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Universidade Estadual De Campinas Instituto De Artes UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES FRANCISCO CARNEIRO DA SILVA FILHO ACTING DO PERSONAGEM ANIMADO: EVOLUÇÃO, SINGULARIDADES E PLANEJAMENTO. CAMPINAS 2015 FRANCISCO CARNEIRO DA SILVA FILHO ACTING DO PERSONAGEM ANIMADO: EVOLUÇÃO, SINGULARIDADES E PLANEJAMENTO. Tese apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Artes. ÁREA DE CONCENTRAÇÃO: ARTES VISUAIS ORIENTADOR: HERMES RENATO HILDEBRAND ESTE EXEMPLAR CORRESPONDE À VERSÃO FINAL DA TESE DEFENDIDA PELO ALUNO FRANCISCO CARNEIRO DA SILVA FILHO, E ORIENTADO PELO PROF. DR. HERMES RENATO HILDEBRAND. CAMPINAS 2015 Dedico este trabalho a todos os idosos, cujas vidas seguem na convivência involuntária com o Mal de Alzheimer. E, em especial, a meu pai (93 anos) e à minha mãe (87 anos) que, mesmo enfrentando tal patologia, sei que, no fundo, sempre dividiram comigo, o sonho deste trabalho de doutorado ser concluído. AGRADECIMENTOS A Deus A meu pai e minha mãe, meu porto seguro, sempre; À Raquel, minha amada esposa, confidente e companheira; Aos meus filhos e filhas, minha eterna “torcida organizada”; Ao meu irmão Paulo, pelo carinho de sempre; Ao orientador e amigo Prof. Dr. Hermes Renato Hildebrand e família; À Universidade Federal do Amazonas – UFAM e ao Depto. de Artes; À Fundação de Amparo à Pesquisa da Amazônia – FAPEAM; À Universidade Estadual de Campinas – UNICAMP; Às cuidadoras de meu pai e de minha mãe, que me ajudam a ajudá-los; RESUMO A pesquisa “Acting do personagem animado: evolução, singularidades e planejamento” tem o intuito de examinar a utilização de parâmetros teóricos como referenciais para o planejamento da atuação do personagem em cinema de animação, apoiada em estudos que trabalhem o diálogo do personagem com seu público, sempre em busca de critérios que potencializem aspectos de popularização, empatia e identificação. Para isso, a presente pesquisa almeja assumir uma postura de fonte didático-pedagógica de informações e objetiva desenvolver estudos sobre o processo de produção e gerenciamento do planejamento de um personagem animado e explorar as conexões entre pensamento, emoção e movimento e como estão relacionadas ao seu modo de atuação. Assim, partindo de procedimentos técnicos de coleta e análise de dados oriundos do ambiente do mundo real, o presente trabalho assumiu um delineamento de pesquisa bibliográfica de onde extraímos o afunilamento necessário para atingir nossas constatações mais especificas sobre o acting em animação, através de um raciocínio indutivo, onde a generalização deriva de casos da realidade concreta. Desta forma, as constatações particulares do mundo real nos levaram à elaboração de generalizações preliminares que buscam propor o início de um processo de teorização da atuação de um personagem de animação. Palavras-chave: Arte; animação; acting; cinema; empatia. ABSTRACT The search for "Acting of the animated character: evolution, singularities and planning" aims to examine the use of theoretical parameters as reference for planning the character's actions in animated film, based on studies that the work character dialogue with your audience, always in search of criteria that enhance aspects of popularization, empathy and identification. For this, the present study aims to take a didactic-pedagogical source position information and aims to develop studies on the production process and management planning an animated character and explore the connections between thought, emotion and movement and how they are related to your performance mode. Thus, based on technical procedures for data collection and analysis derived from the real-world environment, this work took on a bibliographic research design, from which we extract the bottleneck necessary to achieve our most specific findings about the acting in animation, through a inductive reasoning, where the generalization derived from cases of concrete reality. Thus, the particular findings of the real world in have produced preliminary generalizations seeking propose the beginning of a process of theorization of the action of an animated character. Key words: Art; animation; acting; cinema; empathy. Lista de ilustrações FIG. 1 - CENA DA PROTOANIMAÇÃO AUTOUR D’UNE CABINE (1894). ....................................... 33 FIG. 2 - CENAS DOS CLIPS, HUNTER DE PAUL WHITE (1998) E ALL IS FULL OF LOVE DE CHRIS CUNNINGHAM (1999), RESPECTIVAMENTE.................................................................. 36 FIG. 3 – QUADRO COM REPETIÇÃO DO TIPO LINHA CINÉTICA NO DESENHO DO GUARDA- CHUVA. ................................................................................................................................................. 42 FIG. 4 – EPISÓDIO DE LITTLE NEMO IN SLUMBERLAND, DE WINSOR MCCAY, 1-12-1907, NEW YORK HERALD. ................................................................................................................................... 48 FIG. 5 – PERSONAGEM CAMINHANDO NAS PAREDES DAS QUADRÍCULAS DE MIDSUMMER DAY DREAMS, WINSOR MCCAY (1910). ...................................................................................... 49 FIG. 6 – BANDA DESENHADA DE CHRISTOPHE, “HISTOIRE SANS PAROLES-UN ................... 52 FIG. 7 - FILME ARROSEUR ET ARROSÉ (1895), DOS IRMÃOS LUMIÈRE. ................................... 53 FIG. 8 – DESENHO DA GARRAFA E TAÇA QUE SE TORNAM OBJETOS REAIS. ....................... 57 FIG. 9 - ATUAÇÃO DO PERSONAGEM, QUE REAGE AO CONSUMIR A BEBIDA. ...................... 58 FIG. 10 - ACTING DO PERSONAGEM EM MOMENTO RESPECTIVO, DE IRRITAÇÃO E CONTENTAMENTO, ATRAVÉS DE SUA EXPRESSÃO FACIAL. .............................................. 58 FIG. 11 – RUDIMENTOS DE ACTING DOS PERSONAGENS DE HUMOROUS PHASES OF FUNNY FACES EM CENAS DE CASAL (PRIMEIRO MOMENTO). .......................................................... 60 FIG. 12 – PERSONAGEM FAZENDO MALABARISMO COM O GUARDA-CHUVA. ....................... 61 FIG. 13 - ATUAÇÃO DOS PERSONAGENS EM CENAS DE CASAL (SEGUNDO MOMENTO). .. 62 FIG. 14 – CENA CIRCENSE, COM O PERSONAGEM OLHANDO PARA O PÚBLICO. ................. 63 FIG. 15 - CENAS INICIAIS DA COMPLEXA TRAMA DE FANTASMAGORIE. .................................. 66 FIG. 16 - COHL REJEITA MÉTODOS NORMAIS DE CONTAR UMA HISTÓRIA E EXPLORA A ESTÉTICA DO MOVIMENTO ENQUANTO ELEMENTO EXPRESSIVO. .................................. 67 FIG. 17 - NA CENA, A ANIMAÇÃO ROMPE COM O ESPAÇO DIEGÉTICO E PROCURA PELO ESPECTADOR. .................................................................................................................................... 68 FIG. 18 - PERSONAGEM SÓSIA DE “BIB”, MASCOTE GRÁFICO DA MICHELIN. ......................... 69 FIG. 19 - VERSÃO MODERNA DE "BIB". ................................................................................................ 69 FIG. 20 - CENAS COM O PEQUENO PALHAÇO APRESENTANDO RESPECTIVAMENTE, ÍNDICE DE TRISTEZA E ÍNDICE DE ALEGRIA E SATISFAÇÃO, ATRAVÉS DO FORMATO DA BOCA. ................................................................................................................................................................ 70 FIG. 21 - PERSONAGEM DE CARTUM POLÍTICO (RECORRENTE NOS PRIMEIROS ANOS DO SÉC. XX). .............................................................................................................................................. 74 FIG. 22 - PERSONAGEM DE HOW A MOSQUITO OPERATES (1912) ............................................ 74 FIG. 23 – CENAS DO PERSONAGEM QUE SOFRERÁ ATAQUES DO MOSQUITO. .................... 75 FIG. 24 - CENAS DE ATAQUE DO MOSQUITO, EM EXTREME CLOSE UP. .................................. 76 FIG. 25 - CENA DE PENETRAÇÃO DO PROBÓSCIDE DO MOSQUITO. ........................................ 78 FIG. 26 - OLHO HUMANO CORTADO COM NAVALHA EM UN CHIEN ANDALOU (1928). .......... 78 FIG. 27 - CENAS COM DISTORÇÃO DE ESCALA NO TAMANHO DO MOSQUITO. ..................... 78 FIG. 28 - MOSQUITO PRESTES A EXPLODIR POR INGESTÃO EXAGERADA DE SANGUE. ... 80 FIG. 29 - GERTIE CURVANDO-SE AO CUMPRIMENTAR O PÚBLICO ............................................ 82 FIG. 30 - INTERTÍTULO APRESENTADO ENTRE AS CENAS. .......................................................... 82 FIG. 31 - ATUAÇÃO DO PERSONAGEM SUGERINDO DIMENSÃO DE PESO. ............................. 83 FIG. 32 – CHORO APÓS REPREENSÃO. .............................................................................................. 84 FIG. 33 - HABILIDADE E DELICADEZA AO SE COÇAR. ..................................................................... 84 FIG. 34 - PERSONAGEM RECEBENDO ALIMENTO DOCILMENTE. ................................................ 85 FIG. 35 - PERSONAGEM EM CENA DE CONFLITO E DEMOSNTRAÇÃO DE PODER. ............... 85 FIG. 36 - BANDA DESENHADA DREAM OF THE RAREBIT FIEND, DE WINSOR MCCAY (COM PSEUDÔNIMO SILAS), PUBLICADA EM 04/03/1905. .................................................................. 86 FIG. 37 – TIRA DE QUADRINHOS COM A SERPENTE DO LAGO/1913. ......................................... 87 FIG. 38 – CENA COM A SERPENTE DO LAGO. ................................................................................... 87 FIG. 39 – EXEMPLO DO ESTILO RUBBER HOSE, COM O CORPO DO PERSONAGEM ESTICADO COMO BORRACHA. ........................................................................................................................... 94 FIG. 40 - PERSONAGEM GATO FELIX EM FELINE FOLLIES DE PAT SULLIVAN EM 1919. ...... 96 FIG. 41 – A CÂMERA DE MÚLTIPLOS PLANOS EM PLENA ATIVIDADE (1933). .......................
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