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 Entremeios poéticos: processos de ensino e aprendizagem imersivos no Reisado do Mestre Tico Barbosa e nas Guerreiras da Mestra Lúcia Guerreira(Universidade Federal do Rio Grande do Norte, 2024-07-31) Silva, Gabriel Ângelo de Luna; Vieira, Marcilio de Souza; https://orcid.org/0000-0002-2034-0796; http://lattes.cnpq.br/7003467659704271; http://lattes.cnpq.br/6010478387077769; Carrico, André; Braga, Flávio de CamposEntremeios Poéticos proposes an immersion in the poetic territory of the Entremeios Boi and Jaraguá present in Reisado São Francisco (Mestre Tico Barbosa) and the sword battle present in Guerreiras Santa Lúcia (Mestra Lúcia Guerreira). To this end, we sought to establish a learning territory, having as poetic matrices the transmission processes in the Masters' terreiros and the memories evoked by them in the transmission processes. Through the epistemological field proposed by Armindo Jorge de Carvalho Bião's Bahian Ethnocenology (2009; 2011), we sought to dialogue with the concepts of aesthetic matrices and trajectory, considering the intersection between theater and the traditions of the Cariri region. In this way, through the teaching and learning processes in the playful terreiros of Master Lúcia Guerreira and Master Tico Barbosa, a scenic experiment entitled Entremeios Poéticos (2024) was created.Master Thesis Caminho sobre a ponte que construímos: reflexões sobre a experiência de um artista-professor iniciante e suas aulasencontro(Universidade Federal do Rio Grande do Norte, 2018-10-22) Pontes, Paul Mailliw de Moraes; Haderchpek, Robson Carlos; Coutinho, Karyne Dias; http://lattes.cnpq.br/6013805360280552; http://lattes.cnpq.br/4286695631161068; http://lattes.cnpq.br/3672104844520235; Hernandez, Márcia Maria StrazzacappaThe present research is based on the thoughts from Theater and Education and seeks to contribute to the study processes of the large areas, as well as to point out new possibilities for the teaching of Theater in Basic Education. One of the focuses of the research is the figure of the Artist-Teacher who in this work is understood as a maker of the art that teaches, creating an approximation with the concepts Professor-Artist (STRAZZACAPPA, 2006), Professor-Performer (ICLE, 2013) and Director-Pedagogue (HADERCHPEK, 2009). Therefore, the ArtistTeacher, takes on a mediating function between the student and the theatrical practice, conducting it through Lessons-Encounter. This concept is explored throughout the process and is based on the idea of the Art of Encounter of Grotowski (2011), which contributes directly to the methodological thinking of the work that seeks to expand the understanding of lessons through an invitation from the teacher to the student. The work as a whole is proposed within an essayist writing about Education, Theater and Experience.Master Thesis Navegâncias autoficcionais: rotas para uma abordagem em o real e o ficcional na cena(Universidade Federal do Rio Grande do Norte, 2022-10-31) Barbosa Segundo, Miguel Eugênio; Lopes, Melissa dos Santos; http://lattes.cnpq.br/9851844088693131; http://lattes.cnpq.br/0685103400388947; Chiamulera, Márcia; Oliveira, Adriano Moraes de; http://lattes.cnpq.br/4119639556374645This work is formed by two layers, the first, destined to discursive and reflective processes on autofiction. The second, a poetic layer that crosses the first, reorganizing and shifting the eyes to the very act of my being/doing researcher/research. This research aims to investigate autofiction in theatre, perceiving its trajectory from literature, where the term was coined by Serge Doubrovysk in 1977, until reaching the field of the Performing Arts, with the perspective of identifying structures that facilitate the recognition of these productions. To make an analysis of this type of autoficcional production, two routes were created that form this experience of my navegancias to perceive the relationships of nominal referentiality, fictionalization as models of real events and a non-narcissistic approach of the self. The first route is associated with the origin of the term autofiction in the literature and, later, the use of the term in the theater. The second one turn to the case study of the show God make you happy, from the Aruã Theater Collective (PB), in order to perceive which elements between dramaturgy, space and staging can contribute to perceive self-fiction in the theatrical field, as well as what can be the elements of fictionalization of a work and its possible (re)elaborations of memory in this process.Master Thesis Percursos da criação poética de uma encenadora-dramaturga: investigações a partir do processo criativo MAURÍCIO(Universidade Federal do Rio Grande do Norte, 2022-08-29) Azevedo, Thayanne Percilla Santos de; Haderchpek, Robson Carlos; Haderchpek, Robson Carlos; http://lattes.cnpq.br/4286695631161068; http://lattes.cnpq.br/1409091650964761; Moura, Monize Oliveira; http://lattes.cnpq.br/8651689252671301; Seixas, Rebeka CaroçaThis participatory-research of an experiential character is born from an artistic practice that has been developed for four years by a female artist-researcher who conceives scenic montages as a director-dramatist in a young theater group, transposing authorial literature to dramaturgy and this one to staging. This research used as a case study a clipping of the creative process MAURÍCIO, from Grupo Interferências de Teatro, being the material of analysis the Peça-Experimento Maurício (2018) and the first stage of the montage of the play Maurício, which unfolded in the creation of Maurício: Uma Cena Experimento Virtual (2020). The aim of this investigation is to understand what the role of a female director-dramatist is, what characterizes this role and what are the procedures used in the poetic creation of a female director-dramatist, being these aspects analyzed in a theater group context that crosses and is crossed by research. At the end of this research, there is a record of a work developed in a collaborative way by a female director-dramatist in a young and independent group from potiguar theater.Master Thesis O nascimento da Gesamtkunstwerk Wagneriana(Universidade Federal do Rio Grande do Norte, 2011) Alves, Francisco Alexsandro Soares; Nunes, Tassos Lycurgo Galvão; http://lattes.cnpq.br/5591762841657455; http://lattes.cnpq.br/6290712699911057The present work analyses the work of Richard Wagner, German composer and playwright born in the nineteenth century. Seeking to understand the role same of Wagnerian configuration of a new society. Second Wagnerians ideals the man must have as center of his life the art and the aesthetic contemplation, for which the society been transfigured itself into a work of art. Wagner understands the man as artist and want to transform society from its vision of ancient Greece and it is followed by the philosopher Friedrich Nietzsche. To Richard Wagner, the Greek tragedy is seen as the most perfect work of art created by man, because, for the Greeks, the art was not just a simple acessory in life or a fun vulgar, before, was the very center of existence. And that is the porpuse of Wagner, to make art again occupy the same importance for the life she had in the ancient Greek period, the importance of a religion. For that the artist invests against social and artistic conventions of this time, raising questions about the role and duty of art and artist in society. And if Wagner raises important questions about his work, is because he is a thinker. Therefore, his theater and his music are mirrors of his thoughts on the world, and this is Wagner, artist and theorist who will be the focus of this work.Master Thesis Pesquisadora de si: individuação e criação ritualística nas artes da cena(Universidade Federal do Rio Grande do Norte, 2021-08-31) Vasconcelos, Bianca Adeltrudes de; Haderchpek, Robson Carlos; Haderchpek, Robson Carlos; 21589603885; http://lattes.cnpq.br/4286695631161068; Machado, Lara Rodrigues; http://lattes.cnpq.br/8465131534198907; Brondani, Joice Aglae; http://lattes.cnpq.br/9851878324360914The research entitled Researcher of the Self: Individuation and Ritualistic Creation in the Performing Arts walks through life and art, through ancestry and culture, carried by the author. The main objective of this study is to verify how research about oneself can contribute to the creative processes in the performing arts. In the search for paths that lead to a ritualistic scene, the creative artist weaves accounts of her own experiences (LARROSA, 2014) in the field of arts, using as her main source of inspiration the ancestry lived in the family setting. In this plot, the author sews real life, the processes of creation and the individuation process (JUNG, 1991) bringing to light the crossings caused on her life in a predominantly patriarchal universe. These accounts allow a rescue of the feminine and promote the researcher's encounter with herself in her body-house-memory that is supported by the mythology of the Triple Goddess and her faces. In order to create a dialogue between doing and thinking, the researcher weaves relationships with Ritual Theater (HADERCHPEK, 2020), with the work Mulheres que Correm com os Lobos (ÉSTES, 2014), and with A Jornada da Heroína (MURDOCK, 1990). From the tensions arising from the encounter of the body with the current structures and the everyday situations that make up being a woman, artist and teacher, a continuous reflection of the researcher on her own being emerges. This reflection allows the researcher to understand the plots that make up her life and evidence the dialogue with the collective and the practices that go through her.Master Thesis Percursos de formação de uma cantora lírica em Natal, Rio Grande do Norte(Universidade Federal do Rio Grande do Norte, 2020-08-10) Cavalcanti, Daliana Medeiros; Lopes, Melissa dos Santos; ; http://lattes.cnpq.br/9851844088693131; ; http://lattes.cnpq.br/8273198392353580; Carrico, André; ; http://lattes.cnpq.br/5977502527839784; Biscaro, Barbara; ; http://lattes.cnpq.br/2149043889500652This dissertation aims to democratize and share knowledge, through my trajectory, as a lyric/ opera singer, in the search not only for a body that sings, but for a body that counts, experiences itself, know itself, aware itself and it is available scenically, in order to resize the interpretation of the songs of the classical repertoire, especially the opera. The research is intended for all lyric singers, actresses and actors and anyone who is interested in the body-voice theme. These experiences will be reported through essay language, written in a structure that combines the academic text with the musical writing of the opera, in order to develop a polyphony between these languages and bring the reader closer to this art, that brings together musical and theatrical resources.Master Thesis Reflexões acerca de uma dramaturgia da "Cara pintada"(2019-03-22) Damasceno, Stephane Louise Vasconcelos; Araújo, José Sávio Oliveira de; ; ; Alves, Jefferson Fernandes; ; Ramos, Adriana Vaz;Amid the many researches that are being done about the scenography and technologies of the scene, is it still possible to think of a “painted face dramaturgy”? The reflections we make around a painted face dramaturgy are based on the Performing Arts area, as a theatrical study aligned with the perspective of a theater that understands the image and the body beyond the understanding we had in modernity, or that is, we understand the body as perception and meaning and the image as a device and a presence. To do so, we make use of perception, along the lines of phenomenology (Merleau-Ponty, 1996); of experience as a method of knowledge production (Larossa, 2002) and of dramaturgy as a fabric of theatricality (Pavis, 1999; 2003; 2017), from a semiology (Barthes, 1987; 2007) of the contemporary world. This is because we recognize “face painting” as a phenomenon that goes beyond the comprehension of makeup as scene technology or visual apparatus or scenographic technique or even aesthetics of the plastic composition of the character. The present work considers the "painted face" one of the most significant moments of contemporary theatrical creation, presenting it as a possible solution to the problem of makeup as a poetic of the scene. We started by investigating the act of painting as a subject's poetics to discuss the importance of face painting as a human civilizing element. To this end, we organized a brief "cosmogony" about the narratives they construct through their paintings to construct meanings in the society in which they are inserted, through a "language system" organized in the "figure" through painting. Starting there we look for an investigation of the possibility of face painting and it's uses in theatrical scene experience as a dramaturgical phenomenon. Therefor we try to talk about stage make up we talk about makeup in its broadest sense as a theatricality manifestation and we do it by reporting and dialoguing with plastic composition phenomenons from actants' practical expericences. We believe in the painted face as a cyclical conceptual synthesis of mise-en-scène: drama + action + time / space + image + perception + reading + commotion + understanding + new drama. Thus, in the hall of the new dramaturgies, the painted face can be understood as a theatrical poetic of the scene.Master Thesis Um documento em obra: memórias de um afeto(2019-07-30) Sousa, Hyago Pinheiro da Silva; Marques, Larissa Kelly de Oliveira; ; ; Oliveira, Adriano Moraes de; ; Luna, Fernando Antônio Abath;The present work proposes to describe and discuss a process of creation, which is configured from the selection and investigation of documents about the life and death of a young adolescent. The documents were recorded in letters, journals, photographs and reports. The memories documented in these various archived materials and memories traversed by affections, are the dramaturgical basic of this composing. The creative process hybridizes the language of theater and dance, understanding the importance of thinking art in contemporary times. The theoretical reflection takes place through the result of the scenic practice and dialogues with authors who discuss about memory and creative processes in the scene arts such as: Salles (2006), Izquierdo (2012), Fabrini (2013) among others. We have been able to realize throughout the labs and textual writing that working with real history is not only an impulse, it becomes a necessity because to find in the other our history moves us as artists. The creative process raises questions and cope with choices, with diverse sensations between frustrations and pleasures, sums and losses, that intertwine our individual and collective worlds. The research becomes important for the area of art knowledge by highlighting the documenting on the scene as the propulsor of creation. It is hoped to contribute with a material for the formation of actors, directors and researchers interested in doing and thinking in the Performing Arts that does not dissociate the artistic construction of the socio-affective life of artist-researcher.