GT História das Artes do Espetáculo – Anais da VI Reunião Científica da ABRACE
ABSTRACT
The Santo Aleixo’s Puppets are a traditional spectacle from
the
Alentejo. The puppets have about 20 to 40 cm. The techniques and
theatrical elements of this expression, used by the masters Manuel
Jaleca and Antonio Talhinhas, were transmitted, in the mid-1980s, to
the actors / puppeteers of CENDREV (Drama Centre of Evora), which
became the bearears of the puppets and knowledge of these masters.
Since then, this professional group of actors have granted the
permanence of the show, by articulating very specific concepts and
notions about “tradition”, “origin
“,”authenticity” and
“heritage”. The
Santo Aleixo’s Puppets host the BIME – Biennial
International Puppet Evora, which takes place in this city since 1987.
Parallel to the event, occurs, since 1997, SIME –
International
Puppet Workshop Évora, sponsored by CHAIA – Center
for Art
History and Artistic Research of the University of Evora. The SIME has
been trying to discuss the experience of the Santo Aleixo’s
Puppets through the concepts mentioned above in contrast to
contemporary issues by relating these approaches to other expressions
of puppetry. The Mamulengos’Theater of Pernambuco has been
repeatedly brought to this arena of debate, by researchers invited to
attend the seminar and / or biennial, which offer different
perspectives on concepts and notions that have been constructing the
discourse, the cultural politics, the ideologies and the definitions
about these theatrical forms. This article will search to identify this
discussion, pointing out some issues (aesthetic and political), that
guide it.
Keywords: Puppet theater. Mamulengos’ Theater. Santo
Aleixo’s Puppets. Folklore. Contemporaneity.
RESUMO
Esta comunicación consiste en presentar algunos estudios
sobre
entrecruzamiento entre la biografía y la memoria, sin
embargo,
como se ha hecho para comprobar cómo algunas transposiciones
de
este formato de narración escénica en la escena
brasileña teatral del siglo XXI. Para ello tenemos la
intención de hacer uso de los conceptos de la escena
contemporánea, sobre los estudios de la subjetividad y la
memoria, y para identificar en algunos casos dramáticos
llevada
a cabo por los brasileños.
Palabras clave: Dramático, la memoria, la
biografía.
ABSTRACT
This research has the aim to elucidate some particularities regarding
the staging performed in the Elizabethan and Jacobean period,
particularly on the theatrical practice of the company King´s
Men
in which William Shakespeare was an author, partner and actor. One of
the significant aspects of the Elizabethan and Jacobean age was the
professional development in the professional theatre. Actors who needed
to belong to theatre companies, companies which needed to own several
pieces and affix them in the repertoire, playwrights who had to remain
in evidence to continue selling their plays, theaters that needed a
considerable number of people in order to keep paying the bills and not
running the risk of shutting down. At the end of the sixteenth century,
Shakespeare´s company distinguished itself from others by
becoming the owner of its own place of presentation, its members being
both partners and actors and have their own dramatist, which was also
very keen on respect to its role in the company as a businessman. This
research deepens the studies on the stagecraft of this company to
approach the specificities associated to the functional concerns of the
staging organization trough several perspectives of commentators and
reviewers from the particular period. Hence, a historical
methodological procedure is being used from a critical survey of the
staging elements in Elizabethan and Jacobean period. The grounds
include a study of two fields: A) Historical studies on Elizabethan and
Jacobean period. It may be mentioned the works of Stephen Greenblatt,
Frank Kermode, James Shapiro. These studies serve as contextualized to
the research focusing on the extratextual aspects of the period:
society, politics and aesthetics. B) The study of the scenic techniques
of the Elizabethan and Jacobean period. This is about an investigation
into the performance in Shakespearean theater citing particularly the
works of Andrew Gurr, B. L. Joseph, Ronald Watkins, Thomas Wright, John
Bulwer, Sister Miriam Joseph, Stanley Wells, Mariko Ichikawa e E. K.
Chambers, who are relevant references on the theoretical approach of
this essay. To investigate possible reconstitutions about the various
companies and the King´s Men in particular, working on
scholars
who gathered material, evidences from the theatrical practice through
the part´s analyzes and also de lifestyle of that era bring
forth
contributions regarding to the perspectives of the actor and the
Elizabethan and Jacobean theatre as a whole.
Key-words: William Shakespeare. Staging. Company. Actor.
ABSTRACT
This report brings to debate the spatiality and textualities drew up by
young directors to their mise-en-scènes. These stagings are
a
result of her academic activity in the Theatrical Directing Practice I
discipline, given in the first semester of 2011, in the course of
graduation and degree in Drama at CEART/UDESC. The analytical set is
formed by a total of thirteen stagings. These works are the starting
point for a reflection about the spatiality and textuality in
contemporary Drama through the point of view of these directors. The
central matter may be defined as the search for comprehension of what
is understood as space and textuality by these groups of directors. The
space has to be comprehended beyond the scenographic structure,
Spatiality as vision and movement is adopted here for analysis. The
same can be perceived about the text. The perception being adopted here
is in accordance with contemporary perspective of the text, thus, it is
understood that all readable structures may constitute possible texts
for the theatrical work. Analyzing the mise-en-scènes of
these
beginners at directing through the eyes of space and text, means to
understand and capture the assumptions and aesthetic matrices which
compose, currently, their aesthetic view and view of the world. This
work objectifies, ultimately, to reflect on the aesthetics of the
contemporary scene, in order to understand how a group of Drama
students converse with the current scenic landmarks.
Keywords: Space. Text. Contemporary drama. Director.
ABSTRACT
This paper has the intention of making reflections about the
exploration of artistic dynamics that are established at the boundaries
between fiction and reality, from the theatrical experience Proyecto
Prometeu, coordinated by the colombian group Mapa Teatro, in the years
of 2002 and 2003, at Bogotá. Thereby establishing questions
about this proposition of aesthetic construction, which had its
original motto as building up discussions related to the expropriation
suffered by residents of the presently defunct neighborhood of Santa
Inês, from the impression, memories and personal reports of
former residents. This paper examines the ways and goals of the use of
personal narratives of former residents in constructing the scenic
actions of this spectacle.
Key-words: Mapa Teatro. Fiction. Autobiography. Latin American Theater.
Memory.
ABSTRACT
This presentation intends to show the two conceptions of historicity in
the work of the French director André Antoine. They have in
common the refuse of the “pièce bien
fait” idea
– a group of pre-established rules, that cannot be changed,
in
despite of what was been presented. This rules intend to be
unchangeable and, because of that, ahistorical. Antoine thought that
historicity was a fundamental dimension of the mise en
scène. In
a first moment, this can be noticed during the time while he was the
director of the Théâtre Libre (1887-1894), when he
brought
to the stage several realistic plays, compromised with the positivistic
ideas of the end of the XIX century (as Zola’s, for
instance). In
this context, art came close to the sciences, specially the human ones,
as the psychology and the sociology. The stage was a place where things
could be experimented, where hypothesis about the human individual or
social behavior could be verified. In these plays, the conflicts
between the characters had a historical value, that means, present life
was always seen as a result of the interaction and the conflict between
the historical forces. After that, Antoine became the director of the
Théâtre Odéon (1906-1914) with the
project of
presenting classic texts to the public (Shakespeare and Euripides, for
example). Although historicity did not appear in the same way in these
dramaturgies, Antoine’s proposals were responsible to give a
historical dimension to these plays. The goal was to stage each text in
the same way it would have been originally presented. Therefore, the
classics were inserted in a larger historical dimension. So, the
intention is to demonstrate the deep connection between historical
thought and mise en scène.
Key-words : André Antoine; Mise en scène;
Historicity;
Théâtre Libre; Théâtre
Odéon
ABSTRACT
This work present a reflection about the Biodrama, a theatrical
experience related with the biographic theater developed in Argentina
in the beginnings of the XXI century, by the director Viviana Tellas,
which have sought a way to related biographies and fictions. This
director promoted the cycle Biodrama: sobre La vida de las personas in
Buenos Aires and invited persons of theater to work with the biographic
in the scene. The idea was to explore biographic or autobiographic
themes in line with the theatrical methods used by each one of the
directors. Viviana Tella intended to put in scene spectacular objects
which proposed crossings of real overflowing in the plan of fiction.
The present text theorizes the notions existents about this type of
theater and highlights the principal elements of Biodrama, using some
works to illuminate the questions about this theme. Intend to discuss
the constant approach of theater to live and the insertion of elements
of reality in the space of fiction.
Keywords: Biodrama. Biographies. Autobiographies. Reality. Fiction.
ABSTRACT
This article proposes a reflection on the bodily constitution of the
voice, from the research of Jerzy Grotowski, Eugenio Barba and
Luís Otávio Burnier. Such theorists have dealt
with the
voice and its integration with the body in his research, attempting to
break the mind-body dualism in the art of the actor. Making reference
to Merleau-Ponty, phenomenology is used to analyze the process of
working with the text spoken by the actor in the show kelbilin Carlos
Simioni.
Keywords: Body. Voice. Kelbilin. Carlos Simioni.
SUMMARY
TEXT
Study of tragic and current possibilities of its onset. Based on two
fundamental aspects of the model of the Greek tragedy – the
policy and the relationship with the myths and transcendence
– we
should check the conditions for contemporary performance guide for
those elements. Post-modernity brings to a decentered subjectivity, a
fact that undermines the notions of the body itself, social and
collective. At the same time, global capitalism undermines working
relationships, establishing new modes of material and symbolic
production. The study investigates the tragic modes of circulation in
its power itself, in the overthrow of concepts such as theatrical
action and theatrical character. Thus, it is imperative to examine the
trajectories of time and space: conceptual and material support for the
establishment of narration. The study was based on a systematic reading
of literature across tradition, modernity and contemporaneity.
Attendance at theatrical performances allows the mapping of the current
situation through brief case studies. Such comments also reach
performance. As for time and space of narrative, modernity and
postmodernity have contributions from Wagner and total work of art, on
one hand and on the other, the disassembly of the representation
undertaken by Artaud. The trajectory of the tragic is bundled, the
Greeks to us, by the humanist project – its birth and its
demise,
the utopias and heritage today. As this is work in progress, results
and conclusions are presented only on an interim basis, located just
beyond, even, of the hypotheses. It starts with the premise that Greek
tragedy arises from the clash between the archaic and the new entries
of polis in historic time (tradition versus current requirements). The
second premise establishes the conflict as a condition of tragic (and
the theater itself), even though the genre is missing. Thirdly, in
disposing of the theatrical action, we have elements, which remain
active, allowing the identification of processes of tragic. It follows
the main problem: the lamination of fragmented time, the present
overlapping and contiguous, that barely acknowledge the permanence of
the tragic. Accordingly, it remains to follow the trail of historical
inscriptions (establishment of a thick time) executed by the social
movements. Hence the reinvention of the tragic and the possibilities of
verification: figurations and reinvention of forms of storytelling and
theatrical performances.
Keywords: Tragic. Contemporariness. Tradition
ABSTRACT
Between the last decades of 19th century and the firsts of 20th
century, Brazil has passed through important changes, becoming into an
abolitionist, republican and capitalist country. In front of this
scenario and in a search of Europeanized standards, were imposed
behavioral conducts according to these directions, mainly French. The
country was searching to approximate to the European ideals by physical
changes in the cities, allying the refined taste, independently of the
compatibility with the specific tropical climate, to all this
materiality and the “imaginary” experimented in
Europe. The
finality of this intense effort was participating into this
“new
era”. For that, it was necessary to eliminate the past marks,
which have warped the traditions, and at the same time, to mystify the
French civilization and live the best of this
“era”, to
live the “Belle Époque”. The ideal city
was ruled on
the conception that in order to open a new “historical
era”, it was need to destroy the
“ancient”, under the
aegis of the positivistic motto “order and progress. The
woman,
from this spirit on, also conquers important changes by usufructing the
public spaces, being seen and desired by the men. City and woman belong
to the same nature in this transforming moment. A new look in the
quotidian is discovered in the city, in a mixture of fetishism,
exhibitionism and voyeurism. The woman associated to the city evokes a
pleasure, desire and seduction image: bodies, eyes and the urban space
keep a relationship in the conquest of the “new
era”. In
São João del-Rei, is also possible to percept the
changes
in the city quotidian, therefore this objective communication of
discussing the social representation of the urban space and the woman
on the “teatro de revista” plays written and
performed in
São João del-Rei between 1893 and 1918. From this
period
were analyzed five plays: Modesto de Paiva’s A
mudança da
Capital (1893); Terra ideal (1915), of Tancredo Braga; O gramophone
(1916), of Alberto Gomes; Número um (1917), of Durval
Lacerda
and last, from the authors Oscar Gambôa and Dr. Ribeiro da
Silva,
O meu boi fugiu (1918). For this analysis, beyond the Walter
Benjamin’s History conception and the understanding of that
modernity is an anti-nature historical period; the methodology used was
the assembling techniques in which the author elaborated to think of
Paris. It is important to emphasize that the woman is one of the
central figures in the “benjaminian” thought to
discuss the
city. It is possible to indicate besides the
“Prostituição, Jogo” notebook
from the book
“Passagens”, other texts which evoke the female
figure. In
his childhood memories reported on the book “Rua de
mão
única” is through the woman figure that Benjamin
discovers
his body, acknowledges the other people and also culture.
Keywords: City. Woman. “Teatro de Revista”.
São
João del-Rei.
ABSTRACT
The present article wants to analise the dramaturgic structures of the
play “O rato no muro”, written by Brazillian author
Hilda
Hilst in 1967. Hilda Hilst is commonly known as a writer of prose and
poetry, since she published only a few plays in her career. This
analysis pretends to reflect on the characteristics of this playtext in
order to create a discussion on her writing that problematizes its
characteristics from different points of view, raising questions such
as its status as a dramatic playtext, the performative traits written
into its structure, the construction of character and its relation to
the narrative structure. The intention is not to label the piece with a
specific theatrical style, but rather to analyse its relation with
different theatrical styles.
Keywords: Hilda Hilst. Dramaturgy. Analysis of the theatrical text.
Textual theatricality between representation and performativity
ABSTRACT
The present communication is showed as an initial reflection about the
possibility of comprehension of an esthetical /theatrical intervention
in the public space as a political way of social action of the
theatrical play. In order to accomplish this, we believe that the first
step is to realize the exercise of historical relations between Theater
and public space, trying to perceive how in theater’s history
when defining the dramatization’s space it also means
controlling
this dramatization.
Key words: Theatrical intervention, public space, theatrical space,
scenic space.
ABSTRACT
The present communication proposes a reflection about the possibilities
of relationship between dramaturgy and history, fundamentally visioning
a possible methodology of analysis of the dramaturgical work. In this
specific case, there will be focus on two different forms of the
mentioned relation: a direct one, in the work of the dramaturge Jorge
Andrade, and an indirect one, in the work of Luigi Pirandello.
Key words: Dramaturgy and History, Luigi Pirandello, Jorge Andrade,
Modern Theatrical Formation.
————————————————————–
OLIVEIRA, Erico J. S. As artes do espetáculo e as culturas:
reflexões e práticas. Salvador: Universidade
Federal da
Bahia; Professor Adjunto I; Ator; Diretor.
RESUMO
Este artigo tem o propósito de refletir sobre as interfaces
entre as artes do espetáculo e as culturas, levando em conta
as
várias formas de contato entre estes dois universos e os
diferentes trânsitos durante a história, sobretudo
a
brasileira, que denotou ora maneiras de
apropriação e
contaminação de um para o outro em busca de uma
identidade nacional, ora a exclusão e
negação dos
elementos culturais brasileiros em detrimento a uma visão
“ocidental” de arte. Como estas
relações
complexas e político-ideológicas
contribuíram para
o pensamento sobre as teorias e práticas das artes
cênicas, sobretudo no âmbito da academia no Brasil.
Noções como cultura, cultura popular, artes
cênicas, ocidente e novas epistemologias são
fundamentais
para seguir o fluxo reflexivo sobre este tema tão caro ao
campo
da história das artes do espetáculo.
Palavras-chave: Artes do Espetáculo. Teatro. Cultura Popular.
ABSTRACT
This article aims to contemplate the interfaces between the performing
arts and the cultures, taking into account the different ways of
contact among these two universes and the different periods in the
history, specially in Brazil, denoting several ways of appropriation
and contamination of each other in search of a national identity,
sometimes to the exclusion and denial of Brazilian cultural elements
attaching to much importance of “Western” view of
art. How
these complex, political and ideological relationships contributed to
the thougths about the theories and the practices of performing arts,
specially within the Academy in Brazil. Concepts such as culture,
popular culture, performing arts, Western and epistemology are crucial
to follow the reflexive current about this important subject to the
history of performing arts.
Keywords: Performing Arts. Theatre. Popular Culture.
ABSTRACT
The field of theatrical history has generated over the past twenty to
thirty years a series of discussions which resulted in an amount of
texts mainly available in English, considering that it is a result of
British and American academies. At least since the launch of
Interpreting the Theatrical Past: Essays in the Historiography of
Performance (1989), edited by Thomas Postlewait and Bruce A.
McConachie, the debate has remained vigorous, with a good number of
publications in the area. Some titles indicate an effort to redefine
historical work in theater, paying attention to new challenges and
critical interventions. According to Magelssen and Bial, editors of
Theatre Historiography: Critical Interventions (2010), there is now a
sharp eye for the diverse manners that the history of theater may be
written. The researchers responsible for the various chapters composing
these books define and explain this critical time: the discipline is
struggling for a professional identity, trying to overcome the
subordinated position to which it has being relegated for a long time,
lost in a sort of no-one’s land between the literary studies
and
theatrical practice. It is as if the history of theater, denied of
academical esteem and squeezed between conflicting relationships with
other more established disciplines, pursued to assert itself while, at
the same time, sought to redefine itself. It may seem paradoxical to
speak in redefining something that wasn’t even consolidated,
lacking identity and roots of its own. What would be, after all, the
tradition of a discipline which seeks to differentiate itself? In other
words, what is the history of theater history? It is precisely around
this historical perspective that this article focuses, in an attempt to
gather some of the main themes that animate the debate on
historiography theater today: objectivity, heteroglossia, diversity and
inclusion of groups that weren’t previously historicized,
resistence to individual biographies and nationalists narratives,
formalist and socio-historic biases, chronology, periodization and,
last but not least, the displacement of the dramaturgic perspective to
a new scene and spectacle outlook, which coincided with the development
of the theatrical iconography studies, a new field of research that has
emerged in the last decades.
Keywords: Theatre historiography. Theatre History. Theatre iconography.
ABSTRACT
This article aims at reporting the experience of teaching History of
Dance in an approach that considers the context. This experience
differs from the dominant perspective that restricts itself to studying
the facts themselves.
Keywords: History. Dance. Context.
————————————————————–
ABSTRACT
The term “effervescent body” appears in the book
Greenwich
Village l963: avant-garde, performance and body effervescent, by Sally
Banes, to designate the historical studies on the performing arts of
the sixties, where the body is the center of all the arts
interconnected the period. The purpose of this paper is to
conceptualize this expression, dialoguing with the concept of
“multiple body” written by Edgar Morin (1921). It
starts
with the following question: How should the term
“effervescent
body”, the object of research in the arts, to question
concepts
about the body? From the introductory study of the works mentioned, I
intend to discuss the concept of “effervescent
body”,
developed by Banes, and at the same time, investigating the path that
led him to propose such an expression.
Keywords: Effervescent body. Performing arts. Sally Banes.
ABSTRACT
This paper aims to reflect on the contribution of the international
directors brought by Ruth Escobar in the 1960s, and its subsequent
implications on the national scene. Theatrical producer of fundamental
importance for the development of the Brazilian Theater, Ruth Escobar
helped the oxygenation of the theatrical aesthetics because of her
radicalizing experiences in the scenic space in Cemitério de
Automóveis (1967) and O Balcão (1968), both
directed by
the Franco-Argentinian director Victor Garcia, with later reverberation
in the Brazilian theater groups.
Keywords: Brazilian Theater, Aesthetic of the Scenes, Scenic Space.
ABSTRACT
This article aims to reflect on the practices performed by Constantin
Stanislavski at the Opera Studio of the Bolshoi Theater in the training
of the singer-actors. Thus, it will be analyzed exercises suggested by
the director to these artists, as well as his speech on the operatic
work. Stanislavski advocated a unity relationship between singing,
music and staging and proposed a scenic development to the opera singer
that comes from the music and its stimulus so then to get to the role.
Key-words: Opera. Stanislavski. Bolshoi Theater.
ABSTRACT
This paper compounds a transdisciplinary reflexion based on historical
and professional aspects of Theater activity. The discussion encloses
the production means evolution, parallel to the cultural markets
consolidation, and points to the increase necessity of such knowledge
in the Bachelor of Arts Curricula in Brazil. The observation intends to
analyze the borders and the intersections between the artistic creation
and the play production. For this aim, the research surveys historical
data concerned about the play director abilities as a cultural
enterprise leader. The report includes descriptions of ancient periods
but gives emphasis on recent practices in Brazil. Thereby, the work
intends to call attention for the new core learning contents in order
to improve the play directing student academic scope face the Brazilian
theater market challenges.
Keywords: Play director. Curriculum. Theater market.
RÉSUMÉ
L’article Traces de la scène: Porto Alegre
–
Années 1980 présente les résultats de
la
thèse Les scènes de la vie: le vidéo
en tant que
document sur le théâtre qui étudie les
processus de
la production et de l’expérimentation
théâtrale à partir
d’enregistrements
vidéo réalisés par TVE/RS. Les
spetacles
analysés sont A Mãe da Miss e o Pai do Punk (mise
en
scène par Luiz Arthur Nunes), A Verdadeira
História de
Édipo Rei (Troupe Gregos & Troianos), Escondida na
Calcinha
(mise en scène par Patsy Cecato), Império da
Cobiça (Troupe TEAR), O Ferreiro e a Morte (Troupe Face
&
Carretos), Ostal (Tribo de Atuadores Ói Nóis Aqui
Traveiz) e Tangos e Tragédias (de Hique Gomez et Nico
Nicolaiewsky). On constate que le domaine abordé est
caraterisé par la coexistence des plusiers mouvements
dramatiques, marqués par des propositions et styles les plus
divers et l’hybridité des genres.
Mots clés: Théâtre. Vidéo.
Document.
ABSTRACT
This paper has the goal of exposing the difficulties found by the
researcher who aims to study the Brazilian Musical Theatre. In this
matter, the researches upon this area usually meet with bibliography
issues, considering that it still remains as an almost unexplored study
field. The studies concerning the Teatro de Revista for example, has
shown that the musical theatre is a study matter which count up not
only aesthetic knowledge of a theatrical genre, but also an intense
relation with it’s historical context, proving it’s
importance as a research object. This paper also intends to demonstrate
that in order to a research in this matter follows through, it is
necessary the broad dealing with primary sources such as official
documents, dramaturgical texts, show pictures, press articles, etc.
Understand how it is possible, through an urge of knowledge about a
specific point, to delimitate the course of a research.
Keywords: Musical Theatre. Teatro de Revista. Historical research.