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Fernando Antonio Mencarellihttp://lattes.cnpq.br/5745792827414580Carmen Paternostro SchaffnerÉden Silva PerettaCarla Andrea Silva LimaRicardo Carlos Gomeshttp://lattes.cnpq.br/1111723821847488Carolina de Pinho Barroso Magalhães2023-04-25T12:05:42Z2023-04-25T12:05:42Z2022-12-21http://hdl.handle.net/1843/52445Essa pesquisa reflete sobre poéticas e processos criativos que se fizeram presentes na Dança-Teatro de Takao Kusuno, partindo de duas perspectivas: o Butoh como filosofia e a percepção do efêmero como elemento fundamental ao Butoh de Takao Kusuno. Takao Kusuno nasceu em 1945, na província de Hokkaido, no Japão, e mudou-se para o Brasil em 1977, onde viveu e criou até o ano de sua morte (2001). No Brasil, Takao concebeu e dirigiu 14 espetáculos de Dança-Teatro, muitos deles premiados, criou a Cia Tamanduá de Dança-Teatro, e participou da formação e transformação de diversos artistas da dança do país, muitos deles (as) reconhecidos(as) nacionalmente e internacionalmente. Takao Kusuno teve grande importância na História da Dança-Teatro no Brasil, tanto por suas poéticas e processos criativos, inusitados para o período, e que ainda hoje geram reflexões e provocações, quanto por ter sido responsável, junto à sua esposa e companheira de arte e vida, Felícia Ogawa, pela inserção do Butoh no país, do qual Takao havia se aproximado no Japão, anteriormente à sua vinda para o Brasil. Takao não denominava suas criações como Butoh, mas como dança-teatro, porém trazia o Butoh como filosofia de vida; e vida e arte eram indistinguíveis e imbricadas para esse diretor. Fui aluna de Dorothy Lenner, atriz, performer e dançarina, que trabalhou com Takao Kusuno ao longo de muitos anos e foi a mesma quem me direcionou a essa pesquisa, compreendendo que esse registro poderia trazer muitas contribuições a novos(as/es) criadores(as/ies) e pesquisadores(as/ies), tendo em vista que Takao Kusuno modificou profundamente vida e arte das pessoas com as quais conviveu e trabalhou. Essa pesquisa foi realizada fundamentalmente por meio de entrevistas com pessoas que trabalharam e conviveram com esse diretor. Procurei realizar um diálogo entre esses depoimentos e reflexões, e as palavras dos criadores do Butoh (Tatsumi Hijikata e Kazuo Ohno) e de alguns de seus(suas/sues) pesquisadores(as/ies), no intuito de perceber o Butoh como filosofia na arte-vida de Takao Kusuno, e o modo como a ideia de efêmero parecia permeá-lo. Essa pesquisa interessa-se pelo modo como Takao Kusuno adaptou o Butoh ao contexto brasileiro e tornou-o vivo no útero de nossa cultura.This research intends to reflect about poetics and creative processes that were present in Takao Kusuno's Dance-Theatre, starting from two perspectives: Butoh as a philosophy, and the perception of the ephemeral as a fundamental element to Takao Kusuno's Butoh. Takao Kusuno was born in 1945, in Hokkaido, Japan, and moved to Brazil in 1977, where he lived and created until the year of his death (2001). In Brazil, Takao conceived and directed 14 Dance-Theatre shows, many of them awarded, created the Cia Tamanduá de Dança-Teatro, and participated in the formation and transformation of several dance artists in the country, many of them recognized nationally and internationally. Takao Kusuno was very important in the History of Dance-Theater in Brazil, both for his poetics and creative processes, that are unusual for the period, and which still generate reflections and provocations, as well as for having been responsible, next with his wife and partner of art and life, Felícia Ogawa, by the insertion of Butoh in the country, which Takao had knowed in Japan, prior to his coming to Brazil. Takao did not call his creations as Butoh, but as dance-theater, but he understood Butoh as a philosophy of life; and life and art were indistinguishable and intertwined for this director. I was a student of Dorothy Lenner, actress, performer and dancer, who worked with Takao Kusuno for many years and was she who directed me to this research, understanding that this researsh could bring many contributions to new creators( as/ies) and researchers, considering that Takao Kusuno profoundly changed the life and art of the people with whom he lived and worked. This research was mainly carried out through interviews with people who worked and lived with this director. I tried to do a dialogue between these testimonies and reflections and the words of the creators of Butoh (Tatsumi Hijikata and Kazuo Ohno) and of some of their researchers, in order to understand Butoh as a philosophy in the art-life of Takao Kusuno, and the way in which the idea of the ephemeral seemed to permeate him.This research is interested in the way in which Takao Kusuno adapted Butoh to the Brazilian context and made it live in the womb of our culture.FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas GeraisporUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em ArtesUFMGBrasilEBA - ESCOLA DE BELAS ARTEShttp://creativecommons.org/licenses/by-nc-nd/3.0/pt/info:eu-repo/semantics/openAccessKusuno, Takao, 1945-2001Cia. Tamanduá de Dança-TeatroButô (Dança)Dança - BrasilDança - FilosofiaTakao KusunoCia Tamanduá de Dança-TeatroButoh no BrasilButoh como filosofiaDança-teatroArte-vidaTakao Kusuno: poeta do efêmero: dança-teatro e Butoh no Brasil: poéticas e processos criativosTakao Kusuno: poet of the ephemeral: dance-theater and Butoh in Brazil: poetics and creative processesinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGORIGINALTESE - CAROLINA DE PINHO BARROSO MAGALHÃES - VERSÃO FINAL.pdfTESE - CAROLINA DE PINHO BARROSO MAGALHÃES - VERSÃO FINAL.pdfapplication/pdf5154106https://repositorio.ufmg.br/bitstream/1843/52445/4/TESE%20-%20CAROLINA%20DE%20PINHO%20BARROSO%20MAGALH%c3%83ES%20-%20VERS%c3%83O%20FINAL.pdf46bd46ee52343b0f7934940adcaca731MD54CC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8811https://repositorio.ufmg.br/bitstream/1843/52445/6/license_rdfcfd6801dba008cb6adbd9838b81582abMD56LICENSElicense.txtlicense.txttext/plain; charset=utf-82118https://repositorio.ufmg.br/bitstream/1843/52445/7/license.txtcda590c95a0b51b4d15f60c9642ca272MD571843/524452023-04-25 09:05:43.009oai:repositorio.ufmg.br:1843/52445TElDRU7Dh0EgREUgRElTVFJJQlVJw4fDg08gTsODTy1FWENMVVNJVkEgRE8gUkVQT1NJVMOTUklPIElOU1RJVFVDSU9OQUwgREEgVUZNRwoKQ29tIGEgYXByZXNlbnRhw6fDo28gZGVzdGEgbGljZW7Dp2EsIHZvY8OqIChvIGF1dG9yIChlcykgb3UgbyB0aXR1bGFyIGRvcyBkaXJlaXRvcyBkZSBhdXRvcikgY29uY2VkZSBhbyBSZXBvc2l0w7NyaW8gSW5zdGl0dWNpb25hbCBkYSBVRk1HIChSSS1VRk1HKSBvIGRpcmVpdG8gbsOjbyBleGNsdXNpdm8gZSBpcnJldm9nw6F2ZWwgZGUgcmVwcm9kdXppciBlL291IGRpc3RyaWJ1aXIgYSBzdWEgcHVibGljYcOnw6NvIChpbmNsdWluZG8gbyByZXN1bW8pIHBvciB0b2RvIG8gbXVuZG8gbm8gZm9ybWF0byBpbXByZXNzbyBlIGVsZXRyw7RuaWNvIGUgZW0gcXVhbHF1ZXIgbWVpbywgaW5jbHVpbmRvIG9zIGZvcm1hdG9zIMOhdWRpbyBvdSB2w61kZW8uCgpWb2PDqiBkZWNsYXJhIHF1ZSBjb25oZWNlIGEgcG9sw610aWNhIGRlIGNvcHlyaWdodCBkYSBlZGl0b3JhIGRvIHNldSBkb2N1bWVudG8gZSBxdWUgY29uaGVjZSBlIGFjZWl0YSBhcyBEaXJldHJpemVzIGRvIFJJLVVGTUcuCgpWb2PDqiBjb25jb3JkYSBxdWUgbyBSZXBvc2l0w7NyaW8gSW5zdGl0dWNpb25hbCBkYSBVRk1HIHBvZGUsIHNlbSBhbHRlcmFyIG8gY29udGXDumRvLCB0cmFuc3BvciBhIHN1YSBwdWJsaWNhw6fDo28gcGFyYSBxdWFscXVlciBtZWlvIG91IGZvcm1hdG8gcGFyYSBmaW5zIGRlIHByZXNlcnZhw6fDo28uCgpWb2PDqiB0YW1iw6ltIGNvbmNvcmRhIHF1ZSBvIFJlcG9zaXTDs3JpbyBJbnN0aXR1Y2lvbmFsIGRhIFVGTUcgcG9kZSBtYW50ZXIgbWFpcyBkZSB1bWEgY8OzcGlhIGRlIHN1YSBwdWJsaWNhw6fDo28gcGFyYSBmaW5zIGRlIHNlZ3VyYW7Dp2EsIGJhY2stdXAgZSBwcmVzZXJ2YcOnw6NvLgoKVm9jw6ogZGVjbGFyYSBxdWUgYSBzdWEgcHVibGljYcOnw6NvIMOpIG9yaWdpbmFsIGUgcXVlIHZvY8OqIHRlbSBvIHBvZGVyIGRlIGNvbmNlZGVyIG9zIGRpcmVpdG9zIGNvbnRpZG9zIG5lc3RhIGxpY2Vuw6dhLiBWb2PDqiB0YW1iw6ltIGRlY2xhcmEgcXVlIG8gZGVww7NzaXRvIGRlIHN1YSBwdWJsaWNhw6fDo28gbsOjbywgcXVlIHNlamEgZGUgc2V1IGNvbmhlY2ltZW50bywgaW5mcmluZ2UgZGlyZWl0b3MgYXV0b3JhaXMgZGUgbmluZ3XDqW0uCgpDYXNvIGEgc3VhIHB1YmxpY2HDp8OjbyBjb250ZW5oYSBtYXRlcmlhbCBxdWUgdm9jw6ogbsOjbyBwb3NzdWkgYSB0aXR1bGFyaWRhZGUgZG9zIGRpcmVpdG9zIGF1dG9yYWlzLCB2b2PDqiBkZWNsYXJhIHF1ZSBvYnRldmUgYSBwZXJtaXNzw6NvIGlycmVzdHJpdGEgZG8gZGV0ZW50b3IgZG9zIGRpcmVpdG9zIGF1dG9yYWlzIHBhcmEgY29uY2VkZXIgYW8gUmVwb3NpdMOzcmlvIEluc3RpdHVjaW9uYWwgZGEgVUZNRyBvcyBkaXJlaXRvcyBhcHJlc2VudGFkb3MgbmVzdGEgbGljZW7Dp2EsIGUgcXVlIGVzc2UgbWF0ZXJpYWwgZGUgcHJvcHJpZWRhZGUgZGUgdGVyY2Vpcm9zIGVzdMOhIGNsYXJhbWVudGUgaWRlbnRpZmljYWRvIGUgcmVjb25oZWNpZG8gbm8gdGV4dG8gb3Ugbm8gY29udGXDumRvIGRhIHB1YmxpY2HDp8OjbyBvcmEgZGVwb3NpdGFkYS4KCkNBU08gQSBQVUJMSUNBw4fDg08gT1JBIERFUE9TSVRBREEgVEVOSEEgU0lETyBSRVNVTFRBRE8gREUgVU0gUEFUUk9Dw41OSU8gT1UgQVBPSU8gREUgVU1BIEFHw4pOQ0lBIERFIEZPTUVOVE8gT1UgT1VUUk8gT1JHQU5JU01PLCBWT0PDiiBERUNMQVJBIFFVRSBSRVNQRUlUT1UgVE9ET1MgRSBRVUFJU1FVRVIgRElSRUlUT1MgREUgUkVWSVPDg08gQ09NTyBUQU1Cw4lNIEFTIERFTUFJUyBPQlJJR0HDh8OVRVMgRVhJR0lEQVMgUE9SIENPTlRSQVRPIE9VIEFDT1JETy4KCk8gUmVwb3NpdMOzcmlvIEluc3RpdHVjaW9uYWwgZGEgVUZNRyBzZSBjb21wcm9tZXRlIGEgaWRlbnRpZmljYXIgY2xhcmFtZW50ZSBvIHNldSBub21lKHMpIG91IG8ocykgbm9tZXMocykgZG8ocykgZGV0ZW50b3IoZXMpIGRvcyBkaXJlaXRvcyBhdXRvcmFpcyBkYSBwdWJsaWNhw6fDo28sIGUgbsOjbyBmYXLDoSBxdWFscXVlciBhbHRlcmHDp8OjbywgYWzDqW0gZGFxdWVsYXMgY29uY2VkaWRhcyBwb3IgZXN0YSBsaWNlbsOnYS4KRepositório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2023-04-25T12:05:43Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
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