Banca de QUALIFICAÇÃO: ADRIANA RIBEIRO DE ALMEIDA

Uma banca de QUALIFICAÇÃO de MESTRADO foi cadastrada pelo programa.
STUDENT : ADRIANA RIBEIRO DE ALMEIDA
DATE: 18/12/2019
TIME: 15:30
LOCAL: CTAN
TITLE:

A cenic body: strategies to buld a theatre scene

KEY WORDS:

body; strategy and resistance; scenic body

PAGES: 100
BIG AREA: Lingüística, Letras e Artes
AREA: Artes
SUBÁREA: Teatro
SPECIALTY: Interpretação Teatral
SUMMARY:

This dissertation discusses the body in several relationships existing in the performing arts, pointing out
tools and possibilities to prepare for the scene, and indications of how to build a body
based on Lenora Lobo's thinking, in order to deal with intermittent issues that
occur during the scenic assembly and construction process, arising from the situation of the body
active. Among some examples, the work of the actresses from Companhia Teatrando, in the
show 'O Casulo das Memórias Resignadas', by Judge-Foran playwright Rafael Coutinho. The focus
of the observations made are the strategies used by some interpreters / actors to be
on the scene, creating ways to confront the already existing hegemonic criteria of evaluation
artistic work, and performance performance. Highlighting, relevant processes in the lives of these
interpreters / actors who, in a certain way, experienced blocks and limitations in their trajectories
artistic.
These processes allow the creation of certain agencies in relation to their purposes
existential, and / or provoke singular training and self-training strategies to build the
relevant and powerful ways of these actors. The research is related not only to
issues that permeate personal, affective and professional experiences, but also resort to studies
about the factors of what the body can be, how the scenic body can be, weaving reflections on
pertinent ways today to think about the relationships between body, theater, body limitations,
approaching the body as a subject, object and support of art, not only considering aesthetics
body as a result, but the body as power. To this end, the relationships for this work have
as a source the concept of power of the philosopher Gilles Deleuze, going through training of
20th century theatrists.

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