scholarly journals CORPO COMO ÂNCORA DE SENTIDOS E PRODUTOR DE SIGNIFICADOS: TENSÕES A PARTIR DA PERFORMANCE ART

2017 ◽  
Vol 18 (39) ◽  
pp. 241
Author(s):  
Jéssica Vitorino da Silva Terra Nova ◽  
Fabio Zoboli
Keyword(s):  
Performance Art ◽  
A Performance

O presente ensaio pretende revisar e argumentar – sob a perspectiva de alguns aspectos da semiótica e da fenomenologia – a crença de que o corpo é central na experimentação do conhecimento. Para tal, faremos uso da Performance Art como instrumento de organização sígnica que opera por intermédio do corpo de um performer que organiza signos com a intensão de propor uma experiência. O texto é fragmento do referencial teórico de uma dissertação de mestrado intitulada “A Performance Art como propedêutica da experiência: construção de sentidos e significados sobre, com e por meio do corpo”. O ensaio insiste na ênfase da necessidade da utilização da Performance Art como forma possível de estruturar e determinar a experiência do sujeito frente a um objeto a ser conhecido no âmbito das práticas pedagógicas de mediação de conhecimento.

O corpo em performance: Mediação Cultural no Museu de Arte

2020 ◽  
Vol 13 (1) ◽  
pp. 034
Author(s):  
Leomar Peruzzo ◽  
Carla Carvalho
Keyword(s):  
Performance Art ◽  
A Performance

Neste estudo, discute-se o corpo em performance em um percurso de Mediação Cultural no Museu de Arte de Blumenau. Os docentes de arte da região de Blumenau participaram de uma formação tendo como foco a educação estética e o corpo. A performance art como uma ação que mobiliza o corpo foi um meio para a criação de arte e disparadora das experiências estéticas relatadas pelas vozes dos docentes. De caráter híbrido e contemporâneo, a pesquisa possui estrutura teórica em Larrosa (2016), Duarte Jr. (2001), Josso (2007, 2012), Dias e Irwin (2013), Le Breton (2012) e Martins e Picosque (2012). Da Pesquisa Educacional Baseada em Arte, origina-se a A/r/tografia, a qual propõe o entrelaçamento das identidades de artista (artist), pesquisador (researcher) e professor (teacher). Da A/r/tografia, surgem as bases teórico-metodológicas que fundamentam a pesquisa e a criação de visualidades. O estudo proporcionou aos docentes a criação de arte por meio da performance e propõe certa subversão dos modos tradicionais de estabelecer a mediação cultural em espaço museal. O principal achado deste estudo foi a ampliação das possibilidades de pensar percursos de mediação cultural com perspectiva voltada ao corpo e suas potencialidades sensíveis.

scholarly journals A poiésis Dilaporal: formação estética docente e performance art

2021 ◽  
Vol 14 (1) ◽  
pp. 026-046
Author(s):  
Pedro Gottardi ◽  
Carla Carvalho
Keyword(s):  
Performance Art ◽  
Marina Abramovic ◽  
A Performance

O presente artigo teve por temática a poiésis, a performance art e a formação estética docente. O objetivo foi investigar processos poéticos no qual o corpo do pesquisador também fosse tema e suporte na poiésis, relacionando à/aos artistas Marina Abramović, Hélio Oiticica e Artur Barrio e a suas obras. De abordagem qualitativa, o percurso metodológico abarcou a Pesquisa Educacional Baseada em Arte (DIAS; IRWIN, 2013) e a matriz a/r/tográfica, organizada em levantamento bibliográfico, aprofundamento teórico, percurso poético e visualidades. Barthes (2018) norteou a análise da investigação, em que o studium perpassou a formação docente, garimpando estesias que foram absorvidas na poíesis em forma de punctum. Os resultados apresentam quatro obras que compõem a série Dilaporal. Conclui-se que as visualidades poetizadas são como garimpagens do a/r/tógrafo na formação estética docente.

scholarly journals Building Strength

Diacrítica ◽  
2019 ◽  
Vol 33 (1) ◽  
pp. 143-157
Author(s):  
Telma João Santos
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Relational Model ◽  
Artistic Practice ◽  
A Performance

This paper presents a performance art piece, Building Strength, as a case study for a relational model in performing arts, especially in performance art. I proposed this model several years ago e already presented some applications as well as some reformulations. Here, it was not used to construct a performance art piece, but it is reformulated as a model used for me to relate with my own artistic practice, as usually done with another artists’ work.  

scholarly journals Entre a escrita e a pele: a dramaturgia confessional e a encenação de Angélica Liddell redimensionados em devir

Ouvirouver ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 284
Author(s):  
Mirela Ferreira Ferraz
Keyword(s):  
Performance Art ◽  
Border Zone ◽  
And Performance ◽  
Contemporary Theater ◽  
A Performance

Ao considerar a escrita teatral como ponto nevrálgico do teatro contemporâneo, esse artigo propõe trabalhar com a ideia de uma ligação contínua presente entre a escrita confessional e a encenação na obra “Yo no soy bonita” de Angélica Liddell. Acredita-se que o espetáculo e a língua da autora, encenadora e atriz/performer tornam-se diluídas no próprio acontecimento teatral, em que a ideia de um “devir-cênico” estabelece-se como um dispositivo cênico das novas teatralidades. Analisa-se como a noção de “eu” da artista se mescla ao desfalecimento da ideia de um personagem, criando uma zona de fronteiriça entre o teatro e a performance art, a qual se evidencia pela busca de uma possível experiência-limite da artista. ABSTRACT When considering the theatrical writing as nerve center of contemporary theater, this article proposes working with the idea of a continuous link between the present confessional writing and staging the Angélica Liddell work "Yo no soy bonita". It is believed that the show and the language of the author, stage director and actress / performer become diluted in their own theatrical event, in which the idea of "becoming-scenic" is established as a scenic device of new theatrics. It is analyzed how the notion of "I" of the artist melds the faintness of the idea of a character, creating a border zone between theater and performance art, which is evidenced by the search for a possible artist of limit-experience. KEYWORDS Becoming- scenic; confessional writing; limit-experience; contemporary theater.

KOMUNIKASI DALAM PERTUNJUKAN DRAMA: ANTARA PENGARANG, AKTOR, DAN PENONTON

1970 ◽  
Vol 4 (1) ◽  
pp. 32-39
Author(s):  
Arif Hidayat
Keyword(s):  
Performance Art ◽  
Literary Study ◽  
Good Communication ◽  
A Performance

Actor's competency to act in a drama performance can improve his ability to perform good communication. In addition,drama, as a performance art, can give an enlightening process to the audience through the values contained in the dialogues. As aresult, drama develops well, reaching the areas of countryside and also in universities, which usually called "teater kampus (collegetheater)". Drama is also included in the curriculum of literary study. This paper describes the communication between drama and itsaudience.

scholarly journals KUASA PENDIDIKAN ERA GLOBAL PADA SENI TRADISI GENGGONG DI DESA BATUAN, STUDI KASUS SENI PERTUNJUKAN GENGGONG

WIDYANATYA ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 60-68
Author(s):  
I Nyoman Winyana ◽  
I Made Sugiarta ◽  
I Putu Gede Padma Sumardiana
Keyword(s):  
Data Analysis ◽  
Qualitative Methods ◽  
Art Education ◽  
Performance Art ◽  
Depth Data ◽  
The People ◽  
Direct Data ◽  
The Village ◽  
A Performance

ABSTRAK             Salah satu penyebab keberadaan kesenian Genggong menjadi tidak populer dalam kehidupan masyarakat masa Global adalah peran pendidikan yang diduga tidak berpihak pada seni Genggong seperti di Desa Batuan. Seni pertunjukan Genggong Batuan di era tahun 1973 sempat menjadi karya seni pertunjukan yang mengundang perhatian khususnya pada pertunjukan seni hiburan. Kekhasan dan keunikan bentuk karya ternyata tidak cukup mampu mempertahankan populeritasnya di panggung hiburan.             Kajian tulisan ini berangkat dari metode kualitatif yang dirancang guna memperoleh jawaban secara lebih mendalam. Analisis data dilakukan dengan memperhatikan keabsahan data langsung di lapangan selain dokumentasi tersimpan. Teori yang dipakai membedah persoalan kuasa adalah diambil dari teori kuasa yang menekankan pada ranah kuasa dan juga habitus yang terjadi di masyarakat.             Hasil akhir kajian ini adalah temuan yang berhubungan dengan proses pendidikan seni tradisional Genggong nyatanya tidak terkait dengan aktivitas kegiatan yang hiburan. Keterlantaran yang diakibatnya oleh perubahan gaya hidup dan struktur yang kurang berpihak pada seni Genggong Desa Batuan. ABSTRACT One of the causes of the existence of Genggong art became unpopular in the lives of the people of the Global period was the role of education which was allegedly not in favor of Genggong art such as in the Village of Batuan. The performance of Genggong Batuan in the 1973 era had become a performance art work that drew attention especially to entertainment art performances. The peculiarity and uniqueness of the form of work turned out to be not enough to maintain its popularity on the entertainment stage. The study of this paper departs from qualitative methods designed to obtain answers in more depth. Data analysis is done by paying attention to the validity of direct data in the field besides the stored documentation. The theory used to dissect the issue of power is taken from the theory of power which emphasizes the realm of power and also habitus that occurs in society. The final result of this study is that findings related to the process of traditional Genggong art education are in fact not related to entertainment activities. The negligence that was caused by changes in lifestyle and structure was not in favor of Genggong Desa Batuan art.

scholarly journals EDUKASI BUDAYA TOPENG MALANGAN MELALUI MEDIA INTERAKTIF BOARD GAME

2020 ◽  
Vol 6 (1) ◽  
pp. 1-10
Author(s):  
Al Hazmi Indrapasca Yoga ◽  
Alvanov Zpalanzani ◽  
Agus Sachari
Keyword(s):  
Iterative Method ◽  
Design Process ◽  
Performance Art ◽  
Design Method ◽  
Board Game ◽  
Educational Media ◽  
Iterative Design ◽  
Traditional Arts ◽  
A Performance

Traditional arts have become part of an area or even become the identity of it. This happenned in Malang, where Malang has a distinctive art called the Topeng Malangan. Topeng Malangan is a performance art that combines dance and puppet shows. The identity of the Topeng Malangan which is already very attached to Malang is inversely proportional to its popularity amongs Malang people. Therefore, an interesting and understandable educational media is needed to introduce Topeng Malangan into Malang people. Iterative design method is used in the design of this educational media. This iterative method can be used for finding a suitable game that can be played by families, because exploration, trials, and evaluations are involved in this design process.

scholarly journals ARTS-BASED ACTION RESEARCH ON ENHANCING CHILDREN’S CREATIVITY THROUGH AFFECT WITHIN PARTICIPATORY PERFORMANCE ART AND PERFORMANCE PEDAGOGY

2021 ◽  
Vol 14 (2) ◽  
pp. 577-592
Author(s):  
Marija Griniuk
Keyword(s):  
Action Research ◽  
Performance Art ◽  
Daily Basis ◽  
Video Recordings ◽  
Performance Artists ◽  
Performance Pedagogy ◽  
And Performance ◽  
Participatory Performance ◽  
The Impact ◽  
A Performance

This article presents arts-based action research on enhancing children’s creativity through affect within participatory performance art and performance pedagogy. The study hypothesis was that children’s creativity can be enhanced by affect experienced at a performance site. The purpose of the study was to investigate the impact of children’s involvement in artistic performance on their creativity at a performance site. The impact of interactions at the site, the co-participating children,and the involved artists were monitored on a daily basis to collect qualitative data, which were analyzed using a general inductive approach. Objective themes relating to the variables were retrieved from the collected data and assigned codes, concepts, and keywords extracted from photographs,video recordings, and observation notes. The case under investigation was the “Nomadic Radical Academy 2020: The Good, the Bad, and the Art”, which built on a pilot event held in 2019. This research concluded that performance art can have a social and creative impact during an art event through children’s participation and can be used by performance artists and educators.

Sign in / Sign up

Export Citation Format

Share Document