https://repositorio.ufba.br/handle/ri/8461 Sun, 03 May 2026 22:50:51 GMT 2026-05-03T22:50:51Z https://repositorio.ufba.br/handle/ri/43941 Título: ECOPERFORMANCE AUDIOVISUAL ENTRE RIOS: CORPOREIDADE MAIS-QUE-HUMANA DE CORPO-RIO A CORPO-JUCU Autor(es): Cooper Neto, Weber Miranda Primeiro Orientador: Santana, Ivani Lúcia Oliveira de Abstract: This dissertation investigates the interrelations among corporeality, ecoperformance, and the audiovisual, seeking to understand how ecoperformative practices can contribute to the creation of post-anthropocentric imaginaries amid the contemporary environmental crisis. It starts from the urgency of rethinking relations between humans and more-than-humans within the horizon of the Anthropocene, mobilizing art as a sensitive and political activation of other modes of existence. The path articulates performative and audiovisual practices that emerge from the body–environment relation, focusing on two rivers of Espírito Santo —Itapemirim and Jucu — and concentrates on the analysis of two works conceived within this research: CORPO-RIO and CORPO-JUCU. The methodological approach integrates Autoethnography, Somatic-Performative Research, and a view of the audiovisual as a somatic mediator and co-agent of dramaturgy, close to video-ecoperformance. The works are examined as aesthetic-political experimentations that activate haptic visuality, cinema of flow, kinaesthetic perception in screendance, and a cosmopolitics of the image, dissolving boundaries between body, nature, and technique and redistributing agency in the sensible field. Conceptually, the research updates the notion of ecoperformance and situates it vis-à-vis the disputes of the Anthropocene and proposals of making-with and response-ability, alongside a historical-critical reading of the event. The results point to the power of the audiovisual as an ethical-aesthetic mediator in ecoperformance, capable of activating modes of ecological perception and imagination that expand the performative experience beyond the space-time of live action. By making relations between bodies, rivers, and landscapes exist this dissertation proposes audiovisual ecoperformance as a practice that not only represents but also fosters sensitive alliances between human and more-than-human, contributing to the strengthening of critical imaginaries in the face of Anthropocene challenges. We take as our reflective horizon the set of theoretical contributions by the following authors: Maura Baiocchi and Wolfgang Pannek (2007, 2012, 2016, 2018, 2021, 2022, 2023); Ciane Fernandes (2013, 2014, 2018); Marta Bezerra (2011); Leonardo Paulino (2020); Gabriela Holanda (2019); Elizabeth Doud (2018, 2022); Éden Peretta (2005, 2007); André Lepecki (2012, 2013, 2017); Erin Manning and Brian Massumi (2014); Christophe Bonneuil and Jean-Baptiste Fressoz (2024); Stenio Marras and Renzo Taddei (2022); Jason W. Moore (2022); Bruno Latour (2020); Donna Haraway (2022, 2023); Anna Tsing (2019, 2020); Débora Danowski and Eduardo Viveiros de Castro (2014); Isabelle Stengers (2015, 2017, 2018, 2022); Ailton Krenak (2020a, 2020b, 2022); Inara Macedo (2015); Maria Cecilia Barbieri Gorski (2008); César Baio (2020); Sebastian Wiedemann (2020); Laura U. Marks (2000); Lilian Graça (2019); Erly Vieira Junior (2020, 2021). Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação Fri, 19 Dec 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43941 2025-12-19T00:00:00Z https://repositorio.ufba.br/handle/ri/43730 Título: Memórias do CPC baiano: cultura e resistência na Bahia dos anos 60 Autor(es): Couto, Carluce Couto Primeiro Orientador: Tavares, Gil Vicente de Marques Abstract: This research investigates the trajectory of the Popular Culture Center (CPC) of Bahia, active from 1962 to 1964, focusing on its cultural activities and social impact. The study primarily uses oral testimonies from its members, due to the destruction of documents during the military coup of 1964, which abruptly ended the movement and resulted in the loss of records, including those that were discarded for fear of reprisals. Emerging during a period of cultural and political effervescence in Salvador, the Bahian CPC brought together artists, intellectuals, and students committed to a political pedagogy oriented towards popular culture. The research covers initiatives in theater, music, cinema, visual arts, and popular education, highlighting impactful theatrical productions and the application of Paulo Freire's literacy method. The study aims to recover and understand the historical and cultural significance of the CPC in Bahia, contributing to filling gaps in the historiography of the movement. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação Tue, 20 Aug 2024 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43730 2024-08-20T00:00:00Z https://repositorio.ufba.br/handle/ri/43729 Título: Mulheres em cena: o prazer como metodologia para uma dramturgia autoficcional Autor(es): Schmitz, Vivian Gabriele Primeiro Orientador: Santos, Elisa Mendes de Oliveira Santos Abstract: Esta investigación-creación, de carácter teórico, práctico y autobiográfico, investiga mujeres en escena, experimentando el placer como metodología, con el fin de posibilitar la creación de una dramaturgia autoficcional. El primer enfoque de esta investigación es el cuerpo, y para anclar en el cuerpo la noción de placer femenino, potencial transgresor, se convoca la figura de la Pombagira de las umbandas y candomblés brasileños, entendida como una especie de “mitodología”, en el sentido propuesto por Luciana Lyra (2011). Dentro del campo del placer, se incorporan también otros trabajos de la autora concebidos a partir de la idea de placer, así como algunos datos sobre la anatomía del placer sexual femenino. En el ámbito específico de las Artes Escénicas, las referencias primordiales son las obras artísticas y académicas de Mônica Santana (2013; 2017; 2021) y de Janaina Leite (2014; 2019; 2021), que abordan las “escrituras de sí / escrituras de nosotras” y las “autoescrituras performativas”, además de otras autoras y artistas, todas mujeres, por elección y propósito. El estudio presenta, asimismo, la experiencia del desarrollo de un “Taller de gemidos, carcajadas y otros catalizadores de placer para mujeres”, que sirvió como fertilizante para las semillas de creación entre las participantes y también para la propia investigadora, en el proceso creativo de un solo escénico autoficcional. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação Thu, 14 Aug 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43729 2025-08-14T00:00:00Z https://repositorio.ufba.br/handle/ri/43661 Título: “CADÊ O CIRCO?”, “CADÊ OS PALHAÇOS?”: AS ALTERAÇÕES DO CIRCO POPULAR AO CIRCO EXPANDIDO A PARTIR DA RELAÇÃO COM O ESPECTADOR Autor(es): Santos, Robson Silva Primeiro Orientador: Vilhena, Deolinda Catarina França de Abstract: This dissertation investigates the transformations of contemporary Brazilian circus, positing that the relationship between the artist and the audience serves as a fundamental axis structuring different logics of production. It is argued that the circus field in Brazil is organized into two distinct and complementary ecosystems: the Popular Circus (Circo Popular), heir to the modern circus, and the Expanded Circus (Circo Expandido), which has emerged in recent decades. The Popular Circus, whose business model is based on box office revenue, is guided by the objective of "pleasing" a broad and heterogeneous audience. This results in an aesthetic aimed at broad access, grounded in the spectacular and the grotesque, and in a mobile structure. In contrast, the Expanded Circus, sustained primarily by public grants and funding policies, is led by artists with a different sociocultural profile who expand the objective of "pleasing" by seeking to "connect" with a segmented audience. This pursuit results in a poetics of singularity, aligned with contemporary art, which values formal research, hybridization, and authorship. Based on a literature review and interviews with artists, the research demonstrates how the relationship with the audience relates not only to aesthetic choices but also to funding models, the artists' profiles, and training dynamics, revealing that the tensions and challenges of the current circus reflect the coexistence of these two complex and coherent systems. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação Wed, 15 Oct 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43661 2025-10-15T00:00:00Z