THE LOOK OF OUNCE: EXPERIENCE WAYS
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Arte da Cena |
Texto Completo: | https://revistas.ufg.br/artce/article/view/52284 |
Resumo: | The present paper seeks to present and recognize the experience as a way of thinking and doing within the Scene Art, in order to invite a reflection on the possibility of a relationship between the indigenous issue and the theater. Thus, it presents a course that has taken place during 18 years of experience, research and artistic creation, recognizing the way that stimulated research, transformations and results that brought new fissures. At all times there was a desire for a theater that value the autonomy of the actor as creator, in the quest to construct a poetic-political scene. It is relevant to say that the conceptual and practical conjuncture was made in the dialogue with the Kamayura knowledge, of Brazilian indigenous leaders, in the discussion of corporeity, on the basis of performance studies and on the notion of experience. |
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THE LOOK OF OUNCE: EXPERIENCE WAYSO OLHAR DA ONÇA: PERCURSOS DA EXPERIÊNCIAindigenouscolonizationcorporalityexperienceactor.indígenacolonizaçãoteatroatorexperiência.The present paper seeks to present and recognize the experience as a way of thinking and doing within the Scene Art, in order to invite a reflection on the possibility of a relationship between the indigenous issue and the theater. Thus, it presents a course that has taken place during 18 years of experience, research and artistic creation, recognizing the way that stimulated research, transformations and results that brought new fissures. At all times there was a desire for a theater that value the autonomy of the actor as creator, in the quest to construct a poetic-political scene. It is relevant to say that the conceptual and practical conjuncture was made in the dialogue with the Kamayura knowledge, of Brazilian indigenous leaders, in the discussion of corporeity, on the basis of performance studies and on the notion of experience.A presente escrita busca traçar uma metodologia de pensamento em uma pesquisa na Arte da Cena, no intuito de convidar para a reflexão sobre a possibilidade que envolve a relação entre a questão indígena e o teatro. Para isso, apresenta um percurso que se deu durante 18 anos, a partir da noção de invisibilidade, da vivência por cinco anos na aldeia Kamayura e na insistência de uma prática atoral que procurou entender: como criar procedimentos de atuação a partir da corporeidade indígena e o que sublinhar do contexto dos povos originários em um espetáculo teatral? É relevante dizer que conceitos como corporeidade e colonização estiveram presentes e ajudaram a construir um teatro poético-político que busca tomar posição e resistir enquanto oportunidade. Nesta conjuntura conceitual e da prática, também no diálogo com o saber Kamayura, com líderes do movimento indígena, na discussão da performatividade e sobre a noção de experiência que passo a descrever o percurso de um não-método-método, que assenta para o teatro a abrangência que a conexão étnica pode proporcionar.Universidade Federal de Goiás2018-07-31info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.ufg.br/artce/article/view/5228410.5216/ac.v4i1.52284Art on Stage Journal; Vol. 4 No. 1 (2018): ETHNICITY AND SCENE: Creations, Plans of Composition, Body and Amerindian Ritual in the Performing Arts; 071-105Arte da Cena (Art on Stage); v. 4 n. 1 (2018): ETNICIDADE E CENA: (Cri)ações, Planos de Composição, Corpo e Ritual Ameríndio nas Artes da Cena; 071-1052358-6060reponame:Arte da Cenainstname:Universidade Federal de Goiás (UFG)instacron:UFGporhttps://revistas.ufg.br/artce/article/view/52284/26093Copyright (c) 2018 Arte da Cena (Art on Stage)info:eu-repo/semantics/openAccessFigueiredo, Andreia Duarte2021-02-20T19:38:34Zoai:ojs.revistas.ufg.br:article/52284Revistahttps://www.revistas.ufg.br/artce/PUBhttps://www.revistas.ufg.br/artce/oaiartedacena@gmail.com||2358-60602358-6060opendoar:2021-02-20T19:38:34Arte da Cena - Universidade Federal de Goiás (UFG)false |
dc.title.none.fl_str_mv |
THE LOOK OF OUNCE: EXPERIENCE WAYS O OLHAR DA ONÇA: PERCURSOS DA EXPERIÊNCIA |
title |
THE LOOK OF OUNCE: EXPERIENCE WAYS |
spellingShingle |
THE LOOK OF OUNCE: EXPERIENCE WAYS Figueiredo, Andreia Duarte indigenous colonization corporality experience actor. indígena colonização teatro ator experiência. |
title_short |
THE LOOK OF OUNCE: EXPERIENCE WAYS |
title_full |
THE LOOK OF OUNCE: EXPERIENCE WAYS |
title_fullStr |
THE LOOK OF OUNCE: EXPERIENCE WAYS |
title_full_unstemmed |
THE LOOK OF OUNCE: EXPERIENCE WAYS |
title_sort |
THE LOOK OF OUNCE: EXPERIENCE WAYS |
author |
Figueiredo, Andreia Duarte |
author_facet |
Figueiredo, Andreia Duarte |
author_role |
author |
dc.contributor.author.fl_str_mv |
Figueiredo, Andreia Duarte |
dc.subject.por.fl_str_mv |
indigenous colonization corporality experience actor. indígena colonização teatro ator experiência. |
topic |
indigenous colonization corporality experience actor. indígena colonização teatro ator experiência. |
description |
The present paper seeks to present and recognize the experience as a way of thinking and doing within the Scene Art, in order to invite a reflection on the possibility of a relationship between the indigenous issue and the theater. Thus, it presents a course that has taken place during 18 years of experience, research and artistic creation, recognizing the way that stimulated research, transformations and results that brought new fissures. At all times there was a desire for a theater that value the autonomy of the actor as creator, in the quest to construct a poetic-political scene. It is relevant to say that the conceptual and practical conjuncture was made in the dialogue with the Kamayura knowledge, of Brazilian indigenous leaders, in the discussion of corporeity, on the basis of performance studies and on the notion of experience. |
publishDate |
2018 |
dc.date.none.fl_str_mv |
2018-07-31 |
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/52284 10.5216/ac.v4i1.52284 |
url |
https://revistas.ufg.br/artce/article/view/52284 |
identifier_str_mv |
10.5216/ac.v4i1.52284 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.ufg.br/artce/article/view/52284/26093 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2018 Arte da Cena (Art on Stage) info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2018 Arte da Cena (Art on Stage) |
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. 4 No. 1 (2018): ETHNICITY AND SCENE: Creations, Plans of Composition, Body and Amerindian Ritual in the Performing Arts; 071-105 Arte da Cena (Art on Stage); v. 4 n. 1 (2018): ETNICIDADE E CENA: (Cri)ações, Planos de Composição, Corpo e Ritual Ameríndio nas Artes da Cena; 071-105 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_ |
1797068725312028672 |