CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATION

Detalhes bibliográficos
Autor(a) principal: Nunes, João Vítor Ferreira
Data de Publicação: 2023
Tipo de documento: Artigo
Idioma: por
Título da fonte: Arte da Cena
Texto Completo: https://revistas.ufg.br/artce/article/view/75950
Resumo: In this article, we seek to present how the access to the basements of the memories of the women of the Mulato family took place, being they of indigenous ethnic origin, who had their source in the xxxxxxxxxxxx hinterland, that is, they are sertanejas. It is worth pointing out that in uncovering the narratives, collected via the Listening Survey (Nunes, 2020), the primary objective was to document and, a posteriori, to dance, in the performance scene, the oral stories that were collected, when carnified in the creation procedures of the Dramaturgy of Orality, guided by sensory stimuli. In this way, we can reveal that this is a research that has been rubbing with themes such as memory, bodies and oral histories, also building tripods of interlocution between some theories and notions of gender to deal with the feminine.
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spelling CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATIONCARNIFICANDO EM DANÇA AS HISTÓRIAS FEMININAS QUE MORAM EM MIM: A DRAMATURGIA DA ORALIDADE COMO CAMINHO DE CRIAÇÃOIn this article, we seek to present how the access to the basements of the memories of the women of the Mulato family took place, being they of indigenous ethnic origin, who had their source in the xxxxxxxxxxxx hinterland, that is, they are sertanejas. It is worth pointing out that in uncovering the narratives, collected via the Listening Survey (Nunes, 2020), the primary objective was to document and, a posteriori, to dance, in the performance scene, the oral stories that were collected, when carnified in the creation procedures of the Dramaturgy of Orality, guided by sensory stimuli. In this way, we can reveal that this is a research that has been rubbing with themes such as memory, bodies and oral histories, also building tripods of interlocution between some theories and notions of gender to deal with the feminine.Neste artigo, buscamos apresentar como se deram os acessos aos porões das memórias das mulheres da família Mulato, sendo elas de origem étnica indígena, que tiveram sua nascente no sertão xxxxxxx, ou seja, são sertanejas. Vale apontar que no destampar de narrativas, coletadas via Pesquisa de Escuta (Nunes, 2020), o objetivo primal era documentar e, a posteriori, dançar, na cena performática, as histórias orais que foram coletadas, quando carnificadas nos procedimentos de criação da Dramaturgia da Oralidade, guinadas por estímulos sensoriais. Dessa maneira, podemos desvelar que se trata de uma pesquisa que andou se friccionando com temáticas como memória, corpos e histórias orais, erguendo também tripés de interlocução entre algumas teorias e noções de gênero para versar sobre o feminino.Universidade Federal de Goiás2023-12-10info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.ufg.br/artce/article/view/7595010.5216/ac.v9i1.75950Art on Stage Journal; Vol. 9 No. 1 (2023): Ecoperformance and Ecopolitics of the Scene; 428 - 454Arte de la Escena; Vol. 9 Núm. 1 (2023): Ecoperformance y Ecopolíticas de la Escena; 428 - 454Arte da Cena (Art on Stage); v. 9 n. 1 (2023): Ecoperformance e Ecopolíticas da Cena; 428 - 4542358-6060reponame:Arte da Cenainstname:Universidade Federal de Goiás (UFG)instacron:UFGporhttps://revistas.ufg.br/artce/article/view/75950/40506Copyright (c) 2023 João Vítor Ferreira Nuneshttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessNunes, João Vítor Ferreira2023-12-13T02:59:02Zoai:ojs.revistas.ufg.br:article/75950Revistahttps://www.revistas.ufg.br/artce/PUBhttps://www.revistas.ufg.br/artce/oaiartedacena@gmail.com||2358-60602358-6060opendoar:2023-12-13T02:59:02Arte da Cena - Universidade Federal de Goiás (UFG)false
dc.title.none.fl_str_mv CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATION
CARNIFICANDO EM DANÇA AS HISTÓRIAS FEMININAS QUE MORAM EM MIM: A DRAMATURGIA DA ORALIDADE COMO CAMINHO DE CRIAÇÃO
title CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATION
spellingShingle CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATION
Nunes, João Vítor Ferreira
title_short CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATION
title_full CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATION
title_fullStr CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATION
title_full_unstemmed CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATION
title_sort CARNIFYING IN DANCE THE FEMALE STORIES THAT LIVE IN ME: THE DRAMATURGY OF ORALITY AS A PATH OF CREATION
author Nunes, João Vítor Ferreira
author_facet Nunes, João Vítor Ferreira
author_role author
dc.contributor.author.fl_str_mv Nunes, João Vítor Ferreira
description In this article, we seek to present how the access to the basements of the memories of the women of the Mulato family took place, being they of indigenous ethnic origin, who had their source in the xxxxxxxxxxxx hinterland, that is, they are sertanejas. It is worth pointing out that in uncovering the narratives, collected via the Listening Survey (Nunes, 2020), the primary objective was to document and, a posteriori, to dance, in the performance scene, the oral stories that were collected, when carnified in the creation procedures of the Dramaturgy of Orality, guided by sensory stimuli. In this way, we can reveal that this is a research that has been rubbing with themes such as memory, bodies and oral histories, also building tripods of interlocution between some theories and notions of gender to deal with the feminine.
publishDate 2023
dc.date.none.fl_str_mv 2023-12-10
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://revistas.ufg.br/artce/article/view/75950
10.5216/ac.v9i1.75950
url https://revistas.ufg.br/artce/article/view/75950
identifier_str_mv 10.5216/ac.v9i1.75950
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistas.ufg.br/artce/article/view/75950/40506
dc.rights.driver.fl_str_mv Copyright (c) 2023 João Vítor Ferreira Nunes
https://creativecommons.org/licenses/by-nc/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2023 João Vítor Ferreira Nunes
https://creativecommons.org/licenses/by-nc/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Goiás
publisher.none.fl_str_mv Universidade Federal de Goiás
dc.source.none.fl_str_mv Art on Stage Journal; Vol. 9 No. 1 (2023): Ecoperformance and Ecopolitics of the Scene; 428 - 454
Arte de la Escena; Vol. 9 Núm. 1 (2023): Ecoperformance y Ecopolíticas de la Escena; 428 - 454
Arte da Cena (Art on Stage); v. 9 n. 1 (2023): Ecoperformance e Ecopolíticas da Cena; 428 - 454
2358-6060
reponame:Arte da Cena
instname:Universidade Federal de Goiás (UFG)
instacron:UFG
instname_str Universidade Federal de Goiás (UFG)
instacron_str UFG
institution UFG
reponame_str Arte da Cena
collection Arte da Cena
repository.name.fl_str_mv Arte da Cena - Universidade Federal de Goiás (UFG)
repository.mail.fl_str_mv artedacena@gmail.com||
_version_ 1797068725251211264

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