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Roteiro, Do Essencial UNIVERSIDADE DE SÃO PAULO – USP ESCOLA DE COMUNICAÇÕES E ARTES - ECA DEPARTAMENTO DE ARTES CÊNICAS PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS FÁBIO HENRIQUE NUNES MEDEIROS A arte da animação: intercruzamentos entre o teatro de formas animadas e o cinema de animação São Paulo - SP 2014 1 FÁBIO HENRIQUE NUNES MEDEIROS A arte da animação: intercruzamentos entre o teatro de formas animadas e o cinema de animação Tese apresentada ao Programa de Pós- graduação em Artes Cênicas da Escola de Comunicações e Artes da Universidade de São Paulo para a obtenção do título de Doutor em Artes Cênicas. Área de concentração: Teoria e prática do teatro Orientadora: Prof.ª Dr.ª Ana Maria de Abreu Amaral. São Paulo- SP 2014 2 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. 3 MEDEIROS, Fábio H. N. A arte da animação: intercruzamentos entre o teatro de formas animadas e o cinema de animação. Tese apresentada ao Programa de Pós- graduação em Artes Cênicas da Escola de Comunicações e Artes da Universidade de São Paulo para a obtenção do título de Doutor em Artes Cênicas. Aprovado em _____/____/_____ Banca Examinadora Prof.(ª) Dr.(ª)______________________________Instituição: _________________________ Julgamento: ______________________________ Assinatura: _________________________ Prof.(ª) Dr.(ª)______________________________Instituição: _________________________ Julgamento: ______________________________ Assinatura: _________________________ Prof.(ª) Dr.(ª)______________________________Instituição: _________________________ Julgamento: ______________________________ Assinatura: _________________________ Prof.(ª) Dr.(ª)______________________________Instituição: _________________________ Julgamento: ______________________________ Assinatura: _________________________ Prof.(ª) Dr.(ª)______________________________Instituição: _________________________ Julgamento: ______________________________ Assinatura: _________________________ 4 Dedico à minha maravilhosa mãe Cleide Nunes Medeiros, a Maurício Biscaia Veiga e à Ana Maria Amaral. E aos personagens que tocaram minha alma e seus respectivos autores: Emília (Monteiro Lobato), Emily e Edward Mãos de Tesouras (Tim Burton), Dory (Procurando Nemo - Disney e Pixar), Topo Gigio (Maria Perego), Amélie Poulain (Jean-Pierre Jeunet), Robertinho (Princípio do Espanto - João Araújo), Ofélia (Michael Ende), Menino (Abril despedaçado - Walter Salles). 5 AGRADECIMENTOS Ao Programa de Pós-Graduação em Artes Cênicas da Escola de Comunicação e Artes (ECA) da Universidade de São Paulo - USP. À FAPESP (Fundação de Amparo à Pesquisa do Estado de São Paulo), por ter me concedido bolsa de estudos durante a maior parte do curso, possibilitando assim dedicação integral à pesquisa, bem como a pesquisa de campo. À professora-orientadora-amiga Ana Maria Amaral, pela confiança depositada em mim, por sua disposição, orientação e carinho. Aos professores das disciplinas cursadas, em especial: Atílio Avancini, Béatrice Picon-Vallin e Arlindo Ribeiro Machado Neto. Aos professores Felisberto Sabino Costa e Sérgio Nesteriuk, por suas observações e contribuições na banca de qualificação. Ao Maurício Biscaia Veiga, pela dedicação, companheirismo, paciência, carinho e pelas horas e horas de disponibilidade. À minha família, em especial minha mãe Cleide Nunes (luz do meu caminho) que, mesmo não entendendo o que tudo isso represente, canalizou muita força para a realização, aos meus irmãos (Fred, Carla e Faustinho) e a minha tia Cleride, presença ativa desde os meus primeiros dias de vida, dizendo: vai em frente! À amiga-conselheira Taiza Mara Rauen Moraes, pela força de formiga que move montanhas, que sempre me apoia com carinho, e com quem me encontrei espiritualmente. Aos meus amigos/irmãos: Andréa Malena, Ana Rocha, Ângela Finardi, Soninha Biscaia, Chero, Patrícia Constâncio, Sandro Sales, Giselli Lins, Irene, Marli Mendes e minhas mães postiças Cléa Presbítero e Mãe Ervi. A Celinha e Joãozinho, pelo carinho e força espiritual. A minha amiga/irmã Claudia Deubler (Claudi), por todo seu carinho e por me receber em sua casa em Berlin. À secretaria do Programa, sempre disposta a sanar as dúvidas e atender as necessidades administrativas. A todos que contribuíram direta e indiretamente: Claudiane Carvalho, Vitor Borysow, Emerson Cardoso, Cássia Macieira, Sandrinha (PPGT-UDESC), Mário Pirangibe, Marcuti, Marcelo (Milk), Igor de Almeida, Luciano de Oliveira, Jordan Vieira, Dea Paris, Leonel, Nabil de Tormes, Marcelle Coelho, Carol Spieker, Neusa Philippsen, Marcela Girotto, Sasha Lavratti, Emerson e Alexandra Lavratti, Dinho Del Puente, Maira, Almir Ribeiro, Alex de Souza, Juliana Pedreira, Marcelo Lafontana, Cássio Correia, Níni Beltrame, Verinha, Wânia Karolis, Vilani, entre outros. Aos novos amigos que me receberam carinhosamente em suas casas em suas respectivas cidades durante minha estadia na Europa: Marina Fridman (Tübingen), Rosário (Milão), Erwin e Andy (Zurique), em especial Nayra (Londres), Jean Villemin (Charleville- Mézières), Alexander Bodenstein (Goslar), Jirko Michalski e Torsten (Hamburg). Ao grupo de estudos sobre processos de animação contemporânea que participei: Christiane de Fátima Martins, Ipojucan Pereira e Oscar Goldszmidt. Ao Prof. João Paulo Schlittler Amaral, do departamento de audiovisual que me recebeu e assessorou no estágio docente (PAE) na disciplina de graduação Grafismo Eletrônico. Ao Zdar Sorm (ministrante que trabalhou no estúdio de filmes animados de Jirí Trnka, no Estúdio Barrandov de Praga, por vinte anos) e Mirek Trejtnar (organizador), por concederem minha participação como ouvinte no Workshop de bonecos para cinema de animação - Praga - República Tcheca, e pela disposição em tirar minhas dúvidas. 6 À Dr.ª Evamarie Blattner, do Stadtmuseum Tübingen, em Tübingen, Alemanha, que aceitou supervisionar minhas atividades de pesquisa na Instituição e possibilitou a consulta no Arquivo de Lotte Reiniger, também na cidade. À Dr.ª Raphaèle Fleury e sua equipe, pela assistência na consulta no acervo do Institut International de la Marionnette - Charleville-Mézières - França. A Michel Ocelot, que abriu as portas de sua casa-estúdio (Stúdio O), em Paris, me recebendo com muita simpatia e simplicidade, me concedendo uma entrevista, mostrando suas silhuetas e personagens e fazendo demonstrações de sua animação e processos artísticos. Ao Museum Für film und Fernsehen (Museu do filme e televisão - Cinemateca Alemã) - Berlin - Alemanha, que promoveu a exposição 40 Jahre Sesamstrasse (40 anos de Vila Sésamo). À curadoria e equipe da exposição de Jan Svankmajer na Galerie Hlavního Mesta Prahy - Praga - República Tcheca, pela produção que se deu de uma forma completa e pela assistência. A Jean-Jacques Lemêtre, por ter ministrado o curso O corpo musical no teatro, na USP - Universidade de São Paulo. Aos grupos que fazem parte do estudo de caso, em especial, Cia PeQuod - teatro de animação e Cia teatro Lumbra de animação. A Miguel Vellinho, pela concessão da entrevista, gentileza e disposição em me atender sempre. A Alexandre Fávero, pela concessão da entrevista, gentileza e disposição em sempre me atender, me permitindo conhecer seu espaço em Viamão - RS, a assistir de forma privilegiada algumas de suas apresentações e workshop, além de inúmeras vezes que nos cruzamos em festivais e eventos e conversamos sobre estética e outras coisas. A Guilherme Marcondes pela concessão da entrevista e Stephen Mottram (UK), que, além da entrevista concedida, gentilmente trocou outras informações por email. Ao grupo Giramundo Teatro de Bonecos, em especial a Ulisses Tavares e Marcos Malafaia. Aos anônimos e não, que postam vídeos no YOUTUBE e similares, especialmente com informações corretas, possibilitando que raridades sejam pulverizadas na rede. Aos meus colegas de turmas, pelo companheirismo. A todos os amigos e parentes que passaram por mim nesta etapa. Enfim, a todas as pessoas e instituições que, de alguma forma, contribuíram para o desenvolvimento deste trabalho. 7 RESUMO MEDEIROS, Fábio H. N. A arte da animação: intercruzamentos entre o teatro de formas animadas e o cinema de animação. 2014. 446p. Tese (Doutorado) - Programa de Pós-graduação em Artes Cênicas da Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo, 2014. Esta pesquisa se propõe a analisar os intercruzamentos entre o teatro de formas animadas e o cinema de animação por meio de suas conjecturas históricas, estéticas e operacionais, partindo do pressuposto de que as duas linguagens têm nas suas gêneses a anima. Para tal, foi realizado um mapeamento histórico e conceitual das duas linguagens, investigando os fatores que as bifurcam, as afastam e as imbricam, especialmente, por meio de uma amostragem de práticas artísticas do teatro de formas animadas, do cinema de animação e de modalidades identificadas como convergentes para o objeto, tais como os autômatos, tecnologias e virtualidade. Por uma questão metodológica da característica interdisciplinar do objeto e de sua extensão, fez-se necessário um recorte que parte do macro para o micro, elegendo uma amostragem que contempla o tripé conceitual, histórico e estético. Devido à área de cobertura do campo do objeto, a pesquisa aborda várias vertentes de conhecimentos vernaculares e atuais, teóricos e práticos, num movimento recorrentemente pendular. Assim, apresenta uma amostragem que teve como critério artistas de excelência que convergem para o objeto, entre eles: Lotte Reiniger,
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