ISSN: 2310-2799
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546,196 artículos
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Año:
2020
ISSN:
2358-6958
Rochelle, Henrique
Universidade do Estado de Santa Catarina (UDESC)
Resumen
Written approaches to western performing dance are here considered in a proposal for a division into four groups: manuals, theory, history, and criticism. A key concern in dealing with them is the idea that dance is a language: a kind of communication organized in its own system, that is elaborated and explored in a particular way by each kind of writing. This investigation addresses questions such as why we would write about dance, and what we would write about dance, by discussing the specificity of dance writings, their relevance, and forms of presenting and developing fundamental elements of dance communication.
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Año:
2020
ISSN:
2358-6958
Editorial, Corpo
Universidade do Estado de Santa Catarina (UDESC)
Resumen
O corpo editorial da Urdimento – Revista de Estudos em Artes Cênicas – deliberou por fazer nesta seção de Ensaio Fotográfico de Espetáculos, uma homenagem a Ivo Godois, o artista e técnico em iluminação de Centro de Artes. Para isso, vamos apresentar imagens de espetáculos realizados no Curso de Teatro ou fora dele,com participação de docentes do Centro de Artes (CEART/UDESC), e que tiveram o projeto de iluminação criado e de executado por Ivo Godois.
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Año:
2020
ISSN:
2358-6958
Berte, Odailso Sinvaldo
Universidade do Estado de Santa Catarina (UDESC)
Resumen
This study aims to think about the artistic creation process as a matrixial borderspace. Anchored in the methodological approach of bricolage, the creation of the performative dance Tú, él, nosostros tres, inspired by works by Mexicans artists Frida Kahlo, Arturo Estrada and Nahum B. Zenil, is analyzed. Thus, the creative process is understood as a space/womb modeled by interconnections and permeabilities, which generates the work of art, and capable of recreating the artist himself.
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Año:
2020
ISSN:
2358-6958
Bordin, Vanessa Benites
Universidade do Estado de Santa Catarina (UDESC)
Resumen
This article proposes to reflect on the research carried out in the field of pedagogical practices and poetic experiences lived with the indigenous people of the Tikuna ethnic group. These sensitive meetings were guided by the search for dialogue with Amerindian knowledge and the creation of a space of knowledge and cultural exchanges that potentiates the voices of the subjects involved - the indigenous people, the student-performers and the performer-teacher. Meetings with other bodies, people, groups, experiences, places, ideas, stories, cultures, ethnicities and gender, constituting the network of collaborations. These meetings speak about the experience with the indigenous community Parque das Tribos located in the urban perimeter of the city of Manaus, Amazonas, where the focus is on the exchange relationship with teacher Tikuna Mepaeruna and the Tikuna children at the Uka Umbuesara Wakenai Anumarehit Cultural Space, assisted by the Indigenous School Education Management (GEEI / SEMED) established within the community.
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Año:
2020
ISSN:
2358-6958
Fernandes Júnior, Aroldo Santos
Universidade do Estado de Santa Catarina (UDESC)
Resumen
This text is a theoretical essay that starts from concerns about the video performance All about that bass produced by the artist Royce Cherdan Lee, also known as Chubbeyoncé Lee. The video performance was inspired by the original music video of the same title, by the American singer Meghan Trainor. It aims to reflect on issues related to space, body and affection as dramaturgical dimensions in audiovisual productions posted on the YouTube digital platform, based on concepts such as: Exotopy; Heterotopia; Space Dramaturgy; Corpomidia and Spreadable Media; to expose understanding of knowledge, subjectivities and the scenic and social interventions related to that video performance to create an evocative nature of text that is metonymic, subjective, nervous and citatory. For such purposes, Performative Writing is used as a mode to perform writing. In All about that bass the backyard, the bodies that inhabit it and the affection that generate actions are the points of interest of this essay.
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Año:
2020
ISSN:
2358-6958
Lyra, Luciana de Fátima Rocha Pereira
Universidade do Estado de Santa Catarina (UDESC)
Resumen
This article discusses how we transform artistic experience into writing, reaching the performance dimension of this preliminary act (Turner apud Dawsey, 2005). From the friction between body/writing unveiled here, he suggests what he calls an artist/researcher of fiction (Lyra, 2011), a kind of cartographer who traces landscapes in the relationship with the self/otherness, generate electrifying moments of an academic f(r)ictional writing. It is necessary to emphasize that the framework of this text is based at the Center for Anthropology, Performance and Drama (Napedra/2005-2013); in the experiences with the subject taught by me in the graduate programs in arts at UERJ, UDESC and UFRN (2017-2019); and finally, in the production of articles, dissertations and theses developed with the research group MOTIM - Myth, Rite and Feminist Cartography in the Arts.
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Año:
2020
ISSN:
2358-6958
Paiva de Souza, Marcelo
Universidade do Estado de Santa Catarina (UDESC)
Resumen
At a broader theoretical level, the subject matter of this article is theater as a sui generis artistic medium of testimony and memory of the Shoah (according to scholars like Robert Skloot and Grzegorz Niziołek, among others). This issue is addressed in the background of Polish theater and drama from the immediate post-war period to the present day – an impressively rich body of creative achievements in its most part still unknown in Brazil. For the purpose of exemplifying and examining particular aspects of the problem, two major plays still untranslated into Portuguese – Pieszo (On foot; 1980), by Sławomir Mrożek, and Pułapka (The trap; 1982), by Tadeusz Różewicz – are analyzed and discussed in more detail.
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Año:
2020
ISSN:
2358-6958
Rodrigues, Cristiano Cezarino
Universidade do Estado de Santa Catarina (UDESC)
Resumen
Based on questions raised by the analysis of a typical Brazilian cultural manifestation, capoeira, some conceptual operators are listed in order to understand how the scenic space is currently characterized. It was taken as a hypothesis that the contemporary performance design seeks to investigate several ways that define the relationship between action and reception, which directly influence the creation of scenic spatiality. This paradigm shift, which is evidenced with the help of capoeira analysis, affects the very idea of scenography: this becomes a spatial practice that is currently practiced in order to catalyze flows and encode the bodies and movements of those who involve in the scenic event.
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Año:
2020
ISSN:
2358-6958
Marcondes, Renan
Universidade do Estado de Santa Catarina (UDESC)
Resumen
The article analyzes procedures for creation and staging of the play The Partenon Metophes, by Romeo Castellucci. Based on Judith Butler and Walter Benjamin, we analyze central topics for the work, such as: the artist's use of images of war and violence that circulate in our daily lives; dialogue with aspects of the tragedy; the reference to the American artist Andy Warhol; the dissociation of the relationship between seeing and knowing that he proposes to his audience. Focusing on the formal choices of unframing, repetition of scenes and exposure of the bodies of the actors and actresses in this play, we seek to understand how the artist seeks a work in which the experiences of commotion and catharsis are suspended or displaced.
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Año:
2020
ISSN:
2358-6958
Thürler, Djalma; Woyda, Duda; Moreno, Mariana
Universidade do Estado de Santa Catarina (UDESC)
Resumen
In recent years, the lecture-performance has emerged as a crucial format in the practice of contemporary theater. From a genealogical process that announces a possible identification and recognition coverage, the authors explore in recent theatrical production elements and distinctiveness that compose this hybrid theatrical practice, which absorb spatial and material elements of both the academic lecture as well the artistic performance and from that, we have the presence of a new type of the actor: the epistemologist-actor.
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