https://repositorio.ufba.br/handle/ri/2026 2026-04-17T05:06:21Z 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 2025-12-17T00:00:00Z https://repositorio.ufba.br/handle/ri/43941 Título: ECOPERFORMANCE AUDIOVISUAL ENTRE RIOS: CORPOREIDADE MAIS-QUE-HUMANA DE CORPO-RIO A CORPO-JUCU Autor(es): Cooper Neto, Weber Miranda Primeiro Orientador: Santana, Ivani Lúcia Oliveira de Abstract: This dissertation investigates the interrelations among corporeality, ecoperformance, and the audiovisual, seeking to understand how ecoperformative practices can contribute to the creation of post-anthropocentric imaginaries amid the contemporary environmental crisis. It starts from the urgency of rethinking relations between humans and more-than-humans within the horizon of the Anthropocene, mobilizing art as a sensitive and political activation of other modes of existence. The path articulates performative and audiovisual practices that emerge from the body–environment relation, focusing on two rivers of Espírito Santo —Itapemirim and Jucu — and concentrates on the analysis of two works conceived within this research: CORPO-RIO and CORPO-JUCU. The methodological approach integrates Autoethnography, Somatic-Performative Research, and a view of the audiovisual as a somatic mediator and co-agent of dramaturgy, close to video-ecoperformance. The works are examined as aesthetic-political experimentations that activate haptic visuality, cinema of flow, kinaesthetic perception in screendance, and a cosmopolitics of the image, dissolving boundaries between body, nature, and technique and redistributing agency in the sensible field. Conceptually, the research updates the notion of ecoperformance and situates it vis-à-vis the disputes of the Anthropocene and proposals of making-with and response-ability, alongside a historical-critical reading of the event. The results point to the power of the audiovisual as an ethical-aesthetic mediator in ecoperformance, capable of activating modes of ecological perception and imagination that expand the performative experience beyond the space-time of live action. By making relations between bodies, rivers, and landscapes exist this dissertation proposes audiovisual ecoperformance as a practice that not only represents but also fosters sensitive alliances between human and more-than-human, contributing to the strengthening of critical imaginaries in the face of Anthropocene challenges. We take as our reflective horizon the set of theoretical contributions by the following authors: Maura Baiocchi and Wolfgang Pannek (2007, 2012, 2016, 2018, 2021, 2022, 2023); Ciane Fernandes (2013, 2014, 2018); Marta Bezerra (2011); Leonardo Paulino (2020); Gabriela Holanda (2019); Elizabeth Doud (2018, 2022); Éden Peretta (2005, 2007); André Lepecki (2012, 2013, 2017); Erin Manning and Brian Massumi (2014); Christophe Bonneuil and Jean-Baptiste Fressoz (2024); Stenio Marras and Renzo Taddei (2022); Jason W. Moore (2022); Bruno Latour (2020); Donna Haraway (2022, 2023); Anna Tsing (2019, 2020); Débora Danowski and Eduardo Viveiros de Castro (2014); Isabelle Stengers (2015, 2017, 2018, 2022); Ailton Krenak (2020a, 2020b, 2022); Inara Macedo (2015); Maria Cecilia Barbieri Gorski (2008); César Baio (2020); Sebastian Wiedemann (2020); Laura U. Marks (2000); Lilian Graça (2019); Erly Vieira Junior (2020, 2021). Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação 2025-12-19T00:00:00Z https://repositorio.ufba.br/handle/ri/43730 Título: Memórias do CPC baiano: cultura e resistência na Bahia dos anos 60 Autor(es): Couto, Carluce Couto Primeiro Orientador: Tavares, Gil Vicente de Marques Abstract: This research investigates the trajectory of the Popular Culture Center (CPC) of Bahia, active from 1962 to 1964, focusing on its cultural activities and social impact. The study primarily uses oral testimonies from its members, due to the destruction of documents during the military coup of 1964, which abruptly ended the movement and resulted in the loss of records, including those that were discarded for fear of reprisals. Emerging during a period of cultural and political effervescence in Salvador, the Bahian CPC brought together artists, intellectuals, and students committed to a political pedagogy oriented towards popular culture. The research covers initiatives in theater, music, cinema, visual arts, and popular education, highlighting impactful theatrical productions and the application of Paulo Freire's literacy method. The study aims to recover and understand the historical and cultural significance of the CPC in Bahia, contributing to filling gaps in the historiography of the movement. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação 2024-08-20T00:00:00Z https://repositorio.ufba.br/handle/ri/43729 Título: Mulheres em cena: o prazer como metodologia para uma dramturgia autoficcional Autor(es): Schmitz, Vivian Gabriele Primeiro Orientador: Santos, Elisa Mendes de Oliveira Santos Abstract: Esta investigación-creación, de carácter teórico, práctico y autobiográfico, investiga mujeres en escena, experimentando el placer como metodología, con el fin de posibilitar la creación de una dramaturgia autoficcional. El primer enfoque de esta investigación es el cuerpo, y para anclar en el cuerpo la noción de placer femenino, potencial transgresor, se convoca la figura de la Pombagira de las umbandas y candomblés brasileños, entendida como una especie de “mitodología”, en el sentido propuesto por Luciana Lyra (2011). Dentro del campo del placer, se incorporan también otros trabajos de la autora concebidos a partir de la idea de placer, así como algunos datos sobre la anatomía del placer sexual femenino. En el ámbito específico de las Artes Escénicas, las referencias primordiales son las obras artísticas y académicas de Mônica Santana (2013; 2017; 2021) y de Janaina Leite (2014; 2019; 2021), que abordan las “escrituras de sí / escrituras de nosotras” y las “autoescrituras performativas”, además de otras autoras y artistas, todas mujeres, por elección y propósito. El estudio presenta, asimismo, la experiencia del desarrollo de un “Taller de gemidos, carcajadas y otros catalizadores de placer para mujeres”, que sirvió como fertilizante para las semillas de creación entre las participantes y también para la propia investigadora, en el proceso creativo de un solo escénico autoficcional. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação 2025-08-14T00:00:00Z