Detalhes bibliográficos
| Ano de defesa: |
2018 |
| Autor(a) principal: |
Rosa, Luiza Maria Almeida
 |
| Orientador(a): |
Pinheiro, Amálio |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
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| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/21861
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Resumo: |
This research focused on how one of the greatest choreographers in Brazil, Marcia Milhazes, composes her work and it states that her artistic practice is baroque. In order to do so, this study relates the concept of neo-baroque, developed by Haroldo de Campos (2001, 2011) and Severo Sarduy (1979), and of miscegenation, developed by Amálio Pinheiro (2009, 2013, 2015), with fundamental elements and dynamics of choreographic compositions from Milhazes. Spiral base of every cell of movement, gestures proliferating circuits, ornaments, scrolls, irregular reciprocating trajectories, zigzag, game of contrasts, parodies of ballet codes, infinite movement: all these elements are constituents of the way of communicating are presented in the works created by Milhazes and were identified and demonstrated in "Guarde-me" (2017), the most recent spectacle of her own, created in dialogue with the reading of letters which had been written at the beginning of the 20th century, by anonymous and recognized artists, and through the study of baroque music. The historical perspective through which this research delimits this object of study understands that literature and arts, in general, in Brazil, are not linked to Central European artistic movements by linearity and succession, being here the locus of "unfinished" productions, but which are, from the outset, a collection of fragments that swallow erudite codes, merging them with landscape phenomena and orality. In addition to the assistance of video recordings of the concerts, company's essays were also attended by this researcher for three months, who interviewed the choreographer and her dancers, which could help to get closer to the artistic practice of Beatriz Milhazes, sister of Marcia Milhazes. This research appropriated (Martin-Barber, 2003) established theories, generating displacements, with the intention of redesigning models. Aligning with the creative logic of the creator has thrown us into the challenge of elaborating thoughts that could come up with related fragments. This is how this study is organized. This thesis also maintains that baroque proliferation is, along with other elements, as the parody and the drawing shapes in becoming, a resource that shows the mixed race nature of our cultural dynamics in Brazil, Latin America, are being held. As a result, we think that the Baroque of Marcia Milhazes is a translation that fits the complex cultural dimension of miscegenation in the Latin American continent |
