Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz
Cosmogonies of love: the opening of a theatrical female director’s sketchbook in the House of Actress is an affective and luminous cartography of a woman director on the process of discovery in a house-theater. Created as a dismantle, as named by Rosane Preciosa in Discreets rumours of Subjectivity,...
| Autor principal: | PORTO, Luciana de Andrade Moreira |
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| Grau: | Tese |
| Idioma: | por |
| Publicado em: |
Universidade Federal do Pará
2021
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http://repositorio.ufpa.br/jspui/handle/2011/13375 |
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ir-2011-13375 |
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ir-2011-133752021-08-11T20:39:05Z Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz PORTO, Luciana de Andrade Moreira ALMEIDA, Ivone Maria Xavier de Amorim http://lattes.cnpq.br/5012937201849414 Teatro Arte - processo criativo Cartografia do teatro Poética CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATRO TEORIAS E INTERFACES EPISTÊMICAS EM ARTES ARTES Cosmogonies of love: the opening of a theatrical female director’s sketchbook in the House of Actress is an affective and luminous cartography of a woman director on the process of discovery in a house-theater. Created as a dismantle, as named by Rosane Preciosa in Discreets rumours of Subjectivity, it is composed by pieces that take risks of being completely disarticulated. These writtings try to build the creative process using images and exercises stimulated by Eugênio Barba in Burning the house: the birth of a director, multiple voices wich compose and exhaust themselves. The text presentes some changes in the verb tenses, confusions, stories and dreams. Accepting Barba’s speech when he says that there is a wound in the middle of the creative process and, in addition to it, there is also Jorge Dubatti’s voice in The theater of the dead saying that we need to recognize our failures to make them better, it shows us (as science and construction of sense) a most human position and more sincere with the object written by myself: the humanity in the flesh, in the thoughts, in the wrong distances of the mistakes that many times made me just an automat of the scene. This doctoral thesis is above all, an agreément of humanity, of becoming a Doctor in a pandemic period, with all the risks that we take and of the privilege of keep thinking during this context. Even if this act is made in other ways. Eliana Bertolucci in Psychology of the sacredness and Zulma Reyo in Interior Alchemy are flames in the darkness, to take consciousness about the creative process, we shall give birth and light, illuminating unknown places, reaching out things that we don’t know how to talk. A risk conceived in three steps: Misteries of joyis about the creation through the pleasure, used as a method of writting; Cosmos came to me inspired by the people who lives with me, so it is about the interchange of presences, essays about the director’s universe in the moments of creation and Lunar conjunction is a way to constelate in the essence, as Hilda Hilst wrote in Seven songs from the poet to the angel, shows the presence of other people in the poetic, in the thoughts. Astonishment. CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Cosmogonias Amorosas: aberturas do caderno de encenadora n’A Casa da Atriz é uma cartografia afetiva e luminosa sobre o processo de descoberta de uma encenadora na casa-teatro. Pensada como um desmanche, como nominou Rosane Preciosa em Rumores discretos da Subjetividade, são composições que arriscam a se desarticular completamente. Tentativas de construções do processo criativo através de imagens e exercícios induzidos com Eugênio Barba em Queimar a Casa: Origens de um diretor são vozes múltiplas que se compõem e se esgotam. Há mudanças de tempos verbais, confusões, histórias e sonhos. Assumindo a fala de Barba quando diz que no meio do processo criativo há uma ferida e somando à voz de Jorge Dubatti em O teatro dos mortos quando diz que precisamos reconhecer nossas falhas para falhar melhor, nos coloca (no sentido de ciência e construção de sentido) em posição mais humana e verdadeira com o objeto da matéria do que escrevo: a humanidade da carne, do pensamento, do errôneo afastamento das falhas que por vezes me tornaram apenas um autômato da cena. A tese é um acordo de humanidade que faltava, de doutorar-se em época pandêmica, dos riscos que corremos e do privilégio de continuar pensando. Mesmo que de outras formas. Eliana Bertolucci em Psicologia do Sagrado e Zulma Reyo em Alquimia interior são faíscas na escuridão, para tomar consciência do processo criativo, há que dar luz, iluminar lugares ainda não conhecidos, se aproximar daquilo que não se sabe falar ao certo. Um risco concebido em três fases: Mistérios Gozosos que cria através do prazer o método de captura da escrita; Cosmos devém dos outros que habitam comigo, trocas de presença, ensaios sobre o universo da encenadora no momento de criação e Conjunções Lunares são as formas de constelar na essência como diz Hilda Hilst em Sete cantos do poeta para o anjo, implica a presença e afetação do outro na sua poética, no pensamento. Assombros. 2021-08-11T20:36:22Z 2021-08-11T20:36:22Z 2021-05-31 Tese PORTO, Luciana de Andrade Moreira. Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz. Orientadora: Ivone Maria Xavier de Amorim Almeida. 2021. 137 f. Tese (Doutorado em Artes) - Programa de Pós-Graduação em Artes, Instituto de Ciências da Arte, Universidade Federal do Pará, Belém, 2021. Disponível em: http://repositorio.ufpa.br/jspui/handle/2011/13375. Acesso em: http://repositorio.ufpa.br/jspui/handle/2011/13375 por Acesso Aberto Attribution-NonCommercial-NoDerivs 3.0 Brazil http://creativecommons.org/licenses/by-nc-nd/3.0/br/ application/pdf Universidade Federal do Pará Brasil Instituto de Ciências da Arte UFPA Programa de Pós-Graduação em Artes 1 CD-ROM |
| institution |
Repositório Institucional - Universidade Federal do Pará |
| collection |
RI-UFPA |
| language |
por |
| topic |
Teatro Arte - processo criativo Cartografia do teatro Poética CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATRO TEORIAS E INTERFACES EPISTÊMICAS EM ARTES ARTES |
| spellingShingle |
Teatro Arte - processo criativo Cartografia do teatro Poética CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATRO TEORIAS E INTERFACES EPISTÊMICAS EM ARTES ARTES PORTO, Luciana de Andrade Moreira Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz |
| topic_facet |
Teatro Arte - processo criativo Cartografia do teatro Poética CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATRO TEORIAS E INTERFACES EPISTÊMICAS EM ARTES ARTES |
| description |
Cosmogonies of love: the opening of a theatrical female director’s sketchbook in the House of Actress is an affective and luminous cartography of a woman director on the process of discovery in a house-theater. Created as a dismantle, as named by Rosane Preciosa in Discreets rumours of Subjectivity, it is composed by pieces that take risks of being completely disarticulated. These writtings try to build the creative process using images and exercises stimulated by Eugênio Barba in Burning the house: the birth of a director, multiple voices wich compose and exhaust themselves. The text presentes some changes in the verb tenses, confusions, stories and dreams. Accepting Barba’s speech when he says that there is a wound in the middle of the creative process and, in addition to it, there is also Jorge Dubatti’s voice in The theater of the dead saying that we need to recognize our failures to make them better, it shows us (as science and construction of sense) a most human position and more sincere with the object written by myself: the humanity in the flesh, in the thoughts, in the wrong distances of the mistakes that many times made me just an automat of the scene. This doctoral thesis is above all, an agreément of humanity, of becoming a Doctor in a pandemic period, with all the risks that we take and of the privilege of keep thinking during this context. Even if this act is made in other ways. Eliana Bertolucci in Psychology of the sacredness and Zulma Reyo in Interior Alchemy are flames in the darkness, to take consciousness about the creative process, we shall give birth and light, illuminating unknown places, reaching out things that we don’t know how to talk. A risk conceived in three steps: Misteries of joyis about the creation through the pleasure, used as a method of writting; Cosmos came to me inspired by the people who lives with me, so it is about the interchange of presences, essays about the director’s universe in the moments of creation and Lunar conjunction is a way to constelate in the essence, as Hilda Hilst wrote in Seven songs from the poet to the angel, shows the presence of other people in the poetic, in the thoughts. Astonishment. |
| author_additional |
ALMEIDA, Ivone Maria Xavier de Amorim |
| author_additionalStr |
ALMEIDA, Ivone Maria Xavier de Amorim |
| format |
Tese |
| author |
PORTO, Luciana de Andrade Moreira |
| title |
Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz |
| title_short |
Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz |
| title_full |
Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz |
| title_fullStr |
Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz |
| title_full_unstemmed |
Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz |
| title_sort |
cosmogonias amorosas: aberturas do caderno de encenadora n’a casa da atriz |
| publisher |
Universidade Federal do Pará |
| publishDate |
2021 |
| url |
http://repositorio.ufpa.br/jspui/handle/2011/13375 |
| _version_ |
1832604404665024512 |
| score |
11.755432 |