Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
Santos, Flávia Cristina Honorato dos
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| Orientador(a): |
Lima, Renata de Silva
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| Banca de defesa: |
Silva, Renata de Lima,
Monteiro, Marianna Francisca Martins,
Correa Junior, Sebastião Rios,
Lima, Marlini Dorneles de,
Satler, Lara Lima |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Federal de Goiás
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| Programa de Pós-Graduação: |
Programa de Pós-graduação em Performances Culturais (FCS)
|
| Departamento: |
Faculdade de Ciências Sociais - FCS (RG)
|
| País: |
Brasil
|
| 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: |
http://repositorio.bc.ufg.br/tede/handle/tede/10349
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Resumo: |
From the perception of the potency of Afro-Brazilian musicality in the theatrical scene, as regard to the installation of a scenic presence, from a body state stimulated by these sounds, and as regards to the textures and ambiences that collaborate with the music dramaturgy, the interest arises in addressing the relationship between body, scene, music and Afro-Brazilian culture. In an attempt to understand the contours which this musicality delineates in the contemporary scene, giving it traces of black identities, this research analyzes the show Por cima do mar eu vim, from the Núcleo Coletivo 22. The scenic musical show deals with the story of Queen NzingaMbandi and the African Bantu influence in Brazil, it is committed to a black aesthetic composed in a textual and body dramaturgy in which Afro-Brazilian musicality appears as an important poetic resource. As researcher and interpreter-creator of Núcleo Coletivo 22, who participated in the creation process of this show, as well as its circulation in the city of Goiânia, I discuss from the perceptions, feelings and affections lived, the imbricate between act, touch, singing and dance in this scenic experience. |
