Detalhes bibliográficos
| Ano de defesa: |
2023 |
| Autor(a) principal: |
Lima Junior, Ailton Jose de
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| Orientador(a): |
Katz, Helena
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
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| 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://repositorio.pucsp.br/jspui/handle/handle/40793
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Resumo: |
The understanding of presence, in the arts of the body, has a long journey of resignifications and rediscoveries and has been changing over time, under the changing of contexts, political systems, and current thoughts in each era. A wide range of actors, directors, playwrights, and researchers have dedicated time to thinking about the issue of the dilated, sensitive, porous body and how to develop practices and training to build this notion of the body, in the body. We will treat the diversity of propositions based on interest in the states of the body as what we call epistemologies of presence. We will take as our main reference the trajectory and artistic work of Francisco Medeiros (1948 – 2019), director, teacher, and master of Brazilian theater who developed a methodology dedicated to awakening and working the body to its fullest, and exploring the power of its state of presence. Thus, whether in the classroom or on stage, he built transformative communication, based on horizontality and collaboration. The hypothesis is that the methodology he created – and with which he trained generations of artists in theater, dance, and opera – built a 'body thinking' in tune with the Corpomedia Theory (KATZ and GREINER), with which he entered into contact in the late 1990s. The originality of a methodology that does not organize what is stated, but that develops from a proposal of thought about the body, calls for a more detailed investigation into each of the aspects involved, which calls for attention to its originality and results in the organization and publication of that thought. Since Brazil is a country known for not preserving its history, this project aims to gather and digitize works that Chiquinho Medeiros produced (recorded on VHS tapes, photos, newspapers, and magazines) and what was written about him (notebooks, texts, interviews). Organizing and making these materials accessible in a collection that will have its format defined after the research is completed (documentary film, multimedia exhibition or digital platform, among other possibilities), it is urgent, so that your original contribution does not pale, because it contributes to sustaining, in its necessary complexity, the history of theater in Brazil. New generations cannot be deprived of the knowledge developed in the techniques and training that their work has consolidated. The theoretical foundation that will guide the organization of the collection, in line with the hypotheses presented here, will be the Corpomedia Theory. With it, it becomes possible to read the body as corpomídia, the body in its relationship of permanent transformation, due to the exchanges it makes with its environments. It is essential to maintain access, like a flame that remains, the captivating smile, the brightness of the eyes, and the strength of Chiquinho Medeiros' voice, which are perpetuated in his creations, classes, and skills |
