Detalhes bibliográficos
| Ano de defesa: |
2024 |
| Autor(a) principal: |
Santos , Fernanda Aline Rocha dos
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| Orientador(a): |
Souza, Geórgia Cynara Coelho de
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| Banca de defesa: |
Souza, Geórgia Cynara Coelho de,
Soares, Kárita Garcia,
Hartmann, Luciana |
| Tipo de documento: |
Dissertação
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| 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)
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| Departamento: |
Faculdade de Ciências Sociais - FCS (RMG)
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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: |
http://repositorio.bc.ufg.br/tede/handle/tede/13441
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Resumo: |
It reflects on the importance of scenic costumes for the creation of living characters, in addition to addressing the work of these artists as performers. The problem of this research is linked to the discussion about scenic costumes being a primordial part of the conception, composition and development of live characters in events. The term living character was conceptualized as the materialization of the popular imagination about a certain fictional character, which may have its origins in animes, series, films, and which is interpreted by a performer who experiences all the experiences of this fictional character on days where he meets his fans. whether at social or corporate events. This research aimed to reflect on my character creation process as a performer in the market and artistic niche of living characters, in addition to analyzing how the scenic costume can help in the construction of the character, considering that it often works as a visual trigger for the performer and the audience. This research focused on the history of fairy tales, the Walt Disney company and how the phenomenon arrived in Goiânia. Understanding this story, one can understand how the scenic costume can have the function of creating/being the visual communication of the living character, thus contributing to a dramaturgy without speech, which helps the performer to tell his story to those who dedicate their time to appreciate it in activity – the public. We sought to understand how this process occurs, in all its layers and routines. Based on fundamental studies such as those by Nelly Novaes, Mircea Eliade, Richard Schechner and Fausto Viana, it is noteworthy that, for this research, autoethnography was chosen as the main study method, taking into account my experiences as an actress, a black woman , costume designer and researcher. The research was also based on artifacts and has the help of other artists through interviews. |
