https://repositorio.ufba.br/handle/ri/8465 Sat, 02 May 2026 07:43:26 GMT 2026-05-02T07:43:26Z https://repositorio.ufba.br/handle/ri/44113 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 Wed, 17 Dec 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/44113 2025-12-17T00:00:00Z https://repositorio.ufba.br/handle/ri/43497 Título: Mercados da dança: perspectivas críticas, teóricas e práticas para o ensino de gestão e produção na formação em dança no ensino superior brasileiro Autor(es): Silveira, Rafael Rebouças Primeiro Orientador: Santos, Gláucio Machado Abstract: Inserted in different cultural contexts, dance emerges as a possibility of re-signifying individual subjective experience in the form of products, goods, services and artistic projects. To provide the necessary structural conditions for effective production and diffusion, artists and other dance makers experience the challenges imposed by a macrostructural dynamic based on the market as a logic of collective and shared construction of values and meanings that characterize culture. In view of this, this research explores the concepts and theoretical approaches regarding the construction and development of markets elaborated by Constructivist Market Studies, EMC, with the aim of offering didactic subsidies for the curricular components aimed at teaching production and management in art in courses higher education in Dance in Brazil. The text highlights the need to update the content that constitutes the previously mentioned components and, to this end, uses in its discussion base and academic formulation especially the authors Paulo Henrique Montagnana, Vicente Leme, Daniel Carvalho de Rezende, Johan Hagberg, Kate J. Mason, Michel Callon, Hans Kjellberg, Koray Çaliskan, Luis Araujo, Néstor Canclini, as well as other relevant contributions. Finally, a set of exercises is organized for application in the classroom which, despite the breadth of the universe of production and management, aims to offer solid theoretical-practical knowledge as a work tool coherent with the professional activity of dance in the Brazilian reality with a focus on in the market. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Tese Sat, 20 Jan 2024 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43497 2024-01-20T00:00:00Z https://repositorio.ufba.br/handle/ri/43309 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 Tue, 16 Sep 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43309 2025-09-16T00:00:00Z https://repositorio.ufba.br/handle/ri/43293 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 Wed, 27 Aug 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43293 2025-08-27T00:00:00Z