Imagens em fluxo: uma perspectiva da videodança
The present work introduces a construction of a videodance, having as reference the two books of the philosopher and poet Gaston Bachelard: The Poetics of Space and Water and Dreams: Essay on the Imagination of Matter. The latter, in turn, constitutes the movement of the body and the language of imp...
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| Formato: | bachelorThesis |
| Idioma: | pt_BR |
| Publicado em: |
Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/34494 |
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| Resumo: | The present work introduces a construction of a videodance, having as reference the two books of the philosopher and poet Gaston Bachelard: The Poetics of Space and Water and Dreams: Essay on the Imagination of Matter. The latter, in turn, constitutes the movement of the body and the language of improvisation in interface with the camera of the smartphone, in an alternative movement of the imagination in the capture of the images in flow. Thus, we will have the process of obtaining the result of the research that will be composed by two videodance: Hidromancia and Corpo Onírico. The production of flowing images in the perspective of videodance, the development of a bioethical interface between the gaze and the screen of the cellular that dances in the flow of movement of the body. The camera is not only a recording material, it does a dialogue during the process of recording and editing images, poetically, an interdisciplinary relationship and expression as a means of communication, between dance and technology. Using cellular protocol as a means of artistic registration. This content is this the imaginary, sygnicians and esthetic in spaces, and the body of the entertainment of interest in Brazil. Relating time-space-improvisation during the filming process, a relationship existed between the bodies of the videomaker and the performers, recording a unique movement in space. This work is of an experimental nature that, using avant-garde reference, uses two films from the literature like Maya Deren (1917; 1961), for the processes of image editing, in the time-space relation for linear narratives. Guided by three dimensions of Professor Guilherme Schulze (UFPB, 2010): a primary dimension for the body and for the body, in addition to any other aspect visibly perceived in a state of dance; the secondary dimension is perceived by means of the material captured in different cinematographic planes or videos for the camera, including plans and sequences, in order to show the main movements of the primary word; the tertiary refers to the visual structure created after a capture during editing and other post-production transformations. |
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