Indian Rechearchers visiting: Arts Institut post-graduate from UNICAMP, actions in Ar Cênico group and activities in gradation program of Arts Institut, Anhembi Morumbi dance course and Dança Vocacional program-SP

• Grant number: 10/08081-1
• Support Opportunities: Research Grants - Visiting Researcher Grant - International
• Duration: October 06, 2010 - December 09, 2010
• Field of knowledge: Linguistics, Literature and Arts - Arts - Dance
• Principal Investigator: Marilia Vieira Soares
• Grantee: Marilia Vieira Soares
• Visiting researcher: Manoranjan Pradhan
• Visiting researcher institution: Guru Gangadhar Pradhan Foundation (GGPF), India
• Host Institution: Instituto de Artes (IA). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil

Abstract

Researchers Visitors Visit: Guru Manoranjan Pradhan and Pradhan Minato. ABSTRACT AIM GROUP AIR and Performing Arts: The present work aims to continue the research Energy Method of Theatre Managers of Prof. Dr. Silveira Miroel Energy and Technology focusing on the study of poetic expressiveness of gesture and body work on specific shoulder girdle, ie, arms, hands, neck and face including the study of vocal expression, therefore, a detailed study of gestural human aesthetic applied to a product of dance theater. For so much, based on the Technical Energy and the technical principles of the sport abinaya Indian dance style of Odissi, whose final product will be the assembly titled Nude Singularity: Interfaces between the Dance Theatre and playwright Nelson Rodrigues, Group Air Scenic (CNPq). The proponent also participates in the Research Group on Stage Censorship (CNPq) as a collaborator File Miroel Silveira, for which this research will support the construction of memory of the patron of this file. Awarded by FICC-Investment Fund Culture of Campinas and the MINC-Cultural Exchange in 2009 this assembly is the basis on which to perform my job Free Teaching forwarded along with this project to FAPESP. Are involved all group members, particularly the Scientific Initiation scholarship Fapesp Barbara de Paula Souza Malavoglia bharatnatyan dancer whose work is entitled Myths and Dances of India: A Rereading. About SpaIndia has an ancient tradition of many dance styles, the most notable being the Kathak in the West, Bharatha Natyan, Kathakali and Odissi. Each style has the forms: nritha, and nathyan abinaya, which are symbolic dance, pure dance and expressive dance, respectively. A complete show in India has three modes, the pure dance shows the beauty of execution, while the symbolic dance is a prayer that usually opens the show honoring the deity. Already expressive dance is something like dance theater in the West; account specifically a stretch of Indian mythology, and is what is called Abinaya. The deepening of this modality in the Odissi style is the goal of this study. The technical work is intimately connected to the pure expressivity of abinaya, so the 28 auctions simple (mudras) are part of everyday technical exercises (chowks and tribangs) and the 23 auctions compounds. That is, mudras are part of daily training included in the 10 chowks - drills yang or male, and 10 tribangs - drills yin or feminine. Better explaining the first favor the straight while the second highlights the spiral or sinuous movement of the trunk.The selection by the Odissi style took exactly this property that other styles do not have specific, which are imbued with gender relations in daily training, whose perspective of speech are amplified to the max. (Chowk: Straight = rational world; tribang = sub-atomic world, parallel universe, the infinite, the circular/spiral)Found on these basic exercises are training the 9 head movements, 4 neck, eight eyes and eight basic expressions of the face: power/strength, blessing/protection, anger, disgust, laughter, sadness, fear/apprehension and contemplation - called shallow. In Asian arts is the privilege of working on the trunk and head, hip and legs are the bases of support, unlike the West, which favors the legs. Such information may create the impression that they are not working feet, legs and hips, however, the groundwork to support the body is quite arduous, as well as training in general that includes the American modern dance called isolation. The feet and legs set the pace and the torso, arms and head (including eye movements) draw the line melodic and expressive. (AU)