Anais Simpósio Reflexões Cênicas Contemporâneas - LUME e PPG Artes da Cena
Anais do Simpósio Reflexões Cênicas Contemporâneas vinculado à Jornada Internacional Atuação e Presença organizado pelo LUME - Núcleo Interdisciplinar de Pesquisas Teatrais - UNICAMP e pelo PPG Artes da Cena - IA - UNICAMP. ISSN <a style="font-family: 'Lucida Sans Unicode', 'Lucida Grande', Tahoma, Verdana, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px;" href="https://portal.issn.org/resource/ISSN-L/2525-6572" rel="noreferrer">2525-6572
THE IMAGE/PHOTOGRAPHY IN THE CREATIVE PROCESS OF THE SHOW M(EU) INFINITO
This article is a report and reflection on the presence of photography in the assembly process of the show M(eu) Infinito, and how its use collaborated in the corporal and scenic development of the actors and actresses. This experience with the image arises in the laboratory practice with corporeal mimesis, a method created by Luís Otavio Burnier and deepened by Lume – Interdisciplinary Center for Theater Research at UNICAMP – and the body score derived from the concepts of the French, François Delsarte. Photography was a valuable creative reference for the performers, so there is a brief historical contextualization of the image and, at the end, a reflection on how creative processes can appropriate this element.
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READING CLUB THE GARDEN, READ, THINK AND IMAGINE
O projeto de extensão ação contínua Clube de leitura o Jardim foi concebido em 2021, como um projeto sazonal, uma vez que os ciclos se realizam na nomeação de uma planta, onde focamos em nossas investigações as mais distintas formas de expressões narrativas encontradas em diferentes culturas e períodos da história, como um espaço democrático de formação de leitores e de aprofundamento de análise textual. A ideia da manutenção de um clube de leitura de forma interrupta fundamenta-se em Konstantin Stanislávski (1863-1938), que elaborou os elementos do “sistema” para o trabalho do ator. Entre eles, elencamos a imaginação, por considerá-la essencial para o trabalho do artista cênico. O ator/atriz no processo de construção pelo étude precisa da imaginação para criar e gerar vida para a cena. A leitura permite ativar imagens que acionam os sentidos: visão, audição, paladar, olfato e tato. Esses incentivam a captação de imagens, sons, sabores, odores e toques, numa percepção total do ambiente para a criação da atmosfera cênica. As discussões geradas nos encontros permitem associações e as mais variadas impressões, observadas pelo ponto de vista individual e coletivo. No momento dos ensaios, os artistas cênicos potencializam a imaginação por meio do corpo/mente, ou seja, o psicofísico, para a geração de diversos mundos, entre tantas histórias revisitadas na
GEOGRAFIA E TEATRO: A REPRESENTAÇÃO DO TERRITÓRIO DA PERIFERIA ATRAVÉS DA LINGUAGEM ARTÍSTICA COMO UMA ESTRATÉGIA DIDÁTICA PARA PROBLEMATIZAR OS PROCESSOS DE SEGREGAÇÃO SOCIOESPACIAL NO ESPAÇO ESCOLAR
The article discusses the contribution of theater to the practice of geographic education from the perspective of socio-spatial segregation in a school territory. The text results from the partial results of a postgraduate research in Geography Teaching, at a doctoral level, where the objective is to analyze the results of the pre-production, production and post-production of the theater show “Prometeu Negro Acorrentado” at the school full-time high school (PEI) “Marciano Toledo de Piza”, in the city of Rio Claro-SP. The research methodology is qualitative and exploratory. Ethnographic research and interviews with educators, managers and students were also carried out in all instances of the activity that lasted 6 months, being carried out in the first half of 2022. When discussing geographic themes through its playfulness, the results of the research reveal that the pedagogical presence of a theatrical show that has as its central theme the contradictory social relations of the periphery territories, can encourage debates and powerful reflections for students, educators and managers, as well as can expand and enhance the development of reasoning and thinking space.
DISPOSITIVOS CÊNICOS DE SUBVERSÃO NA PALHAÇARIA FEMINISTA
This text is the result of research that investigates the dramaturgical means with which female clowns question gender inequalities. It is intended, in this writing, to point out possible scenic devices that subvert such inequalities. The main hypothesis is that some clowning performed by women is an instrument of subversion, because they would help to break expectations and patterns of behavior pre-established and expected by society on the part of women. How could clowning performed by women be configured as a device of subversion? How does the condition and reality of women influence and encourage the creation of clown shops with a feminist content? What dramaturgical, aesthetic and poetic devices of feminist clowns use? The main references in the text are the psychologist and gender researcher Valeska Zanello, and some brazilian clown women, either in their reflections or in their creations.
COEXISTÊNCIA, UMA PERFORMANCE INSTALAÇÃO
The project Coexistence: A walking performance proposes the creation and production of a series of records in the form of an article, a photobook and a mini-doc about the hybrid work called Coexistence, an international artistic event that mixes performance, theater, music, visual arts and digital media. Coexistence, a co-production between the research group Gesta (Uergs) and the Teatret Om group (Denmark), had its premiere in August 2022 in the city of Ringkøbing-Skjern, Denmark, within the activities of the International Festival UR-NAT Performance Art. With works of art that dialogue in the interaction between humans and other forms of life, the main theoretical frameworks were Emanuelle Coccia, Ailton Krenak and Jerzy Grotowski. It is estimated that the results, the article, the photobook and the mini-doc will collaborate to raise awareness of environmental issues and disseminate, inside and outside the country, the knowledge, experiences and ways of making art developed in the Theater Graduation Course, from the State University of Rio Grande do Sul.
JEJUADOR ABERRANTE DA ARTE: A IMPORTÂNCIA DE CONQUISTAR A REALIDADE QUE É NOSSA
In the short story The Artist of Hunger, Kafka speaks of the artist as a faster, and in front of all the watchman he is the only one who could be a completely satisfied spectator of his own fasting. Therefore, the artist goes for forty days without eating and his privation is transformed into the glory of continuing to deprive himself, in order to patiently overcome himself. The crowd is no longer interested in the artist and at the end of his life, no one counted his performance over the days. The story resembles the aberrant movements that socially make die what is not necessary for the power of life, therefore, to be an artist is to be an aberrant fasting person and to be on the thin line, something that for Deleuze is life that implies the death of something inside each person for life to be liberated, is to know how to die in life. A life that infects the way of thinking in animated perspective, so that presence is contagion Therefore, it is not enough just to resist through lines of flight, but how to be able to think, imagine, dream and create? Art in the way of being does not present itself in the opposite way of the most everyday, but thinking in pleroma, whose fullness of the world is enriched with each new gesture. In this way, the existence of which we have the right to legitimize our presence becomes more real, therefore, the artistic experience has an intense social relationship. The hunger artist represents the animality and corporeality that we connect with art, whether through fun, laughter, and carnal pleasure. No pretense of divination or creation, but the pure presence with which the fasting person patiently places himself under the gaze of the crowd, without social legitimacy through the sublime, according to Kafka, remains the confirmation of his existence and the conquest of the reality that lacks. Making the body the stage for the occupation of the art of existing.
THE NORTHERN SCENE AND THE FORMATIVE NUCLEI OF THE IURUPARI PROJECT - THEATER GROUP OF THE FEDERAL UNIVERSITY OF WESTERN PARÁ (UFOPA)
This article addresses connections, contradictions and reflections on the Brazilian northern scene from the experiences of the formative nuclei of theatrical initiation of the Iurupari Project - Theater Group, an extension and culture project developed since 2015 at the Universidade Federal do Oeste do Pará (Ufopa) Campus de Santarém/PA. Iurupari promotes the insertion of the university in the process of cultural development of the participants through experiences with the theatrical art. And it is through the theater education centers: children and teenagers' center (10 to 15 years old) and youth and adults' center (15 years old and up) that the university invites the community to enter the academic spaces. Due to the absence of performing arts and/or theater courses at the university, I investigate how the Iurupari project contributes to the performing arts in the Western Pará region and question if the entrance of different people from the outskirts of Santarém/PA into the university spaces encourages a social reflection about the place these people occupy in society.
This article analyzes three silent walking actions carried out in groups, in different locations, in the city of Rio de Janeiro. In the actions, our question is the approximation between walking as artistic action and meditative action. We are interested in analyzing walking as an element for mindfulness, of space, body, and mind. Our aim is to investigate the secularization of spiritual practices in the dialogue between artistic practice and aesthetics.
The pedagogical practice in clown art has been applied worldwide with an increased growth in recent years. Teaching how to be a clown is a process that leads the learner towards self-discovery. In the clown field, I decided to put two pedagogical practices in dialogue: Ricardo Puccetti from the LUME Teatro and André Casaca from the Teatro C’art, both artists and masters of clown art. The search for the clown state and the discovery of the creature of the comic body are based on practices carried out in Portugal and Italy, respectively, Puccetti and Casaca. By investigating the state of the comic body with these artists, the path of the relational body and the field of affections are traversed: the vectors of receptivity. The comic is strongly supported in the atmosphere of emergence and vulnerability and by calling the child-body of the performer to engage in the here and now. The teacher’s place is also a space of engagement. Casaca and Puccetti, when traversing the experiences of the apprentice’s body – summoning the grounds of emergence and vulnerability – delve into a state of artistic ally.
THE TRAJECTORY OF CIA. DO CAMINHO VELHO AS ARTISTIC AND POLITICAL RESISTANCE IN THE PERIPHERY OF GUARULHOS
This study focuses on the artistic practices promoted by Cia. do Caminho Velho in the Pimentas neighborhood, outskirts of Guarulhos. The continuity of the group's work, its efforts to promote artistic activities in the outskirts of the city, and the creation of a space of coexistence between the academic and non-academic community through free theater initiation courses are some of the points on which this study will focus. This experience will be approached based on the trajectory of the author, who in 2015 became a student and then a teacher of these courses. The work investigates the history of Cia. do Caminho Velho as an artistic and political resistance in the city of Guarulhos.
This is a summary article, which was divided into five crossings, which has as research space the process of creation of the scenic work Da Rosa salta Gafanhoto, assuming it as poetics and methodology of my doctoral research. Which transits through the feminine dimension of Samurai, Geisha and Child Light inherent to the researcher and their relationships with the corporeal poetics of each one of them. The research declares that it is the grasshopper that jumps from the rose and assumes this leap that it takes as the body of the research and metamorphoses into the three female figures that appear in this crossing, which are ghosts that orbit the researcher, or crevices through which the creation process it spreads. The poetics and methodology used in the research, pervades the process of perceiving the metamorphosis of the straw that, when dry and begins to die, becomes flexible, curls up in a flower and then jumps in the form of a grasshopper, this was the methodology used. Something that unfolds, but first it dries up and goes towards death, would it be a methodology of death? Of perishing? A poetics of perishing, a poetic method of work, but what is this? A method of poetic flexibility, which contains personal Kata training, the three maskings. I present as theoretical support the concept of performative research that embraces these propositions for the practical studies carried out and for the construction of writing that emanates from the practices of the workroom. The performative research here is understood according to the precepts of Brad Haseman (2015). The conductor of the research is this flexible poetic methodology – Da Rosa salta gafanhoto -, where the martial artist presents the concept of self-creation, by ensuring that while generating the work she experiences many daydreams, questions about empty spaces of the martial artist and refinements of coherence in the face of the world that surrounds her and herself, starting to create herself, thus being a process of creation of the work and self-creation of herself in the face of her differences.
In search of the multiple voices in Stella do Patrocínio
The present work focuses on the written and audio records of the performance Falatório created by Stella do Patrocínio in conjunction with the interviewers Carla Guagliardi and Mônica de Souza, between 1989 and 1991 at the psychiatric hospital Colônia Juliano Moreira (RJ). A performative creation that crosses the notions of voice and text, spoken and written word, vocality (CAVARERO) and orality (ZUMTHOR). When posthumously spectacles (re)perform Stella's text/speech, the dialectic between such concepts is intensified. We aim to shift the current view of the European tradition towards other literary and dramatic traditions that also make up the Brazilian cultural scene. One way of enriching the discussion without prioritizing the Western cultural root – and thus not updating the racist structures that mute African, indigenous and Eastern cultural and symbolic values – is in approaching the 'crossroads' ('encruzilhada') concept, which sustains the dialectical tension between different worldviews. We bring as reference the concept of 'oralitura' elaborated by Prof. Dr. Leda Maria Martins in conjunction with the concept of 'escrevivência', created by Conceição Evaristo to understand the Falatório inscribed in Brazilian literature and performance of African descendant matrices.
The reflection triggered here has os its guiding axis the scenic event Cabaré da Rrrrraça, by Bando de Teatro Olodum - Salvador Bahia, conceived as a Poetics of the crossroads – the result of the dialogue between the concepts of crossroads by Leda Maria Martins and Luiz Rufino – which materializes in the space-time-body-laughter-black Brazilian corporeality. Decolonial laughter: humor via denunciation and political militancy materializing the confrontation with the coloniality of the body, being, knowledge introjected to the black corporeality by the colonizing ideological representations in their crossings and layers, and that such black bodies incorporate on the scene in a performative/ritualistic performance. Therefore, laughter fulfills the strategic function of provoking fissures for other forms of inscription in the world.
This article seeks to make revisions about the concept of culture, especially taking into account the plural and dynamic aspects of this political agency. Through authors such as Roque de Barros Laraia (2001) and Teixeira Coelho (2001), perspectives are developed that support more critical and contextual conceptions of culture. The realization of this concerns the proposition of the concept of viadoplanta as a dissident performative and epistemological agent, which aims to promote aid to the analytical exercise of cultural fable. To do so, the redistribution of discursivities and the mobilization of new cultural imaginaries are taken into account, instances of paramount importance in the conduction of viadovegetal elaborations, scrutinizing what else we can understand and fable about culture, or, in other words, about a culture fable, depending on which negotiations we forge.
A Experiência nº3 e o desvelamento da colonialidade na performance de Flávio de Carvalho
This article investigates Experiência nº3, a performance created by the brazilian multi-artist Flávio de Carvalho, in 1956, in which he paraded through the streets of the city of São Paulo with his Traje de Verão or New Look Tropical. I investigate, from an expanded field perspective (KRAUSS, 1984), the writing records and images of said action to identify aspects that reveal the effects of coloniality (QUIJANO, 1992) through dressing. In this way, it´s possible to understand that the creation of the costume and the choice of the public space of the street as a stage, are configured in a micropolitical action that promotes reflections on the cultural influences in the Brazilian dress patterns. Finally, I emphasize that the purpose is not to seek a framework of a decolonial aesthetic for the artist, but to understand how artistic events of the past can reverberate nowadays if thought from decoloniality as epistemological possibility. KEYWORDS: Coloniality, Experiência nº3, Flávio de Carvalho, Performance.
Provocações afro referenciadas na Dança: Performando em cortejo a corporalidade de Pomba gira no espaço acadêmico
The Metá Metá Dance Collective, created to reflect, research and dance afro Alagoas themes fro young researchers of the performing arts, with na emphasis on dance and theater, proposes to share na experimente entitled Corpo Gira – Girá, premiered in november 2022 at the Academic Congress o Dance of Ufal. The objective off the show was to hold a procession at the A. Simões Campus (UFAL) in order to reflect and higlith the scenic practices from the articulation and creation of young artists who are fro terreiros o Candomblé and Umbanda. The procession prokes the reclection of the importance of understanding the figure of the spinning dove, thus demystying the various misconceptions and prejudices tha falo n them in contemporary times. This research is metodologically constituted of bibliografic survey, autoethnography, discussions and theoretical and practical reflection on black dance, the blac body and the practices of dances performed by black people that make up the afrocentric doing. KEY WORDS Autoethnography, Black body, Dove Turns, Xangô alagoano
Butoh and Kazuo Ohno's Poetics of Nature
This study discusses the importance of rescuing the sensitivity towards nature in a world where it is increasingly silenced. Proposing dialogues between the theory of ecocriticism and Kazuo Ohno's butoh dance, this article explores the possibilities of the poetics of the body and its limits in a practice of connection with nature where there is a transformation of the body and mind, creating the availability to experience a new perspective through butoh.
the actor aims to reflect on the stage presence, an element addressed by the theatrical theory and its current conceptual ranging. The actor points out such concept in circus practice and especially in the practice of clowns, approaching this notion popularized among clowning artists called “clown state”.
This article investigates and reflects on the language of motion Gaga, developed by Israeli choreographer Ohad Naharin in the early 1990s within the Batsheva Dance Company. Artist of interventions, shocks and events, Naharin proposes in his practice the contact with sensory and expressive aspects where the rules are different from the predominant formulations in the pedagogies of contemporary movement, mainly because they are structured from provocations and physical sensations. We use observation and diaries of experience in workshops, participation in regular classes, analysis of bibliographic and methodological materials, videos, interviews and shows, with the intention of highlighting sensory and expressive elements that attribute unique qualities to the method.
Netnography, Performance, Cyberq FROM CYBERSPACE TO SCENE: NETNOGRAPHY AS A CYBERQUILOMBISTA PRACTICE FOR THE CREATION OF PERFORMANCES
This text seeks to expose the creative path of the Malungas performance, developed at the Criação Artista Laboratory (Lacri), carried out by the Cultural Foundation of Bahia and financed by the Secretary of Culture, a proposal in which I seek to think of netnography as an "ethnographic" way to acquire narratives, promoting meetings and searches on the web to create and write collectively. Updated writings in the physical environment which have writing as a guiding thread of the performative action.
REVIEWING THE CHORUS IDEA: RICHARD WAGNER AND THE DRAMA'S MUSICAL-HISTORIC MEDIATION
The German composer and polymath Richard Wagner (1813-1883) elaborated, new experiences of musical dramaturgy and theories of art, based, among other references, on reception of the forms of ancient Greek dramaturgy. One of the themes of this reception is the idea of a chorus. In Wagner, there is a shift from the idea of the choir as a performative group to that of the orchestra. In this communication, texts and moments of this displacement are presented and commented. With this, it aims to subsidize new research on chorality, emphasizing its conceptualization, issues, and modalities of realization.
This Lecture Performance is about the creative process of one of DAMAS' show performers over the development of Carlota Joaquina and Imperatriz Leopoldina characters. It is about the rescue of the historical memory that involves this research and also the experience of the dance as a fundamental milestone for creating new experiences also socially acquired by the body
Cnsorship of Body Arts Yesterday and Today
ABSTRACT The conservative and neoliberal conscience that has been manufactured in Brazil by bourgeois sectors, helps in the maintenance of certain cultural practices, which are based on the oppression of certain bodies that oppose the hegemonic logics. In the field of scenic arts, in which the poetics happens through the body itself, the artist who questions the political state of things through his works ends up being the target of violence in order to block his freedom. Going back in time and observing the end of the sixties - the period when AI-5 (institutional act number five) came into effect during the military dictatorship -, in which repressing those who were subversive to the regime was a State policy, several artists questioned the system through their bodies, confronting a structure that did not allow environments for discussions about art and society, on the contrary; there was only room for ideological submission. Perceiving this period in which censorship was legitimized as a driving device, and analyzing the last years of Brazil - which is no longer a dictatorship, but a fragile democracy - it is understood that, with the ascendancy of conservative right-wing groups, artists who carry out their performances based on social criticism are increasingly vulnerable. In this context, in which freedom of expression has been under attack, this study intends to discuss, based on reflections between performances made in the leaden years and in recent times, how censorship tactics have been updated, considering that Brazil has always been dominated by hands that use repression as a method of control. Thus, thinking about censorship of the arts becomes urgent in a society in which hatred and criminalization of artists advance at a fast pace, dismantling democratic structures and curtailing communication through the poetics of the body. KEY WORDS Body Arts, Censorship, Policy
The POETICS OF VISUAL THEATER STUDIED BY UNESP DIDACTIC THEATER:
The Didactic Theater is an extension project of the São Paulo State University “Júlio de Mesquita Filho” (UNESP) that emerged in 1993. In 2008, Professor Wagner Cintra took over its coordination and the group began to investigate the language of Visual Theater being recognized as the only one in Brazil to have such a language as the main motto of his work. From its activities, the plays “O Rio”, “Paulicéia Desvairada”, “Judas: Piedade para os ratos” were produced and several workshops were organized with the aim of expanding the poetics of Visual Theater. This type of theater seeks to move away from the idea of representation, which is quite common in drama. Etymologically, representation is to present something that is absent. The character in the drama does not have an incarnation of her own; it depends on an actress or an actor, who has a whole corporeality, so that it can exist beyond the letters on paper. The representation consists, then, in a human capacity, endowed with reasoning, to build the illusion of seeing something different. In Visual Theater, the object and matter are staged in all their integrity. There is no intention to make a representation, but to present them in their own image and form. Thus, objects are manipulated with the intention of forming contrasts and compositions like a canvas in motion. There is no pre-established story that is being told to viewers. The spectators themselves create meaning from the images that are formed. Therefore, a contemplative effect is established in which the public is invited to awaken its own theoretical framework to interpret what is actually happening (without scenic illusions) before its eyes. Something that can be related to performance art, since there is also no representation, but a real, concrete experience. The present work intends to explore the connections between these two arts and discuss the artistic potential of Visual Theater. KEYWORDS Didactic Theater; Visual Theater; Performance
The article consists of a reflection on the process of development, creation and presentation of the Arquivo Vivo performance, based on the use of documents referring to political disappearances, during the military dictatorship in Brazil, from 1964 to 1985.
CINEMATOGRAPHIC ACTION POLITICAL REFLECTIONS ON THE PLACE OF THE ACTOR - OF THE ACTRESS IN CINEMA ALAGOANO
The present project entitled Cinematographic acting: reflections on the place of the actor/actress in Alagoas cinema arises from concerns raised by students of the Theater course at the Federal University of Alagoas. In this research I propose to develop a reflection about the role of the actor/actress in audiovisual productions in the state. The theme is comprehensive, takes us to several perspectives of analysis and addresses issues that are dear to both theater and cinema. There are several possibilities for approaching the theme, such as: the acting schools of actors/actresses who observed their methods migrate from theater to cinema: the function of directing actors/actresses and their different approaches, distances and approximations between theater and the cinema; the role played by actors and actresses from Alagoas in local cinematographic production, among others. The possibilities are not easily exhausted. The field is vast and still little explored, as Jacqueline Nacache states when she says “Cinematographic studies are occupied by their dominant objectives: the approach to works, filmmakers, influences, styles, the approach to cinema as a language, as a narrative, as visual and sound art. The actor seems to have little to do with this adventure (NACACHE, 2012, pg. 7). What is perceived is a scarce reflection on the role of the actor in cinematographic production. Nevertheless, the category has been the scene of several tensions and it is, based on these questions, that we wish to deepen the present research. Where is the actor/actress from Alagoas in the state's film productions? What tensions arise between interpretation in fiction films and the place of self-representation in documentary cinema? What guide the choices that lead to the hiring of the rookie actor/actress to the detriment of the experienced and professional actor/actress? In what sense can a non-professional actor enrich a film? How to reward documentary film characters for their performances? These are some of the questions that the research will go through. Since the Federal University of Alagoas is the only formal education space in the state that operates in the development and training of the actor/actress, it has two spaces for this purpose: the undergraduate course in Theater which, although focused on the degree, has with disciplines on acting and, mainly, the technical course in Dramatic Art at Escola Técnica de Artes- ETA. We believe that the research will also subsidize the courses in order to generate reflections on the spaces that our actors and actresses have been occupying in the growing audiovisual scene in Alagoas.
In 2022, on the centenary of the Modern Art Week and on the bicentennial of Brazil's Independence, the world was expecting some sort of celebration. Institutionally speaking, how much important those dates are for Brazil as a country? On one hand, we had to deal with the embarrassment of a then government that took away the Ministry of Culture and organized the “Heart of Don Pedro II´s world tour”, on the other hand, Brazilian artists clearly proposed another model of thought and action. Living in Portugal since 2020, I saw transatlantic battles being fought in response to what was happening in Brazil. Here, not only did the Brazilian colony make itself heard at the elections, but at theater and film festivals, in art galleries, at the World Cup, at maracatus and forrós that spread across foreign lands. As an immigrant artist, I reflect on the role that unexpectedly fell to me, as a spokesperson for the complicated issues of a nation in conflict with itself and in the writing of its own history. Being distant from the physical space called Brazil, I could experience new forms of belonging, more subtle, but which require dexterity in the occupation of spaces. This is an initial reflection on the meaning of exporting the culture of a country that still does not have lasting policies for the preservation and promotion of culture. Its history, mythology and art need to be treated as a matter of priority so that Brazil can fully exist, merging the Real Brazil (people´s reality) and Official Brazil (the institutional image).
INVENTIVENESS THROUGH ETUDES AND THE SCENIC ATMOSPHERE: TEST PLANNING AS A BASIS FOR EXPERIMENTATION
ABSTRACT The Pibic 2020-2021 project (Institutional Program for Scientific Initiation Scholarships), "The Technique of Inventiveness through Études and the Scenic Atmosphere: In Revisiting Graciliano Ramos' Literature", guided by Carla Medianeira Antonello, aimed to research the praxis in a feedback exercise, using the methodology systematized by Konstantin Stanislavski. The objective of my study was to explain the results obtained from the experimentations in the project based on the rehearsals, through the actor's eyes and his experience throughout the development of the project. The theorists studied showed us ways about the scenic atmosphere, creative atmosphere, actor's work and études, helping in the creative process, character creation, and staging. The study and creation process was developed amid the pandemic with its limitations and restrictions, in this way, the planning of the rehearsals after all the textual foundation and the reading of the dramaturgy was crucial to broaden the researchers' view of the experiments. The dramaturgy was written from clippings of the works Caetés, Angústia, Insônia with the short story Insônia and Infância with the short story Um Cinturão by Graciliano Ramos, realizing the challenge of bringing important characters of this literature and their atmospheres, as well as the experiments through etiud[1] - the technique used for creative development and as a way of studying the role through physical action (KNEBEL, 2016) -, was the driving force of inventiveness, an essential element for the construction of all the scenes of the show entitled “Fricções”. KEYWORDS Études, Scenic Atmosphere, Staging, Inventiveness. [1] Etiud, from Polish, a term with the same meaning as études, from French, means studies.
Copyright (c) 2022 Anais Simpósio Reflexões Cênicas Contemporâneas - LUME e PPG Artes da Cena
INVENTIVENESS AND COMMUNICATION: THEATER SIGNS IN THE CONCEPTION OF THE SCENIC ATMOSPHERE
ABSTRACT During the pandemic needs, the theatrical performance went through new processes, in new possibilities of realization, as a result of health limitations. The present article intends to present the results obtained through the research “The Technique of Inventiveness through Études and the Scenic Atmosphere: In the Revisitation of Graciliano Ramos' Literature”, fruit of the PIBIC/CNPq/UFAL, which experimented with the online application of the method of etiud, from Konstantin Stanislavsky, in a study on the Scenic Atmosphere, according to Böhme (1993), and the symbolic decisions of the dramaturgy created for that, thinking about virtual and face-to-face montage, in an adaptation of the work of the Alagoan writer Graciliano Ramos. Both the Russian method and the conceptual studies on the art of the actor, theatrical direction and creative processes, with Ostrower (1996), were contributions to the creative processes, resulting in the show “Fricções”, which premiered as an audiovisual product in October 2021, and later, was improved for live performance. KEY WORDS Scenic atmosphere, Dramaturgy, Etiud, Graciliano Ramos, Semiotics
REFLECTIONS ABOUT ECOPERFORMANCE, LANDSCAPE AND CONTEMPLATION
ABSTRACT In this article, we propose reflections on the notion of ecoperformance, seeking to identify convergences and contributions from landscape studies, contemplative practices and cultural ecosystem services. We begin with a brief review of the concepts of landscape and contemplation, circumscribing their specificities in the artistic context and the and practices of the performer in the contemporary scene. From this theoretical framework, we carried out reports and reflections on the creation processes of the ecoperformance “Visitação #2”, as well as on its relations with the concepts of landscape, contemplation and cultural ecosystem services. The work was produced in the Jundiaí river dam, rural area of ??Mogi das Cruzes, during the pandemic, and exhibited at the Festival Arte Como Respiro 2020 from Itaú Cultural. KEY WORDS Landscape, Contemplation, Self-Cultivation, Performing Arts, Ecoperformance.