Programa de Pós-Graduação em Artes Cênicas
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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.