Do palhaço à palhaformance: uma poética da presença do palhaço em performance
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações do UFSM |
Texto Completo: | http://repositorio.ufsm.br/handle/1/5246 |
Resumo: | The main objective of the present project is to construct the Clown's personal poetics within the context of Visual Arts, through Performance Art. Such matter brings the Clown closer to various proposals and thoughts that are unique to contemporary art where Performance Art is inserted. Therefore, this intent encourages thinking and going after the establishment of contact points between Clown Art and Visual Arts, unders the prism of Performance Art, for the elaboration of what the researcher-artist has been calling "Clownperformance" or "Clownformance". Also, this course seeks to think and discuss the presence of the Clown being in that poetics as a cultural and counter-cultural manifestation, simultaneously. Thus were constructed the understandings on the concepts ofClown, Visual Arts - Performance - and Being/Presence. Therefore, the motivations that support the investigation reside in the first question, which is: Who is the Clown? The selected authors to reference the understandings on the Clown were Dimitri, Burnier, Bolognesi and Dario Fo, artists with experiences relevant to Clown art, plus researchers in the universe that involves this practice. The second point that sustains the investigation in course refers to the Visual Arts, especially Performance Art. In the present work, the discussions about Performance Art are founded by the studies of Goldberg, Cohen, Taylor and Schechner. Their researches on the origin and characteristics of Performance Art contribute to the proponent's construction of contact points between Clown Art and Performance Art in his poetics. The third point lies in the Being and the Presence of the Performing Clown. To aid with the understanding of Being/Presence, Gumbrecht's concepts were studied. The methodological procedures are anchored to the aforementioned postulates which sustain the artist's laboratorial incursions through the poetics proposed by the research. Within that perspective, seven performances took place: "A Door between two Clowns", "Dress/Deny", "Dress/Deny II the Clownvirtuality of presence", "For the end of 'white' and 'august'", "Stolen Kiss", "Paper Ball War" and "Everyday Actions". After the practices, reflections are set in motion in an attempt to organize, punctuate and clarify which central points compose a "Clownformance". On that development, we turned to Eleonora Falcão and Demiam Morira Reis to help think of a possible "Clownformance" dramaturgy, to Nassim Nicholas Taleb to reflect upon the unlikely and to Sun Tzu for the important task of clearing up subversion. It is fundamental to point out that this project has no pretension of being a manual on how to create poetics. On the contrary, its contribution lies in sharing a path toward the development of a poetics of its own from the researcher' restlessness, given that every artist has his own latent restlessness. |
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2016-09-272016-09-272016-03-29TELES, Tiago Gonçalves. DO PALHAÇO À PALHAFORMANCE: UMA POÉTICA DA PRESENÇA DO PALHAÇO EM PERFORMANCE. 2016. 96 f. Dissertação (Mestrado em Artes) - Universidade Federal de Santa Maria, Santa Maria, 2016.http://repositorio.ufsm.br/handle/1/5246The main objective of the present project is to construct the Clown's personal poetics within the context of Visual Arts, through Performance Art. Such matter brings the Clown closer to various proposals and thoughts that are unique to contemporary art where Performance Art is inserted. Therefore, this intent encourages thinking and going after the establishment of contact points between Clown Art and Visual Arts, unders the prism of Performance Art, for the elaboration of what the researcher-artist has been calling "Clownperformance" or "Clownformance". Also, this course seeks to think and discuss the presence of the Clown being in that poetics as a cultural and counter-cultural manifestation, simultaneously. Thus were constructed the understandings on the concepts ofClown, Visual Arts - Performance - and Being/Presence. Therefore, the motivations that support the investigation reside in the first question, which is: Who is the Clown? The selected authors to reference the understandings on the Clown were Dimitri, Burnier, Bolognesi and Dario Fo, artists with experiences relevant to Clown art, plus researchers in the universe that involves this practice. The second point that sustains the investigation in course refers to the Visual Arts, especially Performance Art. In the present work, the discussions about Performance Art are founded by the studies of Goldberg, Cohen, Taylor and Schechner. Their researches on the origin and characteristics of Performance Art contribute to the proponent's construction of contact points between Clown Art and Performance Art in his poetics. The third point lies in the Being and the Presence of the Performing Clown. To aid with the understanding of Being/Presence, Gumbrecht's concepts were studied. The methodological procedures are anchored to the aforementioned postulates which sustain the artist's laboratorial incursions through the poetics proposed by the research. Within that perspective, seven performances took place: "A Door between two Clowns", "Dress/Deny", "Dress/Deny II the Clownvirtuality of presence", "For the end of 'white' and 'august'", "Stolen Kiss", "Paper Ball War" and "Everyday Actions". After the practices, reflections are set in motion in an attempt to organize, punctuate and clarify which central points compose a "Clownformance". On that development, we turned to Eleonora Falcão and Demiam Morira Reis to help think of a possible "Clownformance" dramaturgy, to Nassim Nicholas Taleb to reflect upon the unlikely and to Sun Tzu for the important task of clearing up subversion. It is fundamental to point out that this project has no pretension of being a manual on how to create poetics. On the contrary, its contribution lies in sharing a path toward the development of a poetics of its own from the researcher' restlessness, given that every artist has his own latent restlessness.O presente projeto tem como principal objetivo construir uma poética pessoal do Palhaço inserida no contexto das artes Visuais, através da Arte da Performance. Tal questão aproxima o Palhaço de muitas propostas e pensamentos próprios da arte contemporânea nos quais se insere a Arte da Performance. Portanto, este intento visa pensar e ir à busca de confeccionar pontos de contato entre a Arte do Palhaço e as Artes Visuais, pelo prisma da Arte da Performance, para a elaboração daquilo que o artista-pesquisador vem chamando de Palhaformance. Este percurso busca, ainda, pensar e discutir a presença do Ser Palhaço nessa poética como manifestação cultural e contracultural, simultaneamente. Assim, foram construídos os entendimentos sobre os conceitos de Palhaço, Artes Visuais - Performance - e Ser/Presença. Para tanto, as motivações que sustentam a investigação residem na questão primeira que é: quem é o Palhaço? Os autores selecionados para referendar os entendimentos sobre o Palhaço foram Dimitri, Burnier, Bolognesi e Dario Fo, artistas com vivências relevantes na Arte do Palhaço, além de pesquisadores do universo que envolve essa prática. O segundo ponto que ampara a investigação em curso remete às Artes Visuais, sobretudo à Arte da Performance. No presente trabalho, as discussões sobre a Arte da Performance são fundamentadas a partir dos estudos de Goldberg, Cohen, Taylor e Schechner. Suas pesquisas sobre a origem e características da Arte da Performance colaboram para que o proponente construa os pontos de contatos entre Arte do Palhaço e Arte da Performance em sua poética. O terceiro ponto abordado situa-se no Ser e na Presença do Palhaço em Performance. Para auxiliar o entendimento de Ser/Presença, foram estudados os conceitos de Gumbrecht. Os procedimentos metodológicos estão ancorados nos pressupostos supracitados que sustentam as incursões laboratoriais do artista na poética proposta pela pesquisa. A partir de então, foram realizadas sete Performances: Uma Porta entre dois Palhaços , Vestir/Desmentir , Vestir/Desmentir II a Palhavirtualidade da presença , Pelo fim do branco e do augusto , Beijo Roubado , Guerra de bolinhas e Ações cotidianas . Após as práticas, desenrolam-se reflexões na tentativa de organizar, pontuar e esclarecer quais os principais pontos que compõe a Palhaformance. Diante desse desdobramento, buscaram-se subsídios em Eleonora Fabião e Demian Morira Reis para pensar uma possível dramaturgia da Palhaformance, em Nassim Nicholas Taleb para refletir sobre o improvável e em Sun Tzu na importante tarefa de aclarar subversão. Faz-se fundamental pontuar que este trabalho não tem a pretensão de ser um manual de como criar uma poética. Ao contrário, sua contribuição está no compartilhar um caminho voltado para o desenvolvimento de uma poética própria a partir das inquietações do pesquisador, uma vez que todo artista tem suas próprias inquietações latentes.application/pdfporUniversidade Federal de Santa MariaPrograma de Pós-Graduação em Artes VisuaisUFSMBRArtesArtes visuaisPalhaçoPerformancePresençaVisual artsClownPerformancePresenceCNPQ::LINGUISTICA, LETRAS E ARTES::ARTESDo palhaço à palhaformance: uma poética da presença do palhaço em performanceinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisBiancalana, Gisela Reishttp://lattes.cnpq.br/0704025010266511Stumm, Rebeca Lenizehttp://lattes.cnpq.br/2180723274611305Ferracini, Renatohttp://lattes.cnpq.br/0044553371898324http://lattes.cnpq.br/8564493882402151Teles, Tiago Gonçalves800300000006400300300300300b866c3a4-a184-4c0e-b8d9-aadde1cd91e48cb6e397-900f-4352-b665-31c64a770a14d9f0be88-0102-426b-809f-73f41adeacb52a339296-37c7-4b26-89aa-ffa502f9c4aeinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações do UFSMinstname:Universidade Federal de Santa Maria (UFSM)instacron:UFSMORIGINALTELES, TIAGO GONCALVES.pdfapplication/pdf2272923http://repositorio.ufsm.br/bitstream/1/5246/1/TELES%2c%20TIAGO%20GONCALVES.pdf423beb45f293daf2f5d19e8318c73718MD51TEXTTELES, TIAGO GONCALVES.pdf.txtTELES, TIAGO GONCALVES.pdf.txtExtracted texttext/plain215028http://repositorio.ufsm.br/bitstream/1/5246/2/TELES%2c%20TIAGO%20GONCALVES.pdf.txtec28005a21a7f34b0e05dda637d46641MD52THUMBNAILTELES, TIAGO GONCALVES.pdf.jpgTELES, TIAGO GONCALVES.pdf.jpgIM Thumbnailimage/jpeg4322http://repositorio.ufsm.br/bitstream/1/5246/3/TELES%2c%20TIAGO%20GONCALVES.pdf.jpgc4a9ea6d3e7d2c6f81014cee61e1ffaaMD531/52462021-03-01 09:23:14.477oai:repositorio.ufsm.br:1/5246Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufsm.br/ONGhttps://repositorio.ufsm.br/oai/requestatendimento.sib@ufsm.br||tedebc@gmail.comopendoar:2021-03-01T12:23:14Biblioteca Digital de Teses e Dissertações do UFSM - Universidade Federal de Santa Maria (UFSM)false |
dc.title.por.fl_str_mv |
Do palhaço à palhaformance: uma poética da presença do palhaço em performance |
title |
Do palhaço à palhaformance: uma poética da presença do palhaço em performance |
spellingShingle |
Do palhaço à palhaformance: uma poética da presença do palhaço em performance Teles, Tiago Gonçalves Artes visuais Palhaço Performance Presença Visual arts Clown Performance Presence CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES |
title_short |
Do palhaço à palhaformance: uma poética da presença do palhaço em performance |
title_full |
Do palhaço à palhaformance: uma poética da presença do palhaço em performance |
title_fullStr |
Do palhaço à palhaformance: uma poética da presença do palhaço em performance |
title_full_unstemmed |
Do palhaço à palhaformance: uma poética da presença do palhaço em performance |
title_sort |
Do palhaço à palhaformance: uma poética da presença do palhaço em performance |
author |
Teles, Tiago Gonçalves |
author_facet |
Teles, Tiago Gonçalves |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Biancalana, Gisela Reis |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/0704025010266511 |
dc.contributor.referee1.fl_str_mv |
Stumm, Rebeca Lenize |
dc.contributor.referee1Lattes.fl_str_mv |
http://lattes.cnpq.br/2180723274611305 |
dc.contributor.referee2.fl_str_mv |
Ferracini, Renato |
dc.contributor.referee2Lattes.fl_str_mv |
http://lattes.cnpq.br/0044553371898324 |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/8564493882402151 |
dc.contributor.author.fl_str_mv |
Teles, Tiago Gonçalves |
contributor_str_mv |
Biancalana, Gisela Reis Stumm, Rebeca Lenize Ferracini, Renato |
dc.subject.por.fl_str_mv |
Artes visuais Palhaço Performance Presença |
topic |
Artes visuais Palhaço Performance Presença Visual arts Clown Performance Presence CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES |
dc.subject.eng.fl_str_mv |
Visual arts Clown Performance Presence |
dc.subject.cnpq.fl_str_mv |
CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES |
description |
The main objective of the present project is to construct the Clown's personal poetics within the context of Visual Arts, through Performance Art. Such matter brings the Clown closer to various proposals and thoughts that are unique to contemporary art where Performance Art is inserted. Therefore, this intent encourages thinking and going after the establishment of contact points between Clown Art and Visual Arts, unders the prism of Performance Art, for the elaboration of what the researcher-artist has been calling "Clownperformance" or "Clownformance". Also, this course seeks to think and discuss the presence of the Clown being in that poetics as a cultural and counter-cultural manifestation, simultaneously. Thus were constructed the understandings on the concepts ofClown, Visual Arts - Performance - and Being/Presence. Therefore, the motivations that support the investigation reside in the first question, which is: Who is the Clown? The selected authors to reference the understandings on the Clown were Dimitri, Burnier, Bolognesi and Dario Fo, artists with experiences relevant to Clown art, plus researchers in the universe that involves this practice. The second point that sustains the investigation in course refers to the Visual Arts, especially Performance Art. In the present work, the discussions about Performance Art are founded by the studies of Goldberg, Cohen, Taylor and Schechner. Their researches on the origin and characteristics of Performance Art contribute to the proponent's construction of contact points between Clown Art and Performance Art in his poetics. The third point lies in the Being and the Presence of the Performing Clown. To aid with the understanding of Being/Presence, Gumbrecht's concepts were studied. The methodological procedures are anchored to the aforementioned postulates which sustain the artist's laboratorial incursions through the poetics proposed by the research. Within that perspective, seven performances took place: "A Door between two Clowns", "Dress/Deny", "Dress/Deny II the Clownvirtuality of presence", "For the end of 'white' and 'august'", "Stolen Kiss", "Paper Ball War" and "Everyday Actions". After the practices, reflections are set in motion in an attempt to organize, punctuate and clarify which central points compose a "Clownformance". On that development, we turned to Eleonora Falcão and Demiam Morira Reis to help think of a possible "Clownformance" dramaturgy, to Nassim Nicholas Taleb to reflect upon the unlikely and to Sun Tzu for the important task of clearing up subversion. It is fundamental to point out that this project has no pretension of being a manual on how to create poetics. On the contrary, its contribution lies in sharing a path toward the development of a poetics of its own from the researcher' restlessness, given that every artist has his own latent restlessness. |
publishDate |
2016 |
dc.date.accessioned.fl_str_mv |
2016-09-27 |
dc.date.available.fl_str_mv |
2016-09-27 |
dc.date.issued.fl_str_mv |
2016-03-29 |
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info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/masterThesis |
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TELES, Tiago Gonçalves. DO PALHAÇO À PALHAFORMANCE: UMA POÉTICA DA PRESENÇA DO PALHAÇO EM PERFORMANCE. 2016. 96 f. Dissertação (Mestrado em Artes) - Universidade Federal de Santa Maria, Santa Maria, 2016. |
dc.identifier.uri.fl_str_mv |
http://repositorio.ufsm.br/handle/1/5246 |
identifier_str_mv |
TELES, Tiago Gonçalves. DO PALHAÇO À PALHAFORMANCE: UMA POÉTICA DA PRESENÇA DO PALHAÇO EM PERFORMANCE. 2016. 96 f. Dissertação (Mestrado em Artes) - Universidade Federal de Santa Maria, Santa Maria, 2016. |
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