PPGAC - Mestrado em Artes Cênicas
Permanent URI for this collectionhttps://repositorio.ufrn.br/handle/123456789/11896
Browse
collection.page.browse.recent.head
Now showing 1 - 20 of 215
Master Thesis Abrazo: processo de formação em coletivo(Universidade Federal do Rio Grande do Norte, 2025-12-19) Bezerra, Camille Carvalho; Lopes, Melissa dos Santos; http://lattes.cnpq.br/9851844088693131; http://lattes.cnpq.br/0830642420555963; Oliveira, Adriano Moraes de; https://orcid.org/0000-0002-2191-9353; http://lattes.cnpq.br/4119639556374645; Possani, Maria Alice; http://lattes.cnpq.br/4154609924746773This dissertation aims to present, analyze, and reflect on the creative process of the play Abrazo (2014), by the Clowns de Shakespeare Theatre Group, of which I was a member from 2009 to 2022. As a methodology, I rely on a case study to develop this investigation, and for this purpose, I revisited materials that were used during the rehearsals of the production. The theoretical reflection is accompanied by the work of several researchers and artists who think about the creative process and/or are part of theatre collectives, namely Eduardo Moreira (2010), Nitza Tenenblat (2015), Cecilia Salles (1998), and my own practical investigation. I hope that this research will contribute elements to a reflection on the training of an actor/actress within a collective creative.Master Thesis Caixa de memórias: fragmentos autobiográficos de uma jornada no teatro(Universidade Federal do Rio Grande do Norte, 2025-07-24) Dantas, Thalyson Rodrigo de Oliveira; Oliveira, Adriano Moraes de; https://orcid.org/0000-0002-2191-9353; http://lattes.cnpq.br/4119639556374645; http://lattes.cnpq.br/4051414951351678; Silva, Sebastião de Sales; https://orcid.org/0000-0002-7070-3364; http://lattes.cnpq.br/7250080468263829; Alice, TâniaLa presente disertación es el resultado de una investigación autobiográfica. La indagación adoptó como objetivo principal la rememoración de las experiencias del artista-investigador que, de alguna manera, se impusieron en su hacer teatral. En este sentido, el enfoque de la investigación es un conjunto de memorias de aprendizajes teatrales ocurridos desde la infancia hasta el presente. El estudio aborda conceptos como cuerpo juguetón, pedagogía del teatro de grupo y el papel social del fenómeno teatral y del artista, iluminando las intersecciones entre tradición, memoria y creación artística. La organización de las memorias, en función de la fluidez que este concepto lleva intrínsecamente, fue realizada en fragmentos de fabulación, como reinvención de las experiencias vividas. La lectura de la disertación no está pautada en una cronología y cada fragmento puede ser leído en el orden que el/la lector(a) elija.Master Thesis A ação teatral como um ato político: índices dos processos dos grupos "Estandarte" e "Facetas, Mutretas e Outras Histórias"(Universidade Federal do Rio Grande do Norte, 2025-08-26) Antas, Alexandre Augusto de Jesus; Oliveira, Adriano Moraes de; https://orcid.org/0000-0002-2191-9353; http://lattes.cnpq.br/4119639556374645; http://lattes.cnpq.br/4358574616002106; Silveira, Fabiane Tejada da; http://lattes.cnpq.br/1299115860163587; Araújo, José Sávio Oliveira de; http://lattes.cnpq.br/5026604704788382This dissertation aims to discuss certain indicators of political-party affiliation within the theatrical productions of the groups Estandarte and Facetas, Mutretas e Outras Histórias, drawing from theoretical frameworks related to the genre of Political Theatre. The groups were selected due to their longevity and ongoing artistic output since their founding, which bear direct or indirect connections to the Partido dos Trabalhadores (PT). This connection is the primary motivation for the research: as a committed member of the PT and an artist from the metropolitan region of Natal, I examine how the selected groups’ work aligns with the genre of Political Theatre. The theoretical foundation relies on the contributions of Piscator (1968), Brecht (1978), Guénoun (2003), and Boal (1996; 2019), supporting the discussion on the role of theatre in politics and politics in theatre. Methodologically, the study follows Marques (2006), who argues that academic research should make explicit the dialogical process among peers who, as subjects of the study, hold speaking positions in the debates of which we are part. Therefore, group members are given voice through interviews and questionnaires, in addition to the analysis of internal documents such as statutes and regulations.Master Thesis Conjurar corpus, sentenciar delírios: uma visão elipsa sobre contornos cênicos não perspectivados a partir da branquitude(Universidade Federal do Rio Grande do Norte, 2025-05-14) Silva, Kennyo Anderson José Freitas da; Oliveira, Victor Hugo Neves de; https://orcid.org/0000-0003-2622-1277; http://lattes.cnpq.br/0747191487082208; http://lattes.cnpq.br/3523836002585590; Moura, Monize Oliveira; http://lattes.cnpq.br/8651689252671301; Ferraz, Fernando Marques Camargo; http://lattes.cnpq.br/4685061334322117“Conjuring corpus, sentencing delusions: an elliptical view on scenic contours not viewed from the perspective of whiteness” reflects on contours and axial notions for the performing arts, such as time, space, body, memory and Art, based on a Fanonian tradition that discusses the importance of language in the constitution of a counter-colonial thought. Based on the observation that contemporary artists and thinkers of the Arts, such as Denise Ferreira da Silva, have been developing artistic and philosophical works that completely or partially abandon eurocentric points of view on the words mentioned above, this research incorporates Afromatized (Martins, 2021) and indigenous epistemic perspectives to formulate the reflective position of this dissertative text. From this critical review, a poetic and political position is elaborated and the importance of reactivating the conjuration contour is emphasized. To construct such hypotheses, a critical review of the notion of improvisation and the work of the writer Renato Cohen (2013) and his effort to write performance as language was elaborated. This dissertation analyzes the dramaturgies of Frantz Fanon (1925- 1961) and references productions of contemporary non-white artists and authors who contributed/contribute to the Performing Arts by tensioning colonial linguistic and semantic parameters. Furthermore, the gestures that centrally support this research are the works “Esfriamento” and “Refluxo”, both of my authorship, carried out in 2023, in the transit between Natal/RN and Recife/PE. The methodological attitudes used in this dissertation are “Imaginative Cartography” and “Neuromuscular Flow”, both in continuous elaboration, postulate the non-binarity and non-separation between theory and practice or ethics, aesthetics, politics and poetics in the doings of life and in its cultivation. Therefore, I announce that the first chapter of this dissertation takes place in the format of an “imaginative cartography” and i emphasize that the “Neuromuscular Flow” will be reflected in the second part of this dissertation as an essayistic-performative-conjurative proposal, in order to investigate the possibility of presenting a theoretical text that proposes itself, tactically and simultaneously, as a work of Art.Master Thesis Integração corpo-mente: explorando os estados de presença no Yoga(2025-04-01) Supra, Gabriela Albuquerque de Almeida; Mello, Mônica Vianna de; https://orcid.org/0000-0001-9773-098X; http://lattes.cnpq.br/3551365993359222; Campos, Cecília Lauritzen Jácome; https://orcid.org/0000-0002-0032-2849; http://lattes.cnpq.br/1380951722577052; Marques, Larissa Kelly de Oliveira; http://lattes.cnpq.br/2272256149121710; Oliveira Neto, Leônidas de; http://lattes.cnpq.br/3746805844090905This dissertation investigates states of presence emerging from the practice of haṭha-yoga and their reverberations in the field of dance, through an autoethnographic perspective. The research is anchored in a 21-day continuous practice, documented through a sensitive journal, videos, audios, and photographs. The body is understood as a relational and expressive territory, where physical, energetic, emotional, spiritual, and subjective dimensions intertwine. The theoretical framework draws on authors such as Merleau-Ponty, José Gil, Georg Feuerstein, Amit Goswami, and Rudolf Laban to explore notions of embodiment, consciousness, and movement. The study focuses on three fundamental pillars of haṭha-yoga — āsana-s, prāṇāyāma, and dhyāna — aiming not to analyze technique per se, but the sensitive experiences that emerge through gesture and breath. Autoethnography is adopted as the central methodology, allowing for a dynamic interplay between the personal and the collective, between lived experience and critical reflection. In dialogue with thinkers such as Mihaly Csikszentmihalyi, Gilberto Icle, Thomas Milnes, and Patañjali, states of presence are approached as embodied listening, immersion, and expanded awareness, which nurture artistic creation and deepen scenic presence.Master Thesis Cadernos de escritos indigentes: a indigência como lugar de criação(Universidade Federal do Rio Grande do Norte, 2025-05-15) Andrade, Judson Bezerra de; Oliveira, Victor Hugo Neves de; https://orcid.org/0000-0003-2622-1277; http://lattes.cnpq.br/0747191487082208; Sales, Jonas de Lima; http://lattes.cnpq.br/0807637225346047; Coutinho, Karyne Dias; http://lattes.cnpq.br/6013805360280552This dissertation investigates the construction of Inddiegente, a drag-kenga-Appearance that moves through the streets of Natal/RN, confronting hegemonic reality. The research, based on autoethnography (Fortin, 2009; Santos; Biancalana, 2017; Gama, 2020), is structured into six notebooks that discuss the Corpo Indigente, the trajectory of Corpa Inddiegente within Candomblé, Ritual Theater (Almeida, 2022; Haederchpek, 2021), and Appearance (Caridade, 2021; Amira, 2018), as well as its intersection as Quilombo-Body (Patrocínio, 2022) and CanvasBody (Martins, 2021). The research highlights how the sociocultural context influences artistic practice, enabling the emergence of Corpo Inddiegente as a form of resistance.Master Thesis Janduí: o teatro como espaço de retomada ancestral(Universidade Federal do Rio Grande do Norte, 2025-05-13) Silva, José Ricardo Roberto da; Haderchpek, Robson Carlos; https://orcid.org/0000-0002-4905-6449; http://lattes.cnpq.br/4286695631161068; http://lattes.cnpq.br/3684718023885883; Gonçalves, Luiz Davi Vieira; https://orcid.org/0000-0001-6323-7986; http://lattes.cnpq.br/3790619092082749; Silva, Sebastião de Sales; https://orcid.org/0000-0002-7070-3364; http://lattes.cnpq.br/7250080468263829This research discusses the importance of artistic creation as a possibility of rescuing and reinventing indigenous identities erased by the official narrative. In this context, the work covers the life story of the performer José Ricardo, and the repeated states of indigenous reminiscence in his artistic compositions, situated between ritual theater and performance. The methodology addressed in the research has an empirical and experimental character, and deals with the possibility of valuing the historical path, orality and the deep symmetrical dialogue between the researcher and the subjects involved, as well as the research object: the manifestation of ancestry in creative scenic procedures. About the historical course, I have as a starting point the autoethographic method. The proposed reflection is anchored in an auto-ethnographic theoretical basis and in the works of authors such as Luiz Davi Vieira Gonçalves (2019), Grotowski (2015), Bruce Albert and Davi Kopenawa (2015), Ailton Krenak (2018) and Silva and Haderchpek (2018).Master Thesis O Teatro Alberto Maranhão como lugar de memória teatral: mediações a partir de seu acervo documental (1938-1944)(Universidade Federal do Rio Grande do Norte, 2025-03-27) Silva, Jennifer Katarina Miranda da; Moura, Monize Oliveira; http://lattes.cnpq.br/8651689252671301; http://lattes.cnpq.br/6654962221390032; Faria, Karina Andrea da Silva; http://lattes.cnpq.br/3985314541019791; Oliveira, Almir Felix Batista de; https://orcid.org/0000-0002-8570-9179; http://lattes.cnpq.br/6348825553522569; Araújo, José Sávio Oliveira de; http://lattes.cnpq.br/5026604704788382This dissertation addresses the Teatro Alberto Maranhão (TAM), built in 1904 in Natal, Rio Grande do Norte, and designated as a state heritage site by the Fundação José Augusto (FJA/RN) and IPHAN/RN in 1985, later recognized as a national heritage site by IPHAN in 2014, alongside the urban and landscape ensemble of the Ribeira district. More than just a venue for theatrical performances, the TAM represents a vital place of memory for Rio Grande do Norte. The study examines the TAM as a theater, a space for preservation, visitation, and education, discussing the concept of material and immaterial heritage as applied to the theater and highlighting the significance of its documentary collection. Based on the approaches to art education and guided visits proposed by Ana Mae Barbosa (1991, 2009), the research explores the role of the TAM and its collection in preserving Potiguar theatrical memory. The conclusion underscores that the TAM transcends its artistic function, playing an essential role in cultural preservation and valorization. It recommends the creation of guided tour itineraries based on its collection, as well as the implementation of preservation policies and educational initiatives to ensure the continuity of this cultural legacy for future generations.Master Thesis Breaking: estratégias criativas para o desenvolvimento de assinaturas estéticas(Universidade Federal do Rio Grande do Norte, 2025-04-29) Silva, Jean Firmino da; Marques, Larissa Kelly de Oliveira; http://lattes.cnpq.br/2272256149121710; http://lattes.cnpq.br/6485242489853510; Schulze, Guilherme Barbosa; http://lattes.cnpq.br/2239717664426193; Vieira, Marcilio de Souza; https://orcid.org/0000-0002-2034-0796; http://lattes.cnpq.br/7003467659704271; Leal, Patricia Garcia; http://lattes.cnpq.br/7186636825591706El trabajo explora nuevos enfoques y estrategias creativas para el desarrollo de firmas estéticas en el Breaking, a partir de experiencias personales. La investigación investiga cómo diferentes formas de expresar la misma técnica pueden generar identidades interpretativas, creando conexiones significativas frente a sus experimentos performáticos. El análisis teórico-práctico busca comprender la importancia de la innovación dentro del Breaking, reflexionando sobre las posibilidades creativas para la construcción de autenticidad estética. Estas innovaciones desafían a los bailarines a reinventarse constantemente. La disertación adopta el enfoque de la Etnografía-Holística, que considera al individuo en su totalidad, integrando prácticas como experimentaciones en laboratorios, festivales y talleres. O sea, ¡la vivencia de un artista! Esta perspectiva etnográfica permite un análisis crítico de las posibles rupturas en la práctica tradicional de la danza. El estudio también propone un conjunto de directrices filosóficas, estéticas y creativas que estimulan la reflexión sobre la experimentación y el desarrollo del intérprete, buscando destacar la autenticidad interior de cada ser.Master Thesis Auto dos Orixás: da espetacularidade do processo criativo à cena da construção de corporeidades das Yabás(Universidade Federal do Rio Grande do Norte, 2025-04-23) Andrade, Neiry Karla Carneiro de; Vieira, Marcilio de Souza; https://orcid.org/0000-0002-2034-0796; http://lattes.cnpq.br/7003467659704271; http://lattes.cnpq.br/3380554403495764; Costa, Daniel Santos; Oliveira, Victor Hugo Neves deThis paper aims to develop a descriptive-reflective study of the play Auto dos Orixás, which is an Afro-Brazilian theater and dance show that tells the stories of the Orishas, African deities worshipped in some of the religions of African origin. In 2023, the 13th edition was presented at the Ponto de Cem Réis, located in the historic center of the city of João Pessoa - Paraíba, with the theme "The sacred in human relations". The work is proposed not only as a spectacle, but also as an affirmative act to combat structural racism and Afro-religious racism, bringing political, social and black identity affirmation aspects. As a methodological framework, we used ethnocenology as a reference, starting with a qualitative study of the description and reflection of the spectacularity present from the creative process to the presentation of the show, focusing on the creation of the corporealities of the Yabás (female deities of the Orishas cult). The objectives are to highlight the importance of these bodily forms and narratives, their gestural and symbolic language in the dramaturgical structure of the work, seeking to understand the importance of the artistic work as an amalgam of spectacular and subjective elements and to identify how these elements are configured as an act of cultural resistance and black identity. The writings contribute to pointing out paths of decolonization in processes of poetic constructions of the scene, given that the results achieved from the analyses showed that the show transcends artistic performance by seeking to re-signify historical narratives to the public and affirm Afro-Brazilian identity, by converting urban spaces into places of resistance, the show provides visibility and empowerment of black traditions, at the same time as it challenges prejudices and strengthens ancestry through the dance of the Orishas, performance and the body in movement, which has the power to strengthen identities and create in its performers a sense of belonging to a collective movement for the construction of meaning, which articulates Afro-Brazilian culture with the history of struggle and resistance of black people.Master Thesis Uma cidade em cena: espetáculo "Canto para Macau" em processo(Universidade Federal do Rio Grande do Norte, 2025-03-28) Souza, Max Kennedy Costa; Carrico, André; http://lattes.cnpq.br/5977502527839784; http://lattes.cnpq.br/5522612376218105; Catalão, Larissa de Oliveira Neves; Moura, Monize OliveiraThis paper analyzes the current theatrical scene in Macau based on a case study of the theatrical show Canto para Macau 2023. Produced by Macau City Hall, in Rio Grande do Norte brazilian state, the third edition of the show tells us the story of the city. The stage production reflects on its historical and cultural importance for the municipality, since it puts on stage some of the main popular manifestations such as the fandango (dance originated in Spain), the coco de roda dance, the pastoral (folkloric religious dance) and the street carnival groups. To understand how these manifestations are transformed on stage, the paper is based on a literature review on these popular manifestations, analyzing what remains and what changes, using Getúlio Moura (2003), Aparício Fernandes (1984) and Amaury de Medeiros Bezerra (2011) as references. Regarding a theory for brazilian popular theater, it seeks to converge with Larissa Neves' (2022) concept of Theatre Sheet. The research contributes to the reflection on the history and identity of the people and the saltproducing city, in addition to having a major impact and mobilizing countless people, not only around the production of the play, but also in the continuation of the research around the major theme: Macau.Master Thesis Garatujas animalescas: processos criativos entre a linguagem do figurino e a estética do grotesco(Universidade Federal do Rio Grande do Norte, 2025-03-20) Falcão, Guilherme Peres; Araújo, José Sávio Oliveira de; http://lattes.cnpq.br/5026604704788382; http://lattes.cnpq.br/5970313347470029; Lopes, Melissa dos Santos; Coelho, Paula Alves BarbosaBased on animals considered gross or repulsive, I sought to investigate the possibilities of costume creation related to the aesthetics of the grotesque. For such, I developed the project “Garatujas Animalescas”: a series of experimentations on the field of costume, in which each week I made a composition inspired by a gross animal. During the creation of each piece, I recorded my process on a research log, where I kept track of the work done and wrote down the reflections about my artistic making. From the recorded experiences, I sought to understand the possibilities of creation in the field of theatre costume in relation to the aesthetics of the grotesque. I elaborate, in this dissertation, a reflection about the grotesque as an aesthetic category, its origins and its relation to themes that are pertinent to the theatrical art. I understand that not everything that comes up in the workshop is perfectly explained by the ideas of the theorists. I sought then to make a movement to understand when the ideas of the authors influenced me and guided me and when I deviated to a particular conception of the grotesque aesthetics, with no intention to settle this category in a definitive way.Master Thesis O teatro de bonecos popular em sala de aula: ressignificando saberes no ensino de teatro(Universidade Federal do Rio Grande do Norte, 2025-03-18) Oliveira, Wandeson Alves de; Carrico, André; http://lattes.cnpq.br/5977502527839784; http://lattes.cnpq.br/1281390710517180; Araújo, José Sávio Oliveira de; Seixas, Rebeka CaroçaThis research aims to experiment with and reflect on methodological approaches to Theater Education that can contribute to the emancipation of students' knowledge through the practice of the Traditional Puppet Theater of the Northeast. It is a case study developed during the third academic term at Escola Estadual Belém Câmara, a public school located in the Cidade da Esperança neighborhood, in the western zone of Natal/RN, with sixth-grade students from the final years of elementary school. As methodological procedures, puppet-making workshops were conducted using recycled materials. The entire process was documented through photos and videos, as well as notes in a logbook. The theoretical references for this study included Sandro Roberto dos Santos (2022), André Carrico (2016, 2017), Zildalte Ramos de Macêdo (2015), José Sávio de Oliveira Araújo (2015), Canclini (2015), Graça Cavalcanti (2011), Ana Mae Barbosa (2010), Paulo Freire (1996), Ana Maria Amaral (1996), Fernando Augusto Gonçalves Santos (1979), Hermílio Borba Filho (1969), and José Jorge de Carvalho (1991). This research provided an accessible and meaningful artistic experience, strengthening the cultural identity of the sixth-grade students at the public school. The Traditional Puppet Theater of the Northeast served as a tool for expression and learning, allowing students to explore their social realities through art.Master Thesis Xirê Odara: a festa do corpo negro em movimento na dança dos Orixás(Universidade Federal do Rio Grande do Norte, 2025-02-27) Pereira, Lucas de Oliveira; Vieira, Marcílio de Souza; https://orcid.org/0000-0002-2034-0796; http://lattes.cnpq.br/7003467659704271; http://lattes.cnpq.br/3806585253691368; Machado, Lara Rodrigues; Moreira, Stephanie Campos PaivaThis work is the result of research developed in the area of Performing Arts, with profound interference from the religiosity of Afro-diasporic “drivers” (Ligiéro, 2011), carried out at the Candomblé terreiro Ilê Olorum – a space of Afro-indigenous culture and religiosity – between 2022 and 2024. The research is structured based on the researcher’s dimension of belonging, as a son of this house of Axé, and seeks to understand, through the technique of “participant observation” (Minayo, 2001; Demo, 2014; Severino, 2017) the emerging meanings and perceptions of the orixá dance in the ritual and celebratory context of the Candomblé xirê of that terreiro. From this analysis, we sought to construct a body experimentation that would result in a choreographic composition. The poetic proposal is entitled “The Path Trilogy” and is inspired by the notion of free artistic creation, however, it is developed from research, following an idea that the “Xirê Odara” is a metaphor used to value black bodies that take refuge in Candomblé, in manifestations of rite, dance, quilombola, resistance, beauty, art, culture, pedagogy and politics. The cult of the Candomblé xirê, as an ancestral power of the black people, thus became the first achievement of this research, which, by proposing an artistic production in dance, needed to “recognize” and “celebrate” black bodies (Sodré, 1999; 2019), and also needed to “rewrite” (resignify) narratives and myths (Medeiros, 2021), as well as “reconstruct” spectacular and imagistic meanings of Africanness (Moreira, 2022) and “affirm” the body as power (Silva, 2022). What was built on this journey was power. A black body, when it finds itself and recognizes itself as a quilombo, is nothing other than power. Thus, describing the dance in the xirê, recreating it in poetic composition and making it signify the affirmation of an African ancestry implies going beyond the notion of heritage from enslaved peoples who fought for liberation; It is about taking on the fight against colonization, from the past to the present. With this research (and its poetic derivation), we propose to discuss the meanings that can emerge from a contemporary choreographic composition based on the motives of the dance of the Candomblé orishas or, rather, to rediscover our social affirmation through the construction of belonging and representation of black bodies in movement. To do so, it was necessary to deeply reflect on who we are and on how Brazilian society constructed, in its imagination and in its institutions, the image of Afro-descendants through racism: colonialist, religious and structural. For the researcher involved in this work, creating a choreographic composition based on the observation of the dances of the orishas, in a Candomblé terreiro, meant assuming oneself as black, embracing ancestral symbolic legacies and celebrating the quilombola movement of black bodies in the Xirê Odara, which springs from the dance of the orishas and in their own “black” bodies, which insist on continuing to be alive, dignified and happy.Master Thesis A capoeira e o jogo: a construção do corpo-capoeira(Universidade Federal do Rio Grande do Norte, 2025-04-08) Oliveira, José Júnior Cardoso de; Haderchpek, Robson Carlos; https://orcid.org/0000-0002-4905-6449; http://lattes.cnpq.br/4286695631161068; http://lattes.cnpq.br/4417857498718351; Machado, Lara Rodrigues; Silva, Sebastião de SalesThis study sought to raise reflections on the game developed in body preparation workshops aimed at members of the Arkhétypos Group. The workshops were entitled “Body-Capoeira” and used capoeira as the poetics and foundation of all the work. The aim was to investigate capoeira with all its symbolic, technical and poetic material, seeking elements that could add malevolence to the body work of the actor and actress, thinking about the scene from this language. In this sense, this research united two distinct languages that converse with each other: capoeira and ritual theater, with the play being the common point that makes the languages intersect. The passage through the groups Cordão de Ouro and Capoeira Brasil was taken as a reference for the study because it establishes connections with the philosophy and practice of the fundamentals of regional, Angola and contemporary capoeira. The workshop developed for the Arkhétypos Theater Group of UFRN constituted the basis of the case study that underpins the methodological outline of the research. To carry out these workshops, elements of capoeira were considered, such as ginga, movements that explore the balance and imbalance of the participants, and the action of buying into the other's play, with the aim of assessing what can be added and changed in the physical state of the actor and actress in their creative processes.Master Thesis Graça: experiências de um processo criativo em dança contemporânea(Universidade Federal do Rio Grande do Norte, 2025-02-26) Lima, Jonhnata Samuel Oliveira de; Vieira, Marcilio de Souza; https://orcid.org/0000-0002-2034-0796; http://lattes.cnpq.br/7003467659704271; https://orcid.org/0000-0002-6039-0827; http://lattes.cnpq.br/3392011016955825; Marques, Larissa Kelly de Oliveira; Gadelha, Rosa Cristina PrimoThis research emerged from an experience following the creative process of GRAÇA by Giradança/RN Company together with Brazilian choreographer Elisabete Finger. Given this fertile dance scenario, typical of the creative environment, my theme is the perception and observation of dance and its articulations with transdisciplinary principles in which dance, in its way of investigating content and concepts, navigates through fields of knowledge, glimpsing dance issues in the aesthetic, ethical and political context. As a technique for the methodological process, I used the files generated in the creative process, in the format of video, audio, photo and text to inquire about the methodologies for following processes that were constructed in this experience. The methodology used comes from the contributions of the cartography method, which in my investigative and procedural path was developed with the clues that made the most sense during the research, a window to experiment with other approaches to studying dance creation. TThis study aims to investigate frictions between dance, based on the creative process GRAÇA, and transdisciplinary principles. The study intends to delve deeper into the methodologies of artistic creation, developed in the dance environment, as well as explore the perspective of those who follow the creative process, a function that awakens dance clues in technological mediation.Master Thesis A experiência urbana como versos de composição em videodança(Universidade Federal do Rio Grande do Norte, 2025-02-20) Vieira, Kenne Felipe Alves; Vieira, Marcilio de Souza; http://lattes.cnpq.br/0026908774956043; Vieira, Alba Pedreira; Marques, Larissa Kelly de OliveiraThis is a theoretical-practical research whose objective is to investigate the creative possibilities in the conception and production biases in video dance. The study explores through its laboratories the possibility of creation in dance through improvisation composition techniques linked to ways of perceiving, capturing and conceiving video dance as a process of idealizing an artistic work. For the methodological paths, references from dance improvisation, video dance creation and ways of living in the city were used. This articulation is methodologically supportedMainly from the perspective of Practice as Research and Artistic Practice as Research, various types of procedures were carried out for this: bibliographical research, field research and analysis of video dance composition performing an artistic, procedural and questioning path. The research allowed the performer to experience different forms of composition united movement and camera in one body, awakening different experiences for the conception of video dances.Master Thesis A receita: pisando alho no teatro negro com mulheres negras(Universidade Federal do Rio Grande do Norte, 2024-02-29) Silva, Nazaré Sodré da; Lyra, Luciana de Fátima Rocha Pereira de; http://lattes.cnpq.br/5443015479907169; http://lattes.cnpq.br/2222603860741447; Coutinho, Karyne Dias; Dias, Luciene de OliveiraThis dissertation, written in the first person, takes on the characteristics of performative f(r)ictional writing (Lyra, 2020), enabling the exercise of crossroads (Martins, 1997) between: the cycle of domestic violence that occurred in my family life; The performative soil entitled A Receita (Santos, 2010), which addresses the vulnerable situation of a black woman in a state of revolt against structural machismo and aspects of the Purple Hibiscus (Adichie, 2011). The f(r)iction (Lyra, 2011; 2015) between the life that experienced violence and the works that portray violence, combined with Spiral Time (Martins, 2021), brings these strands closer to mirroring that create the atmosphere of the experience of the past, present and future simultaneously, while also sustaining our stories for ourselves, as in an aquilombamento (Nascimento, 1985; Dias, 2022). Methodologically, the research will start from reflections on black theater (Lima, 2011), (Barbosa, 2021) and black feminisms (hooks, 2013; Gonzalez, 1979; 1984; 2018; Collins, 2017; Carneiro, 2003). As well as, by way of practice, will articulate presentations of the show A Receita in the composition of the Performic Research (Fernandes, 2014), with the workshop entitled by Pisando o Alho carried out for black women in the metropolitan region of Recife. These articulated actions aim to open the way for reflections on how black theater based on a poetics of the body and ancestry (Santos, 2015) can counteract violence by providing stimulation of the social healing of black women.Master Thesis Artesanias: processos de criação de um corpo-território Homoseridoense(Universidade Federal do Rio Grande do Norte, 2024-09-06) Barbosa, Roberta Alves; Machado, Lara Rodrigues; http://lattes.cnpq.br/8465131534198907; http://lattes.cnpq.br/0184851309036051; Oliveira, Victor Hugo Neves de; Silva, Sebastião de SalesFrom original perspectives, this study documents the artistic and educational processes involved in the craftsmanship of creating a HOMOSERIDOENSE body-territory. These writings emerge from a feminine, backcountry, restless and exploratory body, which transforms into art through the experiences and inspirations of the Sertão do Seridó Potiguar, a region located in the interior of Rio Grande do Norte (RN). This research is motivated by the desire to share autobiographical feelings, reflecting on the experiences of my body as an artist and educator, inspired by the knowledge of other country women from Seridó. By delving into the crafts of the Homoseridoense body-territory, I also intend to question and subvert the colonial narratives that historically tried to silence the voices and existences of the countryside. Based on the methodology of Poetic Construction (MACHADO, 2017) and counter-colonial practices (SANTOS, 2019), my objective is to contribute with creations that value the sertaneja culture of Serido, placing them at the focus of artistic, environmental and educational discussions. Art, in this context, becomes not only a means of expression, but also an act of resistance and claiming identities. I therefore seek to radiate the knowledge and traditions of my community, especially to students who, like me, migrated from the interior to the capital in search of better opportunities. As an artist and educator from Serido, I delve deeply into the cultural, historical, social, political and environmental dynamics that shape this territory.Master Thesis Dos sentidos ao multissensorial: um percurso no Teatro a partir da ausência da visão(Universidade Federal do Rio Grande do Norte, 2024-08-27) Silva, Joelma Ferreira da; Alves, Jefferson Fernandes; http://lattes.cnpq.br/1834832958808690; Mello, Mônica Vianna de; Campos, Cecília Lauritzen Jácome; Silva, Carlos Alberto Ferreira daThe focus of this study is centered on exploring Teatro Multissensorial, following an itinerary of experimentation and discoveries of theatrical practices with or without the leading of vision, culminating in the staging (2019) and remounting (2022) of the spectacle SonhAlice, inspired by the work of Lewis Carroll (1832-1898). We seek to analyze accessible multisensory tools related to the presence/absence of vision in the theatrical scene, as well as understand spectators' perceptions to improve the technique and contribute to studies in the area of theatrical accessibility. As a methodological foundation, we adopted Brad Haseman Performative Research (2015), which is guided-by-practice. The reflective path constructed is organized, taking as references the experiences built during the period of the degree in theater, at the Universidade Regional do Cariri (URCA) and in the Teatro e não Vidência Extension Project of the Universidade Federal do Rio Grande do Norte (UFRN), already in the context of the Pós-Graduação em Artes Cênicas (PPGARC). As a result, we implemented audio description in the context of Teatro Multissensorial, which resulted in an improvement in the accessibility of cast preparation and stage reception.