2026-09-172026-09-172026-07-07CUNHA, Kamilla Pavão. As contribuições do método gyrokinesis® para a percepção corporal na construção do clown. Orientadora: Rosana Lobo Rosário. 2026. 97 f. Trabalho de Curso (Licenciatura em Teatro) – Escola de Teatro e Dança, Instituto de Ciências da Arte, Universidade Federal do Pará, Belém, 2026. Disponível em: https://bdm.ufpa.br/handle/prefix/10213. Acesso em:.https://bdm.ufpa.br/handle/prefix/10213This research investigated the relationships between the Gyrokinesis® method, theatrical games, and clown language in the process of expanding body awareness among students in theatrical training. It was based on the understanding that scenic presence and the expressive states of the performer are directly related to attention and organization of the body at a pre expressive level, according to Barba (1994) and Burnier (1994). The study was developed through a qualitative approach, within an action-research framework, understanding the body as a site of knowledge production (Merleau-Ponty, 1999). The lived experience of the participants was valued, as well as their perceptions and subjective processes, considered fundamental for understanding artistic practice. The fieldwork was carried out through six in person sessions, in which Gyrokinesis® practices and theatrical games oriented toward clown training were articulated. The participants actively engaged in the research process, taking part in both the practical activities and the reflections developed throughout the study, in accordance with action research principles (Thiollent, 2013). Data were produced through field journals, audiovisual recordings, and participants’ reports, and were analyzed using Content Analysis as proposed by Bardin (2016). The study was also characterized as a bibliographic study, as it articulated theoretical references on somatic education, clown, and actor training. The results showed that the practices contributed to the expansion of body awareness, enhancing the perception of movement intention, the reorganization of breathing, and the development of states of greater physical and expressive availability. In the field of scenic creation, a greater openness to play, improvisation, and self-exposure was observed, especially in clown practices, in which experiences of expressive freedom, vulnerability, and presence emerged. It was concluded that the articulation between somatic practices and theatrical games configured a formative process that integrated perception, action, and creation, contributing to an expanded experience of the moving body in the theatrical context.Acesso AbertoPalhaço - Processo criativoCriação (Literária, artística etc.)Educação somáticaPercepção corporalClown - Creative ProcessCreation (literary, artistic, etc.)Somatic educationBody awarenessCNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATROTrabalho de Curso - Graduação - MonografiaAttribution 3.0 Brazil