Olhares

CORPO, TRANSBORDA

Thiago Sgambato — 2025-01-23

ENTRE MIRA, SERAFINA, ROSA E TIA NEGUITA

Fabiano Cabral de Lima — 2025-01-23

Jorge Andrade

Antonio Gilberto Porto Ferreira — 2025-01-23

This article was prepared with the aim of presenting the reader with a brief panel of the life and work of Jorge Andrade, established as one of the main Brazilian playwrights since his debut in 1955, when his text A moratória was staged by Maria Della Costa Theater Company. The author also stood out for his work in education, journalism and television dramaturgy.

Fragments

Marcelo Lazzaratto — 2025-01-23

This article aims to present the scenic dramaturgy Fragmentos as a theatrical text. Text composed from the correlation of materials from different disciplines and arts that was configured in the show Fragmentos, a production of Teatro Cais 21 conceived and premiered by me in March 2023, in Palmela, Portugal. And it presents the creative path reflecting on the concepts “director as playwright”, “material” and “chorality”. This work is part of the research project Field of Vision: chorality and other bodies” awarded by FAPESP as a Research Scholarship Abroad (BPE).

ARENA THEATER AND THE DEVELOPMENT OF A BRA ZILIAN WAY OF INTERPRETING

Marcelo Braga de Carvalho — 2025-01-23

São Paulo`s Teatro de Arena, founded in 1953 by José Renato Pécora, with the initial
objective of trying out a new and cheaper way of doing theater. Then developed its history to
experience a brazilian way to do it and looking for a nationalist theater that was in opposition to
the elitist model of the time carried out by the Teatro Brasileiro de Comédia. One of the essential
elements for thinking about a Brazilian way of doing theater was to develop, at the same time, a
Brazilian way of acting. Actresses and actors from the group gave their testimonies, seeking to
present the different ways of doing that developed throughout the rehearsals and shows that
guided this search for a “ genuine Brazilian actor”. Teatro de Arena leaves a legacy both in the
construction of a Brazilian way of acting and in the elaboration of a dramaturgy that mirrored the
national reality.

ALL FOR ONE

Julia da Silva Carrera — 2025-01-23

This article deals with the documentary film Todas por uma (2022), by Jeanne Dosse, which shows how, in the midst of the economic, political, social and cultural crises that devastated Brazil, Ariane Mnouchkine, director of the Théâtre du Soleil (France), was invited to supervise the staging of the play As comadres (2019), a version of Les Belles-Soeurs (1965) by the Canadian Michel Tremblay, turned into a musical in 2010, by René Richard Cyr, with more than twenty Brazilian actresses, in an approach collaborative that aimed to break with the dominant patterns and give rise to a collective work. In addition to highlighting the encounter between Mnouchkine and Brazilian theater, the article also seeks to point out the clues that show the strong connection between Ariane and the cinema, explicit in the way in which the director and filmmaker conducts her creation processes and invents languages through images.

OS CONVIDADOS

Josimar Olavo Dantas — 2025-01-23

This research is linked to the field of cultural mediation, aesthetic reception, and cultural citizenship, focusing on the construction of a scenic-literary show in the city of Marabá, Pará. I describe the construction of the performance soiree The Guests, reflecting on the confluence between the aesthetics of the scene and the ethics of its backstage, based on affectivity as a mobilizing force that seeks to build horizontality in interpersonal and institutional relationships. This process culminates in a scenic experience in which artists and audiences act in co-authorship. It reveals identity facets of the researched territory, highlighting that the mediation process uses particular tactics to win over each of the guests.

IMPROVISATION, INTUITION E INSTANT

Daves Otani — 2025-01-23

In this reflection, I propose to weigh the fertile moment, a creative instant of improvisation, a fundamental experience for the performer. This thought about practice was built from my own experiences as an actor, although always under collective laboratories experiences, powerful path to scenic creation. Inspired by the book “The intuition of the instant” by the French philosopher Gaston Bachelard, in dialogue with the researches of the performing arts Constantin Stanislavski e Eugenio Kusnet, among others, and first pointed out in the doctoral research, it has its first steps in investigations carried out based on the scene creations of “Boa Companhia”, a theatrical research group that’s I had work since in 1992 and lasted until 2017.

THE CHANGE OF PERCEPTION WHEN GOING THROUGH THE EXPERIENCE

Aline Stefane Cezarone — 2025-01-23

The research dives into the vast universe of possibilities brought by the human experience. When crossing it, our perception, and the way we see ourselves in the world are profoundly affected. Experience acts as a link between the real and fictional worlds, a bridge that connects what is outside of us with what resides within everyone who connects to it. The question then arises: is it possible to experience a sense of belonging to the territory we inhabit after going through a performance experience? What do we see and feel on this journey influence our connection to the world? Could it be that even with an apparently limited repertoire of artistic influences, it is still possible to understand the world, art, and life? These questions underlie this article, seeking to establish connections that can guide us towards their answers. The research undertakes a meaningful quest, exploring the relationship between experience, perception, art, and life, in search of a deeper and more enlightening understanding.

Bacchus-Dionysus-Zagreeus and the origins of Western theater

Carlos Henrique Guimarães — 2025-01-23

With this study I seek ways that indicate modes of affiliation between Dionysian attributes and the permanence of this god in the sphere of theater in the polis. Why consider theater as a gift from Bacchus, like wine, death, rebirth and ecstasy? Starting from the qualities of this deity and its connections with the origins of Western theater, I am interested in evidence of Dionysus’ primordial characteristics that may still prevail in theatrical practice. I intend to address this issue here, sharing a reflection on the Dionysian aspects in ancient Greek theater, its origins and development in the polis.

Diasporic Africa and its contexts

Layla de Lima Marques Santos — 2025-01-23

In a preliminary proposal, this article has the exploratory nature of thinking about which space literature’s is inserted in literature in the classroom in terms of art. Based on the African expressiveness adressed by Asante (2014), and Martins (2021) and their multiplicities, we propose to reflect in the classroom what the outline of what it’s called African literature or African diasporic literature and its possible developments in different artistics languages. To project this reflection we used and application of Law n° 10.639, which refers to the obligation of African-Brazilian history and culture in the school context.

O CORPO-NATUREZA NA ARTE/VIDA

Olga Mitiko Ochi Takiuti — 2025-01-23

I dance in nature with my body, as if flowers I were. I feel the perfume, the sun that warms them, the rain that refreshes them, the cold that ennobles them, the wind that gives them movement. I am not always a beautiful flower: sometimes I am crooked, but I am reborn from my mud to my skin, I rise above the earth where I step, and I am alive in the now. Sometimes, my “earth-feet” speak for themselves and step as in a dance of growth and learning. I keep evolving in the midst of many searches through my crooked body and make the defect a unique beauty.

The non-do minant place of Drama in the Post-Modernity

Paulo Ricardo Berton — 2025-01-23

The field of Dramatic Writing, a genre that cannot do without ontological elements such as conflict, for example, is the target of constant attacks by authors who follow the dominant precepts of their own historical contexts. This paper, supported by the ideas of Raymond Williams and Jean-Pierre Sarrazac, problematizes the defense of the supremacy of the epic in drama, in the work of Peter Szondi and the concept of post-dramatic, in the book of the same name by Hans-Thies Lehmann, bringing them together , respectively, from the teleological thought of the 19th century and the liquid thought of postmodernity, questioning the pertinence and relevance of these ideas in relation to the multifaceted dramatic literary genre.

DIVERSIDADE NA EDUCAÇÃO

Fabíola Ataíde — 2025-01-23

Este artigo versa sobre as temáticas diversidade, ensino e políticas públicas, entrelaçadas com o fazer teatral. Nos últimos anos, a diversidade tem sido um assunto muito debatido e é pertinente apresentar reflexões no tocante ao tema, enfatizando o acesso à Educação por meio de conteúdos programáticos que tragam o reconhecimento dos saberes do aluno-artista. O estudo se relacionou com o processo criativo da montagem do espetáculo Agreste. Conclui-se com a reflexão de que não há como tratar do assunto sem antes planejar políticas que sejam inseridas na prática do saber e fazer artístico.

CORAZÓN CENTRAL: CRIANDO TERRITÓRIOS DE [R]EXISTÊNCIA

Nathielle Wougles — 2025-01-23

Este texto apresenta o início do processo de criação do território de [r]existência “Corazón Central”, a partir da entrevista com Martín, El Periodista, porta-voz rebelde da localidade. Marcando o espaço urbano com lambe-lambes, o entrevistado nos apresenta um lugar de denúncia do capacitismo e de celebração dos corpos com deficiência, embasado nas lutas sociais da América Latina e na busca pela justiça ocupacional.

GEOGRA PHIES OF RESISTANCE

Luaa Gabanini — 2025-01-23

This article follows the traces of memory, understanding the performing body connected to the environment in which it lives, serving as a site of exploration where poetic events begin. It reports on some experiences from the political movement Art for Democracy, a tactical group that uses art as a language, always seeking collective propositions of multiple voices. Emphasizing the unexpected as one of the strategies for the symbolic occupation of spaces and the gathering of bodies to create images that dispute new narratives, it highlights the idea of the body as a territory capable of conjuring landscapes.

CESAR VALLEJO

Hugo Villavicenzio — 2025-01-23

IRMÃOS COLACHO OU PRESIDENTES DA AMÉRICA

Hugo Villavicenzio — 2025-01-23

ENTREVISTA COM ANA LÚCIA TORRE

Samir Yazbek — 2025-01-23