https://repositorio.ufu.br/handle/123456789/20637 Fri, 17 Jul 2026 03:13:39 GMT 2026-07-17T03:13:39Z https://repositorio.ufu.br/handle/123456789/48865 Title: Corpo-viado e(m) performance: tessituras mnemônicas, autobiografia e suas performatividades Abstract: This research was configured as a VIADO crossing. It was a process that investigated, in the body and in the writing process, the various forms of silencing, oppression and violence, especially the affective ones, that plague CORPO-VIADO on a daily basis. The central objective was to UNVEIL the performative-pedagogical process through which the possibility of identity construction and affirmation became concrete, and WEAVE a network that intended to transcreate, politically and artistically, the experiences of CORPO-VIADO through mneumonic, autobiographical and performative fabrics which questioned the aspects of the hegemonic references that violently constitute such bodies. In a disobedient movement in response to these imposed dynamics, a series of five performative actions was created entitled “Precarious Rebellions of a CORPO-VIADO E(M) Performance”, micropolitics that attempted to create spaces of resistance, reception and reflection, in addition to opening fields of dialogue with other artists from the Brazilian performance scene. This performative movement highlights how attempts to erase queered bodies are still a present reality, while also contributing to the expansion of multiple modes of resistance against such erasures. Wed, 27 Nov 2024 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48865 2024-11-27T00:00:00Z https://repositorio.ufu.br/handle/123456789/48566 Title: Epistemologias do axé: corpo, memória e de(s)colonialidade na dança afro-brasileira Abstract: “Exú killed a bird yesterday with the stone he will only throw tomorrow.” This Yoruba maxim announces a conception of time that disrupts linearity and causality, returning to experience the power to produce meaning. It is within this fold of spiral time that this research is situated. This dissertation investigates Orixá dance as a language of resistance, self-writing, and a legitimate field of knowledge production, understanding the Afro-diasporic body as a territory of memory, creation, and crossing, sustained by axé and ancestral cosmoperceptions that precede Western modern logic. Grounded in autoethnography and performative writing, the research articulates ritual, autobiography, fiction, and critical reflection, assuming the body as a living archive and an epistemological operator. The writing unfolds as a spiral experience, breaking with temporal and methodological linearity in order to affirm the crossroads as a procedure for creation and thought. The fictional narratives, experiences in the terreiro, and the artistic processes developed within the project “Um Quê de Negritude” and the Collective Boca 07 constitute the empirical corpus, articulating scene, ritual, and memory as inseparable fields of knowledge production. In dialogue with authors such as Martins (2021), Rufino (2019; 2023), Santos (2002; 2023), Silva (2016; 2021), Moura (2019), Prandi (2001), Bento (2022), Césaire (2021), Schucman (2014), Nogueira (2020), Lima (2023), Côrtes, Santos and Andraus (2020), Ferreira (2008; 2011), and Fernandes (2013), the study challenges the structures of coloniality and whiteness that continue to regulate modes of aesthetic, pedagogical, and epistemological legitimation in Brazilian performing arts. Orixá dance is affirmed not as a technical repertoire or folkloric expression, but as a contracolonial practice of invention, thought, and existence. Recognizing Afro-Brazilian dances as complex systems of knowledge allows dance to be repositioned as a living language of ancestry, in which the body becomes archive, crossroads, and a gesture of temporal reconfiguration. Mon, 23 Feb 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48566 2026-02-23T00:00:00Z https://repositorio.ufu.br/handle/123456789/48557 Title: Teatro, mito e esclarecimento - do teatro grego clássico às Bacantes do Teat(r)o Oficina Abstract: Esta disertación investiga las relaciones entre mito, teatro e iluminación, tomando como referencia la puesta en escena Las Bacantes (1995) del Teat(r)o Oficina Uzyna Uzona, dirigida por José Celso Martinez Corrêa. El estudio recorre una trayectoria histórico-conceptual que parte de la tragedia griega, donde mito y razón coexistían en equilíbrio, atraviesa el desencantamiento del mundo moderno y las críticas a la razón instrumental formuladas por la Escuela de Frankfurt, y analiza las respuestas artísticas y filosóficas de Nietzsche, Artaud, Brecht y Jung. La investigación articula perspectivas filosóficas, estéticas y simbólicas, proponiendo una lectura fenomenológico-hermenéutica del arte como forma de esclarecimiento totalizador, capaz de reconciliar los polos dionisíaco y apolíneo de la experiencia humana. El análisis histórico y teórico sustenta la interpretación de Las Bacantes del Oficina como una síntesis contemporánea de la tragedia y una actualización del mito de Dionisio en la escena brasileña, donde el teatro se revela no sólo como espectáculo, sino como un ritual de conocimiento, creación y transformación.; This dissertation investigates the relationships between myth, theatre, and enlightenment, taking as reference the production The Bacchae (1995) by Teat(r)o Oficina Uzyna Uzona, directed by José Celso Martinez Corrêa. The study traces a historical and conceptual path from Greek tragedy, where myth and reason coexisted in balance, through the modern disenchantment of the world and the critique of instrumental reason developed by the Frankfurt School, to the artistic and philosophical responses found in Nietzsche, Artaud, Brecht, and Jung. It combines philosophical, aesthetic, and symbolic perspectives, proposing a phenomenological-hermeneutic reading of art as a totalizing form of enlightenment capable of reconciling the Dionysian and Apollonian dimensions of human experience. The historical and theoretical analysis supports the interpretation of Oficina’s The Bacchae as a contemporary synthesis of tragedy and a renewal of the myth of Dionysus in Brazilian theatre, in which the stage becomes not merely a spectacle but a ritual of knowledge, creation, and transformation. Mon, 15 Dec 2025 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48557 2025-12-15T00:00:00Z https://repositorio.ufu.br/handle/123456789/48159 Title: O que poderiam ser processos criativos? Abstract: What could creative processes be? This question serves as the catalyst for this encounter. Through it, I invite you to navigate with me through territories of uncertainty, not in search of an answer that satisfies the question, but of the construction of strategies to continue asking. The act of writing emerges as an exercise of presence in the instant, in which writing itself reflects the gesture of the creative process: a field of possibilities where the future is not previously idealized, but is built from experiences and affects. The present research explores reflections on creative processes within the artistic sphere as spaces of affect between bodies, thereby understanding them as relational practices. Fri, 16 May 2025 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48159 2025-05-16T00:00:00Z