Este artigo parte de aspectos filosóficos imbricados nas inter-relações entre o circo, o teatro e a palhaçaria. Aborda-se um arcabouço teórico a fim de elucidar interagenciamentos e zonas de vizinhança instauradas entre as áreas aqui elaboradas. O trabalho da artista Gardi Hutter coloca-se como um lugar de apreensão dos fluxos que perpassam a conjunção entre tais artes ao utilizar técnicas acrobáticas, manipulação de objetos e ilusionismo de forma conjunta com técnicas inerentes à própria palhaçaria e apropriar-se de recursos de iluminação cênica, cenário, figurino e sonoplastia capazes de constituir um trânsito de devires que se instaura no contexto circo-teatro-palhaçaria.
The essay reconstructs some episodes of the Feast of the Porchetta. A civic event of long history that, at least from the end of the Sixteenth Century, used different artistic, literary, musical and spectacular typologies to convey the ambitions of the Senatorial aristocracy of Felsina. It was also a highlight of the ephemeral state and allowed Bologna to be assigned its rightful place among the European capitals of the spectacle of the Ancient Regime. An extensive unpublished documentation preserved at the Archivio di Stato di Bologna, including two contracts for the construction of theatres and workshops for the fairs of 1627 and 1702, and an icnography of 1697, testify to an unexpected organizational punctuality.
Em 2017, o espetáculo de dança Zoe, dirigido pela coreógrafa Francini Barros, foi alvo de censura, por iniciar com um performer nu, na calçada do Teatro Apolo, em Recife. O fato ensejou uma reflexão sobre a arte como mecanismo instaurador de uma utopia frente ao conservadorismo neoliberal. O trabalho que ora se apresenta tem por objetivo compreender como os processos criativos do espetáculo Zoe se colocam como estratégia micropolítica de resistência a esse conservadorismo. Para tanto, dialogamos com o pensamento de Agamben (2010), Foucault (2013), Deleuze (2010), Peter Pál Pelbart (2007), Guattari e Rolnik (2013), para discutirmos categorias que serviram de base para nossa linha argumentativa, como vida comum (zoé), corpo utópico, heterotopia, cultura e subjetividade.
Recensione di Daniele Maria Pegorari, Amleto o lo specchio oscuro della modernità. Tre secoli di riscritture italiane 1705-2019, Metauro Edizioni, Pesaro 2019, pp. 172, ISBN: 978- 88-6156-155-7.
The essay aims to reveal the role of music in the movie Interstellar by Christopher Nolan and its significance in creating an artistic message that relates to the love myths characteristic of European culture and art. The orientation point is the Tristanic myth and the project of musical dramaturgy by Richard Wagner, the founder of the concept of music being the significant layer in a Gesamtkunstwerk, a synthesis of the arts, which strongly inspires i.a. cinema. The article ponders possible messages to be decoded from the music in Nolan’s movie: as a “form of a lover’s discourse” (R. Barthes), “significant form” (Suzanne K. Langer), “symbolic form” (E. Cassirer), responsible for shaping the ambience that constitutes an inherent structural part of the movie in the metaphysical cinema genre. The musical solutions applied by Hans Zimmer in the soundtrack to Nolan’s movie do more than merely imply inspiration from Wagner. They also allow for recognition of the polyphonic way of constructing formal and thematic relations between musical themes and the verbal-visual layer of the movie. This refined artistic project aims at a subtly directed confrontation with the nihilistic picture of love that is representative of melancholic-pessimistic images of the condition of human relationships in the modern culture. The analysed main musical theme, called the “à rebours chord” (i.e. anti-Tristan chord), turns out to be an overt musical manifestation of such a counterpunch and becomes a starting point to telling a story that refers to the concept of love which assumes taking action and fighting for the good of your loved ones, as well as the concept of Caritas and unconditional love. The way that the music and sound of the movie are orchestrated is therefore tightly coupled with its semantic and symbolic message, which allows for perceiving the music as a specific “libration point” of the movie structure. Its function might also be interpreted as a semantic attribute of “a spiritual intelligence”, referring to that which is binding and crucial for the axiological and metaphysical message of the movie.
Abstract. The ancient theatres in Sicily, in southern Italy and along the countries facing the Mediterranean Sea basin, constitute a reality of incomparable cultural value. Regarding the research on the ancient theatres of eastern Sicily, few studies have been recently dealt with different methodologies. In the last years some practices have been done using 3D laser scanners for the theatres of Syracuse, Taormina and Morgantina, as well as the Syracuse amphitheatre and Taormina Odeon, just obtaining very interesting results. Lately the theatre of Palazzolo Acreide (Syracuse) has been studied, with Structure From Motion (SFM) and Dense Matching methodologies. From these experience, conclusions could be drawn on the quality and reliability of the elaborations realised with the SFM methodologies. We really know that these systems are today representing one of the fastest growing areas of examination, on which several software houses are investing. The study was chosen both for the small size of the building, and for the particular geometric conditions typical of the architecture of ancient theatres. This because their three-dimensional trend varies continually in the three variables X, Y, Z. The purpose of the work was to check whether the latest releases of these systems of survey allow today more than yesterday, a rapid digitalization and representation of the enormous archaeological cultural heritage. Various software were used, to verify the practicality and operation, the choice then fell on the Zephyr of 3DFlow, kindly available by the manufacturer, whose results were quite agreeable. The possibility offered by the program of a graphical tracing of polylines on the textured 3D model, has been a considerable advantage. Therefore the results obtained by modeling and surveying of the Palazzolo Acreide theatre have been compared, with the survey of the Syracuse, Taormina and Morgantina theatre performed using 3D laser scanners. First results of the research are matter of the following work.
The text is an attempt at sketching the professional career and describing other theatre-related activities of Joanna Puzyna-Chojka (1969–2018), a theatre scholar, academic teacher, and most of all, active participant of Polish theatre life. Puzyna-Chojka started working at the University of Gdańsk in 1993. In the twenty-five years of her professional career, she published several hundred articles devoted mostly to the newest dramaturgic strategies, presence of new media in the theatre, and various kinds of theatre realism. She is the author of Gra o zbawienie: o dramatach Tadeusza Słobodzianka (Playing for Salvation: On Tadeusz Słobodzianek’s Dramas, Kraków, 2008) and editor of four multi-author books. Puzyna-Chojka was a prolific theatre critic: she debuted in Dziennik Bałtycki in 1989, and in the next three decades she wrote several hundred theatre reviews and other texts of theatre criticism, publishing in virtually every notable periodical documenting the life of Polish theatre. And finally, Puzyna-Chojka was equally interested in the practical side of running a theatre. She worked as a literary director of the Muzyczny Theatre in Gdynia, the Wojciech Bogusławski Theatre in Kalisz, and the Witold Gombrowicz Municipal Theatre in Gdynia and she served as literary director and selectioner of the Kaliskie Spotkania Teatralne festival and literary and programme director of the R@port Festival of Contemporary Polish Plays in Gdynia (where she also participated in devising the Gdynia Dramaturgy Award). In the last years she served as the programme director of the Rzeszowskie Spotkania Teatralne – Festiwal Nowego Teatru in Rzeszów.
Dramatic representation. The theater, The performing arts. Show business
Considered as an acting feature, presence is generally approached from the actor’s perspective. Disrupting this conception, this work intends to grasp presence as a relational, not a personal quality. For this purpose, two performances will be analyzed: Heiner Goebbels’s Stifters Dinge and Claude Régy’s Variations on death. Created as landscapes, both performances develop a non-anthropocentric aesthetics of the scene and allow envision presence as a perception phenomenon and from the point of view of the audience activity.
Renata de Lima Silva (Universidade Federal de Goiás, Brasil), Eloisa Marques Rosa (Instituto Federal de Brasília, Brasil)
Uma importante contribuição da Etnocenologia e dos Estudos da Performance para o campo de estudo das Artes Cênicas é a ampliação do que pode ser considerado como cena, espetáculo ou performance, rompendo fronteiras, calcadas no colonialismo do saber, que separaram radicalmente arte e cultura popular, polarizando criação e tradição. Essa quebra de paradigma abre a possibilidade de pensar as dramaturgias corporais presente nos rituais afro-brasileiros como um constructo da relação corpo e ancestralidade. É nessa perspectiva que o presente artigo apresenta uma discussão sobre a performance negra dos batuques, mais especificamente a Suça, da cidade de Natividade, estado do Tocantins.
How should one act Fosse? This article will explore such a theme analyzing the work of Valerio Binasco and Vanda Monaco Westerståhl. Binasco has staged four works by Fosse, occasionally also participating as an actor. His productions are very awake to the essential eloquence of space and the rhythms of time, of which the actor is architect. In his drive to restore poetry to any and all life, the actor seeks the “vital rhythm of the character”, beyond the confines of psychology and judgement, as if in a continued close-up and an intensely musical game. Vanda Monaco, who with her translations contributed greatly to the Italian awareness of Fosse, has worked particularly on I Am the Wind. She has a “physical approach to the text”: a meticulous study into the words and sounds, the emotions and images that this coming together triggers, so as to arrive at a character. Paradoxically, lending characters humanity through the mask of a seventeenth-century Pulcinella who, freed from stereotypes, is quantified by the body of a contemporary actor and the words of a great author.
A revista Cena entrevistou Lygia Vianna Barbosa, ex-diretora do Departamento de Arte Dramática da UFRGS (DAD) e ex-produtora de importantes grupos teatrais da Capital entre as décadas de 1950 e 1960, como Teatro do Estudante, Clube de Teatro, Comediantes da Cidade e Grupo de Teatro Província. As fotos deste artigo são toda do arquivo de Lygia Vianna Barbosa.
Resumo: Esse artigo discute duas questões relacionadas ao fazer teatral contemporâneo, a saber, a criação coletiva de peças e espetáculos e o problema da apropriação do texto para o palco. No que se refere ao primeiro ponto, discuto o sentido clássico do termo “dramaturgia” para apontar as razões do surgimento de trabalhos assinados coletivamente, observando também como se dá esse processo, suas dificuldades, e que papeis os membros do grupo teatral assumem no mesmo. No que se refere ao problema da apropriação, inicialmente diferencio esta de mera adaptação, e na sequência discuto questões acerca do diálogo entre culturas fonte e alvo, procedimentos eficazes a serem empregados, e como se dá a análise do produto resultante da apropriação.
Palavras-chave: Criação coletiva, apropriação, engajamento estético e ideológico.