Redemunhos do amor: a comunicação barroca em Marcia Milhazes
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/21861 |
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 |
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Pinheiro, José Amálio de Brancohttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4139840A1Rosa, Luiza Maria Almeida2018-12-21T11:43:46Z2018-12-14Rosa, Luiza Maria Almeida. Redemunhos do amor: a comunicação barroca em Marcia Milhazes. 2018. 126 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2018.https://tede2.pucsp.br/handle/handle/21861This 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 continentEsta pesquisa se debruçou sobre o modo de compor de uma das maiores coreógrafas do Brasil, Marcia Milhazes, e afirma que sua prática artística é barroca. Para tanto, relaciona o conceito de neobarroco, desenvolvido por Haroldo de Campos (2001, 2011) e Severo Sarduy (1979), e de mestiçagem, desenvolvido por Amálio Pinheiro (2009, 2013, 2015), com elementos e dinâmica fundamentais das composições coreográficas de Milhazes. Base espiralar de toda célula de movimento, circuitos de proliferações de gestos, ornamentos, volutas, trajetórias irregulares em vaivém, em ziguezague, jogo de contrastes, paródias de códigos do balé, movimento infinito: todos esses elementos são constituintes do modo de comunicar das obras criadas por Milhazes e foram identificados e demonstrados em “Guarde-me” (2017), espetáculo mais recente da companhia, criado em diálogo com a leitura de cartas escritas no início do século XX, por anônimos e por artistas reconhecidos, e com o estudo de música barroca. A perspectiva histórica por meio da qual esta pesquisa delimita o objeto, compreende que a literatura, e as artes em geral, no Brasil, não estão vinculadas a movimentos artísticos centro-europeus por linearidade e sucessão, sendo aqui o lócus de produções “inacabadas”, mas que são, de partida, mestiçagem que deglute códigos eruditos mesclando-os a fenômenos da paisagem e da oralidade. Além da assistência de registros em vídeo dos espetáculos, foram acompanhados ensaios da companhia, durante três meses, realizadas entrevistas com a coreógrafa e com os bailarinos, e aproximamo-nos da prática artística de Beatriz Milhazes, irmã de Marcia Milhazes. Esta pesquisa se apropriou (MARTIN-BARBERO, 2003) de teorias estabelecidas, gerando deslocamentos, com o intuito de redesenhar modelos. Alinhar com a lógica de composição da criadora lançou-nos ao desafio de elaborar pensamento que relacionou fragmentos. É assim que a escrita se organiza. Esta tese também sustenta que a proliferação barroca é, junto a outros elementos, como a paródia e o desenho de formas em devir, recurso que dá a ver a natureza mestiça da dinâmica cultural na qual estamos envolvidos no Brasil, na América Latina. Em decorrência disso, pensamos que o barroco de Marcia Milhazes seja uma tradução que se ajusta à complexa dimensão cultural da mestiçagem no continente latino-americanoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/48039/Luiza%20Maria%20Almeida%20Rosa.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBrasilFaculdade de Filosofia, Comunicação, Letras e ArtesComunicaçãoDançaCulturaMilhazes, MarciaCommunicationDancingCultureCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAORedemunhos do amor: a comunicação barroca em Marcia MilhazesWhirlpools of love: the baroque communication in Marcia Milhazes’ workinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTLuiza Maria Almeida Rosa.pdf.txtLuiza Maria Almeida Rosa.pdf.txtExtracted texttext/plain165529https://repositorio.pucsp.br/xmlui/bitstream/handle/21861/5/Luiza%20Maria%20Almeida%20Rosa.pdf.txt79e6a226f06663b02df67c9821075bb7MD55LICENSElicense.txtlicense.txttext/plain; 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dc.title.por.fl_str_mv |
Redemunhos do amor: a comunicação barroca em Marcia Milhazes |
dc.title.alternative.eng.fl_str_mv |
Whirlpools of love: the baroque communication in Marcia Milhazes’ work |
title |
Redemunhos do amor: a comunicação barroca em Marcia Milhazes |
spellingShingle |
Redemunhos do amor: a comunicação barroca em Marcia Milhazes Rosa, Luiza Maria Almeida Comunicação Dança Cultura Milhazes, Marcia Communication Dancing Culture CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Redemunhos do amor: a comunicação barroca em Marcia Milhazes |
title_full |
Redemunhos do amor: a comunicação barroca em Marcia Milhazes |
title_fullStr |
Redemunhos do amor: a comunicação barroca em Marcia Milhazes |
title_full_unstemmed |
Redemunhos do amor: a comunicação barroca em Marcia Milhazes |
title_sort |
Redemunhos do amor: a comunicação barroca em Marcia Milhazes |
author |
Rosa, Luiza Maria Almeida |
author_facet |
Rosa, Luiza Maria Almeida |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Pinheiro, José Amálio de Branco |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4139840A1 |
dc.contributor.author.fl_str_mv |
Rosa, Luiza Maria Almeida |
contributor_str_mv |
Pinheiro, José Amálio de Branco |
dc.subject.por.fl_str_mv |
Comunicação Dança Cultura |
topic |
Comunicação Dança Cultura Milhazes, Marcia Communication Dancing Culture CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Milhazes, Marcia Communication Dancing Culture |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
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 |
publishDate |
2018 |
dc.date.accessioned.fl_str_mv |
2018-12-21T11:43:46Z |
dc.date.issued.fl_str_mv |
2018-12-14 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
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doctoralThesis |
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publishedVersion |
dc.identifier.citation.fl_str_mv |
Rosa, Luiza Maria Almeida. Redemunhos do amor: a comunicação barroca em Marcia Milhazes. 2018. 126 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2018. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/21861 |
identifier_str_mv |
Rosa, Luiza Maria Almeida. Redemunhos do amor: a comunicação barroca em Marcia Milhazes. 2018. 126 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo, 2018. |
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Pontifícia Universidade Católica de São Paulo |
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Programa de Estudos Pós-Graduados em Comunicação e Semiótica |
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PUC-SP |
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Brasil |
dc.publisher.department.fl_str_mv |
Faculdade de Filosofia, Comunicação, Letras e Artes |
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Pontifícia Universidade Católica de São Paulo |
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