O artigo discute a contribuição da Reorganização Postural Dinâmica (RPD) para o corpo cênico, do ponto de vista dos artistas do teatro e da dança. O estudo desenvolve uma abordagem dialógica dessa técnica somática e mostra de que maneira, na percepção desses artistas, as proposições sensório-motoras e afetivo-cognitivas promovem o refinamento sensorial, a presença cênica e o fluxo de estados de consciência. O destaque especial é para o trabalho com a tensão lenta, principal estratégia da técnica, que, além de ampliar os recursos tônicos e expressivos, facilita o trânsito entre o material cênico e o trabalho somático. A questão da autonomia na relação com as técnicas e práticas somáticas é retomada, para concluir que esta é uma marca da RPD, reafirmando o seu potencial para gerar agência individual e coletiva, com forte aplicabilidade à investigação do corpo cênico.
The Revival Pilgrimage to Watt Town, Jamaica, exemplifies both the safeguarding of intangible cultural heritage (UNESCO 2003) and the promotion of cultural diversity (UNESCO 2005). The practice combines history, rituals, music, dance, and spirituality, linking communities, youth, and ancestors, and ensuring cultural transmission. COVID-19 temporarily disrupted the celebrations, highlighting the vulnerability of sites and practices. The community’s adaptations, including modified rituals and safety measures, demonstrate cultural resilience and the capacity to sustain both continuity and vitality, in line with UNESCO guidelines and the 2015–2030 Sendai Framework.
Anthropology, Dramatic representation. The theater
Cleber Rodrigo Braga de Oliveira, Ricardo Bertola Nolasco da Silva
No presente ensaio, os autores realizam uma autoetnografia sobre suas trajetórias na arte do cabaré, propondo um entrelaçamento de memórias, afetos e reflexões críticas que abarcam o período de quase duas décadas. Em sintonia com a Pedagogia da Encruzilhada, de Luís Rufino, é forjada aqui a noção de Cabaré-Encruzilhada: uma perspectiva cabareteira interessada no imbricamento das relações entre arte e vida, cultura popular e erudita, teatro e cidade. Por consequência, é possível constatar que está escrita não se restringe aos conteúdos autobiográficos que a disparam, enunciando a prática do cabaré enquanto fazer minoritário e burlando o universalismo e o racionalismo acadêmico.
Joana P. Cruz, Carla Malafaia, José Eduardo Silva
et al.
Os Métodos Artísticos como Forma de Olhar as Possibilidades de Construção do Género e suas Relações – A partir de um projeto de investigação-ação colaborativa com uma turma do ensino médio, discutem-se as possibilidades que as metodologias artísticas trazem para análises e reflexões coletivas com vista à promoção da consciência política juvenil. Por meio de momentos de exploração estético-política, nos quais se mobilizou o Teatro do Oprimido e o Photovoice, os/as jo-vens refletiram sobre as suas experiências e problemas quotidianos, emergindo a violência do namo-ro como o tema mais significativo. À reflexão conjunta entre os/as jovens, somaram-se atores locais e discutiram-se narrativas visuais feitas por dois grupos. Neste artigo, reconhece-se o potencial das artes na problematização das relações e construções de género, na implicação emocional e subjetiva dos/as participantes e como modo de politizar um ‘aparente’ problema individual.
«Tragedy and Ristori will die the same day». This is how António Feliciano de Castilho, the infamous ultra-Romantic Portuguese writer and polemist, refers to the great Adelaide Ristori, in an inflated article published in the «Revista Contemporanea de Portugal e Brazil» in 1859. Ristori was in Lisbon – for her premiere in Portugal – to present Montabelli’s adaptation of Medea at the National Theatre of São Carlos. Castilho, in eight full pages, depicts an elegant, hyperbolic short biography of the Italian actress, portrayed emphatically as the great muse Melpômene. This Romantic way to address the art of acting – exaggerated, elusive, emotional, immensely subjective – was standard in 19th century theatre criticism. Ristori was received in Portugal with the same ardour. This essay examines the way Ristori was receive by some Portuguese press, in 1859; and evaluates the critical discourse that encapsulates the way the ‘Grande Attore’ was perceived. This exercise will help to characterize the emergent Portuguese theatre criticism at the mid nineteenth century; as well as to compare the way other Portuguese actresses and Ristori were ‘criticised’ and elaborate on the way we can understand this anti-academism and the non-scientific approach to theatre as reasons to the death of Romantic tragedy and the birth of the Théâtre d’Art in Portugal.
Leta 2005 je skupina dramatikov in dramaturgov na pobudo dramatičarke Simone Semenič in v tesnem sodelovanju s teoretikom uprizoritvenih umetnosti Rokom Vevarjem v okviru Gledališča Glej osnovala PreGlej. Skupina se je ukvarjala s problematiko dramskega pisanja in v nekaj letih vzpostavila platformo za ustvarjanje, razvoj in mednarodno izmenjavo dramskih pisav. Njihovo delo je bilo zavezano vzpostavitvi samih pogojev za ustvarjanje dramskih besedil. S tem namenom so uporabili formo bralne uprizoritve – ne le kot javno
predstavitev drame, temveč kot metodo za razvijanje drame, ki prinaša dramo kot delo v nastajanju. Članek pokaže, da ima tovrstna praksa dramskega pisanja na slovenskih odrih svoje predhodnike v eksperimentalnih gledaliških praksah šestdesetih in sedemdesetih
let 20. stoletja (v izvedbi neoavantgardnih skupin pesnikov 441/442/443, Nomenklatura in LKB – Literarni klub Branik ter v nastopih pisateljev, ki so predstavljali svoja literarna dela v Pekarni). Pesniki in pisatelji so uprizarjali svoja dela, ki prvenstveno niso bila namenjena
uprizarjanju, pri tem pa ustvarili teatralne oblike pisanja za oder, s katerimi so izstopali tako iz konvencij dramskega ustvarjanja kakor tudi iz tradicije gledališča. Uprizarjanje literature in bralne uprizoritve so obravnavane v kontekstu uprizoritvenega pisanja, ki označuje raznovrstna razmerja med pisavo in uprizoritvijo, pri tem pa se osredotoča na proces pisanja kot uprizoritvenega dejanja.
Gladis Elise Pereira da Silva Kaercher, Gabriel Fortes Pereira
Por meio de referenciais africanos e afrodiaspóricos, propõe-se o exercício de pensar as crianças negras e suas performances. A partir de estudos sobre a cosmologia bantu-kongo, busca-se uma aproximação com a infância bakongo para dar a compreender as performances da infância negra brasileira, relacionando-as com a preservação de valores civilizatórios africanos. Conclui-se, à luz do conceito ancestralidade e da noção cosmológica de tempo circular, que as crianças negras brasileiras, por intermédio da performance, são capazes de unir passado e presente, ancestral e vivo, reeditando memórias e mantendo vivos valores civilizatórios afro-brasileiros.
Alonge’s essay shifts the focus from the couple of loser characters (uncle Vanja and his niece), on which critics have insisted a lot, to fix on the character of twenty-seven-year-old Elena, the unhappy wife of a retired university professor, too old and therefore sexually impotent. Her “vibrant unsatisfied sexuality” (as Ripellino says) pushes her from the start to a close game of seduction towards Doctor Astrov, pre-ecological hero, defender of Nature, in whose name he solicits the full sexual liberation of the protagonist, who seems to want the doctor more than he wants her. For purely coincidental reasons, the breaking of the conjugal bond is not consummated within the temporal limits of the comedy, but is only postponed to the near future, although the critics have not noticed it, including the worthy Ripellino.
The Historically, the Javanese palaces relied on boats for transportation, like the Kyai Rajamala boat used by the Surakarta palace. At the time, Paku Buwana IV used the boat to cross the Bengawan Solo river. Kyai Rajamala boat’s canthik is a decorative element on the end bow of the Surakarta palace's boat. Apart from being a decorative element on the boat's end bow, the Kyai Rajamala boat’s canthik is also an heirloom used to ward off bad luck. Because the Kyai Rajamala boat’s canthik has a high value for life, it is critical to communicate the Kyai Rajamala boat’s canthik through easily accepted media. One medium that can convey the beauty of the Kyai Rajamala boat’s canthik is the batik textile art, which can be used to meet basic human needs. Clothing is not only a means of covering the body; it can also be used to convey messages. The Kyai Rajamala boat’s canthik was reinterpreted and dyed with remasol into handmade batik.
Arts in general, Dramatic representation. The theater
The article aims to examine the relationship between two texts: Loveless (Нелюбовь, 2017), the latest of Andrey Zvyagintsev’s feature films, and The Heart of a Dog (Собачье сердце, 1925), one of Mikhail Bulgakov’s most popular short stories. The studies are focused on finding the parallels showing the work of cultural memory, which is understood – following Aleida Assmann’s and Astrid Erll’s findings – as the process of continuous remediation, retranscription and negotiation of essential ideas in the space of culture. Consequently, the author is not interested in treating Zvyagintsev’s text as the illustration of Bulgakov’s plot, but rather in discussing certain topics which are deposited in Russian literature and constantly reused and reinterpreted, creating the framework for communication across ‘the abyss of time’. The analogies between the selected texts are sought in the area of their structure, some thematic overlapping, the authors’ approach to the issue of the authoritarian ideology and the role of technology as well as in exploring the function of space as one of the narrative mechanisms, in particular in the context of the category of home and anti-home.
In this essay, we intend to revisit the trieiros and alleys that led to the notions of poetnography and the lived field, with a methodological approach towards the creative work in performing arts. In the act of revisiting, we also seek to observe the developments, update and discuss the conceptual and ethical challenges involved in the work with popular knowledge and Afro-Amerindian poetics form a decolonial perspective. The discussion is based on the authors’ own production on the subject, but flirts with Performance Studies. A poetnographic research is presented so, not only as an artistic result, but as a process that reveals otherness, reinforces or problematizes identities, constructs or reconstructs imagery, in an inseparable confluence between art, education and politics.
La reconstruction des enseignements pratiques (pour le corps, et encore plus la voix) de François Delsarte relève d’un vrai défit méthodologique : si ces enseignements ont joué un rôle déterminant dans l’émergence de la modernité des arts de la scène, des pratiques psychosomatiques et de l’éducation somatique, ils ont essentiellement été transmis de manière « orale », de maître à élève. Et ils ont été, pour une part, perdus. C’est à partir des éléments de transmission textuelle, associés à une pratique de la danse moderne, du théâtre et des approches somatiques, qu’il est possible d’en retrouver une compréhension aussi proche que possible de leurs versions d’origine, sans avoir la prétention de pouvoir revenir à celles-ci. D’autant plus que les très nombreuses nuances que Delsarte introduisait dans son enseignement invitent à une dynamique ouverte : non chercher « la lettre » mais « l’esprit » de son travail, dans une perspective de renouvellement constant. Cette démarche est celle de la recherche de Franck Waille, qui ne cesse de s’affiner depuis le début des années 2000. Elle concerne différents éléments de la Méthode somatique expressive de Delsarte. Cet article présente une mise à jour concernant les attitudes des jambes, favorisée par la rencontre avec la recherche de Clóvis Massa sur Delsarte faite au début des années 1990.
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.
Since the beginning of the cinematographic industry there has been a visible interest in exploring two themes: death and sex, whereas the motif of dying and sexuality/eroticism seem to be mutually exclusive in mainstream movies to such extent that they rarely appear together on the screen. To shed some light on this cinema tendency of separating eroticism from dying we investigate some of the factors of the phenomenon as well as the ones that could have contributed to the shift we have noticed. The majority of films devoted to the subject of dying and eroticism concentrate on a very limited range of visual and narrative schemes. In our paper we present the main clichés, plot and visual schemes, motifs and narrative techniques in contemporary cinema. Although the unique power of the cinema is “matter of making images seen”, it could be argued that the cinema uses not only the command ‘open your eyes to’, but also the command ‘close your eyes to’. In this way, audiovisual culture closes its eye to the entwinement of the motif of dying with the themes of eroticism.
Neste artigo, vou examinar a relação entre movimento e linguagem na minha prática de Movimento Autêntico, enfocando o escrever para e sobre a performance. Embora práticas somáticas como o Movimento Autêntico promovam a integração corpo-mente e muitas vezes usem a reflexão baseada na linguagem sobre a experiência, frequentemente encontro perspectivas conflitantes na relação entre corpo e linguagem nos contextos nos quais eu trabalho. A fim de investigar ideias de divisão e integração entre movimento e linguagem, abordo uma performance como projeto de pesquisa chamada Speak (Falar). Trabalhei com o “texto encarnado” de Janet Adler como estratégia para a exploração. A partir desse procedimento, que é um aprofundamento do processo de estudo e prática com palavras em Movimento Autêntico, propus a pergunta: Qual é a relação entre movimento físico e linguagem na prática de Movimento Autêntico? No entanto, a prática como pesquisa também revelou problemas ao trazer partituras pré-ensaiadas do Movimento Autêntico e ao propor a escrita enquanto performance. Como resultado, proponho ideias de conversa e diálogo como uma forma de intercâmbio entre linguagem e movimento na prática e na performance de Movimento Autêntico. Em termos mais gerais, este projeto me levou a investigar métodos de Movimento Autêntico que possam sustentar discussões sobre performance baseada em movimento na prática como pesquisa. Com a ênfase na integração corpo-mente e na articulação da experiência em Movimento Autêntico, a abordagem poderia oferecer métodos para o crescente número de praticantes-pesquisadores que entram na academia interessados em questões de reflexão sobre a prática do corpo através da escrita.
Le but de cet article est de présenter les retombées éducatives du Parcours étudiant du FTA, consacré à la création contemporaine en théâtre et en danse au Québec. Une première enquête sur le terrain a été menée en 2010 auprès de 50 adolescents, suivie d’une autre, en 2014, afin de valider les résultats. La recherche nous révèle que l’évènement s’avère un rite de passage pour les jeunes ; il est source de découverte de soi tout autant qu’ouverture à l’altérité, et ce, tant au niveau de l’esthétique que sur les plans culturel et socio-politique.