Repertório

IMAGENS DE CONTROLE EM CENA: UM OLHAR SOBRE A PRODUÇÃO DRAMATÚRGICA/CÊNICA DE AUTORIA DE MULHERES NO NORDESTE DO BRASIL (2015-2021)

2022-06-03T15:00:38+00:00

This paper intents to make a critical review and an update of the research developed on the dramaturgy created by male playwriters in the Southeast region of Brazil between 2002-2012. Deflecting from that corpus, now we look at the initiatives of female artists in the dramaturgy/performance in the Northeast between 2015-2021, which we read from a feminist critical perspective, taking the idea of “controlling images”, by Patricia Hill Collins (2019), as our analysis-interpretation key. After the exposition of a brief panoramic view of their work, made from the consult of the main specialized critical websites, and considering the artists/collectives/works we already knew, we present our analysis-interpretation of the dramaturgy/performance of two plays: Isto não é uma mulata (2015), by Mônica Santana, and Violetas (2016), by Mayra Montenegro. Our hypothesis is that, in exposing and criticizing several control images associated to women, the work of these actresses-playwriters would be acting as a confront strategy against the oppressions those images synthetize.

RELATO SOBRE FEMINISMO NEGRO NO RIO GRANDE DO SUL A PARTIR DA IMERSÃO ARTÍSTICA NO PROJETO NEGRESSENCIA

2022-06-06T12:51:53+00:00

This article is an experience report in the condition of interpreter-creator of the show [title of the show removed for evaluation] created by black artists in Rio Grande do Sul as part of the Project [name removed for evaluation], in 2016. The experience in the artistic immersion during the creative process and the dialogue with black authors and intellectuals anchor this writing, allowing a reflection on the notions of black women that operate in gaucho society from memories written on the body. The historical rescue of the black female presence in the state and the reafricanization of the image of Yemanjà took place through an active interaction based on the memory of our ancestors where we established a relationship of continuity with the past, working the present to project a promising future for the community. black gaucho. This process consequently promoted fertile ground for the (re)signification of the social and artistic experience of black women based on memories, identities and identity processes, in relationships of belonging, empowerment and reception.

Compositional principles of audiovisual artistic creation: Guardians of the Birth

2022-06-06T15:07:13+00:00

This article is a report of the principles that involved the creative process of the audiovisual production [Nome do espetáculo removido para avaliação]. The scenic composition of the short film involved ritual performances and artistic performances, performed with pregnant women, doulas and midwives from the rural community of Caeté-Açu, in Chapada Diamantina, Bahia. The audiovisual production has as an aesthetic and poetic proposal a journey of crossing the gestational cycle until childbirth, guided by rituals with the four elements of nature, water, air, fire, earth. In opposition to obstetric violence, the objective is to contribute to the strengthening of a humanized and respectful culture of birth, giving visibility to loving assistance in the rite of passage that is pregnancy and childbirth.

ALÉM DOS SIGNIFICADOS DE MIRANDA: DES/SILENCIAR O 'TERRENO DEMONÍACO' DAS MULHERES DE CALIBAN

2022-05-30T14:30:17+00:00

This essay focuses its discussion on the place of decolonial feminism in the field of feminist studies by taking as its point of departure the absence of a woman for Caliban not only in Shakespeare’s playtext The Tempest, but also in the critical corpus written about the play. It analyses this absence as an ontological emptiness within feminism and defends that to bring this black woman to the center of the discussion displaces the decolonial feminist discourse in direction to a epistemological break with a eurocentric feminism and its regulating signifying systems. In doing so, decolonial feminism does not open a new field of colonial studies but establishes a paradigm shift in feminist studies, going beyond secularizing concepts of truth and gender and towards a ‘demoniac model’ through which caribbean women’s lives are enabled to express their auto-poiesis.

UMA ESCRITA QUE SAI DA PELE: TRANSFLEXÕES AFETADAS PARA LEMBRAR DAQUILO QUE ESQUECI E COROAR NOSSA SENHORA DAS TRAVESTIS

2022-05-27T12:35:25+00:00

healing processes need to hurt. PERFORMER To find bodies outside the skins, it is necessary to hurt, to leak, to overflow. our here finds out of our lost skins of this and crazy emb seeks the nonexistent place.

The Scenic Disobey as a strategy of art cuíer in Lisbon

2022-06-03T15:05:40+00:00

In Thoreau (2016), Debord (2017), and in Bey (2018) I find the inspiration to produce the idea about cuíer urban art and attribute a name that is a Scenic Disobey in my master’s degree. The artistic installation is a strategy in the public space to confront the same time as social pedagogy. The LGBTQIAPN+ consistency is a motivation to choose the disruptive character on this works for distorts the mainstream. Lisbon as an interventive place, the origin of the invasion of the Brazilian territory in15th century, can be a time to treat the decolonial art. As an artistic expression (Mesquita, 2008) as an operative mode translate what the Tamara Alves and Pixa Bixa pair, in comparison to the other works installed in other locations and for the other artists as the Brazilian Rafael Suriani and the Swedish Carolina Falkholt exemplifying the diversity of this artistic production to wondering the differences between access and radicality on the productions. Haraway (1991), shows the positionality concept and will guide this writing to the idea over the cuier urban art is criminal, because is a vandal, daring, but (re)signify the representativity expression and resistance present on the materials and the insert discourses on the city.

The child as a model in the teaching of the buffoon in Jacques Lecoq and Philippe Gaulier

2022-10-10T19:27:20+00:00

This text aims to expose the obvious relationships as well as the tacit ones between the figure of the child and that of the buffoon in the theatrical teaching of Jacques Lecoq and Philippe Gaulier. Drawing on the words of both pedagogues, but also on his practical experience at the Philippe Gaulier School, the author points out and problematises the evocations of the child, its presence and its play, as vectors of pedagogical explorations around notions such as cruelty, truth, polymorphism and innocence in the actor's apprenticeship within the dramatic territory of the buffoons.

O REAL, O TEATRO E A CANJIRA POLÍTICA: O DISCURSO PROVOCADO EM STABAT MATER

2022-06-12T19:46:16+00:00

In this article we analyze Stabat Mater (2019) by actress and playwright Janaína Leite (SP) as a play between autobiography and staged thought, that is, a hybrid genre that gives space and makes possible a new form of staging: the provoked discourse. Based on various theorizations of the characteristics of autobiography in literature and theater and of the scenic presence and its interconnections with feminism, we conclude that the play is part of a political canjira of brazilian theater, which in the last 20 years has proposed an aesthEtics of crossroads.

A FIGURAÇÃO DA IDENTIDADE LGBTQIA+ E DA PERFORMATIVIDADE DE GÊNERO NA DRAMATURGIA DE TENNESSEE WILLIAMS DAS DÉCADAS DE 1930 A 1960

2022-10-12T02:19:59+00:00

This article surveys LGBTQIA+ characters in Tennessee Williams plays written between 1930 and 1960. With a total of fourteen characters in nine plays, the analysis shows how the playwright figures these characters, in a declared and open way. Thus, heteronormative and effeminate cis performances are identified, as well as cross-dress characters. It is possible to conclude that Williams does not use these questions only as a theme for they have connections with his private life. It is identified, in the figuration of these characters, a way of criticizing the contradictions of capitalism and bourgeois society that demand heteronormative behavior, leading them to violence, self-destruction and death.

PSICOLOGIA FEMININA, IMAGINÁRIO E CRIAÇÃO EM “ISADORA: A DANÇA DO DESTINO"

2023-03-16T15:18:50+00:00

Este trabalho enfoca o processo de criação do espetáculo [título do espetáculo removido para avaliação], por nós escrito e dirigido, a partir da biografia da dançarina Isadora Duncan. Para a construção da corporeidade de Isadora, tivemos por estímulos a cosmologia da matéria de Gaston Bachelard e para a elaboração da personalidade da protagonista, nossa base foi o estudo da psicologia da mulher, de linha junguiana, como proposto por Jean Shinoda Bolen e Jennifer e Roger Woolger, que se pautam pelos arquétipos das deusas gregas. A partir do processo criativo, busca-se refletir sobre a simbólica configurada no espetáculo, tendo por escopo as ciências dos símbolos e do imaginário, segundo as proposições de René Alleau e Gilbert Durand.

PHILOSOPHICAL TENSIONS BETWEEN THE PRACTICES OF MARIA FUX AND ESCOLINHA DE ART DO BRASIL

2023-06-02T00:48:28+00:00

This dance/educational essay proposed to describe the possible similarities between the practices of the Argentine artist-teacher María Fux and the Escolinha de Arte do Brasil (EAB). Therefore, we organize the writing into two expressive essays entitled: (1) Maria Fux and her Dance Teaching practices, and (2)Historical narratives about the Escolinha de Arte do Brasil and its possible approximations with the practices of Maria Fux. Thus, it is concluded that the practices of Fux present several confluences with the philosophical assumptions of the EAB, having as one of the main points the defense of teaching through expression.

THE DESIGN OF SPACES: DESIGN, TACTILITY AND EXPERIENCE IN ARCHITECTURE AND THEATER

2022-04-04T12:11:47+00:00

This article aims to conceptually bring architecture and theater closer together, from the perspective of the Finnish architect Juhani Pallasmaa (1936). The reflections presented in this article were based on the analyzes of Professor Tomoko Tamari, from Goldsmith - University of London, among other authors. For Tamari and Pallasmaa, hand drawing is more than just a muscular response to this act, involving the human senses, memories and imagination, to the detriment of computer drawing. Here, we start a debate about the connections between the idealization of architectural and scenic spaces, in a fusion between the imagined and the designed reality. The tool-hand, structured by time and experience, is the agent for the expression of the artist's Self and thus, in these connections, in Edward Gordon Craig and Adolphe Appia, artists and directors who used their tool-hands to structure the first traits in the modern scene.

CENA E MEIOS DIGITAIS: CONVERSA COM VIOLETA LUNA

2023-01-17T16:39:04+00:00

Este texto é a transcrição da entrevista "Cena e meios digitais: conversa com Violeta Luna" e tem como objetivo realizar uma reflexão sobre o fazer artístico de artistas mulheres latino-americanas que utilizam o corpo como acesso ao exercício de subjetividades e à construção de poéticas cênicas, adaptadas aos meios digitais em tempos de pandemia pela Covid-19.