{"id":1415,"date":"2021-06-17T07:00:00","date_gmt":"2021-06-17T10:00:00","guid":{"rendered":"https:\/\/bibliotecadesigncenico.ct.utfpr.edu.br\/?p=1415"},"modified":"2021-06-16T16:05:13","modified_gmt":"2021-06-16T19:05:13","slug":"para-evitar-o-costume-figurino-dramaturgia","status":"publish","type":"post","link":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/?p=1415","title":{"rendered":"PARA EVITAR O \u201cCOSTUME\u201d: FIGURINO-DRAMATURGIA"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"1415\" class=\"elementor elementor-1415\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-b429a5b elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"b429a5b\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-046ea30\" data-id=\"046ea30\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-216c64f elementor-widget elementor-widget-text-editor\" data-id=\"216c64f\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span data-sheets-value=\"{&quot;1&quot;:2,&quot;2&quot;:&quot;SILVA, Amabilis de Jesus da. PARA EVITAR O \u201cCOSTUME\u201d: FIGURINO-DRAMATURGIA. Disserta\u00e7\u00e3o (Mestrado em Teatro) - UDESC, 2005.&quot;}\" data-sheets-userformat=\"{&quot;2&quot;:7073,&quot;3&quot;:{&quot;1&quot;:0},&quot;8&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:{&quot;1&quot;:0}},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;10&quot;:2,&quot;11&quot;:0,&quot;12&quot;:0,&quot;14&quot;:[null,2,2575891],&quot;15&quot;:&quot;Arial&quot;}\">SILVA, Amabilis de Jesus da. <strong>PARA EVITAR O \u201cCOSTUME\u201d: FIGURINO-DRAMATURGIA<\/strong>. Disserta\u00e7\u00e3o (Mestrado em Teatro) &#8211; UDESC, 2005.<\/span><\/p><p>Palavras-chave: <span data-sheets-value=\"{&quot;1&quot;:2,&quot;2&quot;:&quot;Fun\u00e7\u00f5es do figurino; Dramaturgia n\u00e3o textual. Interdisciplinaridade. Interfaces.&quot;}\" data-sheets-userformat=\"{&quot;2&quot;:7101,&quot;3&quot;:{&quot;1&quot;:0},&quot;5&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;6&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;7&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;8&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;10&quot;:2,&quot;11&quot;:0,&quot;12&quot;:0,&quot;14&quot;:{&quot;1&quot;:3,&quot;3&quot;:1},&quot;15&quot;:&quot;Arial&quot;}\">Fun\u00e7\u00f5es do figurino; Dramaturgia n\u00e3o textual. Interdisciplinaridade. Interfaces.<\/span><\/p><p>Resumo: <span data-sheets-value=\"{&quot;1&quot;:2,&quot;2&quot;:&quot;O objetivo da pesquisa foi reconhecer as diferentes fun\u00e7\u00f5es do figurino teatral ultrapassando a ideia de figurino como caracterizxa\u00e7\u00e3o do personagem e buscando na cena contemporanea amostras onde adquire uma funcao de colaborador da dramaturgia. O texto est\u00e1 estruturado em tres capitulos. O primeiro trata do figurina na encena\u00e7\u00e3o e estudos de Appia, Craig, Meyerhold, Schlemmer e Artaud, resaltando as fun\u00e7\u00f5es do figurino como espa\u00e7o substituindo o corpo do ator as proteses e a nudez como figurino e a materia do figurino como discurso. O segundo contempla estas mesmas fun\u00e7\u00f5es do figurino em v\u00e1rias tend\u00eancias artisticas. O terceiro analisa o papel desempenhado pelo figurino em tr\u00eas motagens brasileiras Hamlet (2000) de Luciana Raitani, Foi Carmem Miranda (2005) de Antunes Filho e Limite (2005) de Natalia Lorda.&quot;}\" data-sheets-userformat=\"{&quot;2&quot;:572,&quot;5&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;6&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;7&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;8&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;12&quot;:0}\">O objetivo da pesquisa foi reconhecer as diferentes fun\u00e7\u00f5es do figurino teatral ultrapassando a ideia de figurino como caracterizxa\u00e7\u00e3o do personagem e buscando na cena contemporanea amostras onde adquire uma funcao de colaborador da dramaturgia. O texto est\u00e1 estruturado em tres capitulos. O primeiro trata do figurina na encena\u00e7\u00e3o e estudos de Appia, Craig, Meyerhold, Schlemmer e Artaud, resaltando as fun\u00e7\u00f5es do figurino como espa\u00e7o substituindo o corpo do ator as proteses e a nudez como figurino e a materia do figurino como discurso. O segundo contempla estas mesmas fun\u00e7\u00f5es do figurino em v\u00e1rias tend\u00eancias artisticas. O terceiro analisa o papel desempenhado pelo figurino em tr\u00eas motagens brasileiras Hamlet (2000) de Luciana Raitani, Foi Carmem Miranda (2005) de Antunes Filho e Limite (2005) de Natalia Lorda.<\/span><\/p><p>Link: <a href=\"https:\/\/sistemabu.udesc.br\/pergamumweb\/vinculos\/000070\/00007026.pdf\">https:\/\/sistemabu.udesc.br\/pergamumweb\/vinculos\/000070\/00007026.pdf<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>SILVA, Amabilis de Jesus da. PARA EVITAR O \u201cCOSTUME\u201d: FIGURINO-DRAMATURGIA. Disserta\u00e7\u00e3o (Mestrado em Teatro) &#8211; UDESC, 2005. Palavras-chave: Fun\u00e7\u00f5es do figurino; Dramaturgia n\u00e3o textual. Interdisciplinaridade. Interfaces. Resumo: O objetivo da pesquisa foi reconhecer as diferentes fun\u00e7\u00f5es do figurino teatral ultrapassando &hellip; <a href=\"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/?p=1415\">Continue lendo <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[374,373,375,376],"class_list":["post-1415","post","type-post","status-publish","format-standard","hentry","category-figurino","tag-dramaturgia-nao-textual","tag-funcoes-do-figurino","tag-interdisciplinaridade","tag-interfaces"],"_links":{"self":[{"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/posts\/1415","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1415"}],"version-history":[{"count":4,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/posts\/1415\/revisions"}],"predecessor-version":[{"id":1419,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/posts\/1415\/revisions\/1419"}],"wp:attachment":[{"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1415"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1415"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1415"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}