As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim

Detalhes bibliográficos
Autor(a) principal: Santos, Flávia Cristina Honorato dos
Data de Publicação: 2019
Tipo de documento: Dissertação
Idioma: por
Título da fonte: Repositório Institucional da UFG
Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/10349
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.
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spelling Lima, Renata de Silvahttp://lattes.cnpq.br/9684039080990993Silva, Renata de LimaMonteiro, Marianna Francisca MartinsCorrea Junior, Sebastião RiosLima, Marlini Dorneles deSatler, Lara Limahttp://lattes.cnpq.br/4786026182946234Santos, Flávia Cristina Honorato dos2020-02-06T11:38:13Z2019-10-09SANTOS, F. C. H. As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim. 2019. 107 f. Dissertação (Mestrado em Performances Culturais) - Universidade Federal de Goiás, Goiânia, 2019.http://repositorio.bc.ufg.br/tede/handle/tede/10349From 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.A partir da percepção da potência da musicalidade afro-brasileira na cena teatral, tanto no que diz respeito à instalação de uma presença cênica, a partir de um estado corporal estimulado por essas sonoridades, como no que tange as texturas e ambiências que colaboram com a dramaturgia, surge o interesse em se debruçar sobre as relações entre corpo, cena, música e cultura afro-brasileira. Na busca de compreender os contornos que essa musicalidade delineiam na cena contemporânea, atribuindo-lhe traços de identidades negras, analisa-se nesta investigação o trabalho Por cima do mar eu vim, do Núcleo Coletivo 22. O espetáculo cênico musical aborda a história da rainha Nzinga Mbandi e a influência africana banto no Brasil, está comprometido com uma estética negra composto em uma dramaturgia textual e corporal em que a musicalidade afro-brasileira aparece como importante recurso poético. Na qualidade de pesquisadora e intérprete-criadora do Núcleo Coletivo 22 que participou do processo de criação do referido trabalho, bem como de sua circulação pela cidade de Goiânia, discuto a partir de percepções, sensações e afetos vividos o imbricar entre ato, toque, canto e dança nessa experiência cênica.Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2020-02-05T15:26:45Z No. of bitstreams: 2 Dissertação - Flávia Cristina Honorato dos Santos - 2019.pdf: 7156629 bytes, checksum: bfb9f3d556f482841d7db23f592b3bae (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2020-02-06T11:38:13Z (GMT) No. of bitstreams: 2 Dissertação - Flávia Cristina Honorato dos Santos - 2019.pdf: 7156629 bytes, checksum: bfb9f3d556f482841d7db23f592b3bae (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2020-02-06T11:38:13Z (GMT). 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dc.title.eng.fl_str_mv As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim
dc.title.alternative.eng.fl_str_mv The resonances of Afro-Brazilian musicality in the show Above the sea I came
title As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim
spellingShingle As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim
Santos, Flávia Cristina Honorato dos
Performance negra
Musicalidade
Corpo
Memória
Processo de criação
Musicality
Body
Memory
Creation process
Black performance
ARTES::MUSICA
title_short As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim
title_full As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim
title_fullStr As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim
title_full_unstemmed As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim
title_sort As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim
author Santos, Flávia Cristina Honorato dos
author_facet Santos, Flávia Cristina Honorato dos
author_role author
dc.contributor.advisor1.fl_str_mv Lima, Renata de Silva
dc.contributor.advisor1Lattes.fl_str_mv http://lattes.cnpq.br/9684039080990993
dc.contributor.referee1.fl_str_mv Silva, Renata de Lima
dc.contributor.referee2.fl_str_mv Monteiro, Marianna Francisca Martins
dc.contributor.referee3.fl_str_mv Correa Junior, Sebastião Rios
dc.contributor.referee4.fl_str_mv Lima, Marlini Dorneles de
dc.contributor.referee5.fl_str_mv Satler, Lara Lima
dc.contributor.authorLattes.fl_str_mv http://lattes.cnpq.br/4786026182946234
dc.contributor.author.fl_str_mv Santos, Flávia Cristina Honorato dos
contributor_str_mv Lima, Renata de Silva
Silva, Renata de Lima
Monteiro, Marianna Francisca Martins
Correa Junior, Sebastião Rios
Lima, Marlini Dorneles de
Satler, Lara Lima
dc.subject.por.fl_str_mv Performance negra
Musicalidade
Corpo
Memória
Processo de criação
topic Performance negra
Musicalidade
Corpo
Memória
Processo de criação
Musicality
Body
Memory
Creation process
Black performance
ARTES::MUSICA
dc.subject.eng.fl_str_mv Musicality
Body
Memory
Creation process
Black performance
dc.subject.cnpq.fl_str_mv ARTES::MUSICA
description 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.
publishDate 2019
dc.date.issued.fl_str_mv 2019-10-09
dc.date.accessioned.fl_str_mv 2020-02-06T11:38:13Z
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dc.identifier.citation.fl_str_mv SANTOS, F. C. H. As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim. 2019. 107 f. Dissertação (Mestrado em Performances Culturais) - Universidade Federal de Goiás, Goiânia, 2019.
dc.identifier.uri.fl_str_mv http://repositorio.bc.ufg.br/tede/handle/tede/10349
identifier_str_mv SANTOS, F. C. H. As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim. 2019. 107 f. Dissertação (Mestrado em Performances Culturais) - Universidade Federal de Goiás, Goiânia, 2019.
url http://repositorio.bc.ufg.br/tede/handle/tede/10349
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language por
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dc.publisher.country.fl_str_mv Brasil
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publisher.none.fl_str_mv Universidade Federal de Goiás
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