Programa de Pós-Graduação em Artes Cênicas
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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 Atualizações pelo erro: a dança que se faz na rua(2019-07-26) Araújo, Janine Leal; Porpino, Karenine de Oliveira; ; ; Lima Neto, Avelino Aldo de; ; Schulze, Guilherme Barbosa; ; Marques, Larissa Kelly de Oliveira; ; Ciotti, Naira Neide;This work approaches the subject of the body that errs by improvised dance as a possibility of aesthetics update of space in Natal - Rio Grande do Norte/Brazil. It considers the practices of self attention for scenic investigation in public spaces and the creation of improvised movement and has as motto the feeling of the city by walking. It starts from the following guiding questions: what meanings are created or updated after using improvised movements in city spaces by erring? How the city affects the dance and the dance affects the city? That said, the work has the objective of investigating the existing relations between the improvisation of the danced gesture and erring through Natal city as well as understanding the meanings update by the relation between the spaces and places of the city, realizing how the aesthetics experience of creation in dance on the streets in real time, reflecting on possibilities of poetic experience of the spaces and places in the city of Natal. It uses the description, reduction and reflection as methodological procedures in the Fenomenology context for interpretation of the reports obtained as a result of erring practices through the city and also appropriate the erring in dissertation text construction by poetic unpredictabilities for academic-artistic writing. The text is in the field of Scenic Arts and contributes to the area by reflecting and presenting possibilities of researching the articulation between the body, the dance and the spaces of the city in order to produce an error aesthetics and to update meantings constantly. As results, the work responds to the questions by relating them to the reflections about the described experiences that got divided during the third chapter in the topics About the permissiveness of feeling and being: the meanings created that treats the dance in its ontology and discusses the updates of meanings as what is felt and is expressed in the body by dance; and About the updates of the dance and of the city: affections, energies and suspensions, that reflect about the aesthetic updates of the danced erring and discourse about the space that affects the dance and the dance that affects the space as the person dances what is felt in the city and give it back its new meanings.Master Thesis Uma ressignificação do corpo nu em cena(2019-04-30) Silva, Tiago Herculano da; Salles, Nara Graça; ; ; Machado, Lara Rodrigues; ; Oliveira, Urânia Auxiliadora Santos Maia de;The view of the great majority of people in the face of nudity is guided by imposed social standards, but we can understand it by artistic bias because it can give us a different look. The naked body is subject to the judgment of appearances and the inevitable associations to original sin, in the present world where religions permeate many daily actions of the population, thus, it is treated as offensive, even within the artistic field, and the works that use the skin as costumes tend to carry the weight of such associations made through existing social paradigms. Works of art, which use nudity as an aesthetic and poetic element, can provide a differentiated perception of this naked body in the scene. In the search for a differentiated look, the hypothesis proposed here proposes that this nudity be understood not as absence of costume or intimate exhibition of the body, but by the skin as clothes, by which, the artist can resignify the use of the naked body in scene.Master Thesis Corpo, música e cena: tramas de uma experiência no Projeto Pau e Lata(2012-05-25) Carvalho, Lilian Maria Araújo de; Porpino, Karenine de Oliveira; ; ; Haderchpek, Robson Carlos; ; Hernandez, Márcia Maria Strazzacappa;This dissertation discusses about the relations between body, music and scene, with the purpose of investigate the corporal preparation of the musician to the scenic performance, emphasizing the perception of the body and the relationship between sound and movement as references for this acting. The focus is a corporal training process with musicians for the scene, that considers the dialogue between the sound and gesture aspects, and which locus research is the Pau e Lata: Artistic-Pedagogical Project. The meetings of Corporal Training and Scenic Creation began in January 2011, twice a week, during about three hours each. Fourteen components participated, but only four were considered collaborators – one woman and three men, aged 19 to 30 years, all members of the Pau e Lata. The meetings were organized with the Theater Anthropology as main reference, besides the musical education studies, already experienced in the Pau e Lata. The research considered as analysis sources the notes in the logbook, made by the collaborators and the researcher; an interview with the components and videos of the musical spetacle Sinfeiria em Três Movimentos, artistic product of the Pau e Lata, resized by the pre expressive training process and scenic creation, experienced in the training meetings promoted by this research. As results of this investigation, it is possible to find that the meetings of Corporal Training and Scenic Creation provided the musicians of the Pau e Lata the perception of the importance of a training based on principles that involve a corporal technique for an expansion of the body in scene in the musical spectacle beyond the everyday posture. The musicians internalized, during the process, the principles and the aspects experienced in the corporal training and these principles became part of the training routine of the group. It is also possible to realize the resizing of the scenic presence of the musicians and the artistic quality of the musical spectacle Sinfeiria em Três Movimentos, with an improvement of the relationship between the sound gesture aspects.Master Thesis Piratas ao mar: reflexões sobre a experiência da prática pedagógica teatral a partir do corpo-voz e da comicidade(2018-12-03) Paludo, Raiana de Freitas; Carriço, André; ; ; Biscaro, Barbara; ; Simões, Elane Fátima; ; Lopes, Melissa dos Santos;The research had been composed based on a descriptive, reflexive, theoretical and practical approach and been developed through a theatrical pedagogic volunteering experience in the pedagogical theatric field, with the objective to foment reflection originated from the experience of theatrical pedagogic practice initiating from the bodyvoice and comedy. Therefore, during the second semester of 2017, a workshop called: “CORPO-VOZ, and a laugh”, had been developed, lasting six months, by a group of students from the high school at Campus Natal Central in Instituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Norte (CNAT/IFRN). The data collection started from the storytelling of experiences with didactics and processes of learning and teaching scenic arts. This research intended to open a dialogue regarding to the possibilities of creativity in the educational institutions. My intention was not to define methodology or unbreakable rules, but rise reflection regarding the theatrical pedagogy that has its base in comedy elements and the body-voice work, in such way that, in the research context, could serve as references and as theoretical and practical strategies that could contribute to the work of art teachers in researches related to the theme.Master Thesis Ato de transver: preparação corporal de atores para um espetáculo não visual(2018-08-30) Oliveira, Hianna Camilla Gomes de; Porpino, Karenine de Oliveira; ; ; Alves, Jefferson Fernandes; ; Hernandez, Márcia Maria Strazzacappa;The research deals with aspects of body preparation of actors from the experience with the cast of the Extension Project WHAT THE EYES DO NOT SEE, linked to the Education Center and Department of Educational Practices and Curricula of the Federal University of Rio Grande do Norte, about the coordination of Prof. Dr. Jefferson Fernandes Alves. It is investigated how the absence of the sense of sight influences the body practices with the actors, as this situation reverberates in their bodies for the scene and in the perception of itself. As a focus of research, the reports of extension project members are analyzed through Bardin's Thematic Content Analysis. Reference is made to the provocations of the philosopher Evegen Bavcar on other dimensions of the eye that are beyond the eyes, as well as the poetic idea of Manoel de Barros on the act of transver. They compose the investigation of non-visual as a possible tool in the bodywork of actors, along with studies on the attention of Virginia Kastrup and the concepts of body and Heterotopia by Michel Foucault. As results we discuss topics such as: the tactile dimension of the look, see as something relational, the reversal of the state of attention, attention to self, body preparation as a no place, creation of a utopian body and alterity between actors and spectators.Master Thesis As faces de Gaia: os modos de compreensão do corpo na Gaya Dança Contemporânea(2018-08-29) Lima Júnior, Francisco de Assis de; Porpino, Karenine de Oliveira; ; ; Marques, Larissa Kelly de Oliveira; ; Nóbrega, Terezinha Petrucia da; ; Schulze, Guilherme Barbosa;Before presenting the current configurations, Gaya Dança Contemporânea, an extension project that existed at the Federal University of Rio Grande do Norte - UFRN, underwent several significant transformations from its inception in 1990 to the present day. As the Greek goddess and personification of the planet, Gaia also responds in different ways to the situations it undergoes and reinvents itself as a new Earth. In the same way, this dance group has been behaving during its existence and, with each situation that it is put to experience, its ways of understanding the body that dance are being altered and they reconfigure themselves showing other different faces. In order to understand these modes of understanding, we will use Phenomenology as a methodological tool to propose cross-cutting and discussions based on concepts inherent to dance: dance and education, dance and performance, dance and creation. The results point to three distinct faces presented by the group in its timeline and that will delimit the text's chapters: the first face focusing on the artistic-pedagogical character; the second evidencing a search for an aesthetic standard of high technical and artistic performance and the third one for collectivities. From this panorama, we see the body dancing in the Gaya as a hybrid of itself, affected by its historicity, and by the range of references reflected in its faces from its emergence to the present day.Master Thesis Na pisada dos caboclos: itinerâncias cênicas e corporais(2018-08-29) Santos, Hilca Maria Honorato dos; Alves, Teodora de Araújo; ; ; Carrico, André; ; Sales, Jonas de Lima;The research that I introduce consists of an investigation of the body of the folk dancer and the maintenance of his tradition. The object of the research is the universe of the “Caboclos” from Major Sales/Rio Grande do Norte, active figures in the traditional "play" of the Burning of Judas. The investigated subjects in the research are the representative figures, master and players, responsible for the happening of the play. I will address the main impulse of the research, the issues that arose, how I treated them, and the methodological course I adopted. I also dedicate myself to the encounter with the object of research using an ethnographic approach, seeking to understand the senses that motivate the play, and how these senses constitute a significant link for their interaction with society. I also deal with the reflection on the issues of space-time, scenic and corporal itineraries, thinking about the scene historically, socially and culturally constructed by these bodies, so that the investigative focus will not be directed to the realization of synchronized movements, but rather the expressions of corporeality traditionally lived by these playing bodies, and the way they relate to the world.Master Thesis O artista-docente: a lentidão como escolha processual em dança(2016-04-05) Zacarias Neto, Juarez; Leal, Patricia Garcia; ; http://lattes.cnpq.br/7186636825591706; ; http://lattes.cnpq.br/4554709494112773; Porpino, Karenine de Oliveira; ; http://lattes.cnpq.br/5255588024266396; Mundim, Ana Carolina da Rocha; ; http://lattes.cnpq.br/7278100898972514The present research aims firstly at investigating slowness as a means of understanding the body as creative power for dance. It comprises slowness as qualitative power, providing reflections on the dancing body. The process of body acceleration of contemporaneity has opened powerful investigating fields in this research, such as the reflection about the deceleration process of the dancing body, culminating in a reflection on pauses in dance, the investigation of how the process of understanding the qualitative aspect of the danced movement occurs within the flavor of slowness, in its artistic-creative and pedagogical practice, the proposition of dance as a power, providing its understanding as a knowledge field and of increased awareness by means of lived experiences. Memories from childhood, from the beginning of the artistic career, from the practical use of the research carried out at the Theater Alberto Maranhão Dance School, from the scenic design Amiúde (2015) and from the practice as an artist and teacher, all these have made reflection possible on dance potential, proposing slowness as dance language gradually and deeply built, causing wider self and world awareness. Slowness in this research is the objective of the main investigation and the methodology of a dance language. The study of Eukinétic of Laban, "Dance by the senses: choreographic composition" and "improvisation by the senses" of Leal (2012) let us realize that the studies on the expressive qualities of the danced movement and the study of methodological proposals in contemporary dance, based on the senses, have culminated in the understanding of movement, pause and dance as qualitative power which amplifies body consciousness, understanding it entirely.Master Thesis (Lou) cure-se!!!: corpos vividos em instaurações cênicas no hospital Dr. João Machado(2016-08-27) Pires, Josadaque Albuquerque da Silva; Salles, Nara Graça; ; http://lattes.cnpq.br/8841719783919052; ; http://lattes.cnpq.br/7884704905460787; Alves, Teodora de Araújo; ; http://lattes.cnpq.br/3465675149039835; Oliveira, Urânia Auxiliadora Santos Maia de; ; http://lattes.cnpq.br/2781619787919218This thesis focuses on a research proposal, with a research-action methodology, on the so-called be crazy, its corporeality and interpersonal relations established by these bodies and that are revealed in everyday scene of a psychiatric institution, when in direct contact with artistic processes of the instauration of scenes; always remembering that these bodies under the sign of madness deal with stigma. It is about finding the way of being bodily predominant by restrictions and disruption in the relationship that these people create with one another, with time and space. With that in mind, it is observed how these bodies are structured and how they move in social spaces that appear to be impregnated by an ideology of values, beliefs and prejudices acquired in the socio-historical process. The treatment of the insane is historically defined by a practice of exclusion and difference that makes the crazy a being destitute of reason and conscience, amoral and harmful, and thus discrimination is effected by control through the enclosure and/or exacerbated medication; The cruel marks of this oppressive ideology that characterizes the history of madness, where the crazy still occupies the place of the oppressed, are still visible in this research and perceived in gestures and oral and body expressions; the history of these bodies is personalized in narrated dramas and by the emotional charge impregnated in gestures, the tone of voice in speeches, songs and screams that are revealed in the everyday scene. Thus, this work proposes a link between madness and art and for this, we try to find connections between concepts and issues that permeate the theme of madness and creation processes, emphasizing the importance of the contact and of the human experience with the language of art through the contact with the residents of the Psychiatric Hospital Dr. João Machado, working together with Cruor Arte Contemporânea, a permanent group of art and culture, from the DEART/UFRN (Art Department), a dramaturgy group from the Núcleo Transdisciplinar de Pesquisa em Artes Cênicas e Espetaculares (Interdisciplinary Center for Research on Performing and Spectacular Arts). Articulating art and madness in this study is linked to the experience obtained in the interaction of these bodies in the meetings. This is the relationship of these labeled and institutionalized bodies appointed as mentally ill, for having a record of enclosure in hospital stays, places termed madhouse, which contains a coercive social control culture. We investigate the encounter of the bodies of artists who bring in themselves the experience of art and, from there, we consider the possibility of an existential aesthetic of the relationship between body, space, time and movement in totalitarian institutions and in a wider sense, in conditions historically determined for the crazy, marked by abandonment and absence of this body, as well as the temporal and spatial disorientation. In order to study this scenario, we took advantage of the contribution of the Body Psychology added to an existential phenomenological reading and of the Analytical Psychology, by studying the meaning of the symbols in the relationship of the human with themselves and the environment. These theoretical perspectives presented were chosen for bringing contributions to the study of the human being in its symbolic, bodily and existential aspects, from the perspective of art. Such studies are essential to the construction of the phenomenological experience of the subject as a way of life in their relationship with themselves and the other through the experience of madness with the presence of art. During this investigative process, we understood that studying the current everyday scenes enthralled in the hospital Dr. João Machado by considering differentiated subjectivities as mentally disabled or people in psychological distress pervades the understanding that in today's society there are new forms of production of madness, e.g., new ways to be crazy, and therefore reaffirming that the manufacture of these emerging subjective ways of being crazy is social and historical and the art can show a way for this understanding. Then, it is possible to allow the plasticity and aesthetics to other forms of experiences, and "be" with openness to dare, create and reflect their issues, their strangeness, their adopted positions and places undertaken in the community. In this sense, by the art, in a space of health and science to produce knowledge about the real and the lived, with the artistic language of the performing arts, as this makes the human being being able to express and perceive the world in a more intense way. It was in sight to consider experiential and body pedagogies to handle the scenes and the bodies that circulate and are present in that institutionalized reality, and it was created, with some patients, the scenic instauration (Lou)Cure-se!!! [(Un)Heal Yourself!], presented to the public in July and August 2016, on the premises of the psychiatric hospital Dr. João Machado.