Hasil untuk "Dramatic representation. The theater"

Sluchem Tavares Cherem

Trata-se de um artigo que discute o cenário atual do Circo Tradicional no estado do Rio de Janeiro, analisando as táticas e improvisações dos artistas como formas de sobrevivência e resistência. A investigação baseia-se em dados coletados em reuniões da classe artística, entrevistas, materiais de imprensa e bibliografia especializada. Apresenta-se uma introdução que delineia a metodologia e apresenta-se um breve conceito de circo tradicional e suas características contemporâneas no estado. Em seguida, detalham-se as estratégias adotadas pelos circenses para preservar a tradição e a linguagem artística. Conclui-se que muitos dos elementos característicos do Circo Tradicional são desdobramentos das táticas desenvolvidas pelos artistas como forma de sobrevivência.

Matteo Paoletti

Marek Hendrykowski

This essay is devoted to theoretical reflections on the practice of using text-generating artificial intelligence programs for plagiarism. The author puts forward the thesis that network tools and advanced AI programs are not the “culprits”: the real perpetrator of plagiarism always turns out to be the person who used them for this purpose.

Filipe Figueiredo, Paula Gomes Magalhães

Portefólio dedicado ao trabalho de Alípio Padilha.

Angelene Lazzareti

O presente artigo reflete sobre a noção de subtexto, que foi compreendida, junto ao sistema de Constantin Stanislavski, como uma espécie de arcabouço ou suporte para a atuação. O pensamento aqui exposto relaciona tal processo às esferas partilhadas entre atores e espectadores a fim de refletir sobre a presença dos subtextos nas práticas cênicas da contemporaneidade.

Luciana da Costa Dias

– In this paper, the so-called Crisis of Representation is discussed as a hallmark of Western Theatre and Modernity. The key hypothesis of overcoming such a crisis is investigated through the emergence of a performative turn, in which performance is understood in a broader sense derived from Performance Studies. To address this, the paper builds on authors such as Artaud, Derrida, Heidegger, Gumbrecht and Féral for a general theoretical background, and on the work of authors such as Cull, Street and others for a more specific approach concerning the field of Performance Philosophy. This paper argues that a philosophical turn in Performance Studies has happened through a radicalization of ‘Presence’.

Lucía Dzienczarski, Cintia Vazquez

Esta investigación propone un análisis de la experiencia autodirigida “Proyecto Ventanas”. El ASPO dispuesto por el Gobierno Nacional en el año 2020/21 nos motivó a hablar de la importancia de las ventanas como posibles escenarios de otro devenir más allá del encierro. La línea de fuga proyectada sobre los ventanales nos puso a problematizar la posibilidad de una escena sin actrices/actores, la distinción entre operadores de la escena y transeúntes; la herramienta del sonido como posible creador de dramaturgia, los paisajes sonoros como disparadores de acción dramática, la envolvencia acústica como amplificadora de teatralidad; la liminalidad entre lo público y lo privado, la hibridez de la dirección al ser compartida entre directoras-espectadores.

Vincenzo Sansone

Cristiano Eduardo da Rosa, Jane Felipe

– In this article we examine ways in which gender performativity may be recognized by young children, looking at a drag queen’s mediation of literary encounters. The theoretical-analytical framework we employ comes from Gender Studies and Cultural Studies of post-structuralist inspiration. Our text recounts experiences from readings, conversation circles and play activities we organized in a small city in the state of Rio Grande do Sul. Analyzing children’s play and interactions, we observe that from an early age they begin to recognize and question certain expectations about bodies. Contact with art, through literature and other modes of gender performance, can contribute to this reflexive process.

Ismael Scheffler, José Sávio Oliveira de Araújo, Rosane Muniz et al.

Presentation of articles from issue 30 of the periodical, the first part of the dossier that addresses themes around the 14th edition of the Prague Quadrennial: Space and Scene Design, 2019.

Matteo Casari

Claude Lévi-Strauss' relationship with Japan is as in-depth as it is little known. The culture and history of the archipelago were never the direct subjects of his research and studies, except for some fragmentary mentions. These writings on Japan by Lévi-Strauss have been recently collected in a volume. From this work emerges his excellent knowledge about Japan and the crucial role that the country has played since childhood in his education as a man and as a scholar. This paper focuses on the analogy between Lévi-Strauss's approach to Japan and the way we look at the world of the bricoleur through the lesson of The Savage Mind. Guided by a strong empathy, Lévi-Strauss finds many resemblances between Japan and the West, France mainly, also working through binary oppositions. With this background, this paper analyses the work of the ningen kokuhō (living national treasure) in Japan and the Maître d'art in France, and the recognition they both share for their savoir-faire.

Adi Nes

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Dobrochna Ratajczakowa

The boulevard and its theatre is a phenomenon of mixed social, political, and  artistic character. We can talk about at least three stages of its history. First, we have a prologue reaching back well into the 17th century and possibly even earlier, to fair theatre that has its own history as well. This is where the troupes that started taking up residence on the boulevards in the second half of the 18th century had come from. The boulevards themselves replaced the old city walls that had been torn down. This is where modern popular culture has been born, in a home to a variety of trading, entertainment, and consumption practices that welcomed a large number of private stages that, supported by the processes of democratisation, were cropping up after the Revolution abolished theatre monopolies. What emerged was a multisystem of popular attractions that developed its own culture of participation and, in its original version, referred mostly to plebeian audiences. After the Second World War, with the consecration of avant-garde, when Eurovision has been established and cinema has taken over great commercial and entertainment enterprises, boulevard theatre has become a marginal phenomenon, though it still has a loyal audience.

Milena Grass Kleiner

Edélcio Mostaço

o ensaio aborda as condenações realizadas por Tertuliano, Santo Agostinho e Rousseau ao teatro enquanto instituição.

Lidia Olinto, Karina Campos de Almeida (Universidade Estadual de Campinas – UNICAMP, Campinas/SP, Brazil)

This article discusses the relationship between art and politics within Grotowski’s trajectory and his Laboratory Theatre by demonstrating how his artistic actions were imbued with a political resistance which often determined the group’s decisions and destiny. After a brief overview of the Polish sociopolitical-economic context, we point out certain actions performed by Grotowski concurring with strategies of survival before the Polish communist regime. In conclusion, it is possible to affirm that Grotowski was a real master in the political game, winning a series of battles that ensured not only the existence of his group but also the accomplishment of his artistic experiences.

Justyna Czaja

The documentary film Archiwum istnień tells the story of research by Nazi anthropologists searching among the population of occupied Poland for representatives of the Aryan race. In her film, the director makes use of archival materials from World War Two (above all, photographs, propaganda film chronicles and letters). Not only does Justyna Łuczaj-Salej incorporate the above into the cinematographer’s box of tricks, but most of all, she exploits them counter to their authors’ intentions, thereby initiating a process that de-contextualises and re-contextualises these archives in a deconstruction of the past.  

Marek Hendrykowski

Marek Hendrykowski’s study is concerned with the close-reading analysis and interpretation of the Autobus (1955–1961) oil on canvas painted by Bronisław Wojciech Linke. This masterpiece of Polish peinture of the 1950s is deeply related to history and conditions of human life in Poland and other East European countries after World War II where everyday life is based on ideology imposed on society. Linke’s peinture gives emblematic ironic image of it created as an anti-social realist protest based on paradigm of Polish culture and art of the period.

Don Rubin

Eugenio Barba

Este texto foi escrito pelo diretor italiano, radicado na Dinamarca, Eugenio Barba, como apresentação do mais recente espetáculo do seu grupo de teatro, o Odin Teatret. Discute-se a função do espetáculo teatral e o problema da comunicação e decodificação do espetáculo como experiência viva. O diretor aduz suas intenções estéticas e suas expectativas de recepção do espetáculo.