este trabalho é uma reflexão teórica sobre processo criativo através da máscara desenvolvida com os atores da Companhia Teatral Nosconosco do Rio de Janeiro. Este trabalho parte de uma experiência prática na construção de um espetáculo teatral e seu desenvolvimento criativo com objetos de uso cotidiano que levam o ator ao estado da máscara e sua reflexão teórica<br>Abstract: The text of the present work is a theoretical reflection about the creative process through the mask, developed with actors from the Companhia Teatral Nosconosco, from Rio de Janeiro. This work starts from a practical experience in a play making of using daily ordinary objects that take the actor into the mask state and its theoretical reflection<br>Mestrado<br>Mestre em Artes
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Dulianel, Andréia Cristina. "O desenho na construção de um percurso sensível." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284943.
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Orientador: Lygia Arcuri Eluf<br>Acompanhado do anexo "Livro concha" com imagens e citações, numeradas de I a XXXIV<br>Material acondicionado em caixa de madeira, incluindo 4 fac-símiles, não paginados, acondicionados em bolso: Diário de viagem (2007), Livro das linhas ocultas (2007), Livro das cores III (2008), Cuidando (2009)<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-16T19:58:04Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: Olho, percebo e sinto. De toda a movimentação da vida, principalmente do olhar, surge a necessidade de expressar sensações e representar questões internas através da simplicidade e espontaneidade do desenho. Procuro revelar meu pensamento visual na análise de imagens criadas principalmente em cadernos de desenho e livros de artista. Analiso o processo de construção da linguagem visual através de alguns elementos básicos - linha, superfície, luz e cor - que são estruturados em ações contrastantes, num ritmo circular. A estrutura ambígua da espiral organiza a reflexão sobre o processo de pesquisa, possibilitando o encadeamento das questões em movimentos expansivos e introspectivos. No avançar e recuar das idéias é possível perceber como o desenho vai organizando meu pensamento e, consequentemente, o modo como me relaciono com o mundo sensível<br>Abstract: I see, perceive and feel. From all the movement in life, especially that of the eyes, there comes the need to express feelings and represent internal matters through the simplicity and spontaneity of the drawing. I seek to reveal my visual thoughts in the analysis of images created mainly in sketchbooks and artist's books. I analyze the process of building a visual language through a few basic elements - line, surface, light and color - which are structured in contrasting actions, in a circular rhythm. The ambiguous structure of the spiral organizes the reflection on the research process, allowing the interweaving of the issues in expansive and introspective movements. As ideas advance and retreat it is possible to see how the drawing organizes my thinking and, consequently, the way in which I relate to the sensitive world<br>Mestrado<br>Artes<br>Mestre em Artes
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Casari, Fernanda. "Alquimia e vidro = espaços e limites entre matéria e imaginação." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284425.
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Orientador: Lygia Arcuri Eluf<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T14:54:37Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: A relação entre materiais, procedimentos e poéticas desenvolvidas durante o processo de criação artística são questões que me acompanham desde a graduação em Artes Plásticas. Este trabalho tem como objetivo unir estas questões e apresentar o caminho percorrido para a realização de objetos em vidro. Abordo a Alquimia em alguns aspectos históricos, sua relação com o vidro e em como esta temática é inspiradora para o meu processo de criação. Aponto características materiais e poéticas do vidro e a partir da técnica de vitrofusão (fusing), demonstro resultados de experimentações e o procedimento construtivo utilizado na realização dos objetos. Finalizo com a apresentação de duas séries de objetos realizados a partir de temáticas alquímicas<br>Abstract: The relationship between materials, procedures and the poetics developed during the creative artistic process are all issues that have been a constant for me, ever since I got my degree in Fine Art. The purpose of this work is to unify all these issues and to present the path followed towards the creation of glass objects. I approach Alchemy on some historical levels, its relation to glass and in which manner this thematic is inspirational to my creative process. I highlight the characteristics pertaining to the material and poetics of glass and, through the technique of fusing, I demonstrate the results of my experiments as well as the constructive procedure employed in the creation of the objects. I conclude with a presentation of two series of objects created from the alchemical thematic<br>Mestrado<br>Artes Visuais<br>Mestre em Artes
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Barrenha, Natalia Christofoletti 1986. "A experiência do cinema de Lucrecia Martel = resíduos do tempo e sons à beira da piscina." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284460.
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Orientador: Antônio Fernando da Conceição Passos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T06:44:53Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Nesta pesquisa, abordamos a obra da cineasta argentina Lucrecia Martel, entrelaçando sua trajetória como cineasta e suas opções estéticas, além de procurarmos nos aproximar da compreensão de seu processo criativo. Entre as singularidades mais notáveis da obra de Lucrecia encontra-se o uso que ela faz do som, responsável por estabelecer atmosferas que acabam por guiar os filmes - muito mais que suas próprias tramas. Assim, o som ganhará destaque nessa abordagem, conduzindo as análises dos três longas da cineasta - O Pântano (2001), A Menina Santa (2004) e A Mulher Sem Cabeça (2008)<br>Abstract: In this research, we approach the work of the Argentine filmmaker Lucrecia Martel, going through her career as a filmmaker and her aesthetics choices, and seeking to bring us closer to understanding her creative process. The sound is one of the striking peculiarities of Lucrecia's work, because it creates atmospheres that guide the movies much more than their own narratives. Thus, the sound will lead us in the analysis of the three films of the filmmaker -The swamp (2001), The holy girl (2004) and The headless woman (2008)<br>Mestrado<br>Multimeios<br>Mestre em Multimeios
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Brescancini, Natália Fernandes 1985. "Distância Íntima : a cor na construção de um projeto pictórico autobiográfico." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284397.
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Orientador: Lygia Arcuri Eluf<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-20T13:06:48Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: O estudo propõe uma investigação sobre o processo criativo, a partir da execução e análise de uma série de pinturas - autorretratos - realizadas entre 2008 e 2011. Os eixos estruturais de organização são o uso da cor como elemento fundamental para a construção do espaço pictórico e os diferentes modos de registrar as etapas do processo. Foram estabelecidos contrapontos com a produção de algumas artistas contemporâneas cuja abordagem das questões de linguagem e da representação do próprio corpo são um parâmetro importante para minhas reflexões sobre a prática e a técnica<br>Abstract: The research proposes an investigation into the creative processes, from the execution and analysis of a series of paintings - self-portraits - produced in between 2008 e 2011. The structural organization are the use of color as a key element in the construction of pictorial space and the different ways to record the steps of the process. Counterpoints have been established with the production of some contemporary artists whose approach to issues of language and representation of their own body are an important parameter for my reflections on the practical and technical<br>Mestrado<br>Artes Visuais<br>Mestre em Artes
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Garcia, Lívia Loureiro. "Flávio Império : desenho de um percurso." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284583.
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Orientador: Wilson Florio<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T09:58:44Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: A pesquisa investiga as relações entre os escritos do artista Flávio Império (1935-1985) e sua obra, que compreende arquitetura, cenografia, pintura e docência. Para tanto, foram analisados os escritos, contidos em seus cadernos de anotações, presentes na Sociedade Cultural Flávio Império (material pouco abordado e não sistematizado pela produção acadêmica feita até o momento). Os conteúdos destes cadernos são diversos, mostram pensamentos sobre os campos de sua atuação, desenhos, colagens, fotografias, escritos poéticos. Porém, não apresentam força suficiente para serem abordados autonomamente, por isto foram lidos à partir das perspectivas iniciadas pelas pesquisas de Ana Paula Koury (1999), Pedro Arantes (2002), Marcelina Gorni (2004) e Paula Cristina Motta Saia (2005). Os objetivos são criar uma base de dados sobre o material autográfico, assim como articulá-los à obra de forma a compreender a motivação e o contexto histórico cultural em que foi produzida, através de uma abordagem sobre o processo de criação do artista, a partir da teoria dos sistemas desenvolvida por Mihaly Csikszentmihalyi (1997). Foi possível observar a existência de consonâncias entre as diversas áreas em que o artista atuou: o trato artesanal, a imbricação entre a forma de produção e o produto final e a apropriação da realidade imediata na concepção da imagem artística<br>Abstract: The research investigates the relationship between the writings of artist Flávio Império (1935-1985) and his work, which includes architecture, set design, painting and teaching. To this end, we analyzed the writings contained in his notebooks, present in the Sociedade Cultural Flávio Império (material not covered by systematic academic research done). The contents of these books are diverse, show thoughts about the fields of its activities, drawings, collages, photographs, poetic writings. However, do not have enough strength to be studied independently, so it was read from the perspectives of research initiated by Ana Paula Koury (1999), Pedro Arantes (2002), Marcelina Gorni (2004) and Paula Cristina Motta Saia (2005). The goals of this research are to create a database on the autographic material, as well as link them to work in order to understand the motivation and the historical cultural context in which it was produced. Through study of the creative process of the artist, from the systems theory developed by Mihaly Csikszentmihalyi (1997). What allowed us to observe that there is consonance between the various areas in which the artist worked: the handmade feature, the overlap between the means of production and final product and the appropriation of the immediate reality in the conception of the artistic image<br>Mestrado<br>Artes Visuais<br>Mestra em Artes
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Delduque, Carolina Martins 1985. "Rastros do sistema de Stanislavski : procedimentos para o trabalho de criação do ator." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284595.
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Orientador: Verônica Fabrini Machado de Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T10:04:27Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: Esta pesquisa se insere no campo das investigações sobre o trabalho do ator e tem como tema o trabalho de criação do ator, a partir dos pressupostos do Sistema de Stanislavski. O trabalho abriu-se em duas frentes: o campo teórico e da práxis cênica, que correram em paralelo, dinamizando uma à outra. Numa delas, foi feito um reconhecimento teórico do tema, no trabalho desenvolvido por pesquisadores, atores e/ou diretores que trabalharam com o mestre russo ou tiveram suas raízes declaradamente fincadas nesse Sistema. Nesse sentido, por um lado a investigação procurou oferecer dados históricos, com referências sobre Michael Chekhov (1891-1955) e Eugênio Kusnet (1898-1975), por meio dos quais foi traçado um percurso geográfico e cronológico, entre Brasil e Rússia, e entre os séculos XX e XXI. Por outro lado, buscando rastrear e refletir sobre aspectos fundamentais de seus ensinamentos na cena russa (berço dessa tradição), apresentamos ao leitor, a análise de conferências de três nomes do teatro russo oriundos dessa tradição - Anatoli Vasiliev, Tatiana Stepatchenko e Mikhail Chumachenko. Já no campo da prática cênica, foi utilizado o texto de Anton Tchekhov As Três Irmãs, como ponto de partida e referência para criação do ator. Num processo de experimentação, a partir do texto dramático de um dramaturgo contemporâneo a Stanislavski e seu "parceiro", buscamos, na criação de cenas teatrais, experimentar os procedimentos para o trabalho do ator derivados do Sistema para compreendê-los com o próprio corpo, e não só com o intelecto, e assim, redimensionar as discussões, questões e análises teóricas<br>Abstract: This research falls within the field of investigations on the actor's work and has as its theme the actor's creative work, from the assumptions of the Stanislavski's System. The work was opened on two fronts: the theoretical field and practical scenic, which ran in parallel, stimulating each other. In one of them an acknowledgment was made of the subject, about the work of researchers, actors and / or directors who worked with the Russian master or had their roots in this system. In this respect, on one side the research sought to provide historical data, with references about Michael Chekhov (1891-1955) and Eugene Kusnet (1898-1975), through whom a route was traced geographically and chronologically, between Brazil and Russia and between the XX and XXI centuries. On the other hand, trying to trace and to reflect on key aspects of their teaching in the Russian current theatre (birthplace of this tradition), we present the reader with analysis of three conferences with Russian's men of theater from this tradition - Anatoli Vasiliev, Tatiana Stepatchenko and Mikhail Chumachenko. In the area of the practice, we used the Chekhov's play, The Three Sisters as a starting point and reference for creating the actor. In a process of experimentation, from the dramatic text of a contemporary playwright to Stanislavski and his "partner", we seek, in the creation of theatrical scenes, test procedures for the actor's work derived from the system to understand them with his own body, not only with the intellect, and thus to resize the discussions, questions and theoretical analysis<br>Mestrado<br>Artes da Cena<br>Mestra em Artes da Cena
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Lovesy, Sarah Caroline, University of Western Sydney, of Arts Education and Social Sciences College, and School of Education. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning." THESIS_CAESS_EDU_Lovesy_S.xml, 2003. http://handle.uws.edu.au:8081/1959.7/787.
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This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama education<br>Doctor of Philosophy (PhD)
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Graeff, Isabela de Oliveira. "Corpo's em cena (no teatro de animação) = poética do movimento." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284445.
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Orientador: Sara Pereira Lopes<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-18T20:13:35Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Esta dissertação consiste na descrição e análise do processo de criação da peça Olhos Vermelhos, um tributo à Antígona, realizado pela companhia Pia Fraus de teatro, em 2003, com minha participação como intérprete. Nossa intenção foi sistematizar esse significativo processo criativo de elaboração de espetáculo teatral heterogêneo de animação, bem como os princípios metodológicos atuantes e as técnicas de manipulação utilizadas, no desejo de ampliar e ordenar estudos num campo artístico contemporâneo em crescente atuação nas artes cênicas. Propomos como percurso deste estudo, a pré-formulação de uma pedagogia de aproximação do interprete para a linguagem híbrida do teatro de animação contemporâneo, praticada pela Pia Fraus como forma de expressão artística. Para finalizar nosso estudo, apontamos possíveis contribuições do exercício deste fazer artístico no processo de formação do intérprete<br>Abstract: This dissertation deals with the description and analysis of the creative process of the play Olhos Vermelhos, um tributo à Antigona, carried out by the Pia Fraus company, in 2003, with my active participation as an interpreter. The aim was to systematize the significant creative process in the making of this heterogeneous theatrical puppet performance, as well as to show its methodological principles and the manipulation techniques used, looking forward to broadening and organizing studies on this contemporary artistic field that is now booming in the scenic arts. Along the process of this study, we propose the pre-formulation of a pedagogy that puts the interpreter in contact with the hybrid language of the current puppet theatre, practiced by Pia Fraus, as a way of artistic expression. Finally, we point out possible merits of this artistic training for the interpreter's development<br>Mestrado<br>Artes Cenicas<br>Mestre em Artes
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Bosque, Martinez Maria del Carmen. "Relato das aparências de um entorno visível : seu processo criativo e a construção de uma linguagem visual." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284409.
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Orientador: Lygia Arcuri Eluf<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-20T11:26:05Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: A pesquisa se propõe a investigar a articulação das linguagens visuais e seus elementos como fundamento da prática artística e construção de uma poética, a partir de séries de trabalhos. Os trabalhos realizados se prendem aos acontecimentos no espaço ao meu redor, suas figuras, paisagens e objetos. Falam de um cotidiano que se organiza pelas formas aparentes que interferem em minha percepção e compreensão de mundo. A observação desse mundo de aparências se traduz a partir de uma diversidade de meios expressivos e procedimentos. No processo criativo contemplam-se as expressões bidimensionais como desenho, gravura ou pintura e a construção de cadernos dobráveis que se transformam em pequenos cenários tridimensionais, nos quais se interpõem e articulam as diferentes linguagens das artes visuais. A linha e a cor atuam como elementos básicos que, conforme seus arranjos e combinações, constroem outros elementos como luzes, transparências e contrastes potencializando a percepção desses relatos. Nestes cadernos se experimentam novas situações de apreensão do espaço e sua representação, permitindo sua manipulação e interferência por parte do leitor - fruidor. Haverá uma exposição a ser realizada na galeria de arte da Unicamp, com parte da produção artística decorrente desta pesquisa<br>Abstract: The research aims to investigate the relationship between visual languages and their elements as the foundation of the artistic practice and the construction of a poetic, from series of works. The works relate to events in the space around me, their figures, landscapes and objects. They speak of a daily life which is organized in ways that interfere with my apparent perception and understanding of the world. The observation of this world of appearances is translated from a variety of expressive means and procedures. The creative process includes two-dimensional expressions such as drawing, engraving or painting and the construction of folding books that turn into small three-dimensional scenarios, in which the different languages of visual arts stand and articulate. Line and color act as basic elements which, according to their arrangements and combinations, build other elements as lights, transparencies and contrast, enhancing the perception of these reports. In these notebooks one experiences new situations of apprehending space and its representation, allowing their manipulation and interference by the reader - spectator. There will be an exhibition to be held at the Art Gallery of Unicamp, as part of the artistic production resulted from this research<br>Doutorado<br>Artes Visuais<br>Doutor em Artes
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McLaughlin, James Anthony. "Meisner across paradigms : the phenomenal dynamic of Sanford Meisner's technique of acting and its resonances with postmodern performance." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8066.
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The Meisner Technique emerged as a part of the realist, modern theatre of the early-Twentieth Century and extended its influence through the rest of that century, including the 1960s and 1970s when there was an explosion of various forms of postmodern performance. This work will demonstrate that while Meisner’s Technique is a part of the paradigm of modern, realist theatre, it simultaneously challenges this ideology with disruptive processes of the sort that postmodern performance instigates. It is the thesis of this work that the Meisner Technique operates according to a set of phenomenologically-aligned imperatives that create strong resonances with certain forms of postmodern performance. This establishes the dynamic wherein the Meisner Technique is able to enter into discourse with instances of the postmodern paradigm of performance. In the first three chapters I will conduct in-depth analyses of Meisner actors’ relationships with their environment, their fellow performers, and their actions from a range of phenomenological perspectives. In the fourth chapter I will apply the conclusions of these analyses to the operation of the Meisner Technique within the paradigm of modern, realist theatre. In the fifth chapter I will set a backdrop to the postmodern field and suggest the issues from this tradition with which the Meisner Technique might resonate. Chapters Six, Seven, and Eight each take one example of an artist from the postmodern field, Richard Foreman, Michael Kirby, and Robert Wilson respectively, establishes their own particular context, and suggests those processes relating to acting/performing technique that might provoke the most productive exchanges. This juxtaposition suggests the places between the practices where discourse might take root and suggests the beginnings of such dialogues.
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Carponi, Cecilia. "Michel Saint-Denis, dal Théâtre du Vieux-Colombier al London Theatre Studio. Premises to the Training." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA135.
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Au cours d’une longue carrière, Michel Saint-Denis a développé un système de pratiques pédagogiques pour le training de l’acteur qui contribue à la formation des nouvelles générations d’acteurs anglophones et francophones. La recherche menée pour cette thèse a donc coïncidé avec une enquête sur la genèse et les transformations de cette pédagogie de l’acteur, organisée en un ensemble d’enseignements, au sein des écoles d’art dramatique fondées par Saint-Denis, à partir du London Theatre Studio. Sa formation auprès de Jacques Copeau méritait sans doute un examen approfondi et détaillé, car les techniques pour acteurs assimilées à l’École du Vieux-Colombier et avec les Copiaus en Bourgogne ont contribué à la composition des principes pédagogiques et conceptuels au sein desquels son training a été construit. L’œuvre de Saint-Denis apparaît exemplaire, justement parce qu’à son arrivée en Angleterre dans les années 1930, tout d’abord en tant que directeur de la Compagnie des Quinze puis en tant que pédagogue d’acteurs, il se propose comme porteur de nouvelles pratiques au sein d’une culture théâtrale dans laquelle la formation de l’acteur - telle que considérée par Copeau et ses héritiers élèves - n’était pas envisagée. Cette thèse vise donc à retracer le training de l’acteur par Saint-Denis en tant que méthode pédagogique, et donc la normalisation des pratiques développées par Copeau au sein de l’École du Vieux-Colombier et avec les Copiaus, et leur inclusion dans le contexte théâtral anglophone. Saint- Denis a été le premier à traduire les chemins de recherche pédagogique de Copeau en une méthode figée et définie<br>The transmission of acting training is a complex and often controversial topic within theatre studies. Within this scholarly discourse, Michel Saint-Denis’s actor pedagogy, often neglected by theatre historians, is an exemplary case study for two main reasons: Saint-Denis (Jacques Copeau’s nephew, student and one of his major heirs) was the first who translated the acting practices rediscovered in the École du Vieux-Colombier and by the Copiaus group into a fixed and defined method; he led and adapted Copeau’s teachings in the anglophone theatrical world. This dissertation explores the first institutional context created by Saint-Denis, that also constitutes the prototype of his pedagogy: the London Theatre Studio, founded in 1935 and active until the outbreak of World War II. What I wish to investigate is the transition from an entirely experimental practice – that is, the research undertaken by Copeau with his pupils at the École du Vieux Colombier and in Burgundy – to a proper method. This system was conceived for being transmitted, and therefore systematized, in a fixed and strictly normative structure – In other words, standardised. Saint-Denis appears to be the custodian of Copeau’s legacy, responsible for translating a combination of experimental workshops into a structured method and for their further development in acting schools programs. Furthermore, upon his relocation from France to England, Saint-Denis becomes the link between two different theatre cultures<br>La principale finalità di questo lavoro di ricerca è quella di apportare un contributo allo studio dell’allenamento attoriale, secondo una prospettiva storica. La pedagogia dell’attore di Michel Saint-Denis, che ha dedicato gran parte della sua vita all’acting training, è spesso ignorata dagli storici del teatro, nonostante rappresenti, invece, un caso di studio esemplare. Nipote, allievo e tra i principali eredi di Jacques Copeau, è stato il primo a tradurre le pratiche riscoperte e sviluppate all’École du Vieux-Colombier e dai Copiaus, di cui aveva fatto esperienza diretta, in un metodo fisso e definito, e ha traghettato e adattato gli insegnamenti di Copeau nel mondo teatrale anglofono. Ripercorrendo e approfondendo il suo percorso di apprendistato, lo studio effettua un lavoro di ricostruzione e analisi del primo contesto istituzionale creato da Saint-Denis, che costituisce il prototipo della sua pedagogia: il London Theatre Studio, fondato nel 1935 e attivo fino all’inizio della Seconda guerra mondiale. Ciò che ci interessa indagare è il passaggio da un insieme di pratiche sperimentali – ovvero le ricerche effettuate dal Patron con gli allievi dell’École du Vieux Colombier e con i Copiaus in Borgogna – a un metodo pensato per essere trasmesso e dunque sistematizzato in una struttura normativa fissa, rigida. Della cultura attoriale che discende da Copeau, Saint-Denis sembra essere il custode: il primo a tradurre un insieme di pratiche sperimentali in un metodo fisso, inserito in un’istituzione formativa convenzionale. Ma non solo: con il trasferimento in Inghilterra, Saint-Denis diviene anello di congiunzione tra due culture teatrali tra loro diversissime
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Junqueira, Kellen Maria. "A imagem e a memoria nos processos de criação : o rural e a cultura caipira no imaginario da luta pela terra." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284715.
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Orientador: Fernando Passos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T12:07:18Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007<br>Resumo: Neste trabalho de pesquisa tratei o imaginário rural, e em especial o imaginário da cultura caipira e as suas influências no desejo de permanecer e de retornar à terra. Abordei em imagens as características e as diferentes formas de expressão dos sujeitos influenciados por estes imaginários: seus gestos, hábitos, músicas, rituais e crenças, assim como o seu silêncio, o que guarda a sua força. Pretendi com esta pesquisa abordar o que seja esta relação com a terra, enquanto espaço de vida, de trabalho e de resistência, influenciados pelos mitos da terra e pelo mito do herói. Pesquisa desenvolvida a partir de uma experiência pessoal/ subjetiva, a da autora deste projeto. Imagens que repercutem e determinam o vínculo de muitos dos que se unem aos movimentos de luta pela terra. Imagens que ressoam e se concretizam nas instituições que organizam este movimento. Imagens compostas em sons e imagens nas pautas dos roteiros dos vídeos Trilogia, Trajetórias e O Afeto da terra e ainda no vídeo Conversas de Bois<br>Abstract: In this research the rural imaginary will be discussed, in special the imaginary of the countryside culture and its influences on the desire to stay and return to the land. It will be accosted in images the characteristics and the citizens' different ways of expression influenced for this imaginary: their gestures, habits, music, rituals and beliefs, as well as their silence, what keep their force. It intends with this research accosting what is this relation with the land, while a living, working, resistance space, influenced by land and hero myths. Research developed from a personal/subjective experience, from the author of this Project. Backwashing images that determine the joining from many of the ones to the movements for the land fight. Grumbled images and that materialize in the institutions that organize this movement. Images composed in sounds and images on the scripts guidelines on the videos Trilogy, Trajectories and the Affection of the land and still in the video Colloquy of oxen<br>Doutorado<br>Mestre em Multimeios
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Camargo, Carlos Augusto Nunes. "Minhas mortes : encontros poeticos suspensos no tempo." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284654.
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Orientador: Luise Weiss<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-11T03:39:04Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Minhas Mortes, é composta de uma série de urnas cerâmicas lacradas, que será apresentada conjuntamente com a Defesa da Tese de Doutorado em Artes e compreende as conseqüências artísticas do percurso de meu corpo poético após ter impresso meu corpo físico nas modelagens dos vazocorpos2 elaborados e construídos para o mestrado, em 2003. neste percurso, encontrei a morte, fonte de renovação e valorização de valores artísticos e subjetivos, síntese simbólica do corpo nas produções cerâmicas das culturas pré-coloniais da bacia Amazônica. Interno às urnas e às cerimônias funerárias desta cultura, percebi o percurso de meu corpo nas artes e na cidade e elaborei poeticamente as minhas mortes. Poética de um corpo que se extingue e recria, ciclicamente, entre o contemporâneo e o pré-colonial, entre o subjetivo e o relacional. Elaborei e construí minha produção cerâmica como recipiente lacrado de conteúdo omitido, um objeto artístico de conceito formulado, inútil à função utilitária e amplo de percepção poética. A produção artística e a palavra percorreram os processos criativos e teóricos com olhares distintos. Ambas tornaram-se um todo indissociável ao suprirem uma a ausência da outra; a produção buscou o conceito e a história, a teoria desejou-se criação, representação poética contextualizada e não a mediação do objeto ausente<br>Abstract: My Deaths, composes a series of locked ceramic urns, which will be presented together with the defense for my Doctoral Thesis in Arts and it consists of the artistic consequences of the path taken by my poetic body after having printed my physical body in the vazocorposa models elaborated and constructed for my masters degree in 2003. In this path, I found death, fountain of renovation and valorization of artistic and subjective values, symbolic synthesis of the body in the ceramic productions from pre-colonial cultures of the Amazonian basin. Internal to the urns and to the funeral ceremonies of this culture, perceiving the path my body took in the arts and in the city I elaborated my poetic deaths. The poetics of a body that extinguishes and recreates itself, clinically, between the contemporary and the pre-colonial, between the subjective and the relative. I elaborated and constructed my ceramic production as locked recipients with omitted contents, artistic objects of a formulated concept, useless to its utility function and with an ample poetic perception. The artistic output and the word traverse the creative and theoretical processes with distinctive outlooks. both became not dissociable while compensating for the other¿s absence; the production sought the concept and the history, the theory wished itself the creation, poetic representation put into context and not the mediation of an absent object<br>Doutorado<br>Doutor em Artes
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Ancelmo, Ozenir. "O terceiro corpo : um dialogo entre a vestimento e o corpo." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285128.
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Orientador: Ernesto Giovanni Boccara<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-11T21:58:00Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007<br>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<br>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<br>Mestrado<br>Mestre em Artes
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Araújo, Hanna T. G. P. 1982. "Livros de Imagem = três artistas narram seus processos de criação." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284969.
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Orientador: Lúcia Helena Reily<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T08:22:24Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: Esta pesquisa visou investigar o processo criativo de artistas plásticos que produzem livros de imagem no sentido de compreender os modos de sua produção poética e criativa da narração visual. Os livros de imagem são produções nas quais a narrativa é desenvolvida a partir da sequência de imagens, visando, geralmente, ao público infantil. Para o desenvolvimento desta pesquisa, escolhemos três renomados e premiados artistas na categoria livro de imagem, cujos processos criativos de construção narrativa serão o objeto do estudo. A abordagem da psicologia que fundamenta a pesquisa é a sociocultural (tendo Lev S. Vygotsky, como principal expoente), com apoio das contribuições de Fayga Ostrower e Ernst Gombrich no campo das artes visuais. Os dados foram coletados por meio de entrevistas semi-estruturadas, filmadas em vídeo e transcritas. Neste estudo, pudemos vislumbrar as especificidades que permeiam os processos criativos de narrativas visuais, nos quais, pautados na experiência, o artista estrutura suas obras sem que esteja, necessariamente, consciente dos modos que o faz. Por outro lado, observamos que suas intenções baseiam-se na tentativa de ampliação de repertório imagético de seus leitores, corroborando na formação estética das crianças<br>Abstract: The aim of this study was to investigate the creative processes of three visual artists that produce picture books, in order to understand how poetic production and visual narratives are engendered. Picture books, geared, usually, towards children, are works in which the narrative is developed through a sequence of images. In this study, three renowned artists who have won several prizes in the picture book category (namely André Neves, Angela Lago e Graça Lima) participated in the study, discussing their creative processes in narrative construction. The study is founded on the sociocultural approach (Lev S. Vygotsky being the main exponent of this theoretical construct). Othercontributions came from the writings of Fayga Ostrower and Ernst Gombrich in the field of visual arts. The data was collected using semi-structured interviews that were filmed and transcribed. In this study, we were able to uncover characteristics that permeate these artists' creative processes for making visual narratives. The artists draw on the own artistic experiences, childhood memories, and visual references, in order to structure their compositions, though this process may not always be a conscious one. As they Interact and negotiate with publishing houses, the artists reported that their aim is to broaden the visual repertoire of their readers, contributing to children's aesthetic development<br>Mestrado<br>Artes Visuais<br>Mestre em Artes
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Costa, Daniel Santos 1986. "Encruzilhadas do corpo (em) processo : f(r)icção arte-vida na criação de uma dança-teatro brasileira." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285211.
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Orientador: Grácia Maria Navarro<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T14:55:44Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>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<br>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<br>Mestrado<br>Teatro, Dança e Performance<br>Mestra em Artes da Cena
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Colla, Ana Cristina 1971. "Caminhante, não ha caminho. Só rastros." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284047.
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Orientador: Suzi Frankl Sperber<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-15T18:09:36Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: O presente projeto se desdobrou entre o território da prática e o da escrita. Duas linhas de investigação paralelas e complementares, possíveis no trabalho do ator. Após dezessete anos de pesquisa coletiva no Lume como atriz pesquisadora, tornou-se urgente vivenciar um novo desafio, colocar-me novamente em situação de risco, experimentar um processo prático de pesquisa que conduzisse a uma ressignificação de meus códigos corporais e à ampliação dos mesmos. Propus-me a construção de um espetáculo solo sob a orientação e direção do dançarino de Butoh Tadashi Endo, cujo mote criativo foram memórias de infância. Após meses de investigação deu-se origem ao espetáculo "Você", nossa narrativa poético-prática. Foram realizadas, até o momento, 39 apresentações públicas, nas cidades de São Paulo, Goiânia, Araraquara e Campinas. Quando nos propomos a uma narrativa escrita sobre um processo de criação de um espetáculo teatral e os procedimentos que envolvem essa investigação e a apresentação cênica resultante desse processo, nossa narrativa da cena, circulamos entre duas narrativas distintas, cujos receptores também possuem diferentes expectativas: os que acessam através da escrita, esperam encontrar "viabilidade", comprovação, verossimilhança, nos procedimentos aplicados e o receptor da poética cênica pretende ser encantado. Racional e sensível. Como unir as duas vias na narração escrita, sendo também ela uma criação poética capaz de seduzir, conduzindo o leitor aos meandros da criação, associando a ela a informação, compreensível em si? O que se ambicionou foi que através da narração dos fatos se desse a organização dos procedimentos da experiência adquirida e na vivência das experiências a construção da memória do corpo, na organização dos procedimentos sua repetição e possível transmissão. Experiência, narração e informação. Imagem e memória. O ator que se propõe a escrever sai da cena para integrar outros papéis, o de narrador de uma experiência particular e única, do qual é parte integrante. Qual é a narrativa possível foi uma das buscas desse projeto. Como organizar procedimentos de maneira a auxiliar sua visualização, análise e avaliação bem como sua transmissão, mantendo o princípio do frescor da experiência? Elaborar uma narrativa, também ela, capaz de provocar uma experiência em quem a recebe. Organizar uma experiência singular de maneira a ser plural<br>Abstract: This Project developed itself among territories of practicing and writing. Two parallel ways of investigation, possible in the actor's work. After 17 years of collective research at "Lume" as a researcher actress, turned out urgent to live a new challenge. To put myself again in a risky situation, to experiment a practical research process that led me to a new position of my body codes and their enlargement. I propose myself to the creation of a solo show under the direction and orientation of a Butoh's dancer - Tadashi Endo - which creative motives were childhood memories. After some months of investigation the show "You" was created, our poetic and practical story. Until this moment, 39 public shows were presented in the following cities: Sao Paulo, Goiania, Araraquara and Campinas. When he propose ourselves to a written narrative about a creative process of a theatric show and all the procedures that involves these investigations and the scenic presentation that results from this process, our narrative scenes, we went through two different narratives which also have two different expectations: those that have the access of the writing expect to find viability, proves and similarity in the applied procedures. And the receptor of the scenic poetry intends to be enchanted, rationally and sensitively. How can you put together these two ways of written narrative which are also the poetic creation, able to seduce, leading the readers to the ways of creation, and associating these ways to the information comprehensive in itself? The ambition was that through the narrative of the facts, the organization of the procedures of the experiences could happen, and in living these experiences, the construction of the body memory, their repetition and possible convey. Experience, narrative and information. Image and memory. The actor that proposes to write gets out of the scene to integrate other parts, the part of the narrator of a unique and particular experience that makes him a full part of that. The possible narrative was one of the searches of this project. How to organize procedures in a way that could help its view, analysis and evaluation, as much as it's convey keeping the principle of the experience freshness? To elaborate a narrative that it's also able to cause an experience to the one that receives. To pass through a singular experience and turn it in a plural way<br>Doutorado<br>Artes Cenicas<br>Doutor em Artes
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Souza, Conrado Luis Roel. "Alô! Kitty = roteiro para cinema e processo criativo." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284934.
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Orientador: Nuno César Pereira de Abreu<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-18T00:41:06Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Inscrito na linha de pesquisa em processo criativo, este trabalho em escrita de roteiro, apresenta dois objetos resultantes de uma prática realizada por seu autor. O roteiro "Alô! Kitty" para cinema de ficção longa metragem. E um memorial reflexivo e teórico sobre o processo criativo. Da conjugação destes dois objetos, propõe-se observar a manifestação de um pensamento artístico, e também a tentativa de seu autor em refletir a experiência de expressá-lo: em relatos do contexto vivido durante o processo e também de sua biografia; apresentando as principais referências criativas e a tentativa de incorporá-las de forma diferenciada à criação artística; em reflexões sobre o conteúdo teórico apreendido, e sua influência na prática artística; etc. O roteiro narra a história de uma mulher desvendando o mistério de sua própria morte. Kitty, a personagem principal, depara-se nesta jornada com entidades e deidades que personificam sentidos arquetípicos preponderantes à contemporaneidade. Articulação narrativa esta, de atualização de mitos, inspirada, por sua vez, em uma tendência de Histórias em Quadrinhos (HQs), adultas e de horror, desenvolvida, sobretudo, no fim dos anos 1980 e no decorrer da década de 1990. O tema da narrativa, neste sentido, reporta-se à instabilidade dos sentidos na contemporaneidade. No âmbito da reflexão, o escopo teórico se apóia principalmente nas relações entre narrativa e contemporaneidade. Neste sentido, a presença de abordagens teóricas por vezes conflitantes, como a filosofia analítica de Lyotard e a semiologia do cinema de Parente, em contraste com a teoria dos arquétipos de Jung e a mitologia comparada de Campbell, justifica-se, segundo propõe o autor, pela legitimidade de uma abordagem multirreferencial<br>Abstract: Included in the line of research in the creative process, this work on script writing presents two resulting objects from a practice realized by the author. The script "Alô! Kitty", a feature-length fiction film. And a reflective and theoritical memorial about creative process. The combination of these two objects, it is proposed to observe the manifestation of an artistic thought, and also the attempt of its author to reflect the experience of expressing it: reports in the context experienced during the process and also of his biography; presenting the main references and creative attempt to incorporate them in different ways to artistic creation; reflections on the theoretical content learned, and their influence on artistic practice, etc. The screenplay tells the story of a woman unraveling the mystery of her own death. Kitty, the main character, faces in this journey with entities and deities who embody archetypal meanings compelling to contemporary. This narrative articulation, for reenactment of myth, inspired, in turn, in a trend of comics, adult and horror, as developed primarily in the late 1980s and throughout the 1990s. In this sense, the theme of the narrative refers to the instability of meanings in contemporary society. In the context of reflection, the theoretical scope rests primarily in relations between narrative and contemporary. In this sense, the presence of sometimes conflicting theoretical approaches such as analytic philosophy of Lyotard and semiology of film A. Parente, in contrast to the theory of archetypes C. G. Jung and the comparative mythology of J. Campbell is justified, according to the author proposes, for the legitimacy of a multi-referential approach<br>Mestrado<br>Mestre em Multimeios