| spelling |
Carmem Lúcia Eitererhttp://lattes.cnpq.br/9905263965506713http://lattes.cnpq.br/0303184058035529Evandro Nunes de Lima2020-01-13T21:43:31Z2020-01-13T21:43:31Z2019-06-07http://hdl.handle.net/1843/31843A Arte Negra é espaço de ruptura, e em alguma medida, ajuda a descontinentalizar a compreensão dos fatos, e com isso, a construção do sujeito negro vai se dando com auxílio dos valores afro civilizatórios que são essenciais para compreensão de mundo a partir do seu (nosso) olhar. Se no antes éramos indizíveis e invisíveis, com nos mostrou Martins (1995), agora estamos rompendo e insurgindo culturalmente, e o TEATRO NEGRO E ATITUDE (TNA) nesses seus 25 anos de atuação contribui para que haja uma ruptura e insurgência preta na cena teatral belorizontina. Através desta pesquisa buscamos registrar o nascimento do TNA, todo o arcabouço que sustenta o seu surgimento, e também entender o processo de montagem dos seus espetáculos e como esses reverberaram na vida dos seus participantes. Entendemos de que forma o grupo forjou sua Estética da Atitude e Poética da Negrura como elementos fundamentais para a transformação do sujeito e seu aquilombamento. Separamos a linha cronológica do grupo em três setênios - de 1993 a 2000; de 2001 a 2008; de 2009 a 2018-, e entrevistamos dois sujeitos de cada um deles. Destaco aqui que a história do grupo e a minha própria no teatro confluem, por isso, optamos por usar o método qualitativo com a entrevista episódica trazida por Uwe Flick (2009), onde conversamos com atrizes e atores que passaram pelo TNA, buscando entender o que transformou suas vidas e o que os fez se aproximarem dele. Igualmente as entrevistas, fizemos uma análise documental, revisitamos aos textos das peças encenadas, materiais impressos sobre o grupo, fotos, clippings, áudios e outras narrativas. Três são os motivos que fazem com que as pessoas procurem o grupo: por ser um lugar de militância negra; por ser um coletivo de pesquisa negra; por ser um coletivo que possibilita que o indivíduo consiga gerir sua arte.Black Art is a space of rupture, and somehow, helps the understanding of the facts, and with this, the construction of the black subject, which occurs with the help of African civilization values that are essential to understand the world from its (our) view. If we were previously voiceless and invisible, as Martins (1995) showed us, we are now breaking up and culturally rebelling, and the BLACK THEATER AND ATTITUDE (TNA) in its 25 years of acting contributes to a rupture and black insurgency in Belo horizonte´s theatrical scene. Through this research we are seeking to register the birth of TNA, the whole framework that supports its emergence, and also to understand the process of assemblage that its shows and how they reverberated in the lives of its participants. We understand how the group forged its Aesthetics of Attitude and Poetics of Blackness as fundamental elements for the transformation of the subject and its quilombo gathering. We separated the chronological line of the group in three sevens - from 1993 to 2000; from 2001 to 2008; from 2009 to 2018-, and interviewed two subjects of each of them. I emphasize here that the group's history and my own converge in theater, so we chose to use the qualitative method with the episodic interview brought by Uwe Flick (2009), where we talked with actresses and actors who performed at TNA, trying to understand what transformed their lives and what brought them closer to it. Similar to the interviews, we did a documentary analysis, revisited the texts of the staged pieces, printed materials about the group, pictures, clippings, audios and other narratives. There are three reasons that make people look for the group: for it is a place of black militancy; for being a black research collective; for being a collective that allows the individual to manage their art.porUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em Educação - Conhecimento e Inclusão SocialUFMGBrasilhttp://creativecommons.org/licenses/by-nc-nd/3.0/pt/info:eu-repo/semantics/openAccessTeatroNegros nas artes cênicasTeatro na educaçãoArtes cênicasRelações étnicasNegros -- Identidade racialTeatro negroEstética da atitudePoética da negruraCorpo negro em cenaIdentidade étnico-racialAquilombamentoTeatro negro e atitude: corpos negros na cena em Belo Horizonteinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGORIGINALARQUIVO PRONTO PARA IMPRESSÃO.pdfARQUIVO PRONTO PARA IMPRESSÃO.pdfapplication/pdf3767022https://repositorio.ufmg.br/bitstream/1843/31843/1/ARQUIVO%20PRONTO%20PARA%20IMPRESS%c3%83O.pdf3bb27511de0affb8c6d18a9b27cd2b6fMD51CC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8811https://repositorio.ufmg.br/bitstream/1843/31843/2/license_rdfcfd6801dba008cb6adbd9838b81582abMD52LICENSElicense.txtlicense.txttext/plain; charset=utf-82119https://repositorio.ufmg.br/bitstream/1843/31843/3/license.txt34badce4be7e31e3adb4575ae96af679MD53TEXTARQUIVO PRONTO PARA IMPRESSÃO.pdf.txtARQUIVO PRONTO PARA IMPRESSÃO.pdf.txtExtracted texttext/plain293463https://repositorio.ufmg.br/bitstream/1843/31843/4/ARQUIVO%20PRONTO%20PARA%20IMPRESS%c3%83O.pdf.txt6135e5a2692a71f255bcddcc4ad7f2a7MD541843/318432020-01-14 03:30:42.906oai:repositorio.ufmg.br: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Repositório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2020-01-14T06:30:42Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
|