Cia. Pé na Estrada is a theater company of which I am part. Since 2015 they have produced and staged their plays in Unaí, a rural town in Minas Gerais state located 150 km from Brasília. There are no art galleries, theaters or performance spaces there. Having nowhere else to work, we began to rehearse and perform in one of our members’ backyard, in a marginalized neighborhood of Unaí. At first seemingly a provisional alternative for the group, this circumstance gradually presented itself as a possibility for the aesthetics and ethics of our creation. It was there that we eventually started the Backyard Theater. Since this was a theatrical space with both many peculiarities and limitations but also potentialities, it has guided us towards a form of stagecraft of its own. My research included the history of Unaí (works by historians Maria Torres Gonçalves and Oliveira Mello), the history of theatre practices in that town (historians’ reports and interviews with local artists), Cia. Pé na Estrada’s own trajectory as well as the analysis of their creative processes. The material thus collected leads to the finding of the Backyard Theater not only as an alternate performing space for the company, but also as their political poetics, their domestic and communal form of stagecraft. Ultimately, it was a cultural insurgency in a parochialist town ruled by the demands of agribusiness. I base my considerations on Rosyane Trotta and Patrícia Fagundes, who have researched theatrical collectives in their challenge of the neoliberal state of affairs that impairs symbolic work at every turn in Brazil. Other refeences were Augusto Boal. Henri Lefebvre, David Harvey and Michel Foucault, as well as utopian instances throughout theatre and the world. As agribusiness pushes for demographic growth in rural settlements, its economic and political clout overreaches into cultural affairs. Against that background, I aim to demonstrate how, even faced with precariousness, Cia. Pé na Estrada’s Backyard Theater breaks new ground in Unaí’s geographical, historical, and workaday conditions and becomes a struggle for the right to the city and to the enjoyment of theater in rural areas of central Brazil

The work presents the compositional process of an artist who places herself in an alchemical perspective when she proposes to transmute lead into gold in the spiritual sense, through an initiatory journey of self-knowledge and transformation of the self, coagulated in a 1x1 performance-ritual-oracular-autobiographical. The research gathers information about alchemy, oracles, tarot, synchronicity, verticality, mbanda and the art of performance. In a work about herself, the artist’s experiences are the raw material of alchemical research, and as a creative response to the impermanence of life, an oracle is created from the images recorded on the coast of São José do Norte, in the extreme south of Rio Grande do Sul.The images were edited in analogy to the tarot and superimposed by collages through an iconographic selection of several arcana, and are available in the dissertation and in a singular performance, where at each performance, the 1x1 relationship provides a ritualistic and oracular dimension in an intimate dialogue between the artist and the spectator-querent.

This thesis aims to understand how the Altar of Menino Deus and the Folia de Nossa do Livramento, sacred manifestations that have been taking place for several decades in Jataí, a rural community in Canápolis (BA), in the Rio Corrente Basin Identity Territory, West of Bahia , have resisted in the context of the region that has become one of the most recent agricultural frontiers in Brazil. Recognized by Ethnocenology as extraordinary social phenomena of the contemporary scene, these manifestations are marked by residues of Portuguese colonial devotion, by Afro-indigenous cultures and constitute a space for rural socialization and cultural resistance. This thesis is structured based on the existential subjectivity of the prayer woman Dona Pulu, it takes a transdisciplinary and cosmoperceptive approach to these traditions that transgress the routine of rural daily life in the territory with sound and visual aesthetics, bringing together people from different communities to celebrate the poíesis of faith, being together in celebration and with the sacred.

Everything is in motion. This work, this text, this summary, culture and our identities. This work makes, under the methodological affectation of ethnocenology, a study on Aldeia TabokaGrande, district of Taquaruçu / Tocantins. The purpose of this study is to understand the activities that take place in this cultural and artistic center with the thesis proposal that: the Aldeia is a tradition invented from the need for belonging of its makers. For the organization of thought, I initially discuss the category of belonging, based on theoretical assumptions about the notions of identity and identification. Subsequently, notes are made about what culture is, how it is invented and what determines that a tradition should be titled in this way. Finally, through the description of the manifestation, I seek to apprehend the relationships proposed in the thesis.

The present research reflects on the appreciation of the cultural heritage of Ceilândia-DF and the pedagogical practice that gave rise to the collective book “Ceilândia Minha Quebrada é Maior que o mundo” developed in partnership between the Department of Education of the DF and the Instituto do Patrimônio National Artistic History (IPHAN). Anchored in qualitative ethnographic research (MATTOS, 2011) and critical action research (FRANCO, 2005), the research starts from the following questions: how can art and education transform or re-signify a territory by fostering the relationship of belonging? What methodologies can be meaningful for this type of experience? How does the “centerperiphery” relationship affect artistic productions? How to develop pedagogical practices that enable the production of autonomy and student protagonism? The ways of understanding what are the cultural heritages in Brazil are contextualized in the perspective of Fonseca (2000); the concepts of identity from the perspective of Hall (1997) and Castells (2008); culture by Boal (1979), Rincón (2021) and Barbero (2015); territoriality by Santos (1978), Saquet (2007) and Haesbaert (2004); and belonging by Lestingue (2004) and Cousin (2010). The city is investigated as a territory of artistic experiences and how this connects to the relationships of belonging through memory and the construction of identity from the genesis of the construction of Brasília and the formation of Ceilândia. The contradictions present in the hegemonic discourse of the history of Brasilia are presented in the light of Holston (2010), Paviani (2010) and Gouvêa (1995) exploring the media and artistic approach to the city. Finally, I present the experience report of the process of exploring the pedagogical practices carried out for the collective construction of the book “Ceilândia Minha Quebrada é Maior que o mundo” carried out at CEF 27 in Ceilândia, having as a way of reflection the participatory inventories in heritage education , the Theater of the Oppressed by Augusto Boal and the audiovisual experience. The concepts discuss cultural, imagery and social issues, art education, aesthetic literacy, memory in the school environment and appreciation of the local cultural heritage.

This study enquire about the poetics of the word as a plurisignificant language: a concept combined with the sensoriality of the verbal-vocal-visual message. In which the word is not reduced to vocality, much less to the spelled word. Wordimage-sound are interconnected, the body is the expression of memory, the body is the vocalized force that intervenes in a course of word composition. Trace, voice, letter and image are meeting body to body in the proposal of a dramaturgical composition – in which this study, in its writing process – movements, practical-theoretical process of the poetics of the word. Transmission and legitimization of counter-narratives and ways of life through the poetics of the word, through the paths and excavations of a character called Catadora de Palavras [Words Catcher], that, when feeling the ground trembling, begins to dig it – finding herself and a portrait of society . Endless holes, masked by “translucent truths” with the goal of masking the spiraling time that is made of past-now. Study that proposes to be dramaturgy, in a triad: experience, theory and compositional project. Writing which experiments an aesthetics in which the verbal sign goes beyond its own limits, revealing the word as a scenario not only of lyrics and voice, but, above all, of performative writing.

The journey of the Cia Burlesca do Distrito Federal theater group is the subject of research in this work, with an analytical focus comprising three works collectively produced by the members of the collective – “Bendita Dica”, “O Longe” and “A Legítima História Verdadeira” – which discuss the territorial issue from the perspective of popular feminism. The research corpus encompasses moments of political theater in Brazil in dialogue with social struggles, starting from the 1950s and the group theater movement in São Paulo, considering that the directors of Cia Burlesca shows were part of the experiences that emerged in the 1990s with the movement “Arte contra a barbarie”, of resistance of the artistic and theatrical segment to the dismantling promoted by neoliberalism. The historical and sociocultural panorama of the city of Brasília and the Federal District is investigated to contribute to the analysis of the group's performance, which began in 2008. In this way, Cia Burlesca's work continues the historical legacy of political theater due to its mode of production, the themes they address in their works and the territories of social movements and organizations that operate. The analyzed works denounce the unequal land structure and point out perspectives of more humanized relations and popular organization from feminist leaders. The collective's theatrical work contributes to popularizing themes that structure society and places itself in the dispute for the popular political project of the working class for a more just, egalitarian and dignified society.

The present work is focused on a memory retrieval as cultural identity, theatrical production, and pedagogical practice based on the extension project of the Cometa Cenas Semester Showcase, from the Department of Performing Arts - CEN, at the University of Brasília - UnB. This research brings important elements to the department, the university, the local, and national culture, as we understand that the Cometa Cenas Semester Showcase possibly has an influence as a collaborator in artistic creation, theater groups, and events in the Federal District. Through a quantitative and qualitative research using ethnographic and cartographic methodology, the aim is to gather this data and information. The research is proposed as a guide and/or map of the cultural and political identity of the Department of Performing Arts from a perspective of trajectory, memory, orality, and records. It also serves as a future analysis and an easily accessible guide to a collection, a recollection, and even future studies on the Cometa Cenas Semester Showcase.

This research aims to define, analyze, and primarily experiment with the concept of time-rhythm, initially introduced by Constantin Stanislavski, and relate it to the process of creating a Musical Theatre performance. First, a bibliographical review of the concepts of time and rhythm was conducted. Subsequently, a summary of Stanislavski's artistic life is provided, leading to his re-search on time-rhythm, the main concept used in this dissertation. Further on, the discussion explores how this concept of time-rhythm interacts with other definitions from researchers in the field, such as Renato Ferracini and Jacyan Castilho. In conclusion, the process of constructing the musical production "Isso Passa?" is detailed, covering its textual and musical dramaturgy, as well as the rehearsal room process, delving into the analysis of time-rhythm in experiential practice. The staging of the performance is also reflected upon, along with an analysis of the audience that witnessed the performances.

Based on the statement that dance is a phenomenon of lived experience, the study advocates the interweaving and integration of choreographic itineraries with the senses, perceptions, imagination, creations and recreations that present themselves to the subjects acquiescent to this experience in artistic-educational contexts. The problem that emerged from a practice-based research, therefore performative, highlights, that even in the face of the reality where one perceives the inexistence of actions or misunderstandings around the practice of dance in the context of education, there remains the desire to overcome dance as a practice commonly disconnected from the experience and understanding of the body, the totality of being and the integration with the world of things and people. The study believes, therefore, that the inclusion of dance in the daily routine of education, beyond the contributions evidenced in curricular orientations that highlight the development of corporeality, among others, is a form of allowing the creative and inventive experience of the subjects. Based on a continuing education experience for teachers of the Education Secretariat of the Federal District, with the course Movimento, Arte e Expressividade na Escola - MAE (Movement, Art and Expression at School), the doctoral research begins and expands with the pedagogical propositions developed in this investigative process in dance, with the interventions of Ampliando o Movimento Expressivo - AME (Extending the Expressive Movement), experienced with students from the discipline of Tópicos Experimentais em Artes Cênicas - TEAC (Experimental Topics in Performing Arts) and through artistic experiments conducted by the researcher, whose practical involvement places her together with the research subjects. The study has the main purpose of proposing/analyzing/ experiencing/dancing processes of choreographic creation from the experiences and expressive poetics of the body, evidenced in educational practices. The body, the imagination, and the word form the nuclei for the analysis of the poetics of the research, highlighted in the neologisms Poestesia, Poetiver, and Poecitar, respectively. Each poetics is accompanied by symbologies, verbs, and philosophical approaches, mainly related to the phenomenological perceptions of Merleau-Ponty and Gaston Bachelard, to understand the creative processes developed. Thus, the Poestesia brings the image of the tree of life to explain the esthesiological relationship between body/space/movement, the Poetiver has in the symbolism of paper the way for the imagination to unveil the metaphors of movement, and the Poecitar takes the book object to represent the performative capacity of the body that recites and interprets the words through its communicative expressiveness. The three poetics are interwoven in the figure of Möbius to present the choreographic itineraries of Poamear and to highlight the elements that will characterize the discoveries of this investigative process, synthesized in the intercorporeality, in the metaphors and in the performativity that pedagogical instruments and practices such as MAE/AME, TEAC, Bibliodance, paper dance and the notebooks/books of danced words, helped to promote in this dance in education experience. In the distant encounter of bodies isolated by the pandemic, a garden of creative possibilities grows and makes other meanings of the presence-absence instaured sprout, as well as the craftsmanship to which the body turns in the construction of experiences with the danced movement.

The present work discusses the paths I took for the creation of the theatrical presentation and scenical rite Inskirted, performed in 2019. For the foundation of the scene, I wove together principles of natural cycles and creative energies with enchanted Brazilian cultures. The scene goes beyond an action with a simple piece of clothing, as woven into the skirt I sewed, is feminine wisdom. The skirt here is seen as a potential generator and communicator of enchanted bodies; a garment and divinity, a female body in movement of expression. With respect to spinning circles, I base my scenical practice within Brazilian popular culture and in the female game RodaDa Saia®; and my religious practice on universalistic terreiro and Umbanda principles, which speak to the temple that rotates. My body-terreiro, then, is a place of habitation and passage of figures, enchantments and divinities in skirts, as the time of artistic creation took place in parallel with my spiritual development. With the focus of fostering feminine wisdom, zeal and creation in the rites of Brazilian enchantment, and in connection with sacred nature, I ask permission and blessing to open this circle. To talk more about being a body in a skirt, about being INSKIRTED.

This research is part of the field of Performance and Education, studies the teaching practice in Theater and focuses on the pedagogical-performative strategies used by teachers to minimize the difficulties of everyday school life. The objective of the research was to understand how Art teachers, from the Public Education Network of the Federal District, graduated in Performing Arts, perform the difficulties of the classroom in everyday solutions. To this end, semi-structured interviews were carried out with six teachers from three Administrative Regions of the Federal District – namely: Samambaia, Ceilândia and Brazlândia. In addition to the interviews, data from the classes given by the researcher during the years 2020 and 2021, also in the Public Education Network of the Federal District, were used. Data were analyzed from the fields of Performance and Education (PAZ, 2020; PAZ; ICLE, 2020; ICLE; BONATTO, 2017; PINEAU, 2013) and Performance Studies (TAYLOR, 2013; SCHECHNER, 2006). It is inferred that, faced with the daily difficulties encountered at school, the teachers create pedagogical-performative strategies to develop the teaching of Theater. Three strategies are identified that will be developed throughout the dissertation, namely: a) Teacher performance as an action to deform; b) Performative attention and c) Performative bricolage. It is concluded, moreover, that such strategies are conceived along their paths as teachers, being, therefore, ways of experimenting with the practice and betting on a knowledge of the body that opens spaces conducive to working with theatrical language.

This master's research maps and discusses the technical principles used by the director and professor Hugo Rodas for the purpuse of actors training. The database for the analysis consists in the audiovisual records of a training workshop for the actor taught by the director as well as the memories of the researcher as an actor for twelve years in the Agrupação Teatral Amacaca, Hugo Rodas state of the art theater group. The first part of the work describes its technical propositions and the second consists of an analysis of a recurrent exercise in his classes according to the principles described in the first part.

In the present text I analyze the role of affectivity in educational practices in the context of nonformal teaching of learning. The corpus of analysis is the activities/workshops linked to artistic languages, especially the performing arts, taught by me, between 2018 and 2021, at the institution CEU das Artes/Citizenship-Culture Station of Recanto das Emas in the Federal District, which has with the social function of offering art, sport, leisure and cultural activities to the community in social and/or economic vulnerability. I narrate the dialectic of the craft pointing out the difficulties and potential of face-to-face and remote/hybrid teaching carried out before and during the pandemic. The research is methodologically guided by the assumptions of “research guided by practice” and “research-action” and is theoretically guided by dialogues with Jorge Larrosa, Paulo Freire, bell hooks, Luciana Hartmann, among other researchers in art and education. The purpose was to reflect on the crossings that occurred in this educational context, highlighting the importance of attentive/sensitive listening through the experiences lived and acquired during the organization and reorganization of work and its particularities, considering affection, exchange and love, strengthening what I believe to be the connection between art, life and education.

This dissertation aims to reflect on the process of creation and performative presentation of Reivax X.  In this sense, this study aims to list and reflect on the procedures adopted in the creation of the character's performance scene and the dramatist script, which composed the play "Reivax X in: an everyday comedy of mute love". Aspects of the performance of the body in flux in daily life are explored, as well as the procedures adopted as a provoking and motivating factor of relationships of affection dramatized in the theatrical work. Similarly, this study deals with the performative aspects performed in flux in the urban environment with people who are passers-by, with a range between life and art, considering the characteristics that concurrent in the composition of the scene in the urban environment, constructed from experiments, drifts and performative interactions that occurred from 2008 to 2022.