Research Topics and Program
• Graduate Program in Performing Arts
• Offered Courses and Professional Profile
• Research Topics and Program
• Program Professors
• Curriculum and Requiriments for Title
The Performing Arts Graduate Program/UNICAMP was created with three research topics: (i) Techniques and Training Processes for the Performing Artist; (ii) Poetic Languages of Performing Arts; (iii) Art and Context, which operate transversely establishing a dialogue between dance, performance and theater in a radial structure, having the subject – body on stage – as the center, forming and being constituted by the language that it radiates and that circumscribes the poetic scene. Both – poetics and subject – generated and are engendered in the vast fabric of cultures, seen as contexts, and do from research in the field of technique that lead to the formation of the performing artist as a thinking, dancing, acting being, in which the social context is reflected and where they, ir order to produce art, are also reflected.
Thus, the program’s research topics were designed from three axes: the “artist-subject” axis, which structures the Techniques and Training Processes for the Performing Artist topic; the “artistin-the-scene” axis, which structures the Poetic Languages of the Performing Arts topic; and the “artist-inworld,” axis, which structures the Art and Context topic. With this structure, the Program aims to provide a link between the territoriality of knowledge and research, thereby providing a space where interdisciplinarity can be combined from the “heart of the matter” of each area. Most of our professors are able to steer projects in at least two of these three topics, which are not mutually exclusive; but grouped in research topics as their most significant contributions at some point of their artistic and academic trajectories. So the program proposes a transversal perspective, not vertical, to the understanding of the research topics.
Research topic: “Techniques and Training Processes for the Performing Artist”
It houses the theoretical research and practical-theoretical research of training processes, techniques, systems, methods, training, exercises, proposals for training / learning and research of the performing arts, to act as knowledge and practices produced in the area, in constant dialogue with other fields of knowledge, which feed themselves and are reworked in artistic action and thought. The techniques and training processes line also comprises the teaching of surveyed arts, as the technical concept itself assumes transformation of the self, sometimes mediated by a master or scenic director. The studies of the training, technical and experimental procedures of actors, dancers and performers can also involve the questioning of the world views underlying it, as well as the historical transformations of the very meaning of artistic activity.
Research topic: “Poetic Languages of the Performing Arts”
Houses investigations aimed at building process languages that are configured in shows, works, interventions, performing actions and experiments. It covers studies and analysis of works and procedures of artists, through which it discussions and scenic and performative proposed languages originate. It includes both traditional research matrices and its changes in time and space as the research procedures break with aesthetic models established in solely theoretical and practicaltheoretical approaches.
Research topic: “Art and Context”
It covers theoretical and theoretical-practical issues relating to artistic processes and their broader contextual inserts, linking the scenic phenomenon in its various dimensions. Turns to the investigation of the connections between artistic activity and cultural, social, political, pedagogical, historical, anthropological and philosophical settings, by mapping and analyzing its tensions, changes, developments and cross-contaminations. It seeks to detect emerging sense of scenic creation in new contexts, mobilizing and articulating theoretical resources that can realize other configurations and art performance modes in society. It is noteworthy that, considering the transversality among the program’s research topics, the “artist-in-the-world” axis does not disconnect artistic theory from artistic praxis; the Art and Context topic, therefore, is not intended to be a Sociology, Pedagogy, Philosophy, Anthropology or History topic, but it turns itself to the dialog among these areas with the knowledge of the artistic experience.
For information about research groups, check the video below: