https://repositorio.ufba.br/handle/ri/8465 2026-05-03T06:38:44Z 2026-05-03T06:38:44Z Guerra, Daniel Freire Leahy https://repositorio.ufba.br/handle/ri/44113 2026-02-26T15:38:52Z 2025-12-17T00:00:00Z

Título: A cena crítica: pensar com obras quebradas Autor(es): Guerra, Daniel Freire Leahy Primeiro Orientador: Moura, Gilsamara Abstract: This thesis proposes the notion of critical scene to account for a dimension of contemporary art that consists of articulating criticism in two simultaneous ways: one directed at society and the other that internally animates the structures of the works. Broken works, as we propose, are analyzed as moments of problematic aesthetic events that contain crisis within themselves. Thinking with these works, as the subtitle articulates, means recognizing that within them the- re is an aesthetic thought that can confront hegemonic logics of the administered world. We insert ourselves into the current debate between politics, aesthetics, art, and criticism mainly through the path opened by the philosopher Jacques Rancière. To get to the heart of the epis- temological problems of art theory and to develop a vision of the structures of works capable of resisting dominant discourses, the historical and intimate relationship between Critical Theory and psychoanalysis is explored, respectively from Theodor W. Adorno and Jacques Lacan. Here we find the concepts of fetish and fantasy, as well as the register of the real, as theorized by Lacan. In the development of the thesis, the aim is to think with four contempo- rary works through an immanent and event-based analysis. From each one, its main critical procedures are isolated and theorized, glimpsed in the constitution of the language articulated by each aesthetic event. These works are: Matadouro, by Demolition Incorporada; Iluminai os Terreiros, by Nuno Ramos; La Bête, by Wagner Schwartz; and Quaseilhas, by Diego Araúja and Plataforma Araká. In conclusion, these procedures are compared, questioning the critical relevance and effectiveness of each, as well as their functioning together within the specific historicity of these first decades of the 21st century. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Tese

2025-12-17T00:00:00Z CORREIA, Thiago Carvalho de Sousa https://repositorio.ufba.br/handle/ri/43309 2025-10-28T11:00:35Z 2025-09-16T00:00:00Z

Título: SEDE DOS GRUPOS DE TEATRO, Finos Trapos e Coletivo Dasliliths: Espaço de afeto dedicado à produção de memória, e conhecimento. Autor(es): CORREIA, Thiago Carvalho de Sousa Primeiro Orientador: VILHENA, Deolinda Cataria França de Abstract: This writing is intended to the reflection of a space/headquarters, a space that is configured as a place of creation, but also as a place of support, a place of understanding of the theatrical language, and sometimes, the place of reflection of the policies of access. As a member of two theater groups residing in the city of São Salvador Grupo de Teatro Finos Trapos (BA), Coletivo Dasliliths (BA) and manager of Evoé Casa de Criação (BA), this research asks mainly about the place of survival, with the new scenario presented without policies aimed at groups that occupy spaces / headquarters in the capital of Bahia. Despite a context in which the public bidding policy was achieved, it is no longer possible for theater groups, especially in the state of Bahia, to maintain themselves only with public resources, as the means and mechanisms are insufficient. From a methodological point of view, the principles, procedures and practices that support the development of the research come from empirical research of a qualitative nature, carried out through the action research method (VERGARA, 2005; THIOLLENT, 2009; MACKE, 2006). The action research took place together with a group of head office space managers, producers, administrators, actors, teachers and the groups Finos Trapos and Coletivo Dasliliths. Thus, this research presupposes that knowledge from experience (BONDÍA, 2002) occurs in the relationships built between knowledge and human life, that the groups mentioned, through their production experiences, can collaborate with the reflection on a space alternative that occupies a mansion in the Pelourinho neighborhood in the city of Salvador, where their shows, training workshops, artistic residencies are produced and, in addition, they manage a collaborative store and still keep their affective memories, their history of occupation and also their years. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Tese

2025-09-16T00:00:00Z Alves Neto, Manoel Gildo https://repositorio.ufba.br/handle/ri/43293 2025-10-23T10:56:53Z 2025-08-27T00:00:00Z

Título: PEDAGOGIA (S) ODARA: COREOPOLÍTICAS E OUTROS GESTOS DE RESISTÊNCIA DO ARTIVISMO NEGRO POR UMA EDUCAÇÃO AFROPERSPECTIVADA, EM REMANSO/BA E PELOTAS/RS (2021-2024) Autor(es): Alves Neto, Manoel Gildo Primeiro Orientador: Domenici, Eloisa Leite Abstract: This Tesis takes place at the crossroads between Dance education and Africanness in pursuit of an Afro-perspective education, assuming the transformative and transgressive character of Exu, both political and poetic, as a third way. The central question is how Black artivism sensitizes and/or impacts the “Scripted School,” transforming the absence of Dance and Africanness into presence. The general objective of the research was to map choreopolitics and gestures of resistance that interconnected Dance and Africanness within the scope of Education for Racial and Ethnical Relationships. From crossroads, confluences, (re)encounters, and trajectories alongside Black artivists in distinct Afro diasporic territories, in the city of Pelotas/RS (A) in the Dance-undergraduate Program at the Federal University of Pelotas, (B) the Afro Dance Company Daniel Amaro (Pelotas/RS), and (C) the Black Dance Collective of Pelotas/RS, and in the city of Remanso/BA (D) in the Theater Group of the State School Professor Irene de Souza Araujo, and (E) the “Blackatitude” Program. From these collectivities, seven actions were identified, four of which were categorized and analyzed as choreopolitics and three as gestures of resistance. The result is the processual elaboration of an Afro-perspective epistemic-methodological approach grounded in Nagô frame, entitled Pa(dê)ciência, whose design intertwines three important foundations of the Nagô-Yorùbá cosmogony: patience (Surú), character (Ìwà), and encounter (Ìpádè). These principles are established as a path for thinking-dancing, enacting, recording, and analyzing the actions undertaken by Black artivism in favor of an Afro-perspective education. The research demonstrates how Black artivism has developed political, pedagogical, and artistic strategies to promote the teaching process of Africanness in dance, while also highlighting that this artivism transcends adult-centrism, cisgender normativity, racism and the coloniality of knowledge enabling the creation of an exuberant school. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Tese

2025-08-27T00:00:00Z Silva, Elaine de Souza https://repositorio.ufba.br/handle/ri/42479 2025-07-10T11:14:25Z 2024-11-05T00:00:00Z

Título: Pedagogia da apreciação teatral: oficinas de teatro visando à inclusão de segmentos em estado de vulnerabilidade social Autor(es): Silva, Elaine de Souza Primeiro Orientador: Alcântara, Paulo Henrique Correia Abstract: I present reflections on the methodological practice known as Pedagogy of Theater Appreciation, which seeks to demonstrate the benefits and implications of theater education committed to cultural diversity and the inclusion of individuals from socially vulnerable segments. This practice is based on aesthetic contextualizations of the theater scene; experiences of performing (learning techniques); and the enjoyment of performances, followed by dialogue circles between artists and audience. These analyses utilize a creative writing approach that oscillates between the reportorial and the epistolary, aiming to serve as useful reference material for art educators interested in research and possible ways of teaching theater with a view to fostering the social emancipation of students. Drawing on the theoretical foundations of the classics of Greek philosophy (Aristotle, Plato), based on the concepts of mimesis, terror, and pity instilled in spectators by cartase, as an effect of tragedies under the polis; a dialogue with 18th-century French philosophers (Rousseau, Diderot), based on a theatrical pedagogy that discusses, from different perspectives, the possible effects of theater on the audience; and reaching the contemporary epics of Brecht and Boal with their political theaters whose scenic and aesthetic mechanisms focused on the spectators; all of this supported by Afro-diasporic philosophers, Latin American (Lélia Gonzalez), and American (bell hooks), contributing to thinking about a pedagogy engaged and committed to unveiling the political social fiction forged by the capitalist colonial world.; J'apporte des réflexions sur la pratique méthodologique appelée Pédagogie de l'appréciation théâtrale, qui tente de démontrer les bénéfices et les conséquences d'un enseignement théâtral engagé en faveur de la diversité culturelle et de l'inclusion de segments sociaux en état de vulnérabilité sociale sur la base de contextualisations esthétiques de la scène théâtrale ; expériences de faire des choses (techniques d'apprentissage); s'ajoute au plaisir des spectacles suivis de cercles de dialogue entre artistes et public. Il s'agit donc d'analyses qui utilisent un parcours d'écriture créative qui oscille entre le reportage et l'épistolaire en vue de servir de matériel de référence utile pour les pédagogues artistiques intéressés par la recherche et les modalités possibles d'enseignement du théâtre en vue de à l’émancipation sociale des étudiants. S'appuyant théoriquement sur les classiques de la philosophie grecque (Aristote, Platon) sur les concepts de mimesis ; terreur et pitié provoquées chez les spectateurs par la lettre et comme effet des tragédies sous la polis ; dialogue avec des philosophes français du XVIIIe siècle (Rousseau, Diderot) basé sur une pédagogie théâtrale qui discute des effets possibles du théâtre sur le public sous différents angles ; jusqu'à atteindre l'épopée et la contemporaine Brecth et Boal avec leurs théâtres politiques dont l'équipement scénique et l'esthétique étaient centrés sur les spectateurs ; tout cela soutenu par des philosophes afro-diasporiques latino-américains (Lélia Gonzalez) et américains (bell hooks) collaborant à une réflexion sur une pédagogie engagée et engagée à dévoiler la fiction sociale politique forgée par le monde colonial capitaliste. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Tese

2024-11-05T00:00:00Z