Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuator

Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuator

Built as a cartographic report, this article aims to give insight to the practical and conceptual procedures carried out during the research process that culminated in the scenic and musical creation of the show Uji – O Bom da Roda. Based on the cartographic method, we focus on encounters and contam...

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Bibliographic Details
Main Author: Eduardo Conegundes Souza
Format: Article
Language:English
Published: Universidade Federal do Rio Grande do Sul 2021-06-01
Series:Revista Brasileira de Estudos da Presença
Subjects:
corporeal mimesis
music
presence
cartography
actor dramaturgy.
Online Access:https://www.seer.ufrgs.br/presenca/article/view/113545
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spelling doaj-06912f9880994535a8b0532ccdc6387d2021-09-14T17:00:20ZengUniversidade Federal do Rio Grande do SulRevista Brasileira de Estudos da Presença2237-26602021-06-01113013247404Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuatorEduardo Conegundes Souza0Universidade Federal de São CarlosBuilt as a cartographic report, this article aims to give insight to the practical and conceptual procedures carried out during the research process that culminated in the scenic and musical creation of the show Uji – O Bom da Roda. Based on the cartographic method, we focus on encounters and contaminations produced between the theatrical universe and the roda de samba (samba circle) in its multiple expressive dimensions. Within a territory of creative frictions, Corporeal Mimesis presented itself as a fundamental element of articulation between music, body, scene and dramaturgy.https://www.seer.ufrgs.br/presenca/article/view/113545corporeal mimesismusicpresencecartographyactor dramaturgy.
collection DOAJ
language English
format Article
sources DOAJ
author Eduardo Conegundes Souza
spellingShingle Eduardo Conegundes Souza
Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuator
Revista Brasileira de Estudos da Presença
corporeal mimesis
music
presence
cartography
actor dramaturgy.
author_facet Eduardo Conegundes Souza
author_sort Eduardo Conegundes Souza
title Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuator
title_short Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuator
title_full Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuator
title_fullStr Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuator
title_full_unstemmed Music and Corporeal Mimesis: creative frictions for the dramaturgy of the musician-actuator
title_sort music and corporeal mimesis: creative frictions for the dramaturgy of the musician-actuator
publisher Universidade Federal do Rio Grande do Sul
series Revista Brasileira de Estudos da Presença
issn 2237-2660
publishDate 2021-06-01
description Built as a cartographic report, this article aims to give insight to the practical and conceptual procedures carried out during the research process that culminated in the scenic and musical creation of the show Uji – O Bom da Roda. Based on the cartographic method, we focus on encounters and contaminations produced between the theatrical universe and the roda de samba (samba circle) in its multiple expressive dimensions. Within a territory of creative frictions, Corporeal Mimesis presented itself as a fundamental element of articulation between music, body, scene and dramaturgy.
topic corporeal mimesis
music
presence
cartography
actor dramaturgy.
url https://www.seer.ufrgs.br/presenca/article/view/113545
work_keys_str_mv AT eduardoconegundessouza musicandcorporealmimesiscreativefrictionsforthedramaturgyofthemusicianactuator
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