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 study discusses theatrical poetics designed for babies and their caregivers, which developed in Europe starting in the 1980s and has been present in Brazil since the mid2000s. With specific theatrical elements built from observations in nurseries and research from various fields about babies and their caregivers in European contexts, this poetics eventually arrived in Brazil, influencing numerous artists. However, as argued by various researchers in neuroscience, anthropology, and psychology (to be mentioned in this study), babies have culture just like their caregivers, which is crucial for babies to connect with performances. From this perspective, the study highlights a trend in procedures— developed by and for Europeans—that has been repeated in theatrical poetics made for babies and their caregivers in some Brazilian cities, and questions whether this practice should be reinvented based on Brazilian cultures. Therefore, the focus of this research is: how we can build a theatrical poetics in which Brazilian babies and their caregivers can experience a doubly powerful encounter: cultural belonging and artistic experience.

The thesis analyzes the dramaturgy of Oduvaldo Vianna Filho, choosing the play “Papa Highirte”, written by the playwright and censored in 1968. The objective is to reflect on the impasses in Vianna's artistic work, during the period of the Brazilian civil-military dictatorship. , with the aim of verifying the maturity of the author's writing and the use of dramaturgical devices in the experience of constructing an epic work.

The main objective of this research is to understand how black and white children narrate their racial experiences in the contexts of public schooling, supported by an interdisciplinary approach that articulates knowledge about blackness, whiteness and racism, the interface between Performance Studies and Education, and the Sociology of Childhoods.The fieldwork was carried out with two classes of the fifth year of Elementary School, composed of children aged between 10 and 12 years, from EC 04 of Paranoá,peripheral region of the Federal District, in the months of May and June 2022.The methodological path designed to be guided by a planned practice was bewildered by the corporalities of the children who, in organized games, interactive dynamics, theatrical games and scenic experiments, performed their narratives about racism, through an affective-performative ethnography instrumentalized by the infant's own body.In this sense, the narrative performances contextualized and produced by the students in various formats –audios, scenes, photographs, drawings, written records –composed the scenic expressions of their emotions, feelings and perceptions about their racialized experiences, in which their bodies communicated far beyond words.The interpretative and inferential analysis of these performances points to the communicative power of the child who narrates his own story, (re)tells the living past in his memory and, thus, prostars and resignifies his experience in the now.Thus, the understanding of the ways of explaining the racialized relations that affect children's bodies in basic education isconfigured.An understanding that, as embodied knowledge, requires a more attentive, understanding and sensitive perceptionbetween adults and children in schooling;the approximation of their daily reality with the school context and, mainly, the effective perception and acceptance by the school of the impacts caused by structural and institutionalized racism in the emotional and cognitive lives of black childhoods.

This research investigates the power of artistic and pedagogical processes and procedures which use autobiografiction as a device for invention in the performing arts based on a feminist critical performativity. It explores this hypothesis in a theoretical-practical, artistic-pedagogical movement in higher education, with two classes from the Performing Arts course at UnB, and in the process of authorial creation of the spectacle Senhora P, which addresses issues of violence against women and which embodies the object of this thesis. Through five trails and with a cartographic approach methodology, the research is based on the urgency of incorporating feminist pedagogies in the fields of education, especially with regard to the performing arts. It points out notions and understandings of the possible engendering between education, scenic-performative territories and feminism to present them in an aesthetic, ethical and socio-political conceptual organization suitable and relevant for the training of theater students in basic and higher education. The investigative concepts about teaching and learning are anchored mainly in the feminist critical thinking of bell hooks, the inventive cognition of Virgínia Kastrup, the notion of experience of Jorge Larrosa Bondía, the critical pedagogy of Paulo Freire and bell hooks, the philosophy of difference in perspective by Gilles Deleuze, Félix Guattari and Suely Rolnik; as well as in black feminist thought with Audre Lorde, Grada Kilomba, Lélia Gonzalez, among others. Performance studies and their distinct procedural, liminal, and intervention dimensions in reality are important here to think about and foster expanded territories of pedagogical and research practices, in dialogue with different researchers, including Richard Schechner, Diana Taylor , Eleonora Fabião and Elyse Lamm Pineau. It also observes the tensions between reality and fiction, structural for the theaters of the real, and conjectures from there that exploring autobiografictional creation processes and procedures favours processes of autonomy, resistance, understanding and recognition of oppressions and hegemonic dominations in the fields of arts and education.

The text highlights the progress of a research that investigates the ways in which female clowning responds to and contests gender impositions demanded of women and, as such, consolidates itself as an instrument for comic and potentially feminist dramaturgical creations. It aims to reflect on the clowning created and experienced by women and its relationship with the thoughts/attitudes/ideas of feminisms. Investigations about women in clowning, comicity and various feminisms are the starting points for this analysis, which unfolds in interviews with contemporany clowns and investigation and analysis of a solo show experienced and mounted by me, a research clown. The investigation maps feminist discourses, narratives and dramaturgies present in contemporary clowning, in a horizontal and non-hierarchical way. Despite the appearance of women in clowning for some time, she only managed to exercise this function because there were social changes in her life condition, which boosted her performance in the arts. Through clowning and comic, I suppose we can provoke reflections on our condition as a woman by bringing dramaturgies that show gender oppression to the heart of the scene. In a sexist and hegemonically engendered patriarchal culture, how can the social construction of women serve as a basis for the dramaturgical and creative process of clowns? As clowns, comicity allows us to choose themes and signs that seek to highlight, break and destroy structural oppressions in relation to women’s living conditions and their behavioral limitations. The main dialogues will be with the psychologist and gender researcher Valeska Zanello, and the clowns Daiani Brum, Ana Borges and Karla Cordeiro. It is a research that focuses on the elements attributed to the creation of clowning, but with a focus on the recent renovation of its comic dramaturgies through a feminine, feminist and subversive bias.

This work investigates, wanders, through thickets and ruins, where diverse artistic practices are entangled, in particular: opera, commedia dell'arte, clowning and the drag art. The notes raised, however, not due to do a comparative study between the aforementioned artistic languages or, in relation to topical historical perspectives, contrasting data, information, authors, or others. The work intends to aiming, to aggregate situations, people, groups, masks, figures, characters, scenic creations, identities, that supports referring to queer or dissident paths, within a production perspective, grouped absolute or tangential, as part a comic arts. The work also talks about the iteration between creature and creator, from practices where these parts merge as in a heteronomous way. It is, therefore, a research where parallelisms, similarities and parodies provide the basis for symbolic and aesthetic approximations, discussing gender issues from the lens of contemporary comics.

This study aims to analyze the possibilities of Puppet Theater combined with the Flipped Classroom as pedagogical perspectives for teaching Performing Arts in the Third Cycle of Learning in a school of the State Department of Education of the Federal District. Puppet Theater can be understood as the act of providing the idea of “life” to inanimate elements, such as puppets, shadow characters, among others. The Flipped Classroom is seen as an extension of the classroom, in which the student carries out a prior study of the concepts established by the teacher. As a methodological bias, a qualitative exploratory case study is used, developed at the Elementary School Center 101, located in the Administrative Region of Recanto das Emas, Federal District, with students from the 6th to the 9th grade of Elementary School. The following methodological procedures were used: a Pedagogical Proposal containing 80 classes distributed over four years (20 classes for each year – 6th, 7th, 8th and 9th) on shadow theater, glove puppet and direct animation puppet; use of the Inverted Classroom; registration in a Logbook (by the students); audiovisual recording of theater classes; and application of three online questionnaires. For theoretical support, we have the ideas of: Dewey (2010) and Larrosa (2022), on experience in art; Bergmann and Sams (2018), on Inverted Classroom; Ausubel (2000) and hooks (2017), on learning and socialization at school; Carvalho (2015), on the Third Cycle; Amaral (2002, 2007, 2011), on puppet theater, Amorós and Paricio (2005), articles from Móin-Móin Journal of Studies on Animated Form Theater and from the magazine Fantoche – Arte de los Títeres.

This research starts from the study of an art-life process that unfolds in the opening to the borders of dreaming. It is a journey permeated by scenic and performative creative situations crossed by the relationship with the streets (and their political insurgencies), communities (artistic and activists) and the earth (in the recognition of relationships with more-than-human existences). An investigative journey that takes place on the borders between worlds, tearing the skin of the confines between sleep and wakefulness, in a vibrating change of the limits of the body and of cosmic-political imaginaries.

Two fields underpin this investigation: the school as a formal performance space and the community as a fertile territory of experience. This research proposes reflections about the School Theater, Theater in Community and the interface between these concepts, where a creative process served as the basis for this analysis: the construction of "Gigante pela própria Natureza" (Giant by Nature), a play elaborated at Centro Educacional 02 de Sobradinho (DF) with high school students and their displacement to the administrative region Fercal (DF). The didactic-methodological course included the arsenal of games of the Theater of the Oppressed and the Aesthetics of the Oppressed as sensitizing instruments, which made possible the practical involvement of "non-actors" in the execution of the entire proposal. The research allowed the realization of the possibility of working with theater as a mechanism of formation, organization and social transformation.

This research aims to study the different elements present at the work of the 5th edition of the Anthropophagus University at Oficina Theatre, that took place in 2022 in São Paulo, Brazil. Music, acting and scene are analyzed and discussed in first hand by a researcher who was part of the laboratory of musical experiments, singing and songwriting – also known as group 5. As tools, this research uses: the video recording of the play; photos of rehearsals and meetings within and out of group 5; the researcher’s logbook; the text and the script that are in the appendix of this work; the songs written by group 5 – as well as their recordings and music sheets. By using these tools, this research intends to fulfill its goals: the documentation and analysis of this edition in particular and the resulting play called Cacilda y Carmem: deusas encontram-se na clandestinidade. For such, a brief historical record of Oficina Theatre, an experience report of group 5 and the study of the play will be made. The research also intends to answer how music, acting and scene were structured and worked in the group 5 of the 5th edition of the Anthropophagus University.

This dissertation seeks to understand how the notion of self-fiction operated in the dramaturgical constructions of the play Bolo Republicano, written and produced by this author between the years 2021 and 2023 in Belo Horizonte, Minas Gerais. The relationships between issues of gender, memory and post-memory are considered as social and political contributions to the analysis of the object of study. Using the methodology Practice as Research, studies were carried out on inherited family trauma, impacting the memory and bodies of later generations. Through performative theater theory, site-specific, psychoanalytic and political theories, the importance of self-fiction was highlighted in the context of ‘self writing’ in contemporary theater, especially in feminist theater, as a way of operating memory in the present and for the future. It appears that self-fiction stimulate us to operate from the inventive nature of memory, allowing us to look at our memories and their relationships with the present critically, from broad perspectives. It is considered that a family self-fiction, based on performance, which crosses two different historical social times, may create favorable conditions in the public dimension to reflect their own positioning in certain spheres of political experience. It is concluded that an artistic work which proposes to discuss post-memories and family memories can have relevance and social impact, as well as acting as political resistance in the form of theatrical production.

This research aims to investigate the practice of inscribing oneself in the exercise of dramaturgical writing and reflect on how these processes can be connect, as well as impact, influence and grow up the artist's creative work. With different movements, inscribing oneself can provide materials and tools that allow the person who creates, a fertile territory of good living and in constant friction. From what I call the “emptying of the crossings”, dynamics of giving vent to the different provocations that mobilize those who are part of the creative process, to the “reinauguration of a creative landscape”, in which the artist is encouraged to, through her collected materials, fictionalize and propose possibilities for its dramaturgical expression in a way that has not been tried before. The methodology to be launched in this investigation is based on three axes of analysis: the historiographical survey of part of the practical experiences of the Embaraça Group – a Black Theater collective residing in Brasília since 2012 –, the analysis and sharing of the experience of a workshop given by the author with the presence of seven people participating and the reflections of the author herself in the path presented. In this way, I, the group and the workshop become research person that force dialogues to be intertwined with concepts and/or theories. In this way, for the historiographical survey, the project will approach the research centered in person and the discussion of memory from the autoinscription. And for the analysis of the workshop, the project will present the experiences and concepts on which the research use as a methodological path. I propose the hypothesis that those who put themselves on paper, through the inscription of themselves, have their creative quality improve, as well as I try to investigate how the processes of fictionalizing personal materials to performing in scene. To anchor the proposed questions, I will show the dialogue with the following concepts: Self writting, Escrevivências, Oralitures, Black Dramaturgies, Autofiction and Subjectivity. The work is divided into five parts, a structure created to contemplate the clues that weave the research and detail the investigation.

The childhood school is a privileged space for the dissemination of knowledge and literary practices, providing the aesthetic experience of children and adults. As a basic education teacher for 26 years, and a researcher with young children and their oral narratives, some concerns arose: what would be the themes present in the daily narratives of young children in educational institutions? How would the aesthetic experiences experienced by young children occur in literary practices in educational institutions? Added to these questions that accompanied me previously, I also questioned: how would these processes take place in a pandemic context? In the quest to answer these questions, I develop this thesis, which has as its central objective to understand the lifeworlds of young children through their own narratives in educational institutions in the Distrito Federal. This objective resulted in the following specific objectives: to analyze how young children express their social contexts in everyday narrative situations, reading mediation and storytelling in educational institutions; to analyze the narrative performances of children based on the aesthetic experiences they have lived and to analyze symbolic productions of young children present at kindergarten in a pandemic context. The empirical research was carried out with four classes of the 2nd period composed of children aged between 5 and 6 years in four public school units of Early Childhood Education located in peripheral regions of the Distrito Federal: Cidade Estrutural, Planaltina, Recanto das Emas and Riacho Fundo 2 during the 2021 school year, outlined in a performative ethnographic approach through artistic-pedagogical practices of reading mediation and storytelling in a virtual and face-to-face context, with the following instruments: participant observation, conversational dynamics, story workshops, workshops of ludic activities and written, pictorial and audiovisual records of the narrative production of young children. I produced with the collaborating children the book Children Narrators, with 57 narrative performances by young children, which were categorized according to the themes addressed: stories of death, family stories, stories of non-humans, stories of enchanted beings, stories of poverty, stories of heroes and heroines and stories of hurt. I argue that the narratives of young children show their worlds of life as a performative practice in childhood school, based on the materiality of the narrative performances of young children and the reports of episodes experienced in the empirical journey in dialogue with the authors and guest authors for this conversation about childhoods, narratives and pandemic everyday life.

Dislocated Gaze or the art of diverting routes is a thesis composed of attempts to perform in (practices of) writing some of the encounters that modified the paths of the Conexão Samambaia - program of transaesthetic residencies organized and offered as research and extension actions in expanded contexts of teaching and learning. Collective vessels that ventured into the duration of relationships as a tactic to produce alterities (dissenting coexistence) to oxygenate and transform ways of thinking and doing in the expanded field of the arts. And that embraces error as a privileged and blurry lens through which it observes and revisits processes, drifts and itineraries, in an effort to practice an episteme that is at least honest with the errant and deviant unpredictability of its processes.

The theme of the present dissertation is born from the fascination for listening to those who do not belong to the human species in a certain scene, focusing on this mode of operation found in the shows DeBanda and De Perto Uma Pedra. This time, the objective is to analyze the compositional process of creating the sounds of the scene and its development in the shows directed, respectively, by César Lignelli and João Fiadeiro. In this sense, the central question of this research is: What are the effects of the scenic encounter with non-humans regarding the composition of the scene's sonorities? To this end, concepts of these directors will be used, about their compositional processes, and the concepts are still considered: scene as encounter, sounds, sound design, scene music, things, objects, negotiation, speculation, time, acceleration, mediation, inventory, listen, listen, understand and understand. Throughout the dissertation, the analysis of the work and the presentation of concepts occurs in a retro-feeding way.

The process of democratization, expansion and interiorization of higher education through distance education raises reflections on its inclusive relevance from north to south of Brazil. This work focuses on analyzing the echoes and reflexes of the graduation in Theater EaD/UnB in the practice and in the daily life of licensed teachers in the city of Tarauacá-Acre. For that, the theoretical and methodological references of this dissertation are situated in qualitative field research, through the technique of semi-structured interview in chat circles with professors-students and students from local schools. It also discusses different contributions aimed at understanding the panorama of distance education in Brazil in recent years, and the process of training teachers in Theater through distance education. In this context, we also highlight the role of the University of Brasília-UnB in the pioneering spirit of offering higher education courses, which at first were only offered in person, considering the specificities, in the distance modality, in the most diverse locations of the country. It is also noted that, among the dimensional aspects analyzed in this research, a new perception arises about distance education, with regard to teacher training and its relevance of internalization to local cultures. In this sense, the results of this research show ethical, aesthetic and economic contributions of the Theater course to the pedagogical practice and in the personal and professional daily life of the trained teachers, reflecting on the daily life of the students of these teachers. 

The goal of this research is to investigate vulnerability as an aspect of acting as well as its perception and technical use within the group theater Coletiva Teatro. Drawing from fields of study such as bioethics, social sciences and psychology I seek to understand definitions and concepts of vulnerability and their applicability towards acting. I use the definition of vulnerability according to Brene Brown (2012) with theoretical-conceptual support of Donald M. Kaplan (1969), Declan Donnellan (2008), Gabbard (1979), William Saad Hossne (2009), J. G. Simmonds and J. Southcott (2012) in dialogue with Stanislaviski (2001), Renato Ferracini (2013), Josette Féral (2015) and Giselle Rodrigues de Brito (2020) from the field of acting. Based on the group theatre practice generated by Coletiva Teatro I analyze from the perspective of the actor’s vulnerability the performance projects #poesiadodia (2017), O Amor que Habito (2018) and Baú de Histórias (2018), all created by the group. Applying a questionnaire I investigate how vulnerability is used by Coletiva Theatre members and seek to understand, in a qualitative manner, the use and reverberations of the actors’ vulnerabilities during the different exploratory phases of the creative process: composition, pre-presentation, presentation and post-presentation. Finally, from the neuroscientific perspective of stress proposed by Andrew Huberman and Alia Crum’s concept of mindset, I suggest a guide to help actors identify vulnerability in its productive and counterproductive forms as well as its activation. Results obtained in the research and observed in practice indicate vulnerability as a relevant aspect of acting in Coletiva Teatros’s work and ones individual mindset as determinant of its utilization. From these results the proposed guide intends to help actors use their vulnerability as a technical, creative and productive tool from the moment of exploration in the artistic process to the post-presentation, wether in an individual or collective praxis.

The main objective of this dissertation is to analyze the vocal work techniques developed by Zygmunt Molik during and after his career with Jerzy Grotowski at Teatr-Laboratorium. It addresses topics such as “The Resonators”, “The Body Alphabet” and a particular focus on Molik's conduction in his solo workshop “Voice and Body”. With regard to methodological resources, the research relies on information acquired from an interview with Giuliano Campo; descriptions and analyzes of the audiovisual recordings Acting Therapy (1976), Dyrygent (2006) and The Body Alphabet (2009); author's personal records about a workshop held at the Grotowski Institute in 2019; and analysis of bibliographic records dealing with these techniques, including authors of the Grotowskian line. The research bets on these multiple accesses, seeking to provide the reader with a dialogic perspective on the topic addressed.

With this work, I aim to stress the institutionalized organism of dances in Brazil, pointing out operations of racism as a structural constituent that conditions and normalizes violence of appropriation, exclusion, exotification, disqualification and invisibilization of bodies and epistemologies in the area. With a relational stance, I imply whiteness, supposedly neutral and universal, as a driving force for the maintenance and reinvention of colonial logics that sustain privileges and function for the perpetuation of these operatives. Investigating my own journey in an ethnocenological perspective of trajectory and weaving analytical relationships with the macro project of the country, I position myself in an Afro-referenced place of action and investigation to inquire about dance as an investigative and practical field about its silence in relation to ethnic-racial violence. that are also present in the bowels of its institutional organism in the scope of training, management, research, scenes, promotion, markets, among others. With this initiative, in addition to notes and problematizations, I wish to invite us to other relational, political, affective and ethical dancing movements, fostering, who knows, other ways of (trusting) the textures that connect us in life and in dances