A cena performativa nua: uma perspectiva de gênero
| Ano de defesa: | 2022 |
|---|---|
| Autor(a) principal: | |
| Orientador(a): | |
| Banca de defesa: | |
| Tipo de documento: | Dissertação |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Universidade Federal de Minas Gerais
|
| Programa de Pós-Graduação: |
Não Informado pela instituição
|
| Departamento: |
Não Informado pela instituição
|
| País: |
Não Informado pela instituição
|
| Palavras-chave em Português: | |
| Link de acesso: | https://hdl.handle.net/1843/59179 |
Resumo: | The present study seeks to investigate nudity in contemporary, scenic and performative works, authored by women and non-binary people. In order to reflect on the ways in which the naked body is presented, the construction of female representations in theatrical performances and in Brazilian television and cinematographic media is resorted to, taking heed to feminist criticisms about the objectification and docility of the image of women. Starting from the profound artistic transformations of the 20th century and the centrality of the body in artistic creation, this research locates in the attributes of performance art opportunities for the creation of other imagery narratives, in line with the transfigurations of the notion of gender, which is so effervescent today. Perceiving the performative scene as a profanatory space of the established social dynamics, with a misogynist and arbitrary character, works that elaborate the image of the body as a confrontation and questioning resource about gender relations are discussed. To this end, this study utilizes a bibliographic review on nudity, a critical reflection of works from the performative scene in Belo Horizonte between 2012 and 2020 and a presentation of practical developments of the author's creation, impacted and guided by that. |
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2023-10-05T11:24:53Z2025-09-08T23:05:28Z2023-10-05T11:24:53Z2022-08-29https://hdl.handle.net/1843/59179The present study seeks to investigate nudity in contemporary, scenic and performative works, authored by women and non-binary people. In order to reflect on the ways in which the naked body is presented, the construction of female representations in theatrical performances and in Brazilian television and cinematographic media is resorted to, taking heed to feminist criticisms about the objectification and docility of the image of women. Starting from the profound artistic transformations of the 20th century and the centrality of the body in artistic creation, this research locates in the attributes of performance art opportunities for the creation of other imagery narratives, in line with the transfigurations of the notion of gender, which is so effervescent today. Perceiving the performative scene as a profanatory space of the established social dynamics, with a misogynist and arbitrary character, works that elaborate the image of the body as a confrontation and questioning resource about gender relations are discussed. To this end, this study utilizes a bibliographic review on nudity, a critical reflection of works from the performative scene in Belo Horizonte between 2012 and 2020 and a presentation of practical developments of the author's creation, impacted and guided by that.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorporUniversidade Federal de Minas GeraisNudezAtuação performativaArte da performancePerformatividade de gêneroArte feministaNudezPerformance (Arte)Relações de gêneroCritica de arte feministaA cena performativa nua: uma perspectiva de gêneroinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisMariana Teixeira de Paulainfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGhttp://lattes.cnpq.br/6796087295533408Maria Beatriz Braga Mendonçahttp://lattes.cnpq.br/9423809653679928Maria Brígida de MirandaLúcia Regina Vieira RomanoO presente estudo busca investigar a nudez em trabalhos contemporâneos, cênicos e performativos, de autoria de mulheres e pessoas não binárias. Para refletir sobre os caminhos de apresentação do corpo despido, recorre-se à construção de representações femininas em atuações teatrais e em mídias televisivas e cinematográficas brasileiras, atentando-se às críticas feministas sobre a objetificação e docilização da imagem da mulher. Partindo das profundas transformações artísticas do século XX e da centralidade do corpo na criação artística, essa dissertação localiza nos atributos da arte da performance oportunidades para a criação de outras narrativas imagéticas, consonantes com as transfigurações da noção de gênero, tão efervescente na atualidade. Percebendo a cena performativa como espaço profanatório das dinâmicas sociais estabelecidas, de caráter misógino e arbitrário, discute-se trabalhos que elaboram a imagem do corpo como recurso de confronto e questionamento acerca das relações de gênero. Para tal, utiliza-se revisão bibliográfica sobre nudez, reflexão crítica de trabalhos da cena performativa de Belo Horizonte entre 2012 e 2020 e apresentação de desdobramentos práticos de criação da autora por isso impactado e orientado.https://orcid.org/0000-0002-1149-6385BrasilEBA - ESCOLA DE BELAS ARTESPrograma de Pós-Graduação em ArtesUFMGORIGINALDISSERTAÇÃO Mariana Teixeira.pdfapplication/pdf29602912https://repositorio.ufmg.br//bitstreams/1c22ad4b-7086-49d1-8e5a-7bdba7f971e3/download91fea86b88e8a133c95d584f146f40b0MD51trueAnonymousREADLICENSElicense.txttext/plain2118https://repositorio.ufmg.br//bitstreams/cd3c6152-0822-42ca-997e-07d3f694ff57/downloadcda590c95a0b51b4d15f60c9642ca272MD52falseAnonymousREAD1843/591792025-09-08 20:05:28.362open.accessoai:repositorio.ufmg.br:1843/59179https://repositorio.ufmg.br/Repositório InstitucionalPUBhttps://repositorio.ufmg.br/oairepositorio@ufmg.bropendoar:2025-09-08T23:05:28Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)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 |
| dc.title.none.fl_str_mv |
A cena performativa nua: uma perspectiva de gênero |
| title |
A cena performativa nua: uma perspectiva de gênero |
| spellingShingle |
A cena performativa nua: uma perspectiva de gênero Mariana Teixeira de Paula Nudez Performance (Arte) Relações de gênero Critica de arte feminista Nudez Atuação performativa Arte da performance Performatividade de gênero Arte feminista |
| title_short |
A cena performativa nua: uma perspectiva de gênero |
| title_full |
A cena performativa nua: uma perspectiva de gênero |
| title_fullStr |
A cena performativa nua: uma perspectiva de gênero |
| title_full_unstemmed |
A cena performativa nua: uma perspectiva de gênero |
| title_sort |
A cena performativa nua: uma perspectiva de gênero |
| author |
Mariana Teixeira de Paula |
| author_facet |
Mariana Teixeira de Paula |
| author_role |
author |
| dc.contributor.author.fl_str_mv |
Mariana Teixeira de Paula |
| dc.subject.por.fl_str_mv |
Nudez Performance (Arte) Relações de gênero Critica de arte feminista |
| topic |
Nudez Performance (Arte) Relações de gênero Critica de arte feminista Nudez Atuação performativa Arte da performance Performatividade de gênero Arte feminista |
| dc.subject.other.none.fl_str_mv |
Nudez Atuação performativa Arte da performance Performatividade de gênero Arte feminista |
| description |
The present study seeks to investigate nudity in contemporary, scenic and performative works, authored by women and non-binary people. In order to reflect on the ways in which the naked body is presented, the construction of female representations in theatrical performances and in Brazilian television and cinematographic media is resorted to, taking heed to feminist criticisms about the objectification and docility of the image of women. Starting from the profound artistic transformations of the 20th century and the centrality of the body in artistic creation, this research locates in the attributes of performance art opportunities for the creation of other imagery narratives, in line with the transfigurations of the notion of gender, which is so effervescent today. Perceiving the performative scene as a profanatory space of the established social dynamics, with a misogynist and arbitrary character, works that elaborate the image of the body as a confrontation and questioning resource about gender relations are discussed. To this end, this study utilizes a bibliographic review on nudity, a critical reflection of works from the performative scene in Belo Horizonte between 2012 and 2020 and a presentation of practical developments of the author's creation, impacted and guided by that. |
| publishDate |
2022 |
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2022-08-29 |
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2023-10-05T11:24:53Z 2025-09-08T23:05:28Z |
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2023-10-05T11:24:53Z |
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info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/masterThesis |
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https://hdl.handle.net/1843/59179 |
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por |
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Universidade Federal de Minas Gerais |
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Universidade Federal de Minas Gerais |
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