GT Artes Cênicas na Rua – Anais da VI Reunião Científica da ABRACE
ABSTRACT
This paper aims to reflect on the work of actor training to the street,
conceptualizing the term “training”according to the
design
used by Eugenio Barba. The intention of this research is to list what
elements of actor training is indispensable to make the street
performance, based on the observation of a specific group will be
chosen during the first months of the project. During this period the
selected group will be accompanied in the process of testing and
subsequent presentations, and thus can relate the elements identified
in the training and its dialogue with the public. Trying to analyze
what elements remain that way and what does not. Other partners will be
part of theoretical research as: Narciso Telles, André
Carreira,
Licko Turle, Gilberto Icle Jesse Oliveira and thereby contributing to
the enrichment of literature to be used as a reference. It is believed
that this research is important and relevant academic studies today
owing to the paucity of material produced and published as the Street
Theatre also takes shape as an area of the theater away from the
education curriculum in institutions of higher education.
Keywords: Street Theatre. Actor. Training
ABSTRACT
The text indicates important issues concerning the concept of
accessibility for the existence of the street theater; prioritizing
things such as: geographic accessibility – dislocation of the
work by the city; accessibility of the subject –
contemplating a
interpretation of no psychological concealed spaces and also
constitution of texts which the points of view correspond to those from
the people deprived of access to closed spaces of representation; and
visual accessibility, which needs spread allegories.
Keywords: Street theater. Accessibility. Exchange of experience.
Popular theatricality. EpicTheatre.
ABSTRACT
In this article we intend to make some initial notes on the project
““Residência teatral no bairro
Lagoinha” The
intent is to reveal, from performances of masked actors, the Stories
and Legends of the neighborhood, who live in the memory and imagination
of its residents. For this, a team of actors is performing most of the
creative process within the neighborhood itself, which has culminated
in scenic dramaturgically structured interventions from improvisations,
which occur in the streets, squares and houses. The intention of this
paper is to present a strategy for integrating the project team in the
district since the first appearances even without the use of masks,
which occurred in January this year, until the moment the masks were
later incorporated in March . We discuss some issues that have arisen
from the practice trials, mainly due to the weather and the
uncertainties of working in a process where the locals are not seen as
public but as partners in a game plan is built on an open scene for
several neighborhood spaces, both public, as in the street, and
private, the sample of households.
Keywords: mask, improvisation, playwriting
ABSTRACT
Thisresearchwasdevelopedduringtheproject “Banzeirando
– Uma
Jornada Teatral Pelos Rios da Amazônia”, in
theperiodfrom
19/11/2010 to 23/12/2010. From the perspective of reflection about the
work practices of street theater in Grupo Teatral
Manjericão/RS
in crossing the Madeira and Amazon Rivers, between the cities of Porto
Velho / RO and Manaus / AM. The practices consisted of presentations of
the street spectacle O Dilema do Paciente, by Márcio
Silveira
dos Santos, debates and records through photos, filming and creation of
a logbook and land. We intend here to establish connections to street
theater today, about the diversity of cultural, social, political and
economic aspects of Northern Brazil. On the basis of theoretical
reflection on the bibliographies Street Theatre, the material produced
in the design and the concepts of Theatre of the Oppressed by Augusto
Boal and work net time of Zygmunt Bauman.
Keywords: Street Theatre. Theatre Practice. Banzeirando. Theatre of the
Oppressed. Liquid Times.
ABSTRACT
The article intends to discuss the subject of the spectacle musicality,
with the intention to provoke and support a theoretical discussion
about the sonorous-musical language as an element of staging, which
importance is frequently unconsidered by the theatre critic and yet it
represents an essential aspect that enables the comprehension of
contemporary scene, as it creates tensions capable of breaking the
logic of the conventional scene structure.
Keywords: Theatricalcritics. Musicality. Sonorous-musical language.
RESUMEM
La comunicacón pretende describir y
analizarlaintervención urbana del Festival de Teatro
Callejero
de laciudad de Porto Alegre, RS, edición 2011, em el parque
público Brique de La Redención y suyoefecto
político-educativo para
lapoblaciónportoalegrense,
través de larepresentaciónsecuencial de
diezpresentacionesteatrales de grupos distintos en um solo dia,
contribuindo para eldesarollodel concepto de la Arte Pública.
Palabras-llave: Arte Pública, Teatro Callejro,
Democrácia