Beruflich Dokumente
Kultur Dokumente
stracts
technical information coordenação de produção / PROGRAMA DE PÓS-GRADUAÇÃO EM
IFTR USP 2017 production coordination: Laura Haddad ARTES CÊNICAS
FICHA TÉCNICA IFTR USP 2017 diretora de produção / director of POSTGRADUATE PROGRAM
production: Juliana Pedrozo IN SCIENTIFIC ARTS
COMITÊ ORGANIZADOR produtores executivos / producers: coordenadora / coordinator:
ORGANIZING COMMITTEE Carmen Melo, Eduardo Ramos, Michele Profª. Drª. Elisabeth Silva Lopes (Beth Lopes)
Profª. Drª. Elisabeth Silva Lopes Bittencourt, Sidy Correa, Pablito Kucarz, secretária / secretary:
(Beth Lopes) Renata Bruel, Carolina Meinertz Tamara Elizabeth Cury Scire
Prof. Dr. Ferdinando Martins designer gráfico / graphic designer:
Prof. Dr. José Batista (Zebba) Pablito Kucarz e Adriana Campos ESCOLA DE COMUNICAÇÕES E ARTES
Dal Farra Martins fotógrafa / photographer: Maria Fanchin COMMUNICATIONS AND ARTS SCHOOL
produção / production : diretor / director: Prof. Dr. Eduardo
COMITÊ CIENTÍFICO Duplo Produções Culturais Henrique Soares Monteiro
scientific committee vice-diretora / vice:
Profª. Drª. Andréia Vieira Abdelnur Camargo DEPARTAMENTO DE ARTES CÊNICAS Profª. Drª. Brasilina Passarelli
Prof. Dr. Antonio Araújo DEPARTMENT OF SCIENTIFIC ARTS secretária / secretary: Elaine Cristina
Profª. Drª. Elisabeth Silva Lopes chefe / head: Prof. Dr. Marcelo Denny Nogueira Araujo e Robson Cezar Zanovelo
(Beth Lopes) de Toledo Leite diretoria de serviços gerais / service
Prof. Dr. Felisberto Sabino da Costa vice-chefe / vice: Prof. Dr. Sérgio Ricardo manager: Irineu Fernandes Lobão
Prof. Dr. Ferdinando Martins de Carvalho Santos coordenação de eventos / coordination:
Prof. Dr. Luiz Fernando Ramos Maria de Lourdes Bianchi Avila
Prof. Dr. José Batista (Zebba) CORPO ADMINISTRATIVO DO assistente de comunicação / media
Dal Farra Martins DEPARTAMENTO DE ARTES CÊNICAS assistant: Verônica Cristo
Profª. Drª. Maria Helena Franco de ADMINISTRATIVE BODY OF
Araujo Bastos (Helena Bastos) DEPARTMENT OF SCIENTIFIC ARTS UNIVERSIDADE DE SÃO PAULO
Profª. Drª. Sayonara (Sayô) Pereira Alê Vaz Machado reitor / provost: Marco Antonio Zago
Prof. Dr. Sérgio Ricardo de Carvalho Santos Alexandre Lopez Afonso vice-reitor / vice: Vahan Agopyan
Idalvo Silva dos Santos (Fernandes)
ab-
ASSISTÊNCIA DE ORGANIZAÇÃO Jonas de Moraes GOVERNO DO ESTADO DE SÃO PAULO
relief organization Juliano Tramujas Geraldo Alckmin
coordenação / coordination: Luis Gustavo Viggiano governador do estado / state governor
Stenio Ramos Marco Antonio Vieira da Silva
colaboração/collaboration: Maria Josenilda Fernandes
Marcello Amalfi Raimunda Lopes da Silva Santos USP – Universidade de São Paulo
apoio / support: Robenilto Araújo da Silva Escola de Comunicação e Artes
William Mathias de Oliveira Av. Prof. Lucio Martins Rodrigues, 443
stracts
Abílio Tavares e Thomas Holesgrove
Cidade Universitária, São Paulo – SP
PRODUÇÃO / production
assessoria de imprensa e comunicação Departamento de Artes Cênicas
press office and communications: Rua da Reitoria (antiga Travessa J) nº 215
Michel Sitnik e Verônica Cristo Cidade Universitária, São Paulo – SP
introduction aesthetic forms, intervene in the city as an abertura de resistência, tornando-se impensável, na
introduction 5
action of resistance, becoming unthinkable, contemporaneidade, conceber a Política e a
Dear friends and colleagues, in contemporaneity, conceive Politics and Queridos amigos e colegas, Estética como dimensões apartadas.
Aesthetics as remote dimensions.
Welcome to IFTR 2017 in São Paulo! Sejam bem-vindos ao IFTR 2017 em São Paulo! É importante enfatizar que este encontro, ao
It is important to emphasize that this reunir pesquisadores e artistas brasileiros das
The realization in Brazil of this encounter meeting, by bringing together Brazilian A realização, no Brasil, deste encontro entre mais distantes universidades desse imenso
between researchers of the whole world researchers and artists from the most distant pesquisadores das Artes Cênicas do mundo país com participantes de outros países, se
means, for us, a narrowing of the dialogue universities of this immense country with inteiro significa, para nós, o estreitamento propõe, como ação coletiva, a refletir como as
with other universities, countries and participants from other countries, proposes, do diálogo com outras universidades, países Artes Cênicas influem, se engajam e refletem
continents, beyond the recognition and as a collective action, to reflect how the e continentes. Além do reconhecimento e da no comportamento, nos gestos e ações dos
appreciation of the cultural, artistic and Performing Arts influence, engage and reflect valorização das diferenças culturais, artísticas indivíduos, atravessados pelas questões
academic differences that constitute the in behavior, gestures And actions of the e acadêmicas que constituem o território sociais e políticas contemporâneas mundiais.
transactional territory of the Performing individuals, crossed by the contemporary transacional das Artes Cênicas. O IFTR Nossas diferenças são os motores sensíveis
Arts. The IFTR represents the opening social and political issues of the whole representa a abertura de um espaço de convívio capazes de mobilizar os afetos necessários para
of a space of conviviality and interaction world. Our differences are the sensitive e interação entre os participantes, ampliando avançarmos nessas reflexões.
among the participants, thus broadening the engines capable of mobilizing the affections dessa forma, os vínculos que definem uma troca
bonds that define a permanent exchange necessary to advance in these reflections. de experiências permanente entre as instituições Aprendemos com a irreverência e
of experiences between institutions with com interesses comuns. vanguardismo dos artistas brasileiros Flávio de
common interests. We learn from the irreverence and Cavalho, Lígia Clark, Helio Oiticica e Augusto
vanguardism of the Brazilian artists Oscar O tema da Conferência - Geografias instáveis/ Boal, ícones do modernismo brasileiro, que a
The theme of the Conference - Unstable Niemeyer, Flávio de Cavalho, Lygia Clark, Múltiplas Teatralidades - reflete as condições arte pode ser relacional antes mesmo de ser
Geographies / Multiple Theatrics - reflects Helio Oiticica and Augusto Boal, icons de criação e permanência de artistas e vista como uma estética. Eles antecipam os
the conditions of creation and permanence of Brazilian modernism, that art can be pesquisadores das Artes Cênicas que criam nossos destinos com ações multi relacionais
of artists and researchers of the Performing relational before even being seen as an formas e práticas capazes de confrontar as radicais, ampliando a percepção entre nós
Arts that create forms and practices capable aesthetic. They anticipate our destinies with questões geradoras de enormes diferenças e de que as artes representacionais podem
of confronting the issues that generate multi-relational radical actions, broadening injustiças sociais, em um país de proporções ser colaborativas e ter tradução de cultura
enormous differences and social injustices in the perception among us that the continentais, envolvido em uma significativa própria. E, descolonizando as formas de
a country of continental proportions, Involved representational arts can be collaborative crise política. A formação, ao longo dos produção e as políticas públicas com uma
in a significant political crisis. The formation, and have a translation of own culture. anos, de uma geração artística reflexiva visão de mundo integradora, onde o plural
over the years, of an artistic generation that And, decolonizing the forms of production e atenta aos acontecimentos nacionais e e o diferente tornam a arte um modo de
is reflective and attentive to national and and the public policies with an integrating internacionais, recoloca continuamente o foco existência junto ao seu público. A influência
international events, continually replaces vision of the world, where the plural and the nas questões transnacionais. O teatro, a dança destes pensamentos vindos da experiência
focus on transnational issues. Theater, different make art a way of existence with e a performance compõem um corpo único artística brasileira faz emergir uma grande
dance and performance make up a unique its audience. The influence of these thoughts que, em sua pluralidade de formas artísticas variedade de grupos de arte e ativistas, no
body that, in its plurality of artistic and coming from the Brazilian artistic experience e estéticas, intervêm na cidade como ação centro e fora do eixo das grandes cidades,
gives rise to a great variety of art groups In this sense and with these experiences, que singularizam os fazeres que fervilham por Nesse sentido e munidos dessas experiências,
introduction 7
and activists, in the center and outside the we wish that networks of human relations todos os lados. Permanece, no entanto, uma desejamos que as redes de relações humanas
axis of the big cities, that singles out the act such as the IFTR, of enormous artistic and questão a desbravar juntos: como prosseguir como a do IFTR, de enormes qualidades
of making that boils on all sides. It remains, academic qualities, open themselves to debatendo sem a homogeneidade cultural, e artísticas e acadêmicas, se abram para outros
however, a question to be explored together: other countries which, like ours, experience buscar o entendimento mútuo nas relações países que, como o nosso, experimentam em
how can we continue to debate without in their aesthetic forms the dynamics of sociais marcadas pelo global, o local, o nacional suas formas estéticas as dinâmicas da vida
cultural homogeneity, and seek mutual contemporary life. And let them continue e o regional? O geógrafo Milton Santos nos contemporânea. E que prossigam com o diálogo
understanding in social relations marked by with the dialogue and always allow revelou a possibilidade de construir uma e nos permitam sempre, com estes encontros,
the global, the local, the national and the us, through these encounters, to globalização mais humana com os fenômenos socializar o conhecimento.
regional? The geographer Milton Santos socialize knowledge. que fazem emergir uma nova história, feitos da
revealed to us the possibility of constructing mistura de povos, raças e culturas. Que estes
a more human globalization with the Beth Lopes, Zebba Dal Farra processos de internacionalização nos façam
phenomena that emerge a new history, and Ferdinando Martins. exercitar as práticas de inclusão, superando as Beth Lopes, Zebba Dal Farra
made of the mixture of peoples, races and the organizers questões mundiais de segregação, violência e Ferdinando Martins.
cultures. May these internationalization e pobreza que inviabilizam muitos artistas e os organizadores
processes make us exercise inclusion pesquisadores do direito ao conhecimento e ao
practices, overcoming the global issues of acesso as formas de saber. A lista daqueles com
segregation, violence and poverty that make quem aprendemos a fazer e pensar a arte entre
many artists and researchers unfeasible for os brasileiros é enorme. Não poderia faltar,
the right to knowledge and access to ways no entanto, o grande professor Paulo Freire,
of wisdom. The list of those with whom com o qual aprendemos que só a Educação
we learn to make and think art among pode ser um caminho para conquistar a nossa
Brazilians is enormous. Nevertheless, It liberdade e emancipação intelectual. Na
could not lack the great teacher Paulo Freire, singularidade do seu pensamento, Freire propõe
with whom we learned that only Education um compartilhamento do mundo a partir da
can be a way to conquer our freedom and construção e reconstrução do conhecimento.
intellectual emancipation. In the singularity
of his thought, Freire proposes a sharing
of the world from the construction and
reconstruction of knowledge.
GP
destiny of all people confronted with a national young people and in the juvenile prison
general panels 9
border. Today it is more topical than ever. system in Mexico City.
Even if contemporary performing art Janina Möbius studied Science of Theatre,
overcomes national borders in thinking, Film, and TV as well as Spanish Philology at
transnational cooperations and a strong the Freie Universität Berlin, the University of
aesthetical approximation, some countries like Granada Spain, and the UNAM in Mexico City.
Mexico have to deal with it. Mexican theater She received her PhD on the subject of
stuns with its growing heterogeneous and often Mexican Wrestling in 2002 with the thesis “And
very political theater landscape. The precarious behind the mask ... the people. Lucha Libre – a
condition off the country induced by the non- Mexican popular spectacle between tradition
GENERAL PANELS stopping drug wars, the asymmetrical boarder and modernity, Department of Theatre Studies,
politics with the US and the continuing refugee Freie Universität Berlin.
Jurgita Imbrasaite Con_fronteras: Borders, Bodies and tragedies is directly addressed in plays, festivals
Ruhr-University Bochum Contemporary Mexican Theater and research projects. In comparison to the Spheres of Interventions –
jurga_imbras@yahoo.de An immense wall closes the horizon, a wall Western theater, ‘political theater’ in Mexico political, aesthetical and ethical
Dr. des. Jurgita Imbrasaite LT/D is a research named by Mexicans as “The Wall of Shame”. seams to mean an existential form of resisting responses to violence in Mexico
assistant at the Institute for Theatre Studies at This monolithic wall shows the ambiguity of the rather than a discursive negotiation. In the context of accelerated levels of publicly
the Ruhr-University Bochum D. She also works border relationship between Mexico and the In my paper I would like to present several exposed violence in Mexico, the use of the public
as a free dramaturge, translator and organizer of United States. The applicants going through it Mexican theater artist from the perspective sphere to stage or a theatre of political power or to
academic events. In 2003 Ms. Imbrasaite moved are always a lot the coyotes are greedier each of the ‚frontera’ border and the ways of send violent threatening messages to the public,
from Lithuania to Germany to study Media and time and the police control of the American “confronting“ it. mainly done by drug cartels, is actually challenging
Theatre Studies. After graduating in Bachelor of border is more violent each time.’ This is not the theatrical practitioners to reconsider their
Arts she continued with Dance and Performance a depiction of a possible future given that “campos de batalla” – spaces-of-action” strategies.
studies in Germany and Belgium and gained president Trump keeps his campaign pledge to Janina Möbius Facing this massive public staginess of
her Master of Arts in 2009. Between 2004 and “build the wall“. The portrayal is an introduction Freie Universität Berlin violence and politics in Mexico, where the
2013 she participated in differed theater and to the play “Amarillio“ 2012 by one of the most janina.moebius@fu-berlin.de exposed tortured body is used as a memento
dance projects as dramaturge and performer. celebrated Mexican theater ensembles ‘Teatro mori or forms part of a necroteatro concept
Between 2011 and 2016 Ms. Imbrasaite Linea de la Sombra’. It sets a very exact view Janina Möbius, PhD, works as author, director developed by Ileana Diéguez and politics are
organized several interdisciplinary conferences on the current immigrant condition. The wall and producer of documentaries and does dominated by symbolical, theatrical gestures,
and summer schools. 2015 she finished is already there, endangering hundreds of academic and cinematographic research on theatre practitioners are questioned to develop
her dissertation project with the title “The women, men and children everyday who try cultural phenomena in Latin America and Europe. different aesthetical means and to conquer
révolution in Dance. From King to the Modern to flee from the ridiculously bloody drug wars Since December 2012, she is a research other spaces for intervention:
Subject”. Her research foci are: dance history and poverty, looking for a better tomorrow. This associate at the ERC granted research project On the one hand, several theatre groupes,
and epistemology, psychoanalysis, postcolonial piece directed by Jorge A. Vargas addresses a “The Aesthetics of Applied Theatre”, based labelled as “La Escena Expandida – The Extended
theory, contemporary performing arts in Mexico particular refugee movement from Mexico to the at the Freie Universität Berlin. Here, her focus Stage” are leaving behind the theatrical space in
and the USA. Texan town Amarillo and turns it into a collective is on theatre initiatives with “marginalized” order to intervene in concrete social settings. Or
regaining public spaces, abandoned because She was a Fellow at the International Research My PostDoc research projects aims to
general panels 11
The materiality of
of violence, creating “a stage in state of Center “Interweaving Performance Cultures”, Freie question who these artists and their work were. theater and intensities.
emergency” as Angel Hernández is proposing Universität Berlin from 2014 until 2015. Previous Since their theatrical work is not documented This article is based on Gilles Deleuzes’s
in Tampico with his festival “theatre for the she was a researcher at the Balzan Prize Project or contextualized within German theatre aesthetics of intensities and analyses a form of
end of the world”. Or to bear witness of the “The Role of Independent Theatre in Contemporary studies, I want to investigate theatre made theatre which plays with the actualized time of non
multitude of forced disappearences of people, European Theatre: Structural and Aesthetic by migrants and artists of color throughout fictional theatre elements. It seeks to present the
as done by the collective “Campo de Ruinas” Changes” by Prof. Dr. Manfred Brauneck, organized German theatre history. While my research is materiality of the theatre as an affection factor by
from Mexico City. by the International Theatre Institute ITI, Germany. based mostly on oral history and the maybe itself, and contrasted by the time of its perception.
On the other hand, applied theatre forms She completed her Ph.D. in Cultural Studies at the private documentation of the artists themselves, Therefore I also analyse how these elements can be
such as prison theatre try to intervene on the University of Hildesheim in 2011. in my presentation I want to inquire how an set up in time, favouring an intensive relationship
basis of structural violence by working with archive can be created that somehow relies on between them in a performing context in order to
juvenile inmates – within a justice system which Dis/Continuity of Post-migrant theatre in memory of the artists themselves as well as emphasize to the audience the perception of the
is performing itself within violent discourses of Germany theatre history their invention. And in very close relation to the presence. Finally, I discuss how playing with non
power relations and punishment. The history of theatre by immigrants and people conference I want to examine possible theatrical fictional theatre elements could lead the viewer to
My paper will present some examples of these of color in Germany is affiliated with one specific landscapes which could be created by an post- the feeling of suspended time.
theatrical strategies developed in the context of venue, Ballhaus Naunynstraße in Berlin. Ballhaus mgirant theatre archive. Keywords: intensity, matter, time, perception
violence in Mexico, and will discuss the ethical Naunynstraße was founded in 2008 because
and aesthetical questions arising in this “battle immigrants and artists of color living and working A materialidade do teatro
for representation – or meaningfulness”. in Germany were not present in German theatres. Vinicius Torres Machado e as intensidades.
The self-defined label post-migrant UNESP Este artigo toma por base a estética das
theatre have become a synonym for stories viniciustorresmachado@gmail.com intensidades de Gilles Deleuze para analisar o teatro
Azadeh Sharifi and perspectives of the second generation que tem por característica o jogo com o tempo
Department of Theatre Studies immigrant artists and artists of color who Vinicius Torres Machado is the artistic director real da matéria cênica não fabulada. Procura-se
Theaterwissenschaft, LMU Munich have migration as part of their personal of Coletivo Plataforma2 and professor of Acting apresentar a materialidade da cena como fator de
azadeh_sharifi@web.de knowledge and collective memory. Since at and Performance at São Paulo State University afecção por si contrastada no tempo da percepção.
least its production Verrücktes Blut mad blood Julio de Mesquita Filho- UNESP. He completed his A partir daí analiso se os elementos da cena
Azadeh Sharifi is a writer, researcher and by Nurkan Erpulat and Jens Hillje which was PhD in theory and practice of theater at University podem ser compostos no tempo, privilegiando uma
activist. She is currently working on her a invited to Berliner Theatertreffen, Ballhaus of São Paulo USP in 2014. His research focuses on relação intensiva entre as partes de um espetáculo
Postdoc Habilitation project Postmigrant Naunynstraße and its post-migrant theatre questions of the materiality of the theatre as an e possibilitando destacar para o espectador a
Theatre in German Theatre History – has become internationally well known. And affection factor by itself, designed both historically percepção da presença. Por fim, abordo como o jogo
DisContinuity of aesthetics and narratives as since then also the German theatre studies has and in the contemporary theatrical landscape. com a matéria cênica não fabulada pode conduzir o
part of the Theatre Department Munich LMU. become well interested in their topic. But as the His artistic production as director and dramatist espectador à sensação de um tempo em suspensão.
Her research interests include post-migrant artists themselves always referred to, the work include: “ A Porta” 2009, “Aporia” 2015, ”Saudade” Palavras-chave: intensidade, matéria,
theatre in Europe, cultural theory and minority and the achievements of post-migrant theatre 2013, “Anonimo” 2012 and “Romeo et Juliett” from tempo, percepção
discourse, postcolonial discourses in theatre and is built on the work of artists - immigrants and Charles Gounod’s opera 2011.
performances of race and gender. people of color - who were there before them.
Sebastian Kirsch traditions of souvereignty, that have more and Anderson has also worked on two national
general panels 13
The Dislocation of Theatre
Ruhr-University Bochum more turned out to be phamtasms? In recent years, calls for a spatial tours and numerous regional and off-Broadway
Sebastian.Kirsch11@gmail.com Starting with the observation that the greek historiography and material semiotics of theatre productions. Her fields of interest include musical
word “KHAOS” is much more ambivalent than (Banks, Kobialka, Knowles) have delivered theater and postcolonial drama. Anderson is
Sebastian Kirsch studied theatre, german our generally accepted “chaos”, Chétouanes poignant critiques of the often unacknowledged currently Assistant Director of Theatre Arts,
literature and history in Bochum 2000-2005 piece uses the ancient atomic theory of tendency in theatre and performance studies Specialist Professor, and the Department Advising
where he, during a position as lecturer 2008-2011, Epicure – which implies at the same time to disregard the “unstable geographies” of Coordinator in the Department of Music and
also reached his PhD with a work on the Baroque an ethical understanding of the world – as a performance, e.g., the spatial contradictions Theatre Arts, Monmouth University.
and Lacans pschyoanalysis 2011, supervisor Prof. philosophical echo and as an inspiration for a within supposedly coherent theatre cultures or
Ulrike Haß. In 2013/2014 he held a post-doc- strange choreography. Especially the Epicurean/ the localized meanings of seemingly universal Bohemians in the Empire State: A
assistance at the department for theatre, film and Lucretian theory of “clinamen” which has had, performance practices. Within this larger Postcolonial Reading of Jonathan
media studies of the university in Vienna where following Michel Serres, an enormous afterlive framework, I am interested in the discursive Larson’s RENT
he since then has also regularly been teaching. in modern physics of turbulence is a starting formations of space that underlie such acts of In their 1902 work A Short History of the
Since 2014 S. Kirsch is again associated to the point for a complex exploration of vertical and “dis-locating” theatre. Taking “World Without State of New York, John Jacob Anderson and
university of Bochum with the habilitation project horizontal orders that is undertaken by the Us” (2016) by Belgian company Ontroerend Alexander Clarence Flick praise New York for its
Beyond Oedipe which is supported by the DFG dancing bodies themselves: “Exposed to the Goed as my starting point, I will read this “higher conception of state, national, and world
for 36 months. Beyond his academic work S. possibility of crashing, of losing, of fear and performance, which asks us to imagine a space citizenship,” before stating that “New York is well
Kirsch was also en editor of the German theater mourning, the dance becomes an autonomous without humans, against its grain, arguing that called the Empire State, therefore, not only because
magazine Theater der Zeit 2007-2013. doing and becoming, a state without goals or any it becomes paradigmatic for a genealogy of of the vastness of its resources, but because it
predictable time axis“, Chétouane says. I want to modern Western theatre, in which attention to so conspicuously illustrates the imperial power
Chaos and KHAOS. Laurent Chétouanes discuss what this ambivalent dispositions means space and to performance as a highly localised of law-abiding liberty among the people.” While
choreographic exploration of turbulence on the one hand for contemporary ways of practice ultimately leads to its opposite: the Anderson and Flick were directly referencing the
In my lecture I want to talk about the dance subjectivation and on the other hand for todays “dislocation” of theatre. grand history of the state, this paper seeks to
piece “KHAOS” 2016, a production that was possibilities of politics. explore the ways in which title might also refer to
developed by the French-born choreographer the darker side of imperialism, in which weaker
and director Laurent Chétouane in cooperation Sheri Anderson societies find themselves disenfranchised by a
with the Philosopher Jean-Luc Nancy. Under Michael Bachmann Monmouth University greater imperial power. Unlike Jay Z’s 2009 hit
the condition that the present is today a University of Glasgow shanders@monmouth.edu “Empire State of Mind” which views the city as
synonym for crisis, this piece tries to relate Michael.Bachmann@glasgow.ac.uk a land of possibility, the characters of Jonathan
a bodily experience of chaos not so much Sheri Anderson has an MFA in Stage Larson’s RENT find that their outsider status denies
to the notion of “state of execption” but to Dr Michael Bachmann is Lecturer in Theatre Management from University of California–San them the aforementioned “imperial power.”As
understand it as an inevitable model for the Studies at the School of Culture and Creative Diego. Anderson began her Broadway career as such, it provides an excellent vehicle to further
future. How to find ways to deal with chaotic Arts, University of Glasgow. He has also taught the Assistant Director for the musical Play On!. explore the notion of New York as “empire.” In
processes – that for example derange our at the universities of Vienna, Berne, Cologne, and She has subsequently worked on more than a viewing RENT through a postcolonial theoretical
usual ideas of space and time as metric Mainz, where he was Junior Professor in Theatre dozen Broadway plays, including Phantom of lens, we will explore such colonial constructs as
entities – without relying on the politicial and Comparative Media Studies from 2010-2014 the Opera, Little Me, and The Full Monty. Prof. the “ideal citizen,” the consequences of deviance
from societal norms, and the struggle to maintain Ipojucan Pereira da Silva
general panels 15
Gambiarração gambiarration: poetics in Gambiarração: poéticas
individual identities while under pressure to choreographic composition em composição coreográfica USP
adhere to the status quo of the dominant power. The hypothesis here constructed is that from A hipótese aqui construída é que a partir da noção ipojucan22@hotmail.com
We will likewise study the roles of race, class, the notion of gambiarra, gambiarração can be de gambiarra, pode-se entender a gambiarração
gender, sexual orientation, and health, not only understood as a way for the body to operate como um modo do corpo operar dispositivos para a Actor, director and professor of Acting,
in terms of their contributions to the characters’ devices for dance composition. In this way, composição em dança. Deste modo, se faz relevante Theory, Physical Theatre and Masks. Bachelor,
disenfranchisement, but also as unifying factors in it becomes relevant to think about the daily pensar acerca das práticas cotidianas, vistas em Master and Doctor in Performing Arts at
the creation of a bohemian subcommunity. practices, seen in Michel de Certeau as poetic Michel de Certeau como produções poéticas que the School of Communication and Arts of
• Joint work with Molly Huber productions that trigger formulations about desencadeiam formulações acerca das relações University of São Paulo USP. It developed a
the immanent relations to the production of imanentes à produção de gambiarras, assim como doctoral research on Spatial Masking, which
gambiarras, as well as make possible to perceive possibilitam perceber uma potência para a criação de includes the Physical Theatre, Contemporary
Carolina De Nadai a power for the creation of procedures and procedimentos e ações voltados à composição artística. Dance, Performance and the Puppets and
USP actions directed to the artistic composition. No âmbito das composições coreográficas, o método Masks Theatre. It working with performing arts
cacadenadai@gmail.com Within the framework of choreographic de Composição em Tempo Real, em desenvolvimento in São Paulo since 1992, leads in recent years
compositions, the Real Time Composition pelo coreógrafo português João Fiadeiro desde o the Theater Group Isla Madrasta, in which
Performer, researcher and dance producer, method, developed by the portuguese início da década de 1990, e o Modo Operativo AND, develops a focused research work on the actors
born in Brazil. Lives and works in São Paulo-SP. choreographer João Fiadeiro since the beginning estruturado pela antropóloga Fernanda Eugénio, body as the center of creation, combined with
Acts with contemporary dance, body awareness, of the 1990s, and the AND Operational Mode, foram os responsáveis por partilharem sentidos que physical languages such as Puppets and Masks
performance and creation of articulated structured by the anthropologist Fernanda compõem com o tema gambiarra, contribuindo para Theatre, Clown, Commedia dell Art, Mime etc.
proposals between academic and artistic Eugénio, were responsible for sharing senses a pesquisa em seu desdobramento teórico-prático.
environments. Developed her PhD research that compose with the subject gambiarra, Assim, a noção de gambiarração surge como um The Space as Fold: body,
USP-Brasil and ISCTE-Portugal: Gambiarração contributing to the research in its theoretical- estado-ação do e no corpo, percepções que são mask and masking
gambiarration: poetics in choreographic practical unfolding. Thus, the notion of também modos de fazer ou de ser que operam à It is from the coexistence between materials
composition. Made improvements in Motor gambiarração appears as a state of action of and semelhança das gambiarras, a partir do improviso, da of such diverse natures such as the actor and
Coordination, body awareness method and in the body, perceptions that are also ways of capacidade de agenciar ações em tempo real, de lidar scenic space that projects of staging are based
postural organization developed by Madame doing or of being that operate in the likeness of com acidentes, com a instabilidade e precariedade on. When we observe the dialogue between
Béziers. She has experience in the field of gambiarras, from the improvisation, the ability to e com a suficiência daquilo que há em determinada spatiality and performativity, there comes the
Arts as a performer and educator with an act actions in real time, to deal With accidents, circunstância compositiva. Identificamos no possibility of considering the relation between
emphasis on dance, mainly in research that with instability and precariousness and with pensamento de Baruch Spinoza e Gilles Deleuze e Félix the plasticity of the body and space as a possible
relates the following topics: dance, body, the sufficiency of what there is in a certain Guattari modos de perceber afetos, corpo, experiência axis of exploration of the actor’s work, here called
design, performance, composition, creative compositional circumstance. We have identified e composição, que fortalecem essa proposição artística. Spatial Masking. Mask and masking may end up
procedures and operating modes. He is currently in the thinking of Baruch Spinoza and Gilles having the same idea, but can also be seen from
developing a series of performances based on Deleuze and Félix Guattari ways of perceiving different points of view: besides being the cause
the Composition method in Real Time that make affection, body, experience and composition, of the absence/presence of the body, masking
up the practical development of his doctorate which strengthen this artistic proposition. has also the possibility to connect quickly and
http://cargocollective.com/cacanadai. intensely to the territory of performativity.
For the spatial masking the space is not a do ofício do ator, denominado de Mascaramento Claudia Muller Sachs proposed a 7-day experience of practical meetings in
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different nature of the body, nor is it the absence Espacial. Máscara e mascaramento podem vir a UFRGS which the teachers of body, voice and acting joined
of impenetrable substances, as if it were an significar a mesma ideia, mas podem também claudiasachs@terra.com.br to recover the interrupted semester. We suggested
entity that isolates and separates the visible serem encarados de pontos de vista diferentes: that each student bring a written manifesto from
elements. It is the investigation of the spatiality para além de apenas provocar a ausência/ Doctorate and Master in Theater at UDESC which to build a scene. Thus, we had the opportunity
emanating from both organisms and scenic presença do corpo, o mascaramento tem a University of the State of Santa Catarina. She to get to know the anxieties of each one, creating
materialities, as affects and fields of forces, or ainda a possibilidade de nos conectar rápida e works as an actress, director and theater teacher, a space for different aesthetics and themes, a
as more subtle unfoldings of dense materials. intensamente ao território da performatividade. with emphasis on acting, body movement privileged locus to analyze some trends of the young
The scenic space would operate this way in a Para o mascaramento espacial o espaço não and improvisation. She studied at the École Brazilian artists. I highlight some of the recurring
continuous flow of spatialitiy folds. é de natureza diversa do corpo, e tampouco é a International de Thèatre Jacques Lecoq 1992/93. themes, such as feminism, multi-sexuality, disbelief in
Even though they are present in different ausência de matéria impenetrável, como se fosse Research on how certain practices based on the politics and even in human beings, among others, to
parts of the stage environment, the scenic ele- um ente que isola e separa os elementos visíveis. pedagogy of Jacques Lecoq contribute to the establish relationships between art, subjectivity and
ments are connected in an exchange of affect Trata-se de investigar a espacialidade emanada, development of the imagination of the actor and contemporaneity.
between the audience and the stage, setting tanto dos organismos quanto das materialidades to the productions of collaborative theater with Keywords: subjectivity impeachment occupation
up a recursive structure, which incessantly cênicas, como afetos e campos de forças the emphasis on the actor as author. Ministered creation process
returns upon itself in a feedback process, and manifestos, ou ainda como desdobramentos mais the extension course “Painting in Lecoq:
that causes the space to bend, configuring a sutis da matéria densa. O espaço cênico operaria Composition from Motion in Space” at UFRGS. O jovem artista de teatro num Brasil
privileged place for the development of the dessa maneira segundo um fluxo contínuo de Postdoc scholarship PNPD holder at the PPGAC dominado: processos criativos a partir de
subject’s relationships with the world. To dobras espacialidades. - Postgraduate Program in Performing Arts, manifestos
observe the staging as a system of organic and Os elementos cênicos se conectam embora UFRGS. She is currently Adjunct Professor A at O ano de 2016 foi marcado por mudanças políticas e
non-organic folds that continually interpenetrate estejam em diferentes pontos do ambiente, the Department of Dramatic Art at the Federal sociais radicais no Brasil. As manifestações populares
in creating the scenic environment seems to be num intercâmbio de afetos entre a plateia e o University of Rio Grande do Sul UFRGS. Artistic contra e a favor do impeachment que acarretou
a good proposition, not only to think about the palco, configurando uma estrutura recursiva, name: Claudia Sachs na derrubada da presidente eleita, assim como o
theatrical writing but also to relativize the work que retorna incessantemente sobre si mesma Movimento de Ocupação das escolas e universidades
of the contemporary actor. num processo de realimentação, e que provoca The young theater artist in a dominated públicas deixaram marcas profundas naqueles que
Keywords: fold, space, body, masking. a dobragem dos espaços, configurando um lugar Brazil: Creative processes from manifestos delas participaram. Proponho aqui a avaliação de
privilegiado para o desenvolvimento de relações The year 2016 was marked by radical political um momento que se seguiu às ocupações em nosso
O Espaço como Dobra: corpo, máscara e do sujeito com o mundo. Observar a encenação and social changes in Brazil. The popular departamento de arte dramática da UFRGS. De volta
mascaramento como um sistema de dobras orgânicas e não- demonstrations against and in favor of the à sala de aula propusemos uma vivência de 7 dias de
É da coexistência entre materiais de naturezas orgânicas que se interpenetram continuamente impeachment that led to the overthrow of encontros práticos nos quais as professoras de corpo,
tão diversas, que são o ator e o espaço cênico, na criação do ambiente cênico parece ser uma the elected president, as well as the Occupy voz e atuação se juntaram para recuperar o semestre
que se fundam os projetos de encenação. Ao se boa proposição, não só para se pensar a escritura Movement of public schools and universities left interrompido. Sugerimos que cada aluno trouxesse um
lançar um olhar para o diálogo entre espacialidade teatral como também para relativizar o trabalho deep marks on those who participated in them. manifesto escrito a partir do qual construiria uma cena.
e performatividade, surge a possibilidade de se do ator contemporâneo. I propose here the evaluation of a moment that Assim, tivemos a oportunidade de conhecer as ânsias de
observar a relação entre a plasticidade do corpo Palavras-chave: dobra, espaço, followed the occupations in our department of cada um, suscitando um espaço para diferentes estéticas
e do espaço como um eixo possível de exploração corpo, mascaramento dramatic art at UFRGS. Back in the classroom we e temas, um locus privilegiado para analisar algumas
tendências do jovem artista brasileiro. Saliento One of the most popular artists using the textiles Izabela Brochado
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Brazilian Popular Puppet Theater -
alguns dos temas que foram recorrentes, como do in a very particular way is Gabriel Villela. On UNB Mamulengo, Babau, João Redondo and
feminismo, da multi sexualidade, da descrença na this presentation, as a visual complement, izabelabrochado@gmail.com Cassimiro Coco as an intangible heritage:
política e mesmo no ser humano, entre outros, para some examples of different uses of embroidery what that means?
estabelecer relações entre arte, subjetividade e techniques from Villela’s costumes will be shown. Izabela Brochado is a researcher, theater Mamulengo is a puppet theatre tradition of
contemporaneidade. director and permanent professor of the Pernambuco, that seems to have originated
Palavras-chave: subjetividade impeachment Os têxteis e a memória: o trabalho manual Department of Performing Arts at the University about two centuries ago, and even today it
ocupação processo de criação e o bordado no traje de cena of Brasília, where she coordinates the Laboratory remains a significant form of entertainment
O bordado é uma arte cotidiana muito popular no of Puppet and Animated Theater, created in 2001. for the people of the Northeast region, and an
Brasil e guarda estreita relação, não só com a tradição Her thesis, Mamulengo Puppet Theater in the affirmation their cultural identity.
Maria Celina Gil oral, como com a construção de uma memória Socio-Cultural Context of Twentieth-Century From Pernambuco, this puppet theatre
USP coletiva. A grande maioria das pessoas possui alguma Brazil Trinnity College Dublin – 2005 is a spread to others northeastern states acquiring
mariacelina.gil04@gmail.com história pessoal, ligada às suas lembranças, que tem historical and aesthetic study of the Brazilian particular features and different names. It
o bordado como elemento central. Quando está Northeastern puppet tradition. is called Babau in the state of Paraiba João
Maria Celina Gil, brasileira e estudante do presente no traje de cena, o bordado se mostra não só From 2008 to 2014, she coordinated the Redondo in Rio Grande do Norte and Cassimiro
Mestrado no Programa de Pós-Graduação em como elemento decorativo, mas também narrativo. Process of Registration of the Northeastern Côco in Ceará.
Artes Cênicas da ECA-USP. Formada em Cinema Pensando nessa relação entre os têxteis e a memória, Puppet Theater as Cultural Heritage of Brazil Considering the fact that from the 1980s,
pela FAAP e Letras pela FFLCH-USP essa apresentação explorará como essa relação within the National Historical and Artistic this part of Brazilian culture had suffered
se expressa nos trajes de cena, tanto no processo Heritage Institute - IPHAN - Ministry of Culture. considerable decline in its original ways of
Textiles and memory: handmade and de feitura quanto no resultado final e na relação In 2012, she became part of the Trapusteros production and circulation, the Brazilian Puppet
embroidery on costumes estabelecida com o público. Alguns artistas brasileiros Teatro, directed by Marcos Pena Spain. Within Theater Association asked the Historical and
Embroidery is a very popular everyday art in contemporâneos têm usado a técnica como peça Trapusteros she directed Contos Escolhidos Artistic National Institute to open a registration
Brazil and has a close relationship, not only with chave para a criação de universos e poéticas próprias. 2013 and translate and directed the Portuguese process of the Northeastern Popular Puppet
oral tradition, but also with a construction of a Um dos artistas mais conhecidos que explora os versions of the shows Este Conto não é meu Theatre as part of Brazil’s intangible heritage. On
collective memory. Most of the people have a têxteis de maneira particular é Gabriel Villela. Nessa 2012 e Uma História Simples 2013. The group March 2015, the Consultative Council of Cultural
personal tale connected to their memories, in apresentação, para embasar as afirmações teóricas, has been participated in several puppet festivals Heritage of Brazil endorsed the process.
which embroidery stands at a central position. serão apresentados alguns exemplos de possíveis both in Latin American and European countries. In terms of patrimony, the Brazilian Northeastern
When used in costumes, embroidery is more usos do bordado – para além da simples decoração de She is part of the editorial board of Moin- Popular Puppet Theater is part of the social life
than just a decorative piece: it is also narrative trajes – a partir de sua obra. Móin – Revista de Estudos sobre Teatro de of a community, linked to other aspects that
in a certain way. In view of this relation between Formas Animadas and has published many characterize it as such. At the same time, it is in
the textiles and the memory, this presentation articles and book chapters focusing on dialogue with puppet theater forms that are located
will explore how this relation is expressed in puppetry and theatre education. in the field of “the Arts”, and are recognized as
its process of making and in its final result and In 2016 she became part of the Unima predominantly artistic events within the context of
relation with the audience. Some contemporary Union Internationale de la Marionnette other urban arts. So, some questions arise: how do
Brazilian artists have been using the technique Research Commission. these two forms and their variations coexist and/
as key to create personal universes and poetics. or conflict? How does this popular puppet theater,
whether in its traditional or more contemporary de 2015, o Conselho Consultivo do Patrimônio Janeiro with the final work “First steps towards party and bringing together approximately forty
general panels 21
form, relate to the theater segment included in Cultural do Brasil aprovou o processo. Étienne Decrouxs Corporeal Mime: scene and thousand people during the June presentations.
the field of performing arts? The answers to these Como um patrimônio, o TBPN está inserido na pedagogy”. He was sponsered by the Ministry of That research presents the production of the
questions are complex, since the dynamics of vida social das comunidades, articulado aos demais Culture of Brazil with the scholarship “Connection groups of Bumba-meu-boi from Piauí, focusing
the present time dislocate categories which were aspectos que o caracterizam como tal. Ao mesmo Culture Exchange” 2014, by wich he was resident on Nova Fazendinha, and on the play Berra Boi
once solid and fixed, by bringing new spaces and tempo, ele está em diálogo com as formas de artist at HANGAR - Centre de producció i recerca of the dance-theater group Raízes do Nordeste,
configurations which make categorization more teatro de bonecos que se localizam no campo “das darts visuals of Barcelona and exchange student created in exchange with Nova Fazendinha, as
difficult. Those are the points that will be discussed artes” e que são reconhecidas como manifestações at MOVEO - International School of Corporeal an alternative to the standard historiography
in the propose article. predominantemente artísticas, inseridas no contexto Mime of Barcelona. He studied Specialization in that emphasizes the inexistence of a continued
Keywords: Puppet theater. Intangible heritage. das outras artes urbanas. Como essas duas ‘formas’ Arts Education at Cândido Mendes University and theater production in the state. It is not a matter
Brazilian culture e suas variações convivem ou entram em conflito? currently does a Master of Arts at UERJ University of restricting Bumba-meu-boi and the production
Como esse teatro ‘popular’, seja o tradicional ou o of Rio de Janeiro with the research project Raízes do of these artistic groups to the Theater field, but of
Mamulengo, Babau, João Redondo and ‘urbano’, relaciona-se com o segmento do teatro Nordeste Group and Berra Boi play: identities in the perceiving them at the crossroads of the Theater,
Cassimiro Coco - patrimônio imaterial do inserido no campo das artes cênicas e/ou das theater of Piauí”. He has experience in the Arts area, as Tácito Borralho defended of the dramatic
Brasil: o que isso significa? manifestações e expressões populares? As respostas having interest especially in the following subjects: dances, as Mario de Andrade said and even of the
Mamulengo é um teatro de bonecos popular do a estas perguntas são complexas, uma vez que Pedagogy Popular Culture and History of Brazilian Folklore. This not folklorized i.e., not crystallized
Brasil e embora não existam informações precisas a própria dinâmica dos tempos atuais desloca Theater out of Rio de Janeiro and São Paulo. as Torquato Neto 1968 also wanted.
sobre o assunto, ele parece ter se originado em categorias antes sólidas e fixas, inserindo nos novos
Pernambuco há cerca de dois séculos e, ainda espaços configurações nas quais antigos conceitos Raízes do Nordeste Group and Berra Boi play: Grupo Raízes do Nordeste e espetáculo
hoje, continua a ser uma forma significativa de e categorizações já não servem. São esses os pontos identity and alterity in the Theater of Piauí Berra Boi: identidade e alteridade no
entretenimento e forte elo de identidade cultural. discutidos no artigo proposto. The Bumba-meu-boi is seen by Mário de Teatro do Piauí
De Pernambuco, essa forma teatral realizada Palavras-chave: Teatro de bonecos popular. Andrade 1982 as one of the brazilian dramatic O Bumba-meu-boi é visto por Mário de Andrade
com bonecos espalhou-se para outros estados do Patrimônio imaterial. Cultura brasileira. dances. The researcher Tácito Borralho 2012 1982 como uma das danças dramáticas brasileiras.
Nordeste, adquirindo características particulares analyzes the Bumba-meu-boi, perceiving it as a O pesquisador maranhese Tácito Borralho 2012
e nomes diversos. É chamado Babau na Paraíba theatrical manifestation, which presents mixed analisa o Bumba-meu-boi, percebendo-o enquanto
João Redondo no Rio Grande do Norte e Cassimiro Weslley Fontenele techniques, such as the Theater of Animation. Aci manifestação teatral, que apresenta técnicas
Côco no Ceará. UERJ Campelo 2001, a director, playwright and historian mistas, como a do Teatro de Animação. O diretor,
Considerando que, a partir da década de weslley.fontenele@hotmail.com from the brazilian state of Piauí, points to the search dramaturgo e historiador piauiense Aci Campelo
1980, essa expressão cultural sofreu um declínio for an identity and to the need to find out what 2001 aponta para a busca de uma identidade e
considerável em seus modos originais de Weslley Fontenele is a brazilian actor, theater would be the heritage of the Theater produced in para a necessidade de encontrar qual seria a herança
produção e circulação, a Associação Brasileira director and researcher born in Piauí, northeast Piauí. The state has many groups of Bumba-meu- do Teatro produzido no Piauí. O estado apresenta
de Teatro de Bonecos solicitou ao Instituto de of Brazil. He published some academic articles, boi that work intensively and continuously during inúmeros grupos de Bumba-meu-boi que trabalham
Patrimônio Histórico e Artístico Nacional – acted in many plays and directed the play Sofia the year. This is the case of Nova Fazendinha, which de forma intensiva e continuada ao logo de todo o
IPHAN que abrisse um processo de registro do -35 about a fictional brazilian transvestite from performs in the city of Parnaíba the presentation ano. É o caso do Nova Fazendinha, que realiza na
Teatro de bonecos Popular do Nordeste Parte the state of Ceará. He holds a degree in Theater of the death and resurrection of a bull, involving cidade de Parnaíba a apresentação da morte e da
como patrimônio imaterial do Brasil. Em março from UNIRIO University of the State of Rio de dozens of people around the ritual-spectacle- ressurreição do boi, envolvendo dezenas de pessoas
em torno da festa-ritual-espetáculo e reunindo heroines usually performing acts of comedy appreciation and even the political context of tradicionais, o cânone no qual foi situado, para
general panels 23
aproximadamente quarenta mil pessoas durantes and drama from everyday life. The aim of this several themes arranged in his work not only as ser relido como uma exposição crítica e histórica
as apresentações juninas. Esta pesquisa apresenta presentation is to briefly analyse some popular adornments or superficialities. These visions, da época em que viveu, introduzindo diálogos
a produção dos coletivos de Bumba-meu-boi do forms of Brazilian puppetry in its relations to which go beyond psychological realism, are com um público à espera de outros aspectos
Piauí, com foco no Grupo Nova Fazendinha, e no a wider context of specifically political theatre shown from the succinct analysis of some of his da obra do autor, que não sejam as mesmas de
espetáculo Berra Boi do grupo de teatro-dança Raízes such as the one performed by Peter Schumanns works, which shows how much the Tennessee sempre: autobiográficos, psicologizantes e autos
do Nordeste, criado em intercâmbio com o primeiro, Bread an Puppet Theater, starting from the Williams´ Theater must be taken from the de moralidade.
como alternativa para a historiografia padrão que tradition of Punch and Pulcinella to Russian agit- traditional principles, the canon in which it was Palavras-chave: Tennessee Williams - realismo
enfatiza a inexistência de uma produção teatral prop Petrushka and Bread and Puppets Kasperle. situated, to be reread as a critical and historical psicológico - Dramaturgia norte-americana
perene no estado. Não se trata de restringir o Bumba- Keywords: Puppetry Mamulengo exposition of the time in which he lived,
meu-boi e a produção destes coletivos ao domínio Punch Petrushka introducing dialogues with an audience waiting
do Teatro, mas de percebê-los na encruzilhada do for other aspects of the authors work, which Mariela Lamberti de Abreu
Teatro, como defendeu Tácito Borralho das danças are not the same as always: autobiographical, Universidade Estadual de Maringá
dramáticas, como definiu Mário de Andrade e até Luis Marcio Arnaut de Toledo psychologizing, and morality. marielalamberti@gmail.com
mesmo do Folclore. No entanto, não folclorizado ou University of São Paulo Keywords: Tennessee Williams - psychological
seja, não cristalizado como disse o também piauiense sp.vi@hotmail.com realism - North-American Dramaturgy Graduada em Psicologia pela Universidade
Torquato Neto 1968. Estadual de Maringá - UEM 2008, pós graduada
Actor and Educator, graduated at Faculdade Além do “realismo psicológico”: as pela mesma instituição em Intervenções
Paulista de Artes FPA, Luis Marcio Arnaut is also questões sociais e históricas na obra Sistêmicas, com monografia sobre o tema
Mayumi Ilari a Civil Engineer, Specialist in Energy and Master in de Tennessee Williams Narrativas e Auto-Narrativas no Teatro.
USP Buildings Construction. With a post-graduate degree Este artigo procura revelar criticamente como é a Mestranda no Programa de Pós Graduação de
mayumi_ilari@yahoo.com in Theater-Education, holds a PhD in Performing leitura hegemônica da obra de Tennessee Williams Artes Cênicas pela Escola de Comunicações e
Arts at University of São Paulo ECA-USP no Brasil e nos Estados Unidos, tradicionalmente Artes ECA na Universidade de São Paulo USP
Professor of English and American Literatures vista como psicologizante e autobiográfica. com orientação do Prof. Dr. Ferdinando Crepalde
at University of São Paulo, Brazil, since 2009. Beyond psychological realism: the Contornos históricos, sociais e políticos são, Martins. Como atriz trabalhou em núcleos de
Department of Modern Languages, English Area, social and historical issues in Tennessee geralmente, negligenciados, diminuindo dimensões pesquisa no Teatro Universitário de Maringá de
Faculty of Philosophy, Languages and Social Williams´plays críticas de sua dramaturgia. Discute-se como esta 2002 até 2011, com estudos de textos, montagens
Sciences. Research in the field of Drama Studies, This paper reveals critically the hegemonic visão restringe consideravelmente o conjunto de e oficinas, e na companhia Circo Teatro Sem Lona
English and American Contemporary Theatre. reading of Tennessee Williams plays in Brazil obras do dramaturgo, desdenhando sua apreciação PR. Nestes grupos exerceu também a função
and the United States, traditionally seen as social e histórica e, inclusive, o contexto político de educadora e diretora, ministrando oficinas
Puppetry and Insurrection psychologizing and autobiographical. Historical, dediversos temas dispostos em sua obra não vinculadas à UniversidadeEstadual de Maringá
in Brazilian Theatre social, and political contours are often apenas como adornos ou superficialidades. Estas de interpretação, jogos dramáticos, circo e teatro
A member of Mr Punchs worldwide folk neglected, diminishing critical dimensions of visões, que vão além do realismo psicológico, são contemporâneo, Em São Paulo participou de
puppet family, Mamulengo is a Brazilian his dramaturgy. It is discussed how this view mostradas a partir da análise sucinta de algumas diversas oficinas sobre a cena contemporânea,
traditional and popular puppet show that tells restricts considerably the set of works of the de suas obras, o que mostra o quanto o teatro de teatro documentário, performance, método
lively stories featuring familiar heroes and playwright, disdaining his social and historical Tennessee Williamsdeve ser tirado dos princípios Suzuki e Viewpoints, Interpretação Realista para
teatro, Interpretação para Cinema, entre outros. deTeatro. In order to assist the analysis of object, pensamentos representam uma contribuição positive, Edgar died after an intense legal battle for
general panels 25
Foi produtora de cinema na empresa Bela mainly as a methodological proposition, we will teórica fundamental na tarefa de levar a his health insurance, so it would cover the expenses
Filmes, onde produziu o longa metragem use the concept of “post-dramatic theater”, cabo o alargamento da compreensão do que of his treatment against AIDS, setting precedents for
Hamlet de Cristiano Burlan. Atuou como proposed by Hans- Thies Lehmann, considering designamos por teatro feminista. the rights of patients in Brazil. From the perspective
produtora teatral das peças A vida dos that these thoughts represent a fundamental of gender and sexuality studies, the intention is
Homens Infames - São Paulo 2014, e Josefina theoretical contribution necessary to carry out to rebuild dimensions of his social experience
Canta- São Paulo 2015. Sócio-fundadora do the assignment of enlarging the understanding Carolina de Melo Ferraresi elucidating at the same time, the interrelationship
Estúdio Colordrama junto com o videomaker of what we call feminist theater. Universidade de São Paulo between politics and culture and the possibilities for
e diretor dearte Luís Gustavo Meneguetti, carolina.ferraresi@uol.com.br social transformation through theatrical practice. In
trabalhando como atriz, pesquisadora e Do amor à histeria: Uma análise acerca do this sense, understanding the connection between
produtora em projetos relacionados a teatro, léxico teatro feminista na peça Hysteria Mestranda em Artes Cênicas pela urban space, cultural production and the expression
cinema e artes visuais. Professora convidada do Grupo XIX de Teatro. Universidade de São Paulo USP, bacharel of sexuality is crucial to the comprehension of the
na Academia Internacional de Cinema AIC O presente estudo visa debruçar-se em Direito pela Faculdade de Direito de São story of Edgar Gurgel Aranha.
no curso técnico FilmWork. Atriz nos longa- sobre o conceito de teatro feminista e suas Bernardo do Campo 2006, e técnica em Keywords: Gender, Aids, Brazilian Theatre
metragens: No Vazio da Noite e Antes do reverberações a partir da análise de um Arte Dramática pela Fundação das Artes de
Fim de Cristiano Burlan Círculo do Amor de espetáculo contemporâneo, de modo a São Caetano do Sul 2012. Tem experiência Um Corpo fora de foco: Edgar Gurgel
Marcelo Sakabe. perceber a quantidade de elementos teatrais, na área de Artes Cênicas, com ênfase em Aranha, Homossexualidade e Aids
tanto do ponto de vista do conteúdo quanto interpretação teatral, dublagem, processos no Teatro Brasileiro
From love to hysteria: An analysis on the da forma, que são influenciados pelos papéis de criação e estudos de gênero e sexualidade. Esta Pesquisa tem por objetivo deter-se sobre a
concept of feminist theater in the play desempenhados pelas mulheres no teatro Atualmente é dubladora, intérprete, dramaturga trajetória do ator Edgar Gurgel Aranha 1937-1990
Hysteria of Grupo XIX. e de suas representações, na esteira das e pesquisadora do Coletivo Burla de Teatro. a partir da produção teatral brasileira feita durante
The present study aims to discuss the concept teorias feministas da contemporaneidade. a Ditadura Militar nas cidades do Rio de Janeiro e
of the feminist theater and its reverberations A fim de discutir a abrangência do conceito A body without a focus: Edgar Gurgel São Paulo. Aluno da Escola de Arte Dramática da
based on an analysis of a theatrical show, teatro feminista, utilizaremos a obra teórica Aranha, Homossexuality and Aids in USP, o ator viveu de perto o engajamento político de
pointing the quantity of theatrical elements, das pesquisadoras Maria Brígida de Miranda, Brazilian Theatre alguns setores da intelectualidade e da classe artística
from both perspectives, form and content - Elza Cunha de Vincenzo, Lúcia Romano, This research aims to dissert on the trajectory of brasileiras, atuando em espetáculos como O Rei da
which are influenced by the roles played by Lizbeth Goodman e Jill Dolan que discorrem the actor Edgar Gurgel Aranha 1937-1990 starting Vela e Navalha na Carne ao lado de nomes importantes
women in theater and its representations sobre este tema. Para também não deixar de from the Brazilian theater production made during como Jairo Arco e Flexa e José Celso Martinez Corrêa.
- based on contemporary feminist theory. In fazer ressoar a presente discussão teórica the military dictatorship in the cities of Rio de Portador do vírus HIV, Edgar faleceu após uma intensa
order to discuss the scope of the “feminist no plano da prática teatral, analisaremos a Janeiro and Sao Paulo. Student at the School of batalha na Justiça para que sua seguradorade saúde
theater” concept , we will use the theoretical obra teatral Hysteria, do Grupo XIX de Teatro. Dramatic Arts EAD - USP, the actor lived closely cobrisse os gastos com seu tratamento contra a AIDS,
work of researchers Maria Brigida Miranda , De forma a auxiliar a análise do objeto, the political engagement of some sections of abrindo precedentes para os direitos dos pacientes no
Elza Cunha de Vincenzo, Lizbeth Goodman and principalmente como proposição metodológica, the Brazilian intelligentsia and the artistic class, Brasil. Sob a ótica dos estudos de gênero e sexualidade,
Jill Dolan. To echo the theoretical discussion in utilizaremos o conceito de teatro político e performing in plays such as O Rei da Vela and pretende-se reconstruir dimensões de sua experiência
terms of theatrical practice, we will also analyze de teatro pós-dramático, proposto por Hans- Navalha na Carne alongside big names like Jairo social que elucidem, ao mesmo tempo, a inter-
a theatrical works Hysteria, from Grupo XIX Thies Lehmann, por considerar que estes Arco e Flexa and José Celso Martinez Corrêa. HIV relação entre política e cultura e as possibilidades de
transformação social por meio da prática teatral. articulation between different spheres of the articulação entre diferentes esferas do campo the courses at the integrated secondary level
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Nesse sentido, entender a conexão entre o espaço theatrical field such as the training of actors, teatral: a formação de atores, o ensino do teatro in Communication and Arts and Performing
urbano, a produção cultural e a manifestação da theater teaching and artistic creation was a e a criação artística. Tais ações operaram como Actor of the State College of Paraná from 2003
sexualidade é crucial à compreensão da trajetória de peculiar aspect of these experiments carried processos formativos e investigativos para os to 2010. She provided services in the SAREH
Edgar Gurgel Aranha. out in the scope of the postdoctoral research atores, ao mesmo tempo que proporcionaram - Hospital Escolarização At the Waldemar
developed at the Federal University of Ouro às crianças experiências nas quais elas puderam Monastier Childrens Hospital from 2011 to 2016.
Preto. Such actions, worked as training and se apropriar da linguagem teatral por meio da She was director of the Amador Theater Group
Melissa Ferreira investigative processes for the actors, provided atuação em contextos ficcionais complexos que at the Campo Largo Cultural House 2014/2015.
UDESC the children with acting experiences in complex tinham ressonância com suas próprias realidades She has been a professor at the Education
mellunar@hotmail.com fictional contexts that resonated with their sócio-étnico-culturais. A busca por realizar Department of the State of Paraná since 1998,
own socio-ethno-cultural realities. The search processos artísticos que associem a pedagogia currently has a 20-hour release for studies. She
Melissa Ferreira is a director, actress, for artistic processes that associate actors do ator, a aprendizagem do teatro e a experiência has a Masters degree in Theater from UDESC,
performer, researcher and professor at the pedagogy, theater learning, and performing cênica surge como um desdobramento prático de with research in Theater, Society and Scenic
University of the State of Santa Catarina, experience emerges as a practical unfolding of ideias e fenômenos que foram investigados em Creation. Research interest areas: NURSING
in the field of Performing Arts. She holds a ideas and phenomena that were investigated in pesquisas teóricas realizadas anteriormente e AND MEDICINE BASED ON SIMULATIONS
PhD in Theater UDESC - University of the previous theoretical researches and published in publicadas no livro Isto não é um ator: O teatro da Work of the actor / actress.
State of Santa Catarina. She is the author the book Isto não é um ator: O teatro da Socìetas Socìetas Raffaello Sanzio 2016, tais como a noção
of the book Isto não é um ator: O teatro da Raffaello Sanzio 2016, such as the notion of de pedagogia reversa, os modos de ser e estar na Attraction and actor work
Socìetas Raffaello Sanzio Perspectiva, 2016. reverse pedagogy, the ways of being child on criança em cena, as novas identidades artísticas on simulation scenarios
As an artist, she participated in festivals in stage, new artistic identities in the contemporary da cena contemporânea e os limites e as fronteiras This communication is a part of the masters
Brazil, Costa Rica, Germany and Italy. She scene and the limits and borders between entre a criação artística e a pedagogia. research on THEATER PRACTICES IN THE
is cofounder of Cria - Collective of Theater, artistic creation and pedagogy. COURSES OF MEDICINE AND NURSING and
Education and Gender. In her current research, will address the work of the actress and the actor
she investigates articulations between theater Atores, performers e crianças Raquel Mastey in a hospital learning environment. It will start
pedagogy, actor training, and artistic creation. em parcerias artísticas: articulações UDESC by presenting the practice named Simulation
entre a formação do ator, o ensino raquelmastey@bol.com.br that is supported by specific laws that guide and
Actors, performers and children in artistic do teatro a criação artística guarantee this new methodology of teaching
partnerships: articulations between the Este trabalho aborda a noção de prática Rachel Mastey holds a Bachelors Degree / learning in medical and nursing graduations.
training of the actor, theater teaching and como pesquisa no contexto de uma série de in Theater from the Faculty of Arts of Paraná Among the techniques of Simulation, will be
artistic creation experimentos cênicos que promoveram parcerias 2007 and a Bachelors Degree in Performing presented those that use practices coming from
This work approaches the notion of practice artísticas entre atores, performers e crianças da Arts from the Faculty of Arts of Paraná 2000. the theater such as scenarios, scripts, scene
as research in the context of a series of scenic educação infantil de uma escola pública na cidade Specialization in Art Education FAP-2003 assembly, characterization of characters, artists
experiments that promoted artistic partnerships de Ouro Preto Brasil nos anos de 2015 e 2016. A and Health for Elementary and Middle School and dolls. According to Quilici 2012, page 31:
between actors, performers and children in early peculiaridade destes experimentos, realizados no Teachers, by the Department of Nursing according to the new guidelines, several health
childhood education of a public school in the âmbito da pesquisa de pós-doutorado realizado UFPR 2013. She was a professor of technical graduations have had or have to modify teaching
city of Ouro Preto Brazil in 2015 and 2016. The na Universidade Federal de Ouro Preto, está na disciplines, theater director and coordinator of practice, especially in medical and nursing
schools, this means incorporating simulation 2012, p. 31: de acordo com as novas diretrizes, From 2011-2014, he was the Festival Manager TYA, which in return affects the conditions of
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techniques into educational methods. In this diversas graduações em saúde, tiveram ou têm que for I Theatre, in which he curated and managed production and reception. In particular, there
context, the Simulation in Health, configures modificar a prática de ensino, sobretudo as escolas the ACE! Festival- A performing arts festival is a perceived notion that these imports are
itself in new opportunities of work and research de medicina e enfermagem, isso significa incorporar dedicated to children and their families. necessarily ‘better’ than local productions.
to the theater professionals, since the practice in técnicas de simulação aos métodos educativos. Caleb is currently an independent producer My intention in this paper is to examine the
Simulation works with representations. For this, Neste contexto, a Simulação em Saúde, configura- for TYA- specialising in international projects contested and messy space of local TYA that cuts
we will cite testimonials from artists who work se em novas oportunidades de trabalho e pesquisa management. He is also a Creative Associate across education, art making and nation building in
in different hospitals such as Albert Einstein and aos profissionais de teatro, já que a prática em of The Paper Boats project- an international relation to western imports. Rather than defining
Hospital Universitário de Florianópolis, who tell Simulação trabalha com representações. Para isso, partnership platform for performance-makers. the extreme polarities- the ugly side of commercial
us how they develop this work and how they serão citados depoimentos de artistas que atuam em As an academic, he is on the Editorial Board of capitalism and the other as emancipatory- I am
are inserted in protocols and teaching practices hospitais distintos como o Albert Einstein e o Hospital The Journal of Theatrex Asia. interested in finding ways to negotiate the tricky
in health graduations such as Medicine and Universitário de Florianópolis, que nos contam como Caleb recently established the Singapore terrain and to find new ways to think through
Nursing, So that we can have a comparative desenvolvem este trabalho e como estão inseridos Theatre for Young Audiences Researchers structures of power, patterns of consumption and
idea about the methods of composition. The em protocolos e práticas de ensino nas graduações STYAR- A research collective that is interested political implications that overlap. Importantly, I
Simulation in Health is a practice, that uses de saúde como Medicina e Enfermagem, para in and committed to engaging with research, hope to loosen the tensions and find points where
methods of theater and currently employs que possamos ter uma ideia comparativa sobre os discourse and documentation of TYA. commodification, social dimensions and artistic
artists. It tends to grow in our country, even in métodos de composição. A Simulação em Saúde practices blend and merge.
the current Brazilian political situation, which é uma prática, que utiliza métodos de teatro e Playing it Local - Negotiating
is conducive to cutting funding for the areas of atualmente emprega artistas. Tende a crescer em the Politics of Theatre for Young
Education and Health. nosso país, mesmo diante da atual conjuntura política Audiences in Singapore. Ilda Andrade
brasileira, que está propícia a cortar verbas para as Theatre for Young Audiences TYA is UNESP
Trabalho do ator e da atriz áreas de Educação e Saúde. a growing area of interest in Singapore. ilda_andrade@hotmail.com
em cenários de simulação In the recent years, there has an been
Esta comunicação é uma parte da pesquisa increasing number of TYA activities and Actress, Educator and Storyteller. Brazilian,
de mestrado sobre PRÁTICAS DE TEATRO NOS Caleb Lee initiatives, signifying how TYA is quickly born on 05/03/1985, holds a Masters Degree
CURSOS DE MEDICINA E ENFERMAGEM e LASALLE College of the Arts being embedded in urban spaces and is in Arts from the Institute of Arts - UNESP,
abordará o trabalho da atriz e do ator em ambiente caleb.lwh@gmail.com contributing to defining city and cultural where she also graduated in Art-Theater in
de aprendizado hospitalar. Iniciará apresentando a life. Given this climate where much focus is 2012. She participated in several Congresses,
prática nomeada Simulação que é amparada em Caleb Lee is a Lecturer in Performance placed on young people and their families, it Seminars and Meetings as the IX Congress of
leis específicas que norteiam e garantem esta nova at LASALLE College of the Arts and holds is not surprising that western mega-musicals ABRACE - Brazilian Association of Research
metodologia de ensino/aprendizado nas graduações a Masters and Bachelor of Arts Hons in such as Disney’s The Lion King that targets and Postgraduate Diploma in Performing
de medicina e enfermagem. Dentre as técnicas de Theatre Studies from the National University family audiences have been introduced Arts in 2016 III International Symposium of
Simulação, serão apresentadas as que utilizam of Singapore. He is currently pursuing his and integrated into the city. While these Contemporary Scenic Reflections at the State
práticas advindas do teatro tais como cenários, PhD at Royal Holloway, University of London, musicals help enhance the global image of University of Campinas - UNICAMP in 2014 II
roteiros, montagem da cena, caracterização de researching on Theatre for Young Audiences the city, their presence in the TYA ecologies Engrupe - Meeting of the Research Groups in
personagens, artistas e bonecos. Segundo Quilici TYA in Creative Cities. complicates and troubles the place of local Dance at the Federal University of the State of
Rio de Janeiro - UNIRIO in 2009 Meeting of regions. For this it is based on the bibliographic Flaviana Benjamin Tellas, an Argentinian director who coined the
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the Teaching Nucleus of UNESP at the Institute study and analysis of the translations and USP bio-drama, composed of written biographical
of Arts of UNESP in 2009 World Meeting of transcriptions of these classes. flabenjamin@gmail.com scenes. For this work, the director brought her
the Performing Arts - ECUM in 2008 4th. Keywords: Jerzy Grotowski: Collège de France. biological mother and aunt for the staging, in
University Extension Congress of Unesp in Mestranda pela Escola de Comunicação e accordance with the director’s proposition that
2007 International Seminar on Memory and Fronteiras entre arte e vida Artes USP, pelo Programa de Pós Graduação use non-actors (here in Brazil, Augusto Boal had
Culture at SESC Vila Mariana in 2007, in nas aulas de Grotowski no em Artes Cênicas na área de Teoria e Prática do already used this approach). It is noteworthy
addition to having participated as a scholar in Collège de France Teatro. Graduada em Artes Cênicas com ênfase that in countries like Brazil and Argentina, the
the Research Group on Dance, Aesthetics and A presente comunicação integra a pesquisa de em direção teatral pela Universidade Federal autobiography is used to mirror social situations,
Education coordinated by Kathya Godoy and mestrado em andamento, cuja busca consiste em de Ouro Preto, Minas Gerais. Pesquisa o corpo at first revealing individual relationships and
currently participates in the Terreiro Group for analisar e discutir entendimentos e noções oriundas como ferramenta de criação e suas variáveis. then broadening to the social level, with a
Research and Scenic Investigations: Theater, das pesquisas de Jerzy Grotowski. O período É artista atua nas áreas de teatro, dança, focus on artistic practices. In this sense, this
Games, Rituals And Mischief coordinated by escolhido para investigação são as aulas ministradas fotografia, vídeo e performance autobiographical research beside female seeks
Marianna Monteiro. por ele na cadeira de Antropologia Teatral do to investigate the testimony, documents and that
Collège de France entre os anos de 1997 – 1998, Poetics of the Self: Autobiography and which is considered minor, focusing the analysis
Frontiers between art com o curso “A linhagem orgânica no teatro e no hybrid forms in contemporary art on evidence of this artistic practice here in Brazil.
and life in GROTOWSKI’S class at the ritual”. De modo específico neste texto, a discussão The autobiography is not limited to literature; Keywords: Autobiography, women, theatre.
Collège de France se dará a partir de questões relativas aos diálogos it appears in other artistic forms. In the middle of
The present communication integrates possíveis e as delimitações inferidas por Grotowski the twentieth century, it was used to represent Poéticas de si: Autobiografia e hibridismo
the research of master in progress, whose no que tange as regiões fronteiriças entre teatro the self in various artistic manifestations. transbordante na cena contemporânea
search consists in analyzing and discussing e ritual arte e vida. Também discutirá como suas The main thread of this research relies on the A autobiografia não se limita apenas à literatura,
understandings and notions from the colocações acerca das linhas orgânica e artificial, female autobiography as a basis for analysis, mas aparece em outros desdobramentos artísticos.
researches of Jerzy Grotowski. The chosen e das performing arts podem contribuir para novos scrutinizing documents considered “minor”, Proporciona, em meados do século XX, diversas
period for investigation are the classes taught modos de compreensão dessas regiões, muitas but which convey narratives left behind by manifestações artísticas que potencializam através
by him in the chair of Theater Anthropology vezes, nebulosas. Para isso pauta-se no estudo history. Thematic questions surrounding the das representações do eu na arte. O fio condutor
of the Collège de France between 1997 and bibliográfico e análise das traduções e transcrições theatrical staging of the female autobiography da pesquisa pauta-se na autobiografia do gênero
1998, with the course The organic lineage in dessas aulas. takes its first cues from visual arts, especially feminino como alicerce de análise, esmiuçando,
the theater and in the ritual. Specifically in this Palavras-chave: Jerzy Grotowski: performance art. Doing so raises the question: os documentos tidos como menores, mas que
text, the discussion will be based on questions Collège de France. why is the autobiography still subordinate to transpuseram narrativas deixadas para trás pela
regarding the possible dialogues and the other artistic languages in theatre? How did História As perguntas que cerceiam o tema da
delimitations inferred by Grotowski in what female artists conceive of their autobiographies autobiografia de mulheres para a encenação
concerns the border regions between theater as political acts through art? Given the rise of teatral, toma como aporte inicial o olhar para as
and ritual art and life. He will also discuss how its use in Brazil, where else in Latin America artes visuais que apresenta um avanço, sobretudo
his statements about organic and artificial lines is there evidence of the autobiography being na arte da performance. Desta forma, o que se
and performing arts can contribute to new employed in theatre? This research is based pretende levantar é por que o autobiográfico no
ways of understanding these often nebulous on the work Mi mama y mi tia (2003) by Vivi teatro ainda subjaz em relação a outras linguagens
artísticas? Como artistas mulheres postularam suas different, artists from different places focus on such issues, demystifying the ways art can assumir e dando ênfase a seu caráter processual.
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autobiografias como um ato político através da arte? on such issues, demystifying the ways art can take and emphasizing its procedural character. A relevância estética é deflacionada, dando lugar
Em um deslocamento geográfico, quais insurgências take and emphasizing its procedural character. Aesthetic relevance is deflated, giving way to à programaticidade e relacionalidade. Em muitos
destas práticas em países da América Latina? Visto Aesthetic relevance is deflated, giving way to programmability and relationality. In many cases, casos, neste contexto, os procedimentos de criação
que, existe um crescente em países como o Brasil programmability and relationality. In many cases, in this context, creation procedures become, tornam-se, mais do que a revelação do mecanismo
sobre o autobiográfico nas obras teatrais. Para in this context, creation procedures become, rather than the revelation of the mechanism ou teatralidade das obras, a própria matéria da
tanto, pauta-se na obra Mi mama y mi tia (2003) rather than the revelation of the mechanism or theatricality of works, the matter of art in arte em sua dimensão performativa, destacando a
de Vivi Tellas: diretora de teatro na Argentina que or theatricality of works, the matter of art in its performative dimension, highlighting the indeterminação entre as fronteiras das linguagens.
cunhou o termo biodrama - um projeto de escrever its performative dimension, highlighting the indetermination between the boundaries of Dentro deste amplo escopo, nosso problema diz
biografias cênicas. Nesta obra, a diretora trouxe sua indetermination between the boundaries of languages. Within this broad scope, our problem respeito às relações que a dança estabelece com a
mãe e tia (biológicas) para a encenação. Segundo languages. Within this broad scope, our problem concerns the relationships that dance establishes escultura. Se o caráter performativo de obras como
a diretora a proposta coloca em cena não-atores e concerns the relationships that dance establishes with sculpture. If the performative works’ as do escultor minimalista Robert Morris e do artista
antes dela, aqui no Brasil, Augusto Boal já desenhava with sculpture. If the performative works’ character of artists such the minimalist sculptor visual neoconcreto Hélio Oiticica estão consolidados
esta prática. É notório ressaltar que o uso do character of artists such the minimalist sculptor Robert Morris or the neo-concrete visual artist em estudos histórico-críticos, há uma contraparte
autobiográfico em diferentes países como o Brasil e Robert Morris or the neo-concrete visual artist Hélio Oiticica, for exemple, are consolidated in que ainda merece atenção. A partir da análise do
a Argentina, por exemplo, aparecem em contextos Hélio Oiticica, for exemple, are consolidated in historical-critical studies, there is a counterpart minimalismo na dança estadunidense dos anos 1960
geopolíticos que podem servir para testemunhar historical-critical studies, there is a counterpart that still deserves attention. From the analysis e sua recepção no Brasil, pretendemos introduzir
situações sociais que se inicia numa esfera singular that still deserves attention. From the analysis of the minimalism in the 1960s American dance algumas questões que colaborem para a ampliação
e se amplia para revelar uma esfera social e assim, of the minimalism in the 1960s American dance and its reception in Brazil, we intend to introduce do debate acerca das contaminações dos processos
derrama-se para as práticas artísticas. Neste and its reception in Brazil, we intend to introduce some questions that contribute to the expansion escultóricos nos procedimentos de criação de
sentido, o autobiográfico, nesta pesquisa, perpassa o some questions that contribute to the expansion of the debate about the contaminations of the coreógrafos e dançarinos contemporâneos.
gênero (feminino) e pretende olhar os testemunhos, of the debate about the contaminations of the sculptural processes in the procedures of creation Palavras-chave: dança contemporânea, escultura,
documentos e aquilo que é tido como menor, sculptural processes in the procedures of creation of contemporary choreographers and dancers. minimalismo, linguagens híbridas
direcionando para indícios desta prática artística no of contemporary choreographers and dancers. Keywords: contemporary dance, sculpture,
Brasil, tentando diagnosticar como aqui se apresenta. minimalism, hybrid languages
Palavras-chave: Autobiografia, mulheres, teatro. Sculptural contaminations in dance: Ajeet Singh
approximations and distancing of Contaminações escultóricas na dança: Bhagat Phool Singh Mahila Vishwavidyalaya
interlingual procedures from minimalism aproximações e distanciamentos de saritamalik1985@gmail.com, berwalajeet@gmail.com
Catarina Gomes São Martinho Sculptural contaminations in dance: procedimentos interlinguagens a partir
USP approximations and distancing of interlingual do minimalismo Having teaching experience of more than
catarinasaomartinho@gmail.com procedures from minimalism A arte contemporânea é marcada pelo desejo Eight years ranging from Undergraduate to
Contemporary art is marked by a critical crítico, seja às relações que estabelece com seu Postgraduate levels as Assistant Professor, Dept.
Contemporary art is marked by a critical desire, either to the relations it establishes contexto institucional, seja com seu contexto social. of English, BPSMV, Khanpur Kalan, Sonipat, from
desire, either to the relations it establishes with its institutional context, either to its social De formas, às vezes, radicalmente diferentes, August 2008, teaching Contemporary Literary
with its institutional context, either to its social context. In ways that are sometimes radically artistas de diversas localidades põem em foco tais Theory, Indian Poetics, Cultural Studies and
context. In ways that are sometimes radically different, artists from different places focus questões, desmistificando as formas que a arte pode Western Literary Theory and Criticism to M.A.,
M.Phil. & Ph.D. Students. My doctoral thesis is on Keywords: Experimental Theatre, Abhinaya, the method in French and English, enabled
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Augusto Boal’s Theatre of the
European Experimental Theatre covering Antonin ‘Spect-actor’, Ancient Indian Theatre, language Oppressed: local political action a the Theatre of the Oppressed to spread
Artaud, Bertolt Brecht, Augusto Boal, Jerzy of theatre, Dramaturgy etc. nd transnational network throughout Europe as well as to countries in
Grotowski and Bharata’s Natyasastra. To hone This work reflects on a double dynamic of the Africa and in Asia. This presentation will focus
my abilities and skills as teacher of English, I have Theatre of the Oppressed Teatro do Oprimido, on the changes and transformations of the
done PDCTE & PGDTE from EFLU Hyderabad. Clara de Andrade a method developed by the Brazilian director, method in France, by analysing the reports
Unirio playwright and political activist Augusto Boal. The of the “Bulletins du Théâtre de lOpprimé”,
Making Bodies Talk in Theatre: An Analogy clara.and@gmail.com first part of this dynamic refers to its local action, publications of this pioneer centre of the
between Bharata and Augusto Boal when applied as a political tool for social groups Theatre of the Oppressed in Europe.
Human body is central to the conception of Clara de Andrade is an actress, singer, with common interests, and the second is about Keywords: Theatre of the Oppressed,
European Experimental theatre and ancient researcher and professor of theatre. Currently its transnational reach, spread globally throughout Augusto Boal, transnationality.
Indian theatre. Both the traditions perceive she finishes her PhD in Performing Arts at the the five continents, forming an international
the metaphysical roots of theatre in human Federal University of the State of Rio de Janeiro, network of practitioners of the method. Teatro do Oprimido de Augusto Boal: ação
body. Bharata and Augusto Boal, two great UNIRIO, with a scholarship from CAPES. Her The Theatre of the Oppressed was shaped política local e rede transnacional
names in European Experimental theatre and current research focuses on the relations during Boal’s political exile 1971-1986 and Este trabalho reflete sobre uma dinâmica dupla
ancient Indian theatre respectively, based their between theatre and politics in the methods thus crossed borders and different political do Teatro do Oprimido, método desenvolvido pelo
dramaturgy on theatrical possibilities of human and processes of the Brazilian playwright regimes. The central idea of this work is to diretor, teatrólogo e ativista político brasileiro
body and made it central to performance. Their and director Augusto Boal. In 2014 she held analyse historically and theoretically how, Augusto Boal. A primeira parte dessa dinâmica se
philosophy of theatre does not project any a sandwich appointment at the Sorbonne from the mobility of exile, the Theatre of the refere ao seu caráter de ação local, ao ser aplicado
possibility of performance without human body Nouvelle, Paris 3. She is the author of “The exile Oppressed acquired an open methodological como ferramenta política por grupos sociais com
as they identify it as the main source of action of Augusto Boal: reflections about a theatre approach that enabled its dissemination in an interesses comuns, e a segunda diz respeito à
and movement. In their respective theatrical without frontiers” ed. 7Letras, 2014 and co- international network. Such characteristic of sua expansão transnacional, ao ter se difundido
aesthetics, they create a semiotic structure organizer of the collection of articles “Augusto the method allowed changes, adaptations and globalmente pelos cinco continentes, formando uma
of human body exploring its possibilities as a Boal: art, pedagogy and politics” ed. Mauad X, contamination by local cultures and traditions rede internacional dos praticantes do método.
theatrical tool. Despite temporal and spatial 2013. Her own articles have been also published of the territories in which it came to be O Teatro do Oprimido foi gerado quando Boal
differences in their respective theories, there in specialized journals such as Palimpsesto applied, which enabled its survival in the most encontrava-se em trânsito, durante seu exílio
are some deep rooted similarities in the UERJ, Cena UFRGS and Sala Preta USP. Clara diverse contexts. político 1971-1986 e, assim, atravessou fronteiras
fundamental premises of their dramaturgy. This graduated in Theatre Interpretation and holds In France, for example, the method received e regimes distintos. A ideia central deste trabalho
research paper attempts to analyze these two a Masters Degree in Performing Arts from a strong influence from the French theatrical é refletir historicamente e teoricamente como,
entirely different conceptions of theatre in order UNIRIO. She also teaches interpretation for traditions, when it absorbed contributions a partir da mobilidade do exílio, o Teatro do
to find out a common pattern in their theatrical singers, at the Instituto Casa do Choro, and as from artists and intellectuals that gathered Oprimido adquiriu uma abertura metodológica
aesthetics. The paper focuses on Bharata’s an actress she has been active in the scene of around Boal in the first centre for research que possibilitou sua difusão em rede
concept of abhinaya and Boal’s concept of Rio de Janeiro for about 20 years. Recently, she and practice of the Theatre of the Oppressed, internacional. Tal característica condicionante
‘spect-actor’ to explore the communicative co-idealized and acted in “Crônicas de Nuestra founded in Paris. This dialectical process that do método permitiu que acontecessem trocas,
possibilities of human body as a theatrical tool or América 2014/2015, a stage adaptation of the combines appropriation and dissemination, adaptações e contaminações com culturas locais
human body as language of theatre. stories written by Augusto Boal in exile. coupled with the publication of books on e tradições dos territórios em que passou a ser
aplicado, o que possibilitou sua sobrevivência nos Key-words: anti-performance, strike, caste-
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Job Experience You’re Mother, You Perform: Critique of
mais diversos contextos. Assistant Professor tenure, School of Arts & Performative Regime and the Meaning of system, Neoliberalism and Performative Regime
Na França, por exemplo, o método recebeu forte Aesthetics, Jawaharlal Nehru University, New ‘Anti-performance’ in India
influência das tradições teatrais francesas, ao Delhi, July 2012-15 July 2014. In 2016, India witnessed an unprecedented strike
absorver as contribuições dos artistas e intelectuais Adjunct Assistant Professor, Centre for Media and protest march in the state of Gujarat after the FRANCIMARA TEIXEIRA
que se juntaram em torno de Boal no primeiro Studies, School of Social Sciences, Jawaharlal incident of flogging of Dalit youth in public by a cow IFCE
centro de pesquisa e prática do Teatro do Oprimido, Nehru University, New Delhi vigilant group. Known as Una strike, the protest FRANTEIXEIRA00@GMAIL.COM
fundado em Paris. Esse processo dialético que Visiting Faculty, School of Arts & Aesthetics, created a history and signaled a new practice
conjuga apropriação e propagação, somado às Jawaharlal Nehru University, New Delhi, July of politics as well as an unceremonious end of Fran Teixeira is director of theater and artist
publicações dos livros sobre o método em francês 2014- July 2015. performance by the most performative regime of the Teatro Máquina Fortaleza-CE. She has a
e inglês fizeram com que o Teatro do Oprimido Awards & Grants in the post-independent India. The protestors degree in Psychology from the Federal University
se espalhasse geograficamente por toda Europa, Dwight Conquergood Award of Performance in Gujarat defied the structure by refusing to of Ceará 1997, a Masters degree in Arts from
assim como para países da África e Ásia. Esta Studies International pSi 2013 perform caste assigned roles and created uproar by the School of Communications and Arts at
apresentação se concentrará sobre as adaptações Central Research Fund Grant of University of dumping animal carcasses at the state government the University of São Paulo 2001 and a PhD in
e transformações do método ocorridas na França, London, 2010 offices and public places. The unperformative Performing Arts at UFBA 2013. Her research
a partir dos relatos dos Bulletins du Théâtre de Reid Research Scholarship in the name of declaration of the strike, “Your Mother, You Perform focuses mainly on Brechtian poetry, his models
l’Opprimé, publicações desse núcleo pioneiro do Elizabeth Jesser Reid, anti-slavery activist, 2009 the last rites” had an inherent statement: we of staging and the dramaturgy of the learning
Teatro do Oprimido na Europa. will not perform it any longer. The protest led to plays. She also investigates creative processes
Palavras-chave: Teatro do Oprimido, Augusto Publications resignation of then the chief minister of Gujarat in group theater in the interfaces dramaturgy
Boal, transnacionalidade. “Architectures of Fear and Spaces of Hope in Anandiben Patel and an emotional appeal from and staging. She is a professor of the Theater
Banaras: A City beyond Monolithic Identity,” co- Prime Minister, Mr. Narendra Modi. I read Una Degree at the IFCE, a course she currently
authored with B.K. Choudhary. Asian Journal of strike as critique of performative regime and coordinates, anda also of two Master in Arts
Social Science 44 2016: 34-53. emergence of what I term as the formation of “anti- UFC anda IFCE. She leads the research group
Brahma Prakash Bidesiya in Bihar Strategy for Survival, performance” in postcolonial Indian context. Drama, dramaturgy, scene: contemporary issues
JNU, New Dehli Strategies for Performance, Asian Theatre Unlike seeing strike as performance, I take CNPq / IFCE and participates in the Dramatis
prakash.brahma@gmail.com Journal 33, 1 Fall 2016. “strike as cease” in a more conventional sense. Group - Dramaturgy: media, theory, criticism
“Review of Theatre in Colonial India: Play- The strike here stands for an act of empting and creation CNPq/UFBA.
Qualifications House of Power, Edited by Lata Singh, and the movement or shutting down the factory
Ph.D. in Theatre & Performance Studies, Royal Performing Women, Performing Womanhood: by workers. What can be conceptualized as WHAT STILL BELONGS TO THE THEATER?
Holloway, University of London, 2013. Theatre, Politics and Dissent in North India, By “strike as cease” emerges as a motif through REFLECTIONS ON POLITICS AND HISTORY
M.A. in Aesthetics and Philosophy, National Nandi Bhatia.”Theatre Research International which Indian Dalits can be seen organizing THROUGH THE CREATIVE PROCESSES
Central University, Taiwan, 2008. 37.1 March 2012: 88-90. themselves. In the context of Una strike, Kalpana OF TEATRO MÁQUINA
M.A. in Arts & Aesthetics, Jawaharlal Nehru Kannabiran 2016 rightly observes that what is In this article we reflect about the creative
University, New Delhi, 2005 one year. frightening especially to the ruling party and its processes in theater contemporaneously,
B.A. in language and culture, Jawaharlal Nehru fringe armies is the “consequences of strike” studying the case of the group Teatro Máquina,
University, New Delhi, 2004 [emphasis. which shuts their performance]. from Ceará, Brazil. The question that triggers
theoretical reflection is: what still belongs to the Mnena Abuku Maria Ines Castagnino becomes more evident when the object under
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theater? For this purpose, the topics of history Benue State University Universidad de Buenos Aires scientific study is human consciousness, as
and politics are chosen as key points of reflection, mneabuku@yahoo.com inex13@gmail.com happens in Stoppard’s 2015 play. It is the aim of
supported by the studies of Benjamin 1994, this paper to analyze comparatively the treatment
Arendt 2015, Nancy 2015 and Ranciére 2005. Mnena Abuku is a creative artist, María Inés Castagnino holds a degree in given to scientific issues in drama, as reflected by
Reflecting on the practice of the group is also to teacher and scholar. Literature from the University of Buenos Aires, the work of the aforementioned playwrights.
discuss the close relationship between creative Argentina and has trained as a Literature teacher Keywords: Stoppard, Frayn, science
processes and the awareness that theater is The World as a Global Market Place: A for secondary and higher education. Since 1996
production of history. The collective practices of Reflection of Wole Soyinkas Samarkand she works as an assistant teacher for the chair
Teatro Máquina are presented and defended as The 21st century has brought with it a of English iterature at the School of Philosophy Thiago Russo
the notions of historical consciousness, political tremendous and growing change as post dramatic and Literature of the University of Buenos Aires. The Arthur Miller Society, USA
topology, distribution of the sensible and crisis of theatre has advanced and taken the frontline in She has also taught courses on literature for the wescream@gmail.com
representation are debated. style, space, technique and form. Theatre has Cambridge IGCSE exam, and on the work of Tom
O QUE AINDA CABE AO TEATRO? REFLEXÕES therefore moved from the conventional art of Stoppard, about which she published a book Thiago Russo is a psychoanalyst, a member
SOBRE POLÍTICA E HISTÓRIA ATRAVÉS DOS script, stage, actor and voice to a more diverse in Spanish in 2005. She has translated works of the Arthur Miller Society in the United
PROCESSOS CRIATIVOS DO TEATRO MÁQUINA trend, thus evolving the contemporary. This by Oscar Wilde, Tom Stoppard and Edward States, and a doctoral student in the American
No presente artigo refletimos sobre os processos paper explores contemporary performance, new Albee. She is the author of several reviews and Literature Department at the University of São
criativos em teatro contemporaneamente, estudando trends and forms. Since contemporary theatre is articles and has participated in research projects Paulo. His master’s thesis in American literature
o caso do grupo Teatro Máquina, de Fortaleza, intercultural, it creates a bridge between cultures of connected with different aspects of Samuel drew upon the relationship between Arthur
Ceará. A pergunta que dispara a reflexão teórica é: different nations, especially in terms of techniques Becketts work. Miller and Henrik Ibsen and explored the
o que ainda cabe ao teatro? Para tanto elegem-se and modes which carries the audience along as sociopolitical essence of American theater of
os tópicos história e política como pontos-chave da it now takes place in the fields, museum, church, Science at play in the work of Tom the 1940s and 1950s. His doctoral dissertation
reflexão, amparados pelos estudos de Benjamin 1994, courtyard, the lake and parks. It thus prods the Stoppard and Michael Frayn concerns Miller’s critique of 1980s and 2000s
Arendt 2015, Nancy 2015 e Ranciére 2005. Refletir mind for deeper reflection. This paper focuses Tom Stoppard has more than once turned American culture in the Reagan and Bush Eras.
sobre a prática do grupo é também discutir a estreita on performance as a global market place with aspects related to science into drama, either His central themes of study are Neoliberalism,
relação entre os processos criativos e a consciência particular reference to Wole Soyinka’s Samarkand by applying scientific concepts dramatically Conservatism, Society of the Spectacle and
de que o teatro é produção de história. As práticas in a unifying whole of diverse cultures and Hapgood, 1988 or by presenting characters Imperialism. He teaches American culture and
coletivas do grupo Teatro Máquina são apresentadas ethnicities. The turn of the century has created who are scientists Arcadia, 1993 The Hard literature courses.
e defendidas à medida em que são debatidas as grounds for the emergence of, and introduction Problem, 2015. Michael Frayn employs a different
noções de consciência histórica, topologia política, of traditional dance, religious rites, oral and poetic technique in Copenhagen 1998: he turns real-life Politics, Imperalism and Spectacle:
partilha do sensível e crise da representação. theatre. The conclusion is that the new millennium scientists Niels Bohr and Werner Heisenberg Arthur Millers Transgeographic
has witnessed greater innovations in theatre into characters and places them in very specific Critique of the Bush Era
practice which need support as society continues historical circumstances. In either case, dramatic Historian Sean Willentz argues that the
to find opportunities for its growth through structure brings to the fore the moral dilemmas Reagan Era began with Nixon’s resignation in
performing arts. and the personal dimension which scientific 1974 and ranged until 2008, having George W.
Keywords: Culture, Arts, Space and Ethnicities abstraction seems to disregard. This feature Bush as the last representative of the period.
The Era, characterized by a remarkable Miller’s transgeographic position shows Maria Fernanda Vomero operations are sustained by violent ideological
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empowerment of the Right, Conservatism English speaking characters in a Spanish USP procedures that disrupt, dissolve and reinscribe
and Neoliberalism, has caught great attention speaking country who will be actors or mafevomero@gmail.com, mafevomero@usp.br the cultural space of an indigenous society
of American dramatists such as Arthur Miller, spectators in this transhistorical plot. Young 1995, 2003, and are justified by a
Tony Kushner and Paula Vogel. Keywords: Arthur Miller, American Theater, Masters student in the Pedagogy of Theatre certain epistemology that produces discursive
With the end of the Cold War and the Bush, Reagan program at Universidade de São Paulo USP, disputes based on dominant and apparently
triumph of imperial policies 1980s and with a research on theatre, performance and irrefutable narratives. This late colonialism, as
1990s there was a paradoxical scenario of human rights to be completed along 2017. BA a neoliberal project, targets lands and bodies,
victory, individual success and profits on one Igor Silva in Journalism at USP 1997 and specialization in and here it is essential to invoke concepts such
side, and violence, poverty and dictatorship UFPE documentary studies at Escuela Internacional de as bared life Agamben, 2014 and necropower,
on the other. One such play that explores igordealmeida.silva@gmail.com Cine y Televisión de San Antonio de los Baños necropolitics Mbembe, 2011 to understand
the devastating effects of imperialism 2009, Cuba, and at Universitat Autònoma how large that cultural rewriting process can
is ‘Resurrection Blues’, written in 2002, Professor at Theatre Department of the de Barcelona 2011, Spain. Currently work as be. I also consider the hypothesis that similar
by Arthur Miller. Focusing on the violent Federal University of Pernambuco dramaturg for Companhia de Teatro Heliópolis, procedures of symbolic and territorial occupation
consequences of imperial policies outside based in São Paulo, and as pedagogical are reproduced within a society as instruments of
the U.S, this darkly comic satirical allegory, The French Revolution on stage coordinator at the International Theatre Festival domination whose aim is to homogenize identities
written during George W. Bush Era, is a bold The French Revolution is a modern myth. of São Paulo MITsp. In 2016, participated in the always under neoliberal capitalism premises.
play that asserts Miller’s stature as a militant His various scenic rewrites constitute a X Encuentro, promoted by Hemispheric Institute Then, I intend to discuss how and why
of/from the Scenic Arts. new theatrical tradition that connects of Performance and Politics New York University, theatre can challenge those main narratives
This paper will analyze how the form and past and present. Our objective is to carry that took place in Santiago, Chile. In 2015, that naturalize social hierarchies and violent
content of this play function dialectically to out a comparative study of two French traveled to Chiapas, Mexico, in order to join Art, procedures of land and human control. By
provide a clearer view of Miller’s Critique performances: 1789 by Ariane Mnouchkine Migration, and Human Rights course, leaded by analyzing the case of Palestinian theatre in
of the Bush Era. The play, which is a farce, and Ça Ira by Joël Pommerat. scholar Diana Taylor Hemispheric Institute and the context of Israeli occupation, I reveal how
is set in an unidentified country in Latin Keywords: French Revolution, 1789, Ça Ira performer Jesusa Rodriguez. Took part in Odin meaningful can be to put individuals from
America where a self-entitled savior Week Festival, in Holstebro, Denmark, in 2014. marginalized populations on the stage, allowing
promises to free the people who live under A Revolução Francesa em cena Joined the cast of La Bola DOr performance them to create new possible worlds through
a dictatorial regime. Taken as a subversive A Revolução francesa é um mito moderno. Suas 2011, created by the Catalan artistic collective performances, giving them the possibility to
and revolutionary leader, the savior will be várias reescrituras cênicas constituem uma nova named Planeta 15, during the International speak and be heard by an audience. I also
crucified and have his crucifixion televised by tradição teatral que conecta passado e presente. Market for Performing Arts, in Tàrrega, Spain. propose a brief dialogue with the plays of
a twenty-four-hour reality-TV which bought Nosso objetivo é realizar um estudo comparativo Chilean young director Paula Gonzalez Seguel,
the exclusive rights. Oddly enough, on and de duas montagens francesas: 1789, de Ariane Theatre and Human Rights: Ethics and who works with Mapuche themes as well
offstage the moment was equal: the whole Mnouchkine, e Ça Ira, de Joël Pommerat. Aesthetics as a Way of Resistance as Mapuche actors in the scene. In different
world stopped to watch the live broadcast of Palavras-chave: Revolução Francesa, In times of unstable geographies, late-colonial levels, the Palestinian theatrical panorama
CNN and other channels bombarding Iraq. 1789, Ça Ira enterprises – generated at the heart of neoliberal and Gonzalezs documental approach get to
Spectacle and alienation have revealed a dark capitalist system – continue to be put into action mobilize underground memories Pollak, 1989,
dynamic of society and its individuals. causing territorial and symbolic conflicts. Such despised subjectivities and ignored voices,
besides creating liminal spaces for the outbreak permitindo que eles criem novos mundos possíveis por in this cartographic binomial entity, as well to
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Re-cartographing the world: towards
of a communitas Turner, 1974, an ephemeral meio das performances, dando-lhes a oportunidade a Brazilian perspective of the Occident x problematize it.
condition of collectivity that reorganizes the de falar e serem ouvidos por uma audiência. Também Orient dichotomy Keywords: Cartography, Orientalism, Orient,
symbolic universe of a social group. proponho um breve diálogo com as obras da jovem During the last six years, in parallel to my Occident, Extreme-Occident,
diretora chilena Paula Gonzalez Seguel, que trabalha Ph.d. research, I asked to some artists and
Teatro e Direitos Humanos: Ética e Estética com temas mapuche tanto quanto com atores researchers of different parts of the world the Re-cartografando o mundo: por uma
como Forma de Resistência mapuche na cena. Em diferentes níveis, o panorama following question : where would you place perspectiva brasileira da dicotomia
Em tempos de geografias instáveis, teatral palestino e a abordagem documental Brazil in a world map divided by an Orient x Ocidente x Oriente
empreendimentos coloniais tardios – gerados de Gonzalez conseguem mobilizar memórias Occident dichotomy? For most of the non- Durante os últimos seis anos, em paralelo a minha
no cerne do sistema capitalista neoliberal – subterrâneas Pollak, 1989, subjetividades desprezadas Brazilian and non-Latin-american, the answer pesquisa doutoral, perguntei a diversos artistas e
continuam a ser colocados em prática provocando e vozes ignoradas, além de criar espaço liminares para was clear: Brazil was not considered as being a pesquisadores de várias partes do mundo a seguinte
conflitos territoriais e simbólicos. Tais operações o surgimento de uma communitas Turner, 1974, uma part of the Occident. Its placed in a geographical questão: Onde você colocaria o Brasil num mapa-
são sustentadas por procedimentos ideológicos condição efêmera de coletividade que reorganiza o nowhere, as the Latin American and African múndi dicotomicamente dividido em Oriente e
violentos que arruínam, dissolvem e reinscrevem universo simbólico de um grupo social. continents are. A minority evoked the fact that Ocidente? Para a maioria dos não-brasileiros e
o espaço cultural de uma sociedade originária some Brazilian cities, as Rio de Janeiro and não-latinoamericanos, a resposta era clara : o
Young 1995, 2003, e são justificadas por uma certa São Paulo, were very occidentalized. Some Brasil não era visto como parte do Ocidente. Ele
epistemologia, que produz disputas discursivas Juliana Coelho de Souza Ladeira hesitated, not knowing what to answer. The se situa num não-lugar geográfico, onde também
baseadas em narrativas dominantes aparentemente Université Paris VIII Brazilian colleagues in these conferences were estão os continentes latino-americano e africano.
irrefutáveis. Esse colonialismo tardio, como projeto juliana.coelho.br@gmail.com always extremely surprised : they were the only Uma minoria mencionou o fato de que algumas
neoliberal, objetiva terras e corpos, e aqui é essencial ones to consider Brazil as being an Occidental de suas cidades, como o Rio de Janeiro e São
invocar conceitos como vida nua Agamben, 2014 Juliana Coelho is an actress, director, teacher country. This subject is deeply related to my Paulo, serem muito ocidentalizadas. Os colegas
e necropoder, necropolítica Mbembe, 2011 a fim and researcher born in Belo Horizonte, Brazil. own experience as an artist and a researcher in brasileiros presentes nessas conferências sempre
de entender quão amplo pode ser esse processo de Since 2004, she develops practical and Bali. As I realized that Asian theatre forms are ficavam extremamente surpresos: eles eram os
reescritura cultural. Também considero a hipótese theoretical studies on the processes of the perceived in Brazil through an Euro-american únicos a pensar o Brasil como um pais ocidental.
que procedimentos similares de ocupação simbólica creation of the actor and the mask. In 2016, she perspective, I began to search the origins of the Esse assunto é profundamente relacionado a minha
e territorial são reproduzidos no interior de uma obtained her Ph.D. degree at University VIII in stereotypes linked to the notion of Orient itself. própria experiência como artista e pesquisadora
mesma sociedade como instrumentos de dominação the field of intercultural approaches to Balinese Orient and Occident are geographical notions em Bali. Quando me dei conta de como as formas
cujo objetivo é homogeneizar identidades sempre performing arts. Between 2014 and 20I5, she that can be analized by multiple and changing teatrais asiáticas eram percebidas no Brasil, através
sob premissas capitalistas neoliberais. taught at University of Rennes 2, in France, perspectives. They are also an eurocentric way de uma perspectiva euroamericana, comecei a
Pretendo, então, discutir como e por que o teatro and in 2006, she was a professor of physical of dividing the world, ideologically defining these pesquisar as origens dos estereótipos relacionados
pode desafiar aquelas narrativas dominantes que training and acting at Minas Gerais Federal territories. The notion of Occident remains still à noção de Oriente. Essas noções geográficas
naturalizam hierarquias sociais e procedimentos University UFMG, in Brazil. She realized two very present in the discourses and mentalities. podem ser analisadas por perspectivas múltiplas.
violentos de controle de terras e indivíduos. Ao analisar study journeys to Bali, in 2008 and 2011, in order However, the Orient one was upseted from Elas são uma maneira eurocêntrica de dividir o
o caso do teatro palestino no contexto da ocupação to study topeng, the gabor and balinese singing. 1970s, thanks to Edward Saids works and the mundo, definindo ideologicamente estes territórios.
israelense, revelo quão significativo pode ser colocar As an actress, she presented her work in Brazil, postcolonial studies field. Finally, we intend A noção de Ocidente continua ainda muito presente
indivíduos de populações marginalizadas no palco, Colombia, France and Germany. interrogate ourselves about the Brazilian place nos discursos e nas mentalidades em geral. Porém,
a partir dos anos 70, a idéia de « Oriente » é specifically Punjab, Rajasthan, and Gujarat Peer reflexive proof of the sanctity of the event that Faridkot is a site unsupported by historical
general panels 45
revisitada, graças aos trabalhos de Edward Said e Teaching Consultant Fellowship, GSAS Teaching is being celebrated. This seemingly inert bundle fact, yet this calendrical event not only exhibits
ao campo de estudos póscoloniais. Dessa maneira, Center, 2015-16 – a doctoral-cohort based annual by its very inertness helps perform the historical a strong narrative energy and social memory
pretendemos nos questionar sobre o lugar brasileiro program to enhance design, implementation, stability and felt sanctity of the larger event that with respect to Baba Farid, but also nests this
dentro desta entidade binomial cartográfica, & assessment of graduate student instruction is being celebrated, as does the sacred book of geographical location within a set of other sites
problematizando-a. American Academy of Religion’s Collaborative the Sikhs that sits at the centre of a Gurudwara that celebrate other Gurus and Sufis. This paper
Palavras-chave: Cartografia, Orientalismo, International Research Grant, 2014 – to research by the same name adjoining the shrine. Patterned will begin to ask questions relating to the nature
Oriente, Ocidente, Extremo-Ocidente, crítica in field and workshop on the topic “Contesting motion is also involved as pilgrimage brings of this space as scenography for a particular
orientalista Untouchability in Islam: the Religious History of throngs of outsiders to Faridkot, replicating the synthesis, i.e., the way in which a collective
Dalit Muslims in India” memory of Farids original travel to this town. As identity Punjabiyat is brought into being through
Wenner-Gren Foundation Grant in 2010 and it happens, this specific pilgrimage to Faridkot is a sharing the poetic renditions of song and story. It
Manpreet Kaur 2012 – to cover research and travel expenses recent post-independence phenomenon. will also pay attention to questions of materiality
Columbia University to present papers at the biennial conference While two small shrines have existed in the of the textual artifacts circulating in this
sepiaverse@gmail.com of EASA European Association of Social town for much longer – a tillā literally, a mound, space, such as pilgrimage manuals, belletristic
Anthropologists usually one on which a Sufi has done penance, pamphlets, personal breviaries, and attend to the
EDUCATION and the godri asthān shrine – the celebration genre-specific and use-specific construction of
Currently pursuing PhD in Religion, Columbia Celebrating the “Day of Arrival”: of an annual “Day of Arrival” festival is a new space through them.
University in the City of New York Commemoration as Testimony in Faridkot addition. My preliminary assessment is that
M.Phil. in Theatre and Performance Studies, This paper presents a preliminary this site fills the lacuna that is left by the
School of Arts and Aesthetics, Jawaharlal Nehru ethnographic study of a festival site associated dissection of Punjab in 1947 that has taken Hae-kyoung Lee
University, New Delhi, 2009 with the figure of the early Chishti Sufi and a Pakpattan Farids resting site, and the location Kookmin University
M.A. in English Literature, School of Language, thirteenth-century poet-saint Baba Farid Sheikh of his urs, i.e., a death-anniversary festival out hkgracelee@gmail.com
Literature and Culture Studies, Jawaharlal Farīd ud dīn Masūd Ganj-e Śakar, d. 1265. Farid is of common reach for eastern/ Indian Punjabis.
Nehru University, New Delhi, 2006 brought to life in Faridkot, Punjab, where an annual The present form of the festival came about Present:
B.A. in English Literature, Lady Shri Ram College festival allows participants and devotees to relive post-1984 when the central government under Professor, Dept. of Theatre Arts, Kookmin
for Women, Delhi University, Delhi, 2004 the historically erroneous fact that Baba Farid Rajiv Gandhi decided to offer state patronage University
FELLOWSHIPS select IRCPL Graduate arrived and settled there, leading to the eventual and broaden the scope of the festival to more Theatre Critic, member of the Association of
Fellowship, Summer and Fall 2016 – to conduct naming of the town after the saint. These actors secular activities such as inter-zonal sport and Korean Theatre Critics
preliminary fieldwork and archival research witness the saints compositions not only through cultural competitions. Not only is this site then Board Member, The Association of Korean
in India, in preparation for the dissertation songs in performance but also as couplets written shared variously, it is a site created by sharing Theatre Research
prospectus Alliance Travel Research Grant for in public spaces of all kinds, from mosque walls to in the wake of trauma and lack. Yet, it is also Board Member, The Association of Korean
the IRCPL/ CERI Shared Sacred Sites Project, commercial banners. Physical objects too serve a site that celebrates, attuning its energies Dramatic Arts Research
2016 – to conduct collaborative fieldwork along as snapshots of the long course of history. For towards remembering the arrival of the Director, Seoul Metropolis Inner City
with a team of graduate students and senior instance, In a small shrine under a tree lies the historical Farid, not the impossibility of access Regeneration Project
scholars for the projects emerging interest bundle of ragged clothes that Farid is said to have to the imagined munificence of the pīr in his 2015-2016: Dean, College of Arts,
in the shared sacred sites within South Asia, brought with him. The bundle godri serves as self- historical resting place, i.e. Pakpattan. Kookmin University
2016: Director, The Storyteller geo-political context. Second, it assesses Ellen Koban Kulturstiftung des Bundes, the federal
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Elevating Platform the festival as a collective effort to uphold University of Mainz state, the municipality, by several
2016: Director, Sungbuk Hunminjeongeum ethnic solidarity and to open the gate to a new koban@uni-mainz.de banking houses and private enterprises.
Festival tributary, making their local scene more global. Beside the presented repertoire, the
2014: Director, Saemanguem Tourism Third, it explores the implications of theatre Ellen Koban M.A. is teaching and currently declared festival’s aim is to enhance the
Contents Development performance as reflecting the universal nature finishing a PhD at the Department of Theatre international exchange and a transboundary
2014: Director, Junggu Cultural Health Project of diasporic community and the region’s Studies at Johannes Gutenberg-University collaboration that is paradigmatic for a
2000-2013: Judge, The Korean Musical Awards mission to intercede between two parties of Mainz in Germany. After her studies in Theatre, globalized world as the foreign minister is
2012: Director, Arts Education, The Tumen their divided motherland. Sports and Education in Mainz and Santiago mentioning within his greeting.
River Festival The region of Yanbian, an autonomous de Chile she worked as Assistant Director at In Pierre Bourdieu’s sense, a lot of economic,
2011: Artistic Director, Performing Arts, The prefecture along the river where Tumen belongs, various German theaters. Between 2010 and cultural and social capital is circulating around
Tumen River Festival was founded by migrants crossing the Tumen 2013 she was Lecturer at the Institute of Film and accumulated by this festival. In view of
2010: General Artistic Director, The Tumen River from the Korean peninsula in the 19th and Theatre Studies and Cultural Anthropology my general research on the German theatre
River Festival century. The area has been constrained by a in Mainz. Since 2013, Ellen Koban is a member system I am going to reveal that such festivals
2009-2011: General Artistic Director, The series of ideological struggles and the inevitable of the DFG Research Group 1939 „Un/doing in the framework of cities and their theatres
Sungbuk Wol-Wall Festival sensitivity of the border region to the political Differences. Practices in Human Differentiation“, are rather part of the symbolic capital – due to
climate of its neighbors. The river draws working within the subproject „Theatre between an intended increase of attractiveness of the
international attention as the route of defectors Reproduction and Transgression of body-based city and its cultural institutions – than of the
Performing Diasporic Memories of out of North Korea, and economic aid and Human Differentiation“. She is interested in and cultural capital in the narrower sense.
Crossing the Border: Implications in investment into North Korea. has published on contemporary theatre, theories
Theatre Programs of the Tunen River Yanbian’s theatre is strewn with migrating of the subject and performing gender.
Cultural Festival memories and archaic styles from their Nayara Brito
In 2010, the city of Tumen, a border city forefathers. South Korean artists and staff ¡ADELANTE! – How an Ibero-American UFBA
between China and North Korea, inaugurated volunteered for the festival, attracted by its unique theatre festival is accumulating ‘capital’ nay_brito13@hotmail.com
the Tumen River Cultural Festival to celebrate features. When this area faces clashes among its Bourdieu for a German city and its theatre
the opening of The National Intangible Museum stakeholders, can the power of theatre contribute ¡ADELANTE!, an Ibero-American theatre Temporary teacher at the Theatre School of
of Chinese-Korean Heritage on the waterfront to turn this site of confrontation into conviviality? festival is taking place from February 11th to the Federal University of Bahia.
facing North Korea. I was the general artistic That is the question I discuss in my paper. 18th 2017 at the city theatre of Heidelberg, Phd student of the Federal University of Bahias
director, responsible for establishing the concept Keywords: Tumen, Border, Diaspora, a small city in the south-west of Germany. Performing Arts Post Graduation Program, with
and structure of the festival. Under the slogan, Theatre, Memories Twelve guest performances of ten Ibero- a reaserch around the contemporary dramaturgy
“River of Life and Gate of Hope” the committee American countries are shown and one and the vocal poetics.
set up two pillars of the program: inheriting coproduction of a Chilean company and Master in Performing Arts by the Federal
memory and transcending the border. the Heidelberg ensemble is staged. The University of Rio Grande do Sul, with a dissertation
My paper frames the festival through the festival under the patronage of the German about the Brazilian contemporary dramaturgy.
relationship between territorial history and foreign minister is financially supported by Bacharelor in Social Comunication by the State
cultural legacy. First, it lays out the region’s the German Federal Cultural Foundation University of Paraíba.
oriundos dos respectivos países, têm na guerra e suas interpretation for singers, in the Casa do Choro. relationship of two famous actresses: Fernanda
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The silence which speakes and
other ways of acting: a look over consequências sociais seu principal leitmotiv, que se Gustavo has been working since 1989 as an Torres and her mother Fernanda Montenegro
Incendies and Krums caracters revela nas ações das personagens. Pensando na ideia actor, singer, director and producer. Graduated – a television star and symbol of the previous
Lebanon and Israel are border regions at the do subtema proposto “Violências culturais: identidades as an actor in 1995, he holds a Master’s modern theater school.
heart of the Middle East conflict. The dramaturgies e alteridades”, lançamo-nos a uma análise dos textos degree in Theory and Literature and a PhD in The symbolic language loaded with strong
of Wajdi Mouawad and Hanoch Levin, from that dramatúrgicos Incêndios, de Mouawad, e Krum, de Comparative Literature, both from the State images, the almost mute mixture of the Grand-
respective countries, have in war and their social Levin, com base nas noções da Pragmática linguística, University of Rio de Janeiro UERJ – 2011/2015. Guignol with performance art, allowed The
consequences their main leitmotiv, which is entendida como o “estudo da linguagem a partir de In 2014 he held a sandwich appointment at Flash and Crash Days to go beyond the Brazilian
revealed in the actions of the characters. From the uma perspectiva funcional, isto é, que tenta explicar the Sorbonne Nouvelle University Paris III as redemocratization context of the 1980s-1990s and
proposed sub-theme Cultural Violence: Identities as facetas da estrutura linguística por referência a part of his doctoral research on the relations to be included in the emerging international circuit
and Alterations, we turned to an analysis of Levins pressões de causa não-linguística” Levinson, 2007 between the aesthetics and socio-economics of of experimental productions that arose in those
play Krum and Mouawads play Incendies based apud Lins, 2008 ou, nos termos de Katz e Fodor the theater in Rio de Janeiro. In the same year, decades and endures to this day. The analysis of
on the notions of linguistic pragmatics, understood 1963 apud Lins, 2008, a interpretação das formas Gustavo has also directed “Crônicas de Nuestra this performance and its conditions may reveal an
as the study of language from a functional linguísticas “levando em conta o que é acrescentado América”, by Augusto Boal. In 2015 he directed aesthetic and production change in the Brazilian
perspective that tries to explain the facets of the pelo contexto”. Apresentamos, assim, uma análise das the show “Rosa de Ouro - 50 years” and in 2016 theater that is linked to an international context of
linguistic structure by reference to pressures of falas das personagens – mais que isso, do modo como the series “Hermínio Bello de Carvalho at 80”. formation of new global markets, whose artistic
non-linguistic cause Levinson, 2007 apud Lins, agem em suas falas, ou, mesmo, em seus silêncios His articles have been published in prestigious paradigms point to a new role for theater in society.
2008 or, according to Katz and Fodor 1963 apud – refletidas no contexto hostil em que habitam, Brazilian specialized journals such as Sala Preta The return of Brazilian director Gerald Thomas to
Lins, 2008, the interpretation of linguistic forms observando aquilo a que Austin 1990 chama de “atos USP, Urdimento UFSC and Gragoatá UFF. Brazil in the mid-1980s, after a promising early
taking into account what is added by the context. de fala” e o que eles provocam/determinam na vida de career in the New York avant-garde scene, helped
We present, therefore, an analysis of the characters quem os enuncia e de quem os ouve. Transnationality and to trigger a large twist that was related to these
speeches - more than that, the way they act in their Palavras-chave: Pragmática. Dramaturgia Post-drama: The Flash and changes in contemporary theatrical performance.
speeches, or even in their silences - reflected in the contemporânea. Wajdi Mouawad. Hanoch Levin. Crash Days of Brazilian Theater Thomas brought from Europe and the United
hostile context in which they inhabit, observing Based on a Brazilian case study, this paper States a new proposal for the stage, through which
what Austin 1990 calls acts of speech and what comments on the influence that new paradigms the materialization of theatricality moved away
they provoke /determine in the lives of those who Gustavo Guenzburger and global circuits have exerted locally on the from the idea of drama as it shifted from box office
enunciate them and of those who hear them. Unirio relationship between theater aesthetics and receipts to a new mode of production, based
Keywords: Pragmatics. Contemporary gustavo.gruta@gmail.com production. The underlying thesis here is that on sponsorship.
dramaturgy. Wajdi Mouawad. Hanoch Levin. these two spheres, poetic and socioeconomic, are Keywords: theatrical sociology, global circuits,
Gustavo Guenzburger is an artist, researcher inseparable for the understanding of contemporary postdramatic theater
Do silêncio que fala e doutros modos de and professor of Theater and Literature. Since theater, especially in its political aspects.
agir: um olhar sobre as personagens de 2015, he works at the Federal State University The play chosen to explore this thesis was Transnacionalidade e Pós-drama:
Incêndios e Krum of Rio de Janeiro UNIRIO, where he teaches The Flash and Crash Days, staged in 1991 by The Flash and Crash Days do
Líbano e Israel são regiões fronteiriças situadas no and develops postdoctoral research on Theater, Gerald Thomas. This innovative work, which Teatro Brasileiro
coração do conflito que envolve o Oriente Médio. As aesthetics and fostering policies, with FAPERJ could be considered hermetic, achieved A partir do estudo de um caso brasileiro, este
dramaturgias de Wajdi Mouawad e de Hanoch Levin, scholarship since 2016. He also teaches great popularity when it relied on the real-life artigo comenta a influência que novos paradigmas
e circuitos globais têm exercido localmente sobre de drama, enquanto transitava da bilheteria para – antropófago, the modernista movement, and shopping centers. We are especially interested
general panels 51
a relação entre estética e produção de teatro. A um novo modo de produção, baseado no patrocínio. the nationalisms of the tropicália movement – in describing the relation between their aesthetic
tese subjacente aqui é que essas duas esferas, Palavras-chave: sociologia teatral, circuitos as a means of redefining the contact zones of organisations and their respective transgressive
poética e socioeconômica, são inseparáveis globais, teatro pós-dramático “culture.” Neither theorizations nor experiences or reconciliatory efficiency. We discuss their
para a compreensão do teatro contemporâneo, suggest an easy, settled melding as much as an different aesthetic strategies to turn visible
especialmente em seus aspectos políticos. ongoing renegotiation erupting in moments of what is usually meant to stay invisible in urban
A peça escolhida para explorar esta tese foi Glenn Odom violence and artistic insight. These eruptions space, most of all the different modalities of
“The Flash and Crash Days”, encenada em 1991 Roehampton University of intrasubjective interculturalism are readily the socio-economic dispute. We reflect on the
por Gerald Thomas. Este trabalho inovador, que odomga@gmail.com visible in the complex negotiations of Brazilian logic by which the two practices propose what
poderia ser considerado hermético, alcançou grande encenadores auteur-directors. Rancière calls the “distribution of the sensible”,
popularidade ao se basear na relação real de Glenn Odom is a scholar of comparative the perception of the common space and the
duas atrizes famosas: Fernanda Torres e sua mãe world drama, theatre, and performance. He is participation of the public in it by way of collective
Fernanda Montenegro - uma estrela de televisão e the author of Yorùbá Performance, Theatre, and Stephan Baumgartel action. We argue that flashmobs overall reconcile
símbolo da escola de teatro moderna anterior. Politics: Staging Resistance Palgrave, 2015 and A UDESC its participants with the hegemonic status quo
A linguagem simbólica carregada de imagens Guide to World Theatre Theory Routledge, 2017. stephao08@yahoo.com.br and follow what Rancière calls a police logic,
fortes, a mistura quase muda de Grand-Guignol He is currently working on a comparative study whereas the rolezinhos expose the contradictions
com performance art, permitiu que “The Flash and of theories of theatre and performance emerging Stephan Baumgartel got his Masters Degree of Brazilian society and distribute the shared
Crash Days” ultrapassasse o contexto brasileiro from Africa, Asia, and Latin America entitled in 1995 from Ludwig-Maximilians-University/ space according to a political logic.
de redemocratização dos anos 80 e 90 e fosse Theatre, Globalizations, and Intercultural Worlds. Munich and his Doctoral Degree form Federal Keywords: Political and collective body,
incluída no emergente circuito internacional de University of Santa Catarina UFSC in 2005. He aesthetic strategies, urban space, social and
produções experimentais, que surgia nessas décadas Intrasubjective Interculturalism is currently Associate Professor at the State economic dispute
e perdura até hoje. A análise deste espetáculo e and Conflict: Brazilian Theories University of Santa Catarina UDESC, where he
de suas condições pode revelar uma mudança of Cultural Contact carries out research on contemporary Brazilian O flashmob e o rolezinho: considerações
estética e de produção no teatro brasileiro que está In their article “Toward a Topography of dramaturgy, on political theatrical poetics in sobre a construção estética de um
ligada a um contexto internacional de formação Cross-Cultural Theatre Praxis,” Jacqueline Lo Brazil and abroad and on non-mimetic forms of corpo político coletivo num espaço de
de novos mercados globais, cujos paradigmas and Helen Gilbert note that interculturalism producing contemporary texts by an interplay ostentação capitalista no Brasil
artísticos apontam para um novo papel do teatro “entails a process of encounter and negotiation between theatre and installation art. O presente artigo discute o flashmob e o rolezinho
na sociedade. O retorno do diretor brasileiro Gerald between different cultural sensibilities.” What no que diz respeito a suas eficácias transgressivas
Thomas ao Brasil em meados da década de 1980, then is the status of intercultural theatre in a Flashmob and rolezinho: considerations on e/ou conciliatórias. Discutimos suas diferentes
depois de uma promissora carreira inicial na cena situation like Brazil’s, where such encounters the aesthetic construction of a collective estratégias estéticas para tornar visível algo que se
vanguardista de Nova York, ajudou a desencadear occur not just between nations or groups within political body in a space mantém cotidianamente invisível no espaço urbano
uma grande reviravolta relacionada a essas nations, but within individual subjects – in The proposal discusses two cultural sobretudo sob a ótica do litígio socioeconômico.
mudanças no espetáculo teatral contemporâneo. a culture that is, at its most intimate levels, performances, the internationally known flashmob Refletimos sobre as lógicas com quais as duas
Thomas trouxe da Europa e dos Estados Unidos always already defined as cross-cultural and and the local Brazilian rolezinho, which denotes práticas propõem o que Jacques Rancière chama
uma nova proposta para o palco, através da qual a assimilative? This essay looks at three distinct organized cultural performances by members de “partilha do sensível”, a percepção do espaço
materialização da teatralidade se afastava da ideia Brazilian modes of comparative artistic practice of the socially underprivileged classes within comum e, nele, a participação do público por meio
da ação coletiva. Argumentamos que os flashmobs A member of IFTR since 2010. the powers that be in government, the financial
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We will look after you: the radical
conciliam os espectadores-participantes com o A member of the working group Performance world and mainstream media. promise of ‘the time after’ Rancière in
status quo e seguem a lógica homogeneizante in public space since 2012. recent theatre involving actors with
ou policial, enquanto os rolezinhos abrem as A student member of the executive committee intellectual disabilities
contradições da sociedade brasileira e reorganizam of IFTR 2013–2015. Tony McCaffrey ‘We will look after you’, the last words of Back
o espaço compartilhado conforme uma lógica University of Canterbury to Back Theatre’s Lady Eats Apple Melbourne,
genuinamente política. Cyberformed dissidence: The rebellious art tony.mccaffrey@ara.ac.nz October 2016 echo in the darkness of spaces
Palavras-chave: Corpo politico coletivo, estratégias of tweets and memes of transposition: the audience on stage, the
estéticas, espaço urbano, litígio socioeconômico Social media has been a vital part of organized Tony McCaffrey has a BA in English from Kings performers in the auditorium. The words are
activism in the later years and has developed College, Cambridge and a Ph D in Theatre and spoken by intellectually disabled characters/
into an ongoing manifestation of all aspects of Film Studies from the University of Canterbury, performers to another who is able but playing
Sigridur Lara Sigurjonsdottir life, including political struggle. Pictures from NZ: “Incapacity and Theatricality: Politics and disabled. Intellectual disability in its social and
University of Iceland war zones have made huge impact on how Aesthetics in Theatre Involving Actors with political context underpins the genesis and
siggla04@gmail.com clearly we see the situation many now live in. I’ll Intellectual Disabilities.” He is a Lecturer in evolution of the company, but in Lady Eats Apple
look at a few examples from Iceland and abroad Creative Industries at ARA Institute of Canterbury it is a subject that is placed to the side, referred
Degrees from the University of Iceland: on how simple photos and reports on Facebook and Artistic Director of Different Light Theatre to obliquely, in favour of a more fundamental
B.A in Comparative Literature in 1997 final thesis have ignited chance in policy both in the public Company, an ensemble of people perceived to have questioning of what it is to see, to hear and to be
on a production of John Fords Tis Pity Shes a and private sector. Just this last year the prime intellectual disabilities. He has given papers at the present in posttheatrical performance, and what
Whore at the National Theatre of Iceland in 1996 minister has resigned, animal cruelty on an conferences of Performance Studies International efficacy such performance might have.
M.A. in Comparative Literature, 2004 final egg farm was outed and 85.000 people signed 2007-16, at IFTR/FIRT 2012-16 in Santiago, Throughout the production face microphones
Thesis on formulas in playwriting a petition demanding improvements in the Barcelona, Hyderabad and Stockholm, at Theatre and individual audience headphones offer at
M.A. in Practical Editorship and Theory of healthcare system. In this paper Im continuing Performance Philosophy, Sorbonne, 2014 and at once the intimacy and alienation of mediatized
Publication. my research on protest signs from last year, but Corps en Scène at Sorbonne Nouvelle, 2015. His presence, the audience’s eyes are subjected to
From 2009: A PhD student at the University of now Im looking at cyber space and how the use thesis and a 2015 paper “A dance that draws you pulsating extremes of brightness and darkness,
Iceland researching performance of dissidence in of meme, Facebook statuses and tweets can and to the edge of your seat: acting and disability faced their sense of space is disoriented as successive
Iceland after the economical collapse in 2008. have proved to have social and political impact. with technology” are due for publication. Recent envelopes of black and white inflatables give way
2014: “Send in the clowns” A paper published Using Christina Papagiannoulis theories performances devised by Different Light include to a final, utterly dislocating, reveal. Dramatic
in Nordic Theatre Studies. and definitions of Political Cyberformance, “The Poor Dears”, the Powerhouse, Sydney, “Still narrative and characterization are deconstructed
Playwriting: Have written five full length plays I´ll also be drawing on theories of Jaques Lives” San Jose, California and the Ludus Festival, in ‘theatricality,’ in Féral’s sense, that wavers
that have been produced and two in collaboration Rancier Emancipated spectator, in particular Leeds, “The Earthquake in Chile” a site specific unstably between theatre’s representation and
with others. Produced by Hugleikur, University of and also look to theories put forth in the book performance collaborating with Free Theatre, “The performance’s presentation.
Iceland Student Theatre, The Theatre Company of Tactical Performance: Serious Play and Social Lonely and the Lovely” at the Concourse in Sydney, After this destabilization of the demarcations
Fljótsdalshérað and Frú Norma. movements by Larry Bogad. The aim is to look at “The Canterbury Tales” a site specific performance of identity and alterity: of performance and
Have also written twelve short plays, all performative structures of the afterlife of news in earthquake-damaged central Christchurch and audience, of ability and disability, of mythos
produced by A member of the Icelandic coverage in social media and how the public now “Three Ecologies of Different Light” at PSi 22, and myth, how are the closing words ‘We will
Dramatists Union since 2001. has the power to change the course set forth by University of Melbourne, 2016. look after you’ to be taken? They constitute a
performative utterance made by people with parts without having a direct link between them. de revista, compuseram um rico cenário cultural. Nadia Saito & Mayra Schatzer
general panels 55
intellectual disabilities to look after those In this format, a skit can be followed by a dance Esses gêneros difundiram uma diversidade de USP
without such disabilities: a complete overturning number, which in turn may be followed by a atrações que deu vida e expressividade a uma nsatie@usp.br, ma.schatzer@gmail.com
of conventional ethicopolitical relationships. juggler or by a sentimental recitation. The circus, teatralidade tipicamente brasileira, baseada nas
They also represent the promise of a radical the pantomime, the music hall, the cabaret, the diversas manifestações culturas existentes no país. Nadia Saito is a PhD candidate on Theory
time after current political crises that threaten opera buffa and the magazine theater follow Os espetáculos de variedades são uma das formas and History of Theater at University of Sao
the eradication of compassion, empathy and the same model. We will use Sergei Eisensteins do teatro popular. Eles podem ser segmentados em Paulo, MBA Cultural Studies and Management
egalitarianism. After Rancière, this time is theory to understand the construction and diferentes partes, sem ter uma ligação direta entre at Fundacao Getulio Vargas, Latu Sensu Art
neither utopian nor catastrophic, but that in assembling of the variety show. For the Russian elas. Nesse formato, um esquete pode ser seguida and Cultural Education at University of Sao
which we take interest in the ‘sensible stuff’, the theorist, this production is collective and de um número de dança, que por sua vez poderá ser Paulo, MSc Social HIstory at University of Sao
‘material events’ against which hope and despair relates different segments. The slight genre seguida por um quadro de malabaristas ou por uma Paulo, and BSc Ed on History at Sao Paulo State
is measured. formed by the numbers of varieties gained declamação sentimental. O circo, a pantomima, University.
popularity at a time when the city underwent o music-hall, o cabaré, a operá buffa e o teatro de Mayra Schatzer is graduated in International
an intense transformation. It was in the middle revista seguem esse mesmo modelo. Utilizaremos Relations at the Federal University of São
Lílian Rocha of the nineteenth century that the expansion a teoria de Sergei Eisenstein para compreender Paulo UNIFESP, I have studied Sociology at
UNESP of Brazilian cities occurred, when they became a construção e montagem do espetáculo de the University of Salamanca during a mobility
lilianrubia@gmail.com typically urban, building heterogeneous spaces variedades. Para o teórico russo, essa produção é period abroad. I was a teacher assistant of a
that brought together people from different coletiva e relaciona distintos segmentos. O gênero joint project of the departments of Economics
Mestranda em Artes Cênicas no Instituto de regions of Brazil and from various parts of the ligeiro formado pelos números de variedades and International Relations on the influence
Artes da UNESP, linha de pesquisa estética e world. The accelerated growth and the constant ganhou popularidade no momento em que a cidade of capitalism in the history of International
poéticas cênicas. urban changes helped to generate this new passava por uma intensa transformação. É em Relations and presented my term paper on
environment of intense cultural production. The meados do século XIX que ocorreu a expansão political economy and international regimes.
The theater of varieties and its relation study of the variety theater that appears in this das cidades brasileiras, momento em que elas se In parallel, I have worked in management and
with Brazilian popular culture city under construction can be promising for the tornaram tipicamente urbanas, construindo espaços cultural production. Currently studying Social
This work aims to reflect on the theatrical performing arts because it has revealed a rich heterogêneos que reuniram pessoas de diferentes Sciences at FFLCH / USP and conducting a
scene produced by the popular shows that were universe of theatrical production. The reflection regiões do Brasil e de várias partes do mundo. O research on public policies for theater in Brazil.
performed at the Santos Variety Theater in the on this production can contribute with debate crescimento acelerado e as constantes mudanças
late nineteenth and early twentieth centuries. around the current theatrical scene. urbanísticas ajudaram a gerar esse novo ambiente Viggiani setting a Stage in Brazil
Variety theater, as well as the circus and the de intensa produção cultural. O estudo do teatro de This paper is part of a larger research that
magazine theater, made up a rich cultural scene. O teatro de variedades e sua relação com a variedades que surge nessa cidade em construção deals with the formation of public policies for
These genres spread a diversity of attractions cultura popular brasileira pode ser promissor para as artes cênicas pois tem theater in the 1930s. Niccolino Viggiani is a great
that gave life and expressiveness to a typically Este trabalho tem como objetivo refletir sobre a revelado um rico universo de produção teatral. A part of the development process of the theater
Brazilian theatricality, based on the diverse cena teatral produzida pelos espetáculos populares reflexão a respeito dessa produção pode contribuir industry. The foreign shows presented by him
manifestations cultures existing in the country. que foram realizados no teatro de variedades de com debate em torno da cena teatral atual. comprised an artistic and cultural tendency that
Variety shows are one of the forms of popular Santos no final do século XIX e início do XX. O prescribed the dynamics of the São Paulo theater
theater. They can be segmented into different teatro de variedades, assim como o circo e o teatro market. Although the proportions of the city
of São Paulo were incomparable to the present Katia Daher to the pedagogic work, which the pivot is the poética do teatro de convenção - para tomá-la como
general panels 57
days, its growth was ecstatic. Correspondent USP conventional scene that takes into consideration meio de manifestação de um temperamento artístico
was the effervescent dispute by the market daherkatia@gmail.com the specialization in a certain type of role - as do ator. Tal procedimento situa o ator na exploração
of the spectacle. The economic dependence in the old emploi system. Yet, the poetics of the da linguagem teatral circense guiando a composição
generated, from the days of the colony, framed Kátia Daher graduated in Performing Arts at theater of convention is suspended in order to da personagem-tipo através da qual o ator, dispondo-
the cultural consumption of the population University of Campinas – UNICAMP 1997-2000. be taken as means of manifestation of an artistic se ao contato direto com o público, deverá operar a
formed immigrants and the different textures of She played under the direction of Marcio Aurelio temperament of the actor. This procedure cena. O desenvolvimento deste processo, pedagógico
identity that the State was trying to pattern up. at Édipo Rei 2000 and Fausto Zero 2001. Since situates the actor in the exploration of the circus e de criação, é abordado na presente pesquisa na
Keywords: Sao Paulo, cultural market, theater 2001 she has been part of the theater company theatrical language guiding the type-character intenção de refletir sobre o modo de operação de uma
formation, Viggiani, public policies Os Fofos Encenam, from São Paulo, where she composition, through which the actor, making poética cênica convencional, revelando a dinâmica
acts in the plays that explore the language of him/herself ready for direct contact with the que a inspira e as estratégias do ator para operá-la,
Viggiani: configuração brazilian drama-circus, directed by Fernando audience, should operate the scene. This study considerando o trabalho da Cia. Os Fofos Encenam
de uma cena no Brasil Neves – A Mulher do Trem, Ferro em Brasa, the approaches the development of this process, em diálogo com a tradição do ator popular.
Esse trabalho é parte de uma investigação maior project Baú da Arethuzza and O deus da cidade pedagogic and of creation, to reflect upon the Palavras-chave: circo-teatro teatro de
que trata da formação políticas públicas voltadas – and in the plays directed by Newton Moreno modus operandi of the poetics of conventional grupo atuação sobrete, ator popular emploi,
para o teatro nos anos 1930. Niccolino Viggiani é – Assombrações do Recife Veho, Memória scene, revealing the dynamics that inspires it and temperamento artístico personagem-tipo.
parte contundente do processo de desenvolvimento da Cana and Terra de Santo. The interest in the actors strategies to operate it, considering
da indústria teatral. Os espetáculos estrangeiros drama-circus tradition and the experience as the work of the theater company Os Fofos
apresentados por ele compunham uma tendência assistant director of Neves in the plays Terra Encenam in dialogue with the tradition of the
artística e cultural que prescreveu a dinâmica do Natal, O Médico e os Monstros, O Mistério Bufo, popular actor. Edelcio Mostaço
mercado teatral paulistano. Embora as proporções the project O Maravihoso Teatro Mambembe Keywords: drama-circus theatre group UDESC
da cidade de São Paulo fosse incomparável da Academia de Palhaços and Chica Boa, acting sobrete popular actor emploi artistic edmost@uol.com.br
aos dias atuais, seu crescimento era extático. encouraged the achievement of the research temperament type-character.
Correspondente era a efervescente disputa conducted under the guidance of Prof.ª Dr.ª Kassandra
pelo mercado do espetáculo ainda parco a Maria Thaís in the University of São Paulo – USP. Sob o olhar da Sobrete: a linguagem Kassandra lives banished from her country in
todos os públicos, e no entanto, muito popular. do circo-teatro brasileiro na Cia. O third rate nightclubs spelling a poor immigrant
A dependência econômica gerada, desde os Under the Sobretes look: the brazilian s Fofos Encenam English. In this performed version she is a
tempos da colônia, emoldurou o consumo cultural drama-circus language at the Company Os A pesquisa é o olhar, de uma atriz-sobrete, sobre a transvestite that narrates about Trojan War
da população que se formava com a leva de Fofos Encenam linguagem teatral desenvolvida desde 2003 na Cia. horror, nothing different nowadays one.
imigrantes, as bordas da escravidão e as diferentes The study is the look of a sobrete actress Os Fofos Encenam a partir do diálogo com a tradição
texturas identitárias que o Estado formatava. about the theatrical language developed since do circo-teatro brasileiro. O ator e diretor Fernando Kassandra
Palavras-chave: Sao Paulo, mercado cultural, 2003 by the company Os Fofos Encenam from Neves conduz o trabalho na Cia. e, ao longo dos anos, Kassandra vive desterrada de seu país natal e
formação teatral, Viggiani, políticas públicas. the dialogue perspective with the brazilian dedicou-se também ao trabalho pedagógico cujo eixo em boates de última categoria falando um inglês
drama-circus tradition. The actor and director é a cena convencional que considera a especialização de imigrante. Nessa versão performada ela é um
Fernando Neves conducts the work of the group em determinado tipo de papel - como no antigo travesti que narra o horror da Guerra de Tróia, nada
and, through the years, also devoted himself sistema de emplois suspendendo, entretanto, a diferente dos dias atuais.
Isa Kopelman de uma dramaturgia radiofônica de Os Sete Contra Butler’s theory of performativity in the assembly
general panels 59
Gwangju as Memory and Invention
isaetel@gmail.com Tebas de Ésquilo em um processo de coautoria. Nessa This paper will discuss my memories related and Lefebvre’s theory of ‘the production of space’.
direção, a recriação da textualidade de Ésquilo é to a Korean city, Gwangju. As Henri Lefebvre Then I will explore the dramaturgy within the
The Seven Against Thebes and the siege of atravessada por uma cartografia, que relaciona a suggested, any space is produced through the present renovation plan of the city to invent a
war - the effectiveness of tragic poetry now densa coralidade épica aos vários espaços musicais, ideological and economic hegemony. This city future culture hub at the crossroads of Asian and
The paper brings up the procedures and míticos, ficcionais e reais da narrativa, bem como illustrates his theory with some specific examples. global art culture. Centering on Gwangju, I hope
performative elements involved in the working pelo intenso jogo agonístico e múltiplos movimentos As a generation who went through university to connect the theatrical and the space.
out of a Aeschylus’ radio drama The Seven entre a cidade e seus moradores sitiados – pelo life in the 1980s, Gwangju is not a neutral city to
Against Thebes in a process of co - authorship. ataque iminente do acampamento inimigo, dos any of us with little personal relationship with it.
Therefore, the rebuilding of Aeschylus guerreiros fortemente armados, culminando no My last visit to Gwangju, two years ago, led to a Tania Brandão
textuality is traversed by cartographies, which extermínio mútuo de Etéocles e Polinices, os irmãos particularly special feeling that I had belonged UNIRIO
relates the dense epic chorality to the various inimigos Nessa dramaturgia as possibilidades da to it for all of those years. This occurred to me tabrasil@uol.com.br
musical mythical, fictional and real spaces cena presencial conectada ao drama radiofônico one evening when I joined an artist’s talk with
of the narrative, as well as by the intense são também consideradas enquanto procedimentos Tsai Ming-liang, a Malaysian Chinese filmmaker Born in Rio de Janeiro 1952. Bachelor’s at History
agonistic game and manifold moves between do jogo dramatúrgico. Para relatar esse processo e and theatre director at the Opening Festival of from Universidade Federal do Rio de Janeiro UFRJ
the city and its inhabitants under siege - the discutir a efetividade da poética e dos temas trágicos the Asian Culture Center. It was so natural for 1973, Bachelor’s at Licenciatura Plena in History
impending attack of the heavily armed warriors, da guerra sobre os desdobramentos da violência no the space to hold such a cultural event especially from Universidade Federal do Rio de Janeiro UFRJ
culminating in the mutual extermination of tempo presente, o ensaio volta-se para as conexões after the performance, The Monk from Tang 1974 and Doctorate at History from Universidade
Etheocles and Polinices, the enemy brothers. entre tragédia antiga e renovadas formas de Dynasty. At that time, I was also fully aware that Federal do Rio de Janeiro UFRJ 1998. Teacher of
In this work, every aspect of the presential percepção, ação e reflexão crítica. I was between the past and the present. I was History and Theory of Brazilian Theatre, especially
performative possibilities related with the radio Palavras-chave: tragédia, rádio drama, in the same room, the former city hall, wherein at Universidade Federal do Estado do Rio de
drama is also considered as a game procedure. dramaturgia/performance, Ésquilo. the last resistance lost their lives at the hands of Janeiro UNIRIO. Work as Theatre Critic since 1982
In order to report this process and to discuss the military soldiers during The May Democratic and as Theatre Researcher since 1977. Publish
the effectiveness of the tragic poetry and the Uprising in 1980. They chose to die rather than theatre critics in the Blog Folias Teatrais: http://
tragic themes of the war on the unfolding of Young Joo Choi surrender, and saved their honor in the face of the foliasteatrais.com.br/
violence at the present time, this essay turns KOREAN NATIONAL RESEARCH CENTER FOR THE ARTS military government who announced that they Experience in Arts Essays and Criticism, acting
to the connections of the old tragedy with the Youngjoo39@hanmail.net were part of the North Korean communists. The on the following subjects: History of Brazilian
renewed forms of perception, action and critical everyday space was made into a historical space Theatre, Modern Brazilian Theatre, Brazilian
reflection in the performative scene. Research professor at Korean National by them first, and was represented later by the Modern Acting and Performing, Brazilian
Keywords: tragedy, radio drama, dramaturgy/ Research Center for the Arts, while teaching cultural works. It was recreated into a third space Actresses Eva Todor, Itália Fausta and Maria Della
performance, Aeschylus theatre aesthetics, experiemental theatre, with an ideal of the future Asian culture hub. Costa. Worked as theatre festival programmer
directors theatre, and dramaturgy at Graduate In my paper, I will argue about Gwangju as ‘the since 1983 FITEI, LITF/NY. Curator of Curitiba
Os Sete Contra Tebas e o cerco da guerra - a School of Korean National University of Arts boundary of history: memory and invention’. First, Festival Theatre 2000-2015. Published the books
efetividade da poesia trágica no presente and Dongguk University. I will compare the historical moment of the city “A máquina de repetir e a fábrica de estrelas:
O artigo apresenta os procedimentos e os Dramaturg and translator, contributing essays hall with theatrical representations such as May Teatro dos Sete” 2002 e “Uma Empresa e seus
elementos performativos envolvidos na elaboração regularly to the theatre journals in Korea. Bride and The Green Days, while discussing Judith segredos: Companhia Maria Della Costa” 2008.
women´s history. After Iglesias death and the Aos 14 anos, casou com o empresário e autor Luiz involves Artistic and Quality Assessment for
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Eva Todor and Brazilian
female mischievousness – sunset of the old actor-managers theatre, she Iglesias 1905-1963. Novo mentor de sua carreira, ele Arts Council England, chairing the board of ATC
boundaries and identities took on more daring modern work, and finally levou-a para o teatro de comédia. Da sua maneira and advisory programming for the London Film
There´s a great challenge in writing theatre became a great television star. Todors body of de representar, unindo transgressão ingênua e forte Festival. She writes regularly for the leading film
history: navigating the delicate boundary work requires examining the deep relationship expressividade física, nasceu um gênero teatral local, o magazine Sight & Sound her publications include
between each artists profile and the gears between individual profile and historical process, gênero Eva, de comédias elegantes, ágeis, petulantes, ten co-edited volumes and two monographs.
of history. The theme is inescapable when especially from a sociology of art perspective, and de malícia discreta. O apoio feminino garantiu a She is also co-editor of the Routledge journal
studying the work of Eva Todor Budapest, in particular through the lens of Nathalie Heinichs popularidade de seu teatro, nos anos 1950/1960: ela Contemporary Theatre Review.
1919. Hungarian by birth, she studied ballet studies of the relationship between individuality foi um nome decisivo na história da mulher no Brasil.
in the Hungarian Royal Opera House from and collectivity. Após a morte do primeiro marido e o eclipse total do Cultural capital and agency:
ages four to eight, already displaying signs of Keywords: Eva Todor, Biography and history of velho teatro do primeiro ator, a atriz abraçou propostas Nuria Espert at 80
great talent. By the time nine-year-old Todor theatre, History of theatre historiography, Brazilian modernas mais ousadas e, finalmente, se tornou In 2015 at the age of 79 Nuria Espert played
emigrated to Brazil, she had enough training comedy of manners, Eva genre, Theatre and uma grande estrela da televisão. Sua história artística King Lear at Barcelona’s Teatre Lliure, a
to make amateur performances at the São feminism in Brazil impõe o estudo da relação profunda entre perfil performance that was to influence her friend
Paulo Municipal Theatre. After moving to Rio individual e processo histórico, notadamente a partir Glenda Jackson to take on the title role in her
de Janeiro, she studied under Maria Olenewa. Eva Todor e a malícia feminina brasileira - de abordagens da sociologia da arte, em particular 80th year at London’s Old Vic Theatre. In
Her family´s meagre resources pushed her fronteiras e identidades os estudos de Nathalie Heinich dedicados à relação this paper I provide a brief overview of the 60
towards professional work. The language Um grande desafio percorre a escrita da História do individualidade/coletividade. year career of one of Spain’s most important
barrier stimulated her expressive versatility Teatro: esboçar a fronteira delicada entre o perfil de cada Palavras – chave: Eva Todor, Biografia e História actresses, from her role as a powerful agent for
and charm, which in 1934 opened the doors to artista e a engrenagem histórica. O enfoque é obrigatório do Teatro, Historiografia da História do Teatro, change during the difficult years of the Franco
Recreio Theatre—the great temple of Rios revue para o estudo da obra de Eva Todor Budapeste,1919. Comédia de costumes brasileira, Gênero Eva, Teatro regime to her cultural importance in democratic
scene. In the selection process, she performed Húngara de nascimento, estudou balé na Ópera Real e feminismo no Brasil Spain as actress, director, producer and cultural
Hungarian ballet pieces. She therefore joined da Hungria, dos quatro aos oito anos, revelando grande commentator. Her multiple roles – and indeed
the artists world first as a ballerina. Despite her talento. Ao emigrar para o Brasil, aos nove anos, possuía multiple theatricalities – have offered potent
limited Portuguese, she soon began to take part formação suficiente para apresentações amadoras, Maria Delgado signifiers both for a mode of engagement
in simple drama scenes, to immediate success. iniciadas no Teatro Municipal de São Paulo. Após a University of London with the shifting socio-political landscape of
At 14, she married manager and playwright Luiz mudança para o Rio de Janeiro, o aprendizado continuou maria.delgado@cssd.ac.uk Spain and for a wider understanding of how
Iglesias 1905–1963, who would then mentor com Maria Olenewa. Os escassos recursos da família cultural capital operates across the nascent
her, leading Todor to comedy theatre. A new impulsionaram a profissionalização. As dificuldades com Maria M. Delgado is Professor and Director of democracy of this nation-state. I end with a
local genre was born from her acting style, o idioma estimularam a sua versatilidade expressiva e Research at The Royal Central School of Speech brief consideration of her performance as Lear
which blended naïve transgression with strong a sua simpatia, passaportes para ingressar, em 1934, and Drama, University of London and Honorary reprised in 2016, and its wider resonance in
physical expressiveness: the Eva genre, with no Teatro Recreio, o grande templo do teatro de revista Fellow at the Institute of Modern Languages destablising particular cultural geographies
elegant, agile, petulant comedies, full of subtle carioca. Na seleção, apresentou quadros de balé húngaro. Research at the University of London. She has through a process of reminding audiences of
mischievousness. Female support guaranteed Portanto, entrou no quadro de artistas como bailarina. published extensively in the area of Spanish- why it’s important to create work that argues for
her popularity in the theatre in the 50s and Apesar do português precário, logo começou a participar language performance and film and European the role culture should play in helping shape and
60s she was a decisive name in Brazilian de cenas dramáticas simples, com sucesso imediato. theatre. Her work with the creative industries understand the contemporary world.
Katalin Ágnes Bartha Placed in National-Patriotic Rhetoric. Hungarian of the established actors and Prielle occasionally
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Considerations on acting
University of Debrecen Celebrations of Ira Aldridge. Symbolon, 27/2014, lent some of her objects for stage performances. pedagogy in the performing arts: some
bkagnes@yahoo.com 27:37- 52. The set of the imagined saloon, or the saloon- cases of counter-discourse in the
as-life as appearing, for e.g. in the director’s Brazilian theater
Bartha Katalin Ágnes was born in Sf. French well-made plays into Hungarian promptbook of Les Fourchambault Émile Augier Observing the teaching of acting in Brazil,
Gheorghe, Romania, 1978 she earned her PhD in saloons: an actress career in the second included specific elements but it is important this paper recover the contours of the almost
Philology Babeş-Bolyai University, Cluj-Napoca, half of the 19th century to note the entanglement of staging with the unexplored field of brazilian performing arts
Romania. Presently she is a postdoctoral The presentation concentrates on the domestic aspect. pedagogy, an exemplar case of non-european
fellow of the Hungarian Academy of Sciences, relationships between certain roles of Kornélia Keywords: professional acting, 19th countries, commenting on the brief bibliography
at University of Debrecen, Hungary with an Prielle 1826-1906, a famous Hungarian actress, century,Central Europe, staging practice on the subject and contrasting the traditional
individual project entitled The Hungarian her stage directing/–assistance activities space of formal education, traditionally based on
National Theaters from Budapest and Kolozsvár outside the professional theatre and her home the trajectory of the “foreign masters” and to their
in the Last Third of the Nineteenth Century: apartment, especially her saloon designed to Lucia Regina Vieira Romano historical laboratories, to the territory inhabited
Artistic Productions and Space. From 2005 reflect her artistic achievements. She had been Unesp by the Brazilian theater groups, understood
she has been visiting lecturer at Department born half German and half Hungarian, and romanolu2008@gmail.com as unique spaces of teaching and learning in
of Hungarian Literary Studies, Babeş-Bolyai became one of the acclaimed actresses on the dialogue with the local context. The survey
University, and since 2003 she has been Hungarian-speaking stage. She was regarded BA in Theatre Theory at the School of indicates the dominance, in a certain period of our
employed as a researcher at the Szabédi László as the eloquent representative of a perceived Communication and Arts of USP / ECA-USP recent history, of a philosophical line related to
Literary Museum supported by the Hungarian French elegance by performing important roles 1991, Master in Communication and Semiotics Stanislavski’s pedagogy, although different from
Cultural Society from Transylvania, Cluj. in French well-made plays. Such plays, while from the Catholic University of São Paulo / the Russian source, proving that the formation
She has completed several research addressing various social issues, used the saloon PUC-SP in 2002 with guidance of Prof. Dr. on acting in theatrical performance is a field of
fellowships in theatre history/studies at the for their main scenes – the same saloon which Helena Katz and PhD at ECA-USP in 2009, constant aesthetic and ideological disputes.
Hungarian Academy of Sciences, Domus was the quasi-public, representative space of under the guidance of Prof. Dr. Jacob Ginsburg, Keywords: pedagogy of acting, actor training,
Hungarica Scientiarum et Artium, Budapest, the aristocratic and bourgeois homes within the has experience in Performing Arts and Dance, Brazilian theatre history, group theater.
Hungary and participated at several period therefore, the saloon may be conceived as with emphasis on acting, performance,
international conferences. an imaginary space where different subjectivities corporeality, gender performativity, feminist Considerações sobre pedagogia atoral
Her publications include Shakespeare emerge in the context of theatre performances, theater and creative processes. Lecturer nas artes cênicas: alguns casos de
Erdélyben. [Shakespeare in Transylvania. The including those of the audience as well. at Universidade Estadual Paulista Júlio de contra-discurso no teatro brasileiro.
Hungarian reception of Shakespeare’s works In the context of amateur acting of certain Mesquita Filho - Art Institute - DACEFC, Observando o ensino da atuação no Brasil, o
in the 19th century], Argumentum Publishing aristocrats, the staged saloon or the saloon- at the Undergraduate Programs Degree in presente ensaio recupera os contornos do quase
House, Budapest, 2010 The Merchant of as-life was re-created within ‘real’ saloons of Theatre and Bachelor of Performing Arts – inexplorado campo da pedagogia atoral nacional,
Venice in Pest and Cluj Kolozsvár During the noble homes, a directing move assumed by Interpretation, and the Postgraduate Program caso exemplar no contexto dos países não-
Habsburg Neo-Absolutism. In: Keith Gregor Kornélia Prielle and her husband. Ultimately, their in Arts, in the Poetics of the Scene Line. Actress europeus, comentando a sucinta bibliografia sobre
ed.: Shakespeare and Tyranny: Regimes of experiences served to design their own home and founder of Barca de Dionisos and Teatro da o tema e contrapondo o espaço do ensino formal,
Reading in Europe and Beyond. Cambridge its representative space. The domestic saloon had Vertigem groups, works today as an actress and fundamentado tradicionalmente na trajetória
Scholars Publishing, 2014. 77–104 Aldridge a central role in creating the professional identity producer in Cia Livre, in São Paulo. dos “mestres estrangeiros” e seus laboratórios
históricos, ao território habitado pelos grupos student actors as well as by the author herself in A investigação, intitulada “Ator rapsodo: pesquisa
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The Chakra system as a basis for
teatrais, entendidos como espaços singulares de the pedagogical and creative experience her own acting practice, and has also resulted in de procedimentos para uma linguagem gestual”
ensino-aprendizado em diálogo com o contexto of the performance scenic events and performances. teve início em 1998, na Universidade Federal do
local. A prospecção indica a dominância, num Conceiving the Theater as a Ritual, the Chakra Keywords: Theater and Spirituality Theatre and Estado do Rio de Janeiro – UNIRIO e, desde 2012,
certo período da nossa história contemporânea, System as a basis for the pedagogical and Ritual Actor pedagogy Rhapsode-actor encontra-se na etapa “Teatro e Espiritualidade”. Tem
de uma linha filosófica relacionada à pedagogia creative experience of the performer has been se realizado com alunos atores e na prática atorial da
de Stanislavski, ainda que diversa da fonte russa, approached in this research through somatic O Sistema de Chakras como fundamento própria pesquisadora e produzido eventos cênicos e
comprovando ser a formação em interpretação exercises, considering actors psychophysicality, para a experiência pedagógica e criadora performances.
teatral um campo de contínuas disputas in connections mainly with elements of Susksma do performer Palavras-Chave: Teatro e Espiritualidade Teatro e
estéticas e ideológicas. Vyayama Yoga asanas, Siddha Yoga chants and Considerando o Teatro com um Ritual, o Sistema Ritual Pedagogia do Ator Ator Rapsodo
Palavras-chave: pedagogia da interpretação, meditation and some aspects of afrobrasilien de Chakras como fundamento para a experiência
treinamento atoral, história do teatro brasileiro, pantheon curimba, dances and incorporation. cênica e pedagógica do performer é abordado
teatro de grupo. Different forms of therapy have inspired the através do exercício somático e psicofísico em Boris Daussà-Pastor
work in question: Sacred Fire, by Monica Oliveira conexão com a Yoga Suksma Vyayama asanas, Institut del Teatre de Barcelona
Sistemic Constellation, by Bert Hellinger Body a Sidda Yoga cantos e meditação e com alguns daussapb@institutdelteatre.cat
Nara Keiserman Reading, by Nereida Fontes Vilela and Return- conteúdos do panteão afrobrasileiro curimba,
Unirio to-source Transmission, by Serafim Vieira, all danças e incorporação. Mesmo que não acionadas Boris Daussà-Pastor is a performer, director,
narakeiserman@yahoo.com.br of which consider the multidimensionality of diretamente, estão presentes no trabalho elementos and theatre scholar from Barcelona. He is
the Being, which is capable of achieving deep de diferentes práticas terapêuticas vivenciadas currently professor and Head of the Theatre
Nara Keiserman is an actress, director and Consciousness levels beyond the Physical Body, pela pesquisadora, como Alinhamento Energético Theory and History Department at Institut del
university professor at Federal State University but always taking the latter as an indispensable ou Fogo Sagrado Monica Oliveira Leitura Corporal Teatre de Barcelona. He earned a Theatre MA
of Rio de Janeiro. Coordinates the research instrument for achieving them. These thinkers Nereida Fontes Vilela Constelação Familiar Bert and MPhil degrees at CUNY New York, and
“Rhapsode-actor: procedure research for a understand that humans are capable of Hellinger Transmissão do Retorno à Fonte Serafim is currently working on a PhD dissertation on
gestural language” , focuses on pedagogical and contacting different Dimensions of the Universe, Vieira. Todas elas consideram o Ser em sua Margolis Method. His areas of interest include
scenic paths for Narrative Theater. She holds and that this paves the way for the process multidimensionalidade, capaz de atingir vários also South Indian performance. He trained
a PhD. from UNIRIO, on “Pedagogical Way for of Channeling. The object of this research e profundos níveis de Consciência para além do in Kathakali and published several articles in
the narrative-actor” and a post doctorate from are performers who, through Channeling, are Corpo Físico, mas sempre considerando-o como academic journals as well as a training guide
Lisbon University on “Portuguese contemporary capable of connecting with their manifold Bodies instrumento indispensável para isto. Pressupõem o for kathakali body-exercise routine. Boris is also
narrative theater”. Her recently theater and humbly present themselves on stage as contato com diferentes Dimensões do Universo, que the Assistant Director of the award-winning
productions as an actress and dramaturg are ministers on a sacred ground. abrem caminhos para um processo de Canalização. Catalan theatre company Dei Furbi. He is an
You can not live without love No se puede vivir The research, named “Rhapsode-actor: Nesta pesquisa, interessa este ator que, através da active member of the international academic
sin amor and How beautiful it was there! Como procedure research for a gestural language”, was Canalização pode se conectar com seus diferentes community, having served as a board member of
era bonito lá!. Has published book chapters and initiated in 1998 at the Federal State University Corpos e, em cena, coloca-se humildemente como the Association for Asian Performance AAP, and
articles in specialized magazines. Her research of Rio de Janeiro – UNIRIO, and has been in um sacerdote ou um pai-de-santo que professa um currently serving at the Executive Committee
interests include movement for actor, somatics development phase Theater and Spirituality from teatro de cura, como habitante ou porta-voz de um of the International Federation for Theatre
and theater conected with spirituality and ritual. 2012 on. It is currently being carried out with universo sagrado. Research FIRT/IFTR.
relationships, the production of voice, etc. in substantiated in Victor Turner, Ileana Dieguéz sociopolíticos e culturais. Tendo como base a ideia
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Shifting the Paradigm in Theatre
Training: Margolis Method as an example ways that are viscerally perceived as natural. In Caballero and Jorge Dubatti thoughts. This do liminar como condição ou situação a partir
of training principles for multiple the same way, the artist’s choice of presenting paperwork integrates the master research Rites da qual se vive e se produz arte. Busco valorizar
theatricalities rather than acting something as “non-natural” can be easily of passage: the contemporary approach in the o estado de experiência como transformação,
techniques for specific conventions exercised once the artists clearly knows how actors creative process by Federal University entrecruzamentos no meio em que está inserido
The performative turn expanded the purview things behave according to everyday physics. of Rio Grande do Sul, Brazil. The objective is e as articulações afetivas que o acompanham.
of Theatre Studies into a larger field where Thus, it becomes a training methodology investigate the rites performativity as margin to Compreendo os ritos de passagem como um
all forms of performance can be treated with not geared towards any particular culture or create and scenic expressions in sociopolitical mundo liminar de espaços de diferenças e fronteira,
similar methodological frameworks, whether convention of performance, but towards gaining and cultural dialogues. The base is the liminal de encontros e afetações criativas que permeiam
they come from the western classical tradition basic understanding of how things behave so as condition or situation from where lives and nossa condição de artistas e pesquisadores.
of theatre or not. However, the practice of that the artist can use such principles to their produces the art. I seek to value the experience Palavras-chave: Ritos de passagem Teatro
theatre training has not yet achieved a similar own aesthetic or conventional choices. state as transformation, where it is intertwined Liminaridade Experiência Performatividade.
effort. In most cases, theatre training is either and the affective articulation which following
focused towards the mastery of a particular them. I understand the rites of passage an
theatrical convention for example, Kathakali Suellen Brito liminal of spaces of differences and board Nathalia Catarina Alves Oliveira
or Commedia dell’arte training, or towards the UFRGS world, of meetings and creative affection that USP
achievement of a number of abilities that may be suellen.abrito@gmail.com permeates our artistic and researchers condition. nathcatharina@gmail.com
useful in performance voice training, movement Keywords: Rites of passage theatre experience
training, play analysis, some acting technique, Master´s in progress in Performing Arts from liminality performativity. Director, dancer, teacher, playwright. Master’s
etc. Some theatre artists and scholars such as the Federal University of Rio Grande do Sul, degree in progress at University of São Paulo
Grotowski and Eugenio Barba, looked into the UFRGS, Brasil. Advisor: Inês Alcaraz Marocco. Processos liminares: as experiências ECA-USP since 2015 with a theoretical-practical
possibility of finding common aspects to acting Research related to the rites of passage dos ritos de passagem, transformação research about the dramaturgy of a melancholic
and performance that could be used out of their and performativity in the contemporaneity. e afetação para a criação cênica em body, which included the performance Anatomia
original setting, but hardly ever gave a specific Specialization in Cultural Management from diálogos sociopolíticos e culturais da Melancolia – experiência I, her last solo
methodology to train theatre artists in such the Centro Universitário Senac, SENAC/SP, Este trabalho apresenta alguns caminhos performance. Nathalia is graduated in Performance
principles of performativity. Brasil. Graduation in Theatre from the Federal introdutórios acerca da reflexão teórica sobre Arts Dance, Theatre and Performance programme
Margolis Method is an example of theatre University of Paraíba, UFPB, Brasil. Actress and a liminaridade dos ritos de passagem em at Pontifícia Universidade Católica de São Paulo
training based on principles that could be theater teacher. um contexto urbano, fundamentada pelos Pontificate Catholic University of Sao Paulo
applied to training artists from all cultures of pensamentos de Victor Turner, Ileana Diéguez in 2003. In september 2013, Nathalia was an
performance. Its basic stance is that physics Liminal process: rites of passage Caballero e Jorge Dubatti. Este trabalho integra- artist resident in the International Tanzlabor at
affect all human beings and is perceived as experience, transformation and se a pesquisa de mestrado Ritos de Passagem: Kunstlerhaus Mousonturm in Frankfurt, Germany,
a natural construction of how everything affectation to scenic creation in uma abordagem contemporânea no processo as a solo performer directed by Ivo Dimchev AT/
behaves in the world. Looking and mastering sociopolitical and cultural dialogue criativo do ator pela Universidade Federal do Rio BG. Frágil Fragile, her second dance solo, was
the principles of physics allows us to articulate This paperwork presents some introductory Grande do Sul, Brasil. Em que objetivo investigar supported by the State Secretariat for Culture,
the behavior of everything around us characters, ways regarding to the theory reflection about the a performatividade destes ritos como margem premiering in August 2012 at São Paulo. In 2009,
objects, dramatic or narrative structures, spatial rites of passage liminality in an urban context, para a criação e expressão cênica em diálogos Nathalia toured in the state of Sao Paulo with
Nathpark, her first site-specific solo. This project significance of the melancholy for this research Thaís Caroline Póvoa Balaton method known as participant observation.
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began in 2007, based on the monographic study is founded in the possibility that it seems to offer USP The research also intends to use the “Método
Dramaturgia e espaço: ressignificação do lugar- to ponder on the contemporary body, founded thais.povoa@usp.br Matricial” of Jacó Guinsburg, bringing the
comum Dramaturgy and space: re-signifying the in a social structure that produces subjective analytical methodology to the field of theatrical
commonplace, also sponsored by State Secretariat experiences of pauperization. Thaís Caroline Póvoa Balaton studies Master pedagogy, initially proposed for creation
for Culture. Keywords: Body, Dramaturgy, Melancholy Degree in Theater Pedagogy from the University processes in the performing arts.
http://www.nathaliacatharina.com/anatomia- of São Paulo. She holds a degree in Performing Thus, it is expected that the dissertation
da-melancolia A dramaturgia de um Arts (USP) and is graduated from the School can contribute to the discussion in the field
http://buscatextual.cnpq. corpo melancólico of Dramatic Art (São Paulo - Brazil). She has of clown formation in the country, making
br/buscatextual/visualizacv. A presente pesquisa investiga a dramaturgia de experience in the Art’s field, with emphasis in possible the documentation and reflection
do?id=K8534470T0&idiomaExibicao=2 um corpo melancólico que pode ser visto como um Theater. Founder and member of Cia Lona de on a pedagogical practice not yet studied by
reflexo das contradições do estado de exceção da Retalhos (São Paulo - Brazil). recent academic research.
The dramaturgy of a melancholic body experiência social contemporânea. Compreende-
The presenting research ponders the se que este corpo melancólico é um corpo social Formation of the circus and theatrical Formação do artista circense e teatral
dramaturgy of a melancholic body that can em estado de desordem e de suspensão, mas que, artist in the language of the clown, by the na linguagem do palhaço, pelo Programa
be seen as a reflection of the contradictions contraditoriamente, está engajado em uma reflexão Clown Training Program for Young People de Formação de Palhaço para Jovens dos
of the state of exception in our contemporary e criação críticas diante de sua própria falência. of the Doctors of Joy Doutores da Alegria
social experience. It is understood that this Pesquisa-se aqui o diálogo que pode ser The present research is a study aimed at the A presente pesquisa trata-se de um estudo
melancholic body is a social body in state estabelecido entre um corpo performativo e a formation of the circus and theatrical artists in voltado à formação do artista circense e teatral
of disorder and suspension, but which is, subjetividade contemporânea a partir da ação de the language of the clown, with focus on the na linguagem do palhaço, tendo como recorte
contradictorily, engaged in a critical reflection um corpo melancólico. Com o termo “performativo” investigation about the pedagogical practice of a investigação acerca da prática pedagógica
and creation regarding its own failure. pretende-se descrever um corpo em suas the Clown Training Program for Young People do Programa de Formação de Palhaço para
It is researched the dialogue that can be implicações tanto sociais quanto estéticas. of Doutores da Alegria. The research aims Jovens dos Doutores da Alegria. A pesquisa
established between a performative body and É possível buscar em Walter Benjamin aspectos to document the process of formation of this tem como objetivo documentar o processo de
the contemporary subjectivity, starting from da melancolia como um sintoma social do nosso school and its trajectory since 2004, identifying formação desta escola e sua trajetória desde
the action of a melancholic body. The term século, relacionando o desencanto do melancólico possible artistic and pedagogical specificities. 2004, identificando possíveis especificidades
performative intends to describe a body in their ao efeito de uma inadequação ou de uma recusa em Since the eighteenth century, the process of artístico-pedagógicas.
social and aesthetics implications. relação as suas condições sociais. A desvalorização organization of circus artists has undergone Desde o século XVIII, o processo de organização
It is possible to look for in Walter da experiência da vida conduziria ao fatalismo several transformations and since the 1950s dos artistas circenses passou por várias
Benjamin’s ideas, aspects of melancholy as que está na origem da indolência do coração do and 1960s, with the arising of circus schools, transformações e a partir das décadas de 1950 e
a social symptom of our century, relating the melancólico. A importância da melancolia para esta the form of transmission of knowledge, initially 1960, com o surgimento das escolas de circo, a
melancholic disenchants from the effect of an pesquisa se funda na possibilidade que ela parece from a generational and family nature, began to forma de transmissão de conhecimentos, até então
inadequacy or a refusal of their social conditions. oferecer de reflexão sobre o corpo contemporâneo, change. Despite this, the discussion involving the de caráter geracional e familiar, começou a sofrer
The depreciation of the experience of life would fundado em uma estrutura social produtora de study of clown language training is quite recent. alterações. Apesar disso, a discussão envolvendo
lead to the fatalism that is in the origin of the experiências subjetivas de pauperização. The methodological procedure chosen for the o estudo da formação na linguagem do palhaço é
indolence of heart of the melancholic. The Palavras-chave: Corpo, Dramaturgia, Melancolia research is the ethnographic anthropological algo bastante recente.
O procedimento metodológico escolhido para funda o espaço da manifestação performática que
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Social rites and performance Trellick Tales: the Thirdspace
a pesquisa é o método antropológico etnográfico, architectures no decurso do tempo histórico se transmuta de of Trellick Tower
conhecido como observação-participante. A Rite and performance are words that relay acordo com o processo assimilativo de objetivação e This article presents the project Trellick
pesquisa pretende se utilizar, também, do “Método deep marks and deep roots and devise artistic, ancoragem, conforme definido por Serge Moscovici Tales, by SPID Theatre, resultant of mapping
Matricial” de Jacó Guinsburg, trazendo para religious, civic and barbaric experiences. 1928-2014. Ritos modernos, ritos de consumo, ritos the lives of the residents through more than
o campo da pedagogia teatral a metodologia Such experiences reveal architectural de posses e protestos, novos ritos religiosos, ritos 40 years of the London Iconic building Trellick
analítica, inicialmente proposta para processos de arrangements of symbolic and edifying types performáticos, cultos da consciência aportados em Tower by Erno Goldfinger. This project, funded
criação em artes cênicas. that shape the space-time of performance. contratos de pertencimento e exclusão tecem a rede amongst others by the 20th Century Society,
Deste modo, espera-se que a dissertação possa Since ancient times, the connection between da inacessibilidade contemporânea. Este trabalho the British Council of Arts and the BBC,
contribuir para a discussão no campo da formação social rite and architecture founds the space procura refletir tais processos e experiências com allowed us to create an inherent layer of the
do palhaço no país, viabilizando a documentação e of the performative expression. In the course exemplos concretos que evidenciam as relações building and its residents through interviews,
reflexão sobre uma prática pedagógica ainda não of historical time, such space has been entre os canais icônicos de reconhecimento e as and principally memories. This project was
estudada por recentes pesquisas acadêmicas. transfigured towards the assimilative process arquiteturas da performance. also adapted for the InTransit Festival in
of objectification and anchoring, as defined London in June 2016, and in February 2017
by Serge Moscovici 1928-2014. Modern rites, the materials were displayed in a temporary
Milton de Andrade Jr. consumer rites, rites of possessions and Maria Jose Martinez Sanchez exhibition at the Victoria and Albert Museum
UDESC protests, new religious rites, performance Birmingham City University called Reimagining Goldfinger.
deandrademilton@hotmail.com rites, consciousness cults brought on maria.martinezsanchez@bcu.ac.uk The creative team – an architect, a performer
contracts of belonging and exclusion devise and a soundscape designer – in collaboration
Milton de Andrade is a full professor of the network of contemporary inaccessibility. María José Martínez Sánchez Ph.D. MA MArch with the directors and the young people of
the Department of Performing Arts and the This paper seeks to define such processes and Architect is a lecturer in Interior Architecture SPID, went through different derives around
Postgraduate Program in Theater of the Arts experiences through concrete concepts and and Design at Birmingham City University the building. These derives were not only based
Center CEART - State University of Santa to expose historic interfaces concerning the United Kingdom . She studied architecture in on the spatial experience, but also on different
Catarina UDESC. He holds a master and a iconic and social recognition channels and the the Universidad Politécnica of Madrid Spain and interviews with the inhabitants of the building
doctorate in performing arts and dance at the performance architectures. graduated with distinction from the MA Advanced that emerged as a Thirdspace. As Edward Soja
University of Bologna Italy and a post-doctorate Theatre Practice at RCSSD in London. In 2012, suggests, this Thirdspace is where “everything
in cultural anthropology at the University of Os ritos sociais e as arquiteturas together with Alba Fernández and Cris R. Sanz comes together ... subjectivity and objectivity,
Palermo Italy. Leader of the research group da performance de Siria, she won with Vacío the INJUVE Prize of the abstract and the concrete, the real and the
directory - CNPq Performativity paths: Rito e performance são palavras que carregam scenic arts of the Spanish Ministry of Culture. She imagined, the knowable and the unimaginable,
Mediterranean, Africa, Americas, he has worked marcas e raízes profundas e que tramam has published several articles in scientific journals the repetitive and the differential, structure
as a visiting professor in the Department of experiências artísticas, religiosas, cívicas e such as Hipo-tesis and Urban. She has worked and agency, mind and body, consciousness
Eurythmy at Alanus University Germany and barbáricas. Tais experiências se manifestam em as a set designer and exhibition designer in UK and the unconscious, the disciplined and the
maintains collaboration with Italian universities arranjos arquitetônicos de cunho simbólico e and Spain, where her work has been seen at Soho transdisciplinary, everyday life and unending
and institutions such as the University of “edificante” e dão forma ao que é reconhecido Theatre, InTransit Festival, London Trinity Laban, story” Soja, E., 1996:57.
Palermo, the University of Florence and the como o espaço-tempo da performance. Desde a Museum of Contemporary Art Reina Sofia, or The objective of this article is to present a new
Academy of Fine Arts in Turin. antiguidade, a relação entre rito social e arquitetura Conde Duque Theatre in Madrid amongst others. layer of information that is located in-between
the architectural space and the everyday taking place in Miami, Florida, echoed Ais Matters in London, and at the New Performance thought. To elaborate on these processes, I will
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life of their inhabitants through a series of gesture by dropping a vase that formed part Festival in Turku, among other venues. present some recent discussions on the topic
performative elements, that weave the past, the of Ai’s installation, using the triptych as a http://teronauha.com of the Real and schizophrenic by philosopher
present and the future. backdrop. The event was captured in amateur http://howtodothingswithperformance. Peter Pál Pelbart 2014 and schizoanalyst Ana
Keywords: Trellick Tower, Thirdspace, footage, which circulated widely in the press. wordpress.com/ Carmen in their long practice with the Ueinzz
performance The perpetrator, Maximo Carminero was theatre group from São Paulo. Considering
charged with criminal mischief. At a later press The unstable ‘fictioning’ in performance performance practice as mode of thinking,
conference, Carminero, whom it emerged and philosophy my argument is that it does not fall back
Joel Anderson was also an artist, claimed that his action This presentation asks what is the relationship on a mere representation of the world as
University of London was a protest against unfairness of the art between performance art and philosophy, fiction, but function as processual gestures
joel.anderson@cssd.ac.uk world, its preoccupation with high-status, if they are regarded as gestures of thought. of thought, as fictioning. The artistic practice
high yield international artists, and at the Decision as reflection, analysis and reduction of performance is a generation of thought as
Joel Anderson is a Senior Lecturer at Central gallery’s omission of local and less renowned both in performance and philosophy produces indeterminate fictioning and not mere analysis
School of Speech and Drama, University of artists. His act, apparently prompted by Ai’s the differential base for the world. Decisional or representation of the world.
London. His book, Theatre & Photography, was triptych, raised questions about the business of gestures of thought allocate meaning and
published in 2015, and he has recently presented international art, and around which iconoclasts norms. In these terms, both philosophy and
research in France, China, Korea, and in Britain. are feted or condemned. performance as practice think, but their thinking Annette Arlander
is not parallel or relational, but happen in their University of The Arts Helsinki
A broken urn - performance protests, own terms with a particular kind of consistency. annette.arlander@uniarts.fi
international artists and iconoclasm Tero Nauha From ‘equalizing of thought I will proceed to
Chinese artist Ai Weiwei engages both with University of The Arts Helsinki articulate thought as ‘fictioning, by which I mean Annette Arlander is an artist, researcher
the potential of photography to document and teronauha@gmail.com a particular operation, which has a root in a term and a pedagogue based in Helsinki. She is
with the possibility of creating photographic fictionale, or philofiction, coined by François educated as theatre director, MA philosophy
performances, figuring as photographer and Tero Nauha is an artist and a postdoctoral Laruelle 2013. I will articulate fictioning in terms and DA theatre and drama. She was professor of
as the subject of photographs in his works. His fellow at the Helsinki Collegium for Advanced with fabulation used by Bergson 1935, Deleuze performance art and theory at Theatre Academy,
triptych Dropping a Han Dynasty Urn 1995, a set Studies. He is a member of the Academy of 1997 and film theorist Ilona Hongisto 2015, or Helsinki 2001-2013, head of the Performing
of photographs, sequentially pictures the artist Finland postdoctoral research project ‘How To how Simon O’Sullivan 2017 has written about art Arts Research Centre 2007-2009, professor of
dropping a priceless and unreplaceable urn, Do Things With Performance?’ He defended practice using ‘fiction as method’. Both fictioning artistic research and vice dean for research at
which smashes to pieces. Ai is celebrated as a his doctoral research on schizoanalysis at the and fabulation have a common direction for University of the Arts Helsinki Theatre Academy
dissident in the western art sphere in which his Theatre Academy of the University of the Arts perceiving the actual reality as processual. and visiting professor at Stockholm University of
work circulates, and this work has been received Helsinki in January 2016. In 2015, he published These terms need to be distinguished from the the Arts 2015-2016. At present she is university
as a critique of oppressive discourses of heritage, his first fiction novel Heresy & Provocation for common use of ‘fiction’, as being something researcher at Helsinki Collegium for Advanced
as well as as a consideration of the cultural and the Swedish publishing house Förlaget. His altogether different operation of thought. Studies at Helsinki University, visiting researcher
financial value of artworks. performance art projects have been presented at Both fictioning and fabulation are terms which at Academy of Fine Arts, University of the Arts
On 16 February 2014, a visitor to Ai’s the Frankfurter Kunstverein, Theatrediscounter emphasise the unstable and precarious nature of Helsinki and the PI of the Academy of Finland
retrospective exhibition, According to What?, in Berlin, CSW Kronika in Bytom, Performance reality being a product of decisional gestures of funded research project How to Do Things with
Performance. For artworks and publications, see http://www.av-arkki.fi/teokset/the-tide-in- Torkkel, Jouni Järvenpää, and Maija Reeta Universidad de Chile and PhD in Literature P.
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https://annettearlander.com kan-tiang/. For information about the research Raumanni – we explored what remains of Universidad Católica de Chile. Her Spanish
project, see https://www.researchcatalogue.net/ past bodies in photographs, drawings, notes, translations of English, American, and French
How to do things by performing view/281037/281038 and reviews not in an effort to reconstruct a plays, have been produced by leading Chilean
with plants? past practice or re-create an ‘original’ 1913 directors, and have also been published along
Understanding the relationship between choreography but in order to explore the with her various translations of books and
performer and environment from a post- Hanna Järvinen currency of a dance purportedly about the papers on Chilean history, and theater studies.
humanist and new-materialist perspective University of Helsinki future. There is always a gap between the Her longstanding work in practice as research
prompts us to consider how to perform together gekko@iki.fi historical materiality of performance and methodologies was rendered in the book La
with creatures, life forms and phenomena around any contemporary understanding of that investigación de los procesos teatrales. Manual
us, including plants. This paper attempts a Dr Järvinen is the author of Dancing Genius materiality, but performative historiographical de uso Santiago: Frontera Sur / Ediciones
diffractive reading of physicist and queer theorist Palgrave Macmillan 2014 as well as several edited exploration can create an affective link between Apuntes, 2011. In the last years, she has been
Karen Barad’s 2007 2014 notions ‘intra-action’ collections and articles in journals such as The the interrupted legacy of a past performance working on traumatic memory, postmemory, and
and ‘agential cut’ with regard to the environment Senses and Society, Dance Research, AVANT, and the future of the art form. In addition, theater in postconflict societies.
and of philosopher Michael Marder’s 2013 and Dance Research Journal. She is a University a performed history takes these questions
2015 examination of the specificities of vegetal Lecturer at the doctoral programme of the out of the academia into wider circulation, AppRecuerdos: the memory flâneur
being and the challenges it presents us with, Theatre Academy of the University of the Arts evident in how the 2016 choreography was In January 2017, AppRecuerdos Appmemories
in combination with my experiences of a small Helsinki and a Senior Researcher in the Academy received in Finnish media. This brought about was premiered in Santiago, Chile, displaying
one-day performance for camera together with of Finland research project How to Do Things with questions not only about how a performance is the result of a collaborative work that brought
a tree on the seashore in Thailand, The Tide in Performance? 2016-2020, in which she focuses remembered, but by whom and to what purpose. together Rimini-Protokoll and a team of Chilean
Kan Tiang 2016. The performance can be linked on uses of power in the construction of authors Diana Taylor has argued that the power of the artists led by Mauricio Barría playright and
to unstable geographies of rising sea levels and and canons through re-performance and research. repertoire is in challenging the hegemony of the scholar and Verónica Troncoso visual artist.
complications of mass tourism the paper aims historical archive. I argue that performances AppRecuerdos is a downloadable application for
to examine the implications of ‘performing On the Historical Materiality of of reconstructions complicate this dichotomy: mobile phones which allows the user to listen
with’. Could ‘performing with’ be used as a tool Performance, Past and Present any critical understanding of the legacy of past to various testimonies from 1970 to 1990 while
in order to generate experiences of increased In this presentation, I ask how studio work with art works requires challenging the politics of wandering around the historic center of the city.
understanding of life forms unlike us, despite dancers can contribute to our understanding of attribution in and of performance practice. Working on the idea of the everyday expert Stefan
the impossibility of direct communication, historicity of dance practice. In 2016, I worked Kaegi, 79 testimonies were recorded in the same
and could ‘performing with’ help us in shifting as an expert advisor on a contemporary dance places of the city where the events being told
the focus from the effects of performance on piece, Jeux: uudelleen kuviteltu/re-imagined. Milena Grass had happened. This sample recovered individual
the viewer or audience to its impact on the Together with the choreographer Liisa Pentti, PUC/Chile experiences of different subjectivities belonging
performer? This presentation is connected to I devised exercises for re-imagining a dance mgrass@uc.cl to a wide political, social and cultural spectrum.
the Academy of Finland funded research project work no-one alive has any experience of: Along with the testimonies, listeners had access
How to Do Things with Performance and to Jeux, a 1913 choreography by Vaslav Nijinsky Milena Grass Kleiner. Translator and theater to certain documents Salvador Allendes speech,
the artistic research project Performing with for himself, Ludmila Schollar and Tamara scholar, Professor at Pontificia Universidad radio communications, etc. and songs of a time
Plants. For an excerpt of the performance, see Karsavina. With the three performers – Anna Católica de Chile. MA in Latin American Studies that went from the election of Salvador Allende,
first Socialist President of Chile, to the end of of them began years before, more specifically of seeing: Walter Benjamin and the Arcades antitéticos: Palco / Drama e Ator / Espectador
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Agusto Pinochet’s Dictatorship. The project thus in 1924, when the actress Asja Lacis made an Project 2002, by Susan Buck-Morss. para encontrar no eixo central a imagem dialética
created a XXI Century flâneur walking the streets effort for them to meet each other. Perhaps, Keywords: Walter Benjamin, Bertolt Brecht, que aqui é denominada de Gestus, elemento
of the political core of Santiago, Chile’s main city, Brecht may have been the artist with more dialectic, Epic Theatre primordial para a definição benjaminiana
while filling the urban space with the testimonies elective affinity in the consolidation of do teatro épico praticado por Brecht. Para
being heard. This papers aims at presenting this Benjamins work, including texts and theories Benjamin leitor de Brecht: o teatro como elaboração das polaridades antitéticas e a
project and reflecting on some of the questions that did not approach specifically the epic uma sala de exposição consequente visualização da imagem dialética foi
is raises about the double dimension of memory theater, even with the repeated negative Walter Benjamin entre os anos de 1930 a utilizado como referencial teórico o livro Dialética
–individual and collective at the same time-, and implications that Gershom Scholem and 1939 escreveu um total de onze textos sobre do olhar: Walter Benjamin e o Projeto das
the way its multiple layers overlap in the urban Theodor Adorno indicated for that friendship Bertolt Brecht, apesar da amizade entre os Passagens 2002, de Susan Buck-Morss.
landscape of today. It also addresses some hot and for the intellectual work of Benjamin. The dois retroceder a 1924 quando a atriz Asja Palavras-Chave: Walter Benjamin, Bertolt
issues like the definition of theatre itself, the present essay- initial result of a larger project Lacis empenhou esforços para que eles se Brecht, teatro épico, dialética
possibility of turning applications designed for that seeks to understand the idea of literature encontrassem. Brecht talvez tenha sido o artista
private use into a gadget whose purpose is to /art as an intervention, an idea defended by de maior afinidade eletiva na consolidação da
reinforce collectiveness instead of fostering Benjamin and Brecht, but not developed in obra benjaminiana, inclusive em textos e teorias Martynas Petrikas
individuality, and consumption. And even, how his texts- seeks to analyze the text “What is que não abordavam especificamente o teatro Vilnius University
much historical context do we need to be able the epic theater?: a study on Brecht” [Was is épico, mesmo com as reiteradas implicações martynas.petrikas@kf.vu.lt
to decipher these individual testimonies in their das epische theater?] 1931, dialoguing with negativas que Gershom Scholem e Theodor
relation to the broader horizon of political events. the analysis made by the philosopher Gerd Adorno indicavam para essa amizade e para o Martynas Petrikas is an associate professor
Bornheim in the book “Brecht: the aesthetics trabalho intelectual de Benjamin. O presente at the Institute of Creative Media, Vilnius
of the theater” 1992. The starting point for the ensaio, resultado inicial de um projeto-maior University Lithuania. His fields of interest among
Cláudio Guilarduci dialogue is the problematization of two ideas que busca entender a ideia de Literatura/Arte others are: social aspects of theatrical practice,
UFSJ presented by Benjamin in his definition of epic como intervenção, ideia defendida por Benjamin history of Lithuanian theatre, and history and
guilarduci@ufsj.edu.br theater: the relation established between i epic e Brecht, mas que não foi desenvolvida em theory of theatre criticism. In recent years he
theater and sport, and ii word and gesture. seus textos, busca analisar o texto Que é o has headed and participated in several research
PhD in Theater, Federal University of the State The methodological procedure was elaborated teatro épico?: um estudo sobre Brecht [Was is projects funded by the Research Council of
of Rio de Janeiro-UNIRIO, professor in the major from the construction of coordinates, where das epische theater?] 1931 dialogando com as Lithuania Bridge Between Cultures: Relations
of Theater, and in the letters Post-Graduation in the extremes were positioned antithetical análises realizadas pelo filósofo Gerd Bornheim Between Lithuanian and Polish Theatre in
program masters degree of the Federal concepts: stage/drama and actor/spectator, no livro Brecht: a estética do teatro 1992. O ponto 20th Century 2012-1014, Popular Performers
University of São João del-Rei-UFSJ to find in the central axis the dialectical image de partida para o diálogo é a problematização de in Interwar Lithuania 2015 among others. He
that here is denominated as Gestus, primordial duas ideias apresentadas por Benjamin em sua has authored academic publications as well as
Benjamin reader of Brecht: the theater as element for the Benjaminian definition of epic definição de teatro épico: a relação estabelecida numerous presentations at scholarly events
an exhibition room theater practiced by Brecht. For the elaboration entre i o teatro épico e o esporte e ii a palavra e in Lithuanian, English and Polish. In 2014 M.
Walter Benjamin in the years of 1930 to 1939 of the antithetical polarities and the consequent o gesto. O caminho metodológico foi elaborado Petrikas published a collective monograph “Post-
wrote a total of eleven texts about Bertold visualization of the dialectical image was used a partir da construção de coordenadas em Soviet Lithuanian Theatre: History, Memory,
Brecht, although the friendship between both as a theoretical reference the book Dialectics que seus extremos se posicionam conceitos Identity” co-author, in Lithuanian.
Chieko Hiranoi also compatible with the original concept of the Hye-Gyong Kwon
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How Theatre Makes Us To Remember
In this paper the theatre will be considered Hosei University word kabuku behave cool and unique. Such efforts Dongseo University
as a tool for retrieval of historical events and for chieko@hosei.ac.jp include performances in unexpected places and hkwon@dongseo.ac.kr
channeling them into realm of collective memory. temporary theatres, cooperative kabuki works
To classify the modes of remembering one can Professor in the Faculty of Humanity and with playwrights and directors from modern Hye-Gyong Kwon is Professor at the Dept. of
turn to Friedrich Nietzsche 1874, who speaks Environment, at Hosei University in Japan, theatres and collaborations with artists from English, Dongseo University, Busan, Republic
of an antiquarian, monumental and critical teaching comparative theatre and regional different genres. Nakamura Kanzaburo XVIII of Korea South Korea. She got her Ph.D. from
historiography not only as of attitudes towards theatre in Japan. 1955-2012 was passionate about entertaining Korea University, Seoul, Korea. She is also Vice
the history, but also as of ideologically informed Research interests include British theatre, audiences through innovative ideas and President of the New Korean Association of English
agendas. In my paper, I will focus on critical mode Japanese theatre, regional theatre, theatre challenging projects, while he was also brilliant Language & Literature and Editor of the Journal of
of representing the past on the stage. As Marvin festivals and dramatic works applied to education. in performing a variety of roles covering both Modern British and American Drama published
Carlson notes, the “haunted stage” of the theatre Her most recent publication related to the genders in traditional kabuki performances at the by Modern British & American Drama Society
functions as memory machine, where “ghosts” of presentation are A Shameless Priest Travelling Kabuki-za theatre. In terms of kabuki performing of Korea. Her academic concerns are British and
the past appear in various guises Carlson: 2003, Overseas -The Entertainment of Hokaibo, or venues, his temporary theatre series, Heisei American drama, feminism, film, comparative
revealing one and by the same token – concealing Sumidagawa Gonichi no Omokage-2013 and Nakamura-za has been continued by his sons criticism between Korean and foreign culture and
another side, or image, or aspect of the historical Aida as a Drama: Aida Directed by Olivier Py and performing Shunkan on location in Iwo-jima literature. She has published books and articles
events. Any instance of nation building would and Noda Kabuki Version of Princess Aida2017. island was based on his idea of performing kabuki on Samuel Beckett, Tom Stoppard, Eve Ensler and
include both: forgetfulness and remembrance, She conducted a research on Edinburgh in such a natural setting with a history related James Barrie, as well as on gender politics and
whereas theatre often becomes a stage, that festivals, being associated with the University of to the drama. He had repeatedly cooperated modern consumer culture, and on the political
reveal the dialectical tension between them. This Edinburgh, from April 2016 to March 2017. with modern directors and playwrights, such appropriations in the transformation of western folk
is especially true in case of countries and nations as Kushida Kazuyoshi, Noda Hideki and Kudo tales into fairy tales and animations. In addition to
with difficult if not troublesome past. My case in Uniqueness in Kabuki contributions by Kankuro, each of whom contributed to adding these, she has also directed 17 drama performances
point are two very different productions that deal Nakamura Kanzaburo XVIII modern tastes to the world of kabuki, Kushida as in English with college stdents, such as Our Town,
with history of Lithuania, a country that in the last Most major professional kabuki actors have a modern director, Noda and Kudo as a modern Romeo and Juliet, The Caucasian Chalk Circle, A
century underwent several radical transformations: been born and raised in distinguished kabuki playwright and director. The paper will discuss Doll’s House, Death of a Salesman, etc.
being a province of Russian Empire, an independent families. They must train their physicality in how successful the challenging venues Kanzaburo
republic, then a part of USSR and since 1990 an traditional Japanese dancing as well as stylized chose and his cooperative works with modern Divided Country and Divided Literature: the
independent state again. Despite being different in acting and speech from childhood. They normally directors were in broadening the kabuki world Restoration of the Lost Korean Poet in Lee
their aesthetic conventions both productions could follow their family tradition in acting to pass it and attracting new audiences. [kabuki, Nakamura Yun-Taek’s Play Baek Suks Fables
be regarded as examples of the questioning and on to their descendants with names. As they Kanzaburo XVIII, tradition, innovations] After the Korean War 1950-53, Korea was
wandering mode of remembrance, that refuses to respect tradition basically, kabuki is one of the divided into two, North & South Koreas. Since then,
believe and to internalize the canonical discourse of representative traditional performing arts in two Koreas have developed upon different political
collective memory. modern Japan. On the other hand, some of and economic systems and have confronted with
Keywords: memory, performance, history, the them try hard to invite new audiences through each other with a hostile attitude. Korean art and
Baltic states enlightening or innovative events and shows, literature has been also separated and developed
which is not only useful for preserving kabuki but respectively. In South Korea, all the names of the
poets and novelists who chose North Korea were Hayato Kosuge caused serious nuclear accidents, primarily the Fukushima perspective. Keywords: Fukushima,
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not included into the Korean literary history and Keio University the level 7 meltdowns at three reactors in the Butoh, Bishop Yamada, Hijikata Tatsumi
their names were nearly forgotten until 1990s. hayatok@kvj.biglobe.ne.jp, hamlet@keio.jp Fukushima Daiichi Nuclear Power Plant complex,
Lee Yun-Taek, one of the most representative forced the residents within a 20 km radius of the
Korean playwrights, chose Baek Suk 1912-1996, Hayato Kosuge is professor of Foreign plant evacuated. The Fukushima Daiichi Nuclear Chris Collins
a North Korean poet, as a writing material for his Languages and Liberal Arts, Keio University in Power Plant was built and run by “Tokyo” Electric University of Nottingham
play Baek Suk’s Fables 2015. Born in Chungju in Tokyo, and Director of Keio Research Center for Power Company though it existed in Tohoku christopher.collins@nottingham.ac.uk
North Korea, Baek Suk studied in Seoul and Tokyo Liberal Arts. He is Executive Committee member northern rural area of main island of Japan, and
and worked as journalist and teacher. He was very of IFTR since 2013 Organizing Committee its electricity had been used for supporting the Chris Collins is an Assistant Professor of
famous for his lyrical and folksy poems woven member of PSi #21 Fluid States 2015 and service function for urban life around Tokyo not for Drama and Performance at the University
with traditional and beautiful Korean words and representative of its Tohoku cluster. He finished the neighboring area. The atomic power plant has of Nottingham. He has published widely on
expressions. When the war broke out, he stayed doctoral course in 1990 at Keio. He is visiting both ‘universality/urbanity’ and ‘locality/rurality’ collective memory in Irish performance including
in Pyeongyang in North Korea while translating scholar at the University of Cambridge in 1996- as its essence, a coexistence that sometimes a recent co-edited collection of essays (with
Russian novels into Korean. Since then, he has been 98, and Stanford University in 2003. His research confounds its identity as is the same case with Mary P. Caulfield) entitled Ireland, Memory
nearly forgotten from the South Korean society. interests include the Japanese underground the paradox of Butoh dance. Bishop Yamada, after and Performing the Historical Imagination. He
Playwright Lee tries to restore the life and the movement of the 1960s and 1970s, with a focus being well trained by Hijikata Tatsumi in Tokyo, set has published two monographs on the plays
literary world of the forgotten poet Baek Suk. In on Butoh performance. He is involved in the off to the foot of Mt. Haguro in Tsuruoka in rural and performances of Irish playwright, J.M.
the play, Lee introduces the situation which Baek Hijikata Tatsumi Archive in Keio University Art Tohoku and founded Hoppo Butoh-ha Northern Synge. He is also the acting Secretary General
Suk met in North Korea after the war. The poet Centre with project leader of the research group, Butoh School on the site, where Bishop produced (Communications) for IFTR.
wanted to write lyrical poems as he usually did, Portfolio Butoh, and is a research fellow at the Shiokubi Salted Heads—dead heads preserved
however, his works were severely criticized by Research Institute for Digital Media and Content, with salt, 1975 for the opening Hoppo Butoh-ha. Performing Collective Nostalgia: Rural
the North Korean government due to the lack Keio University. He is also interested in English Butoh has since expanded from Tokyo to many Spaces in Urban Places
of communistic ideas and propaganda. He even Tudor drama mainly focusing on Shakespearean other places in the local and global level with This paper offers a performance analysis of the
tried to find an exit from children’s literature dramaturgy, referring to Japanese Shakespeare changing its ideas and fundamental forms and 2013 immersive theatre performance of Farm by
breaking out of the communitarian society. productions and their cultural context. He is editor approaches. The expansion of Butoh reflects its the multi-award winning Irish theatre company,
Despite his effort, in 1962, the North Korean and coauthor of Fuhai to Saisei Corruption and ambivalent combination of urbanity and rurality— WillFredd Theatre. The paper considers how the
government collected and discarded Baek Suk’s Regeneration in 2004, and coauthor of Shintai I on the one hand thermalizing the Northern Hoppo performance used collective memory of rural
poems, and finally sent him to a collective farm Bunka-ron Body, Medicine, and Culture in 2002 area as the Urheimat of Hijikata’s ‘darkness’ and, spaces in an urban place (city-centre Dublin) to
in far Northern district. Restoring the lost poet among his English publications is “Transformed on the other hand, emphasizing a ubiquitous, create feelings of affective, collective nostalgia
Baek Suk in his play, Lee succeeds in enlarging and Mediated Butoh Body: Corpus Moriens in transnational, and nomadic nature detached from that stayed with spectators long after the
and deepening the Korean literature. Hijikata’s Earthen Statue Project” in 2013. any cultural values. Both the atomic power plants performance ended. Much attention has been
Keywords: Lee Yun-Taek, Baek Suk, war, and Butoh have remained amorphous and capable given to the concept of collective memory when
divided country, divided literature, restoration The Urbanity and Locality of Northern of expanding its political and cultural articulation. analysing performance. In this paper I draw on
Butoh School from Fukushima Perspective In this presentation, focusing on Bishop Yamada contemporary psychological and sociological
The tsunami by the Great East Japan and Hoppo Butoh-ha, especially on Shiokubi, the research on nostalgia, as I try to model how
earthquake at 2:46 pm on Friday 11 March 2011 paradoxical nature of Butoh will be considered from collective nostalgia can be created through
performance. The dangers of nostalgia in a Stephens’s Song from Far Away, in which an PUC-Rio de Janeiro where she founded
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UTOPIAS, DYSTOPIAS, HETEROTOPIAS. THE
globalised world are well documented, and when Amsterdam expat in New York returns home and directed 2009-2014 the Performing COMMON IN DISPUTE
experienced by a collective it regularly leads for his brother’s funeral, and is confronted with Arts Department. Since 2014, a Professor In the contemporary urban imagination, our
to the rejection of pluralism. However, in Farm, the shallowness of an existence that left behind of Stage Direction at the Communication common future is prefigured more often as a
collective nostalgia was not seen as a negative, every trace of a national identity. Also the first School of the Universidade Federal of Rio de dystopia - life in extreme conditions of oppression,
reductive phenomenon, but rather a productive two parts of Peeping Tom’s trilogy, Father and Janeiro ECO-UFRJ, also teaching Creative vigilance, deprivation - than in the utopian forms
phenomenon; memory was not seen as painful Mother, have as one of their central themes the Processes in the PhD course in Performing that stimulated the modernist imagination.
longing but as a productive facilitator of new dissolution of an identity that is called home. Arts. She has been invited professor in Here, we discuss whether a human act like art,
memories, experiences and communities. This My presentation will be informed by what Marc some GB Universities such as E-15 Acting characterized by its in-usefullness among other
paper asks how, and why that was the case and Augé has called ‘non-places’, not dissimilar to School, Essex and Queen Mary University. human actions as work, may work as a device
what this means for the future of longings for the Foucault’s notion of heterotopias. Remarkably, A distinguished stage director, above more of resistance at this awful perspective. We
past in performance. both Stephens’s plays and Peeping Tom’s theatre than 30 works some as Descoberta das think about artistic gestures that are capable of
productions are often set in or make reference to Américas 2005, Arlecchino all’inferno 2007 challenging our ways of life and modifying them:
transit places such as hotels, museums or airport or Il cattivo selvaggio 2008 were awarded urban interventions, happenings, installations,
Laurens De Vos lobbies, postmodern purgatories that one the in Brazil and Italy the most travelled overall site-specific acts and other aesthetic-political
University of Amsterdam one hand break up boundaries but on the other Latin America and Europe. Some majeures behaviours based on displacement that we
l.e.r.deVos@uva.nl hand also create the illusion of the possibility projects were awarded by the XXXVII designate under the sign of artivism. How can art
Laurens De Vos is assistant professor in of a life without national identity. I will try to Biennale, Venice Arlecchino d’oro, 2007, by displace from its current destiny of commodity
Theatre Studies at the University of Amsterdam. find an answer to the question what home and the Brazilian Ministry for Culture Interações and redeem its utopian and revolutionary
He obtained his PhD in 2006 from the University national identity mean in contemporary plays Estéticas for Laboratorio Madalenas, twice: potential? How such experiences of urban art
of Ghent. and performances and what position they take 2009, 2010, by the British Art & Research may displace the conventional actor-spectator
He is the author of Cruelty and Desire in the towards the concept of homelessness in the Council price for realizing Utopias, part of expectations of in the representational system?
Modern Theater (Dickinson Fairleigh UP, 2011) figurative sense. In addition, how does this stance the Creative Lab with other artists, 2016, How art could stand out as an act of resistance,
and Shakespeare (Lannoo, 2016) and the editor relate to the uncanny or un-heimlich as set out by by FAPERJ Apoio a grupos de Pesquisa for in our societé du spectacle saturated by media
of Sarah Kane in Context (Manchester UP, Freud almost exactly 100 years ago? Do we need Artivismo e utopia, 2014-2015 and Legados writings and images which are normative of our
2010). His most recent research publications to update Freud’s definition in light of a changed do Boal, 2016, by CNPq for Laboratorio de everyday conducts? The reflection is based on
were on David Greig (in latest issues of JCDE interpretation of ‘home’ in the 21st century? Estética e Politica, 2015. As a playwrighter, the empirical work of the my Research Group
and Modern Drama) and the dynamics of the eight of her plays written since 2004 have on Aesthetics and Politics, especially the series
gaze in the theatre. been staged in Europe, by Teatro Cargo of actions we designed as invisibles held in Rio
one been indicated as best text in italian de Janeiro between 2013 and 2015, inspired by
The homely and national identity in Alessandra Vannucci national award Premio Ubu. She is an Le città invisibili of Italo Calvino, among other
contemporary theatre UFRJ activist of Theatre of the Oppressed since lectures such as Hakim Bey, Lefevbre, De Certeau,
The concept of home has been deprived of its alevannucci@gmail.com 1993, writing, founding and realizing Jacques Rancière, Nicholas Bourriaud, Nestor
sense of belonging, it has lost its familiarity that projects on theatre and citizenship in Garcia Canclini, David Harvey, Milton Santos etc.
used to be crucial in building up one’s identity. Italian artist and art researcher, PhD in schools, communities, penitentiaries We have created ten human installations that
This is very well exemplified in e.g. Simon Literature at Pontificia Universidade Católica in Italy and Brazil. works as counter-conduct, resisting to urban
rules and proliferating possibles cities which A arte ainda pode “representar” o mundo? Como Paul Rae boundaries of role, self-identification and even
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overlap and contaminate the map of the city. pode destacar-se como ato de resistência, em nossas University of Melbourne physical position that theatrical and scholarly
They are sensory gaps, in which the passer-by metrópoles-espetáculo, saturadas por mídias escritas paulrae@unimelb.edu.au conventions alike tend to reinforce. Anyone with
may enter strange bubbles that embarrass the e imagens normativas das condutas cotidianas? the minimum of relevant competencies can talk
regime of visibility what is given to be seen in Como pode a arte distanciar-se de seu atual destino Paul Rae is Associate Professor of Theatre theatre, regardless of the nature or extent of
the urban panopticon they are concrete tactics de mercadoria e resgatar seu potencial utópico Studies at the University of Melbourne. He is their involvement in a given event.
to seek, as Calvin suggests, what in the midst e revolucionário? author of Theatre & Human Rights and Senior Ultimately, I suggest, careful attention to
of hell, is not hell and open space and make it A reflexão se fundamenta no trabalho empírico Editor of the IFTR-affiliated journal Theatre theatre talk underscores the ways in which
last. Instead of the modern utopian perspective, do Grupo de Pesquisa em Estética e Política GEEP Research International. He has published widely theatre is continuously constituted anew:
implying in its dystopic results, we try to open da PUC-Rio, especialmente da série de ações que on contemporary theatre and performance sometimes on stage, sometimes in speech, but
interstices, to multiply spaces, in the idea of drift. definimos “invisíveis” realizadas na cidade do Rio theory, and his book Real Theatre: Essays in always in combinations of novel and familiar
The installations are the performative equivalent de Janeiro, entre 2013 e 2014, a partir da obra Experience is forthcoming from Cambridge components that partly, but never wholly, overlap
of the heterotopias described by Foucault as Cidades Invisiveis do Italo Calvino. Criamos dez University Press. with other iterations and enactments. It is not
illusory spaces that denounce as any real space “instalações humanas” que se apresentam como a matter of treating theatre talk ‘as’ theatre, if
more illusory and expose its reverse: an aesthetic contra condutas práticas, proliferando possibilidades Theatre Talk the latter term goes unmodified. Rather, it is a
intervention which tries to visibilize the invisible, de cidades que se sobrepõem ao mapa da cidade In this paper, I respond to some of the prompt question of recognizing the mutually constitutive
interfere the urban life and act a resistance in the real e o contaminam. As instalações são bolhas que phrases in the Call for Papers – ‘territories of role they play in the social circulation – and
struggle for our common. embaraçam o regime de visibilidade, no sentido conviviality and confrontation’ ‘memory and occasional cultural crystallization – of those
daquilo que é dado a ver pelo sistema de controle invention’ ‘relations of artistic production’ – by objects, discourses, activities and identities whose
Utopias, distopias, heterotopias. e vigilância exercido pelo panópticon urbano. São stepping back from the events and practices contingent combination we might validly describe
O comum em disputa. frestas sensoriais, em que o transeunte porventura where these issues are most fraught or acutely as theatre.
No imaginário metropolitano contemporâneo, se adentra. São táticas concretas para buscar, como felt, and investigating instead how they inhere
o futuro é prefigurado mais frequentemente como sugere Calvino, “o que no meio do inferno, não é in the apparently mundane activity of having a
uma distopia – em que viver-se-ia em condições de inferno e abrir-lhe espaço e fazer com que dure”. conversation about theatre. While it is tempting Yuko Kurahashi
extrema opressão, vigilância, privação – do que nas Assim, abandonada a perspectiva utópica, to view such an activity as insignificant by Kent State University
formas utópicas que estimulavam a imaginação implicando em seu oposto distópico, buscamos ao comparison with theatrical performances, I ykurahashi@kent.edu
modernista. Aqui, tentamos refletir se uma ação invés disso abrir interstícios, multiplicar espaços. argue rather that casual conversation plays an
humana como a arte, caracterizada por sua Seguindo a ideia situacionista da “deriva”, procuramos important and revealing role in sustaining the Dr. Yuko Kurahashi is an associate professor
inoperosidade entre outras ações humanas alienadas o equivalente performático das “heterotopias” medium of theatre as durable social institution of theatre in the School of Theatre and Dance
como o trabalho, poder funcionar como dispositivo de descritas por Foucault como “espaços ilusórios que and forceful cultural practice. at Kent State University. Her areas of specialty
resistência neste sinistro quadro de futuro. Pensamos denunciam como mais ilusório qualquer espaço real” e Talk allows us to sound out theatrical include multicultural theatre, community-based
em gestos artísticos que sejam capazes de pôr em expõem o seu avesso – uma intervenção estética capaz performance from an appropriately theatre, and intercultural theatre. She is the
disputa nossos modos de vida e de modifica-los: de visibilizar os invisíveis, interferir na vivência urbana e compromised position: one that is distanced, author of Asian American Culture on Stage: The
intervenções urbanas, happenings, instalações, na disputa pela partilha do comum. but, only nominally so. Theatre talk displays History of the East West Players Garland, 1999
cenas site-specific e outros comportamentos estético- Palavras-chave: cena expandida deslocamentos few of the formal hedging strategies of and Multicultural Theatre Kendall/Hunt, 2004 &
políticos que designamos do âmbito do artivismo. novos regimes estéticos, impasses da representação academic analysis. On the contrary, it blurs the 2006. Kurahashi is a writer for PlayShakespeare.
com. Her most recent articles include: “A within the new community. “Beyond Sacred,” ‘New Scholars’ Prize’ and the African Theatre this set population in the ‘Acting for Fun’ project
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Performance for Social Justice: The Life and 2016 was commissioned by the LaGuardia Association’s ‘Emerging Scholars’ Prize’. He was is the Guided Imagery performance technique.
Times of Patricia Prewitt” St. Lou Fringe Festival, Performing Arts Center and later toured in a Diversitas Fellow at the Carl Von Ossietzsky Guided Imagery has been described as a form of
San Diego Free Press, February 2017. various cities in the United States. In this work University, Oldenburg Germany in 2013, and a hypnotherapy. It is a gentle but powerful technique
Review of Objectively Reasonable Playwrights five young participants who live in New York City Fulbright Scholar in Drama Therapy and Trauma that focuses and directs the imagination. If properly
Local, Cleveland OH, Continuum originally share their personal experience as “Muslims” in Studies at Kansas State University, Manhattan, constructed, it has the capacity to deliver multiple
published in HowlRound, November 2016, the post-9/11 Islamphobic environment. USA between 2014 and 2015. He is a Playwriting layers of complex, encoded messages by way of
Spring Issue, 2017 upcoming. Both works illustrate lives and feelings of instructor at the Department of Theatre Arts, simple symbols and metaphors.
Review of The Crucible Cleveland Play House, people who resettled in two cities Syracuse University of Ibadan in Nigeria. This paper is a report-based document
Arthur Miller Society Journal, March 2017 and New York City, fleeing from their worn- from the project, with findings which suggests
upcoming. torn countries. The purpose of my presentation The performance of guided that the Guided Imagery performance in
Review of IN THE VA VA VOOM ROOM will be: 1 identifying common messages that imagery: playing with the its essence constitutes a deep and almost
Diversionary Theatre, San Diego, CA, San Diego the participants wish to share with their altered states of consciousness spiritual transformative process akin to the
Free Press, January 2017. audiences 2 placing key incidents as portrayed in the ‘acting for fun’ project Shaman experience in which consciousness is
Review of Objectively Reasonable Playwrights in the pieces that impacted the participants’ The ‘Acting for Fun’ project is a designed manipulated to effect healing.
Local, Cleveland, OH, HowlRound Journal, lives in the historical context 3 evaluating the experimental performance-based intervention
November 2016. role of Chong’s oral history works in society, programme which provides therapeutic
particularly at the time of “division and suffering” intervention that involved drama therapy as Igor Alexander Martins
Voices in Unstable Geographies: to borrow the words of the mayor of Berlin a creative modality to address areas of social USP
Ping Chongs “Cry for Peace” and Michael Müller in January 2017. Through my difficulty and problem behaviours among igoralexandremartins@hotmail.com
“Beyond Sacred” presentation, I would like to explore in what a group of children. The objectives of the
My paper examines two installments of way community-based theatre pieces like these intervention were to offer various drama-based Igor Alexandre Martins is a visual artist
Ping Chong’s oral narrative series Undesirable two would continue to provide a platform to activities and group processes whereby the and set designer, with bachelor’s degree from
Elements “Cry for Peace, Voices from the Congo” initiate dialogue for interracial, interethnic, and children were able to develop and practice UNESP-Institute of Arts, has technical training
and “Beyond Sacred: Voices of Muslim Identity.” intercultural understanding and healing. their social skills and manage their problem in communication and interior design, and
Presented at Syracuse Stage a and LaMaMa in Keywords: Refugees, Ping Chong, Undesirable behaviours with others. The project sought to scenography at the J.C Serroni Cenographic
2012 “Cry for Peace” is a collaboration between Elements, Oral Narrative improve upon social and emotional functioning Space. He has worked for more than eighteen
members of the Congolese community in of the selected children participants while years as a scenographer in different aspects
Syracuse, Syracuse Stage, and Ping Chong reducing stress among them. of scenography, from the project to the
+Company. As Chong asserts, the “Cry for Olusoji Cole The project substantially engaged a participatory, execution process. He works in the following
Peace” provides a tool for “healing, unity and University of Ibadan observatory and exploratory methods of execution. areas: cinema, theater, television, exhibitions
reconciliation within the Congolese community sojicole15us@yahoo.com It has pre-identified some set population of and special effects. In his graduation he
and promote peace and justice in the Congo.” children between the age of four and eight who studied art and madness artistic processes
The work functions as a powerful vehicle to raise Soji Cole is a scholar of Performance, have symptoms of autism, autistic related ailments, with the TCC, “Arthur Bishop of the Rosary
the public awareness of history of the Congo, Social Theatre, Drama Therapy, and Trauma attention deficit syndrome and other mild cognitive and the scenography of the Sacred.” Today he
the Congolese diaspora, and unsolved tensions Studies. He has won the prestigious IFTR’s disabilities. One of the models used in working with develops research projects in scenography and
performance, and studies the process of creation Sami Henrik Haapala this workshop impulse works as a practical tool therefore supposed to promote equality, and
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in altered states of consciousness. University of the Arts Helsinki with which the actor starts to grow meaning even more, is supposed, as a « public theatre
sami.haapala@uniarts.fi together with the participant in relation to », to contribute to personal and collective
Performance in the double the environment they are embedded in. The emancipation, it doesn’t avoid gender or
visionary field Sami Henrik Haapala is a Finnish actor FIA, focus is on what kind of technique the actor racial bias.
The research deals with the appropriation of dancer, live art maker, anthropologist and a dj. He uses to sense the meaning emerging from the On the question of sex equality specifically,
contemporary performance-related artists using is also a doctoral candidate in artistic research at participant and what are the skills needed in some progress has been done, in the sense
techniques of ecstasy in their creative process, the Performing Arts Research Centre Tutke of the this re-orientation of an actor’s position. In the that the ministry of culture has acknowledged
whose objective is to bring to the experimental Theatre Academy of the University of the Arts workshop impulse works as a starting point the problem and, pushed by organizations
field, non-ordinary states of consciousness, and Helsinki. In addition to having degrees in both always already in a state of infection into which such as H/F, is progressively building policies
a hybridism between languages, characteristic of acting and dance he also holds a Bachelor of Arts the actor and the participant germinate. Acting aiming at correcting gender inequalities
the dynamics of post- modernity. The research is in Cultural Anthropology. Haapala’s works cut is often regarded as pointedly human activity (budget, executing positions, etc.). The
based on relational aesthetics, and as a parameter through theatre, dance and live art. He is the artistic (Toporkov 2008), but I propose to explore it question of the aesthetic manifestations of
of analysis, the ethnic rite as archaic performance. director of a performing arts production company as a process of impulses continuously moving those inequalities remains way less taken
Keywords: ayahuasca, alteration of The Center for Everything. In his doctoral research between cells of materials in turmoil. By into consideration by activists or public
consciousness, visionary art, rite/performance Haapala focuses on acting in participatory and considering acting technique not as something authorities. Yet, both the problems and their
immersive performances. The title of his doctoral to be seen by the spectator, but as shared possible solutions also lie in the narratives
Performance no duplo research is ‘Creators of Given Worlds’. www. embodied experience, the workshop applies Alva and the discourses on masculinities
campo visionário samihenrik.me Noë’s thoughts on presence as an enactment of and feminities built by texts and shows.
A pesquisa aborda a apropriação de artistas ourselves in achieving the world (Noë 2012). Scrutinizing different works of the past years
contemporâneos relacionados à performance, Impulse as a Seed in Turmoil (for instance Poings - Pauline Peyrade, La
que utilizem de técnicas de êxtase em seu The proposal is a workshop. It looks at acting Lesbienne Invisible - OcéaneRoseMarie,
processo de criação, cujo objetivo é trazer ao in immersive and participatory performances Bérénice Hamidi-Kim Le projet Féministes - Marine Bachelot-
campo experimental, estados não ordinários de through the concept of impulse. It aims to re- Institut Universitaire de France Nguyen, La Famille Royale - La Meute, Le
consciência, e um hibridismo entre linguagens, evaluate acting technique from the point of view berenice_hamidi@hotmail.com Prince de Machiavel – Laurent Gutman), this
característico da dinâmica da pós-modernidade. of participatory and immersive performances presentation will focus on the question of the
A pesquisa se baseia na estética relacional, e by using impulse as a main tool and concept. Senior Lecturer in theatre and performance representation of desire and sexuality of both
como parâmetro de analise, o rito étnico como It posits that impulse is one of the key terms studies at the Institut Universitaire de France/ men and women, confronting “male gaze”
performance arcaica. in both acting and dance. However, it is rarely Université Lyon 2 and “female gaze”. What does it mean for a
Palavras-chave: ayahuasca, alteração de explained, but is understood ”automatically”. text or a show to be sexist or, on the contrary,
consciência, arte visionária, rito/performance I’m particularly referring here to the work of Male gaze vs female gaze: sexism and feminist, as far as the representation of desire
Sanford Meisner (Meisner 1987), Steve Paxton feminism in French theatre today and sexuality are concerned?
(Paxton 2008) and Jerzy Grotowski (Grotowski It is only recently that French theatre
1968). By drawing on practical research, my artists, presenters and officials have realized
own practice I assert that impulse is corporeally that, though the professional sector of
understood knowledge crystallized in praxis. In live arts is funded with public money and
Kim Cavalcante Andrea Caruso Saturnino Contemporary Performance beyond Site-Specific,
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Women and Spectros: Dialogues
kimcavalcante1111@gmail.com between gender issues and performance USP is forthcoming from SIU Press. Bertie is a graduate
spectral presences andreacarusosaturnino@gmail.com of Yale University, has a Masters in Performance
Kim Cavalcante is a visual artist, performer, This project takes the field of performance art Studies from NYU, and earned her PhD from The
dancer and art educator, Bachelor of Visual as a privileged place for research. The research PhD student at the University of São Paulo under Graduate Center, CUNY.
Arts from the University of São Paulo. Currently deals with issues that have arisen and are the direction of Dr. Felisberto Sabino da Costa,
studying Masters in Visual Poetry, in the constantly get up in my artistic production. This Andrea Caruso Saturnino is preparing a thesis Artistic Intervention and
same institution. Her artistic research is in the production lies at an intersection between gender on the concept of real shift in the construction of the Other Spectator
field of the performance art, in a confluence and what I identify as spectral presences. On the subjectivity in contemporary theater. Artists’ desire to intervene in the public sphere has
between spiritual, ethnic and gender issues. issue of gender my work finds affinity in feminist run parallel to critical discourse that engages with
Her production launches various media, such discussions to deal with the body, sexuality Transvestism and precarious testimony the role of the spectator, audience reception, modes
as photography, video, drawing, engraving, and representation of women as the spectral Through the works of Mapa Teatro, from of spectatorship, and audience makeup. In response
finding its most relevant production in the field presences, it is a spiritual dimension, ritual and Colombia, and As Travestidas, from Brazil, we to this year’s IFTR on “Unstable Geographies,” this
of performance. imagery present in the work. Nature thus appears face violent aspects of Latin America social and paper will discuss the possibility of various modes of
In 2013 she makes academic exchange in as a privileged place: as space, matter, but also political life. We aim to discuss how artists share audience engagement at unintended destinations,
Mexico. Among her recents works: co-curator as a discussion of its relation to the female body, their experiences - aesthetically, ethically and primarily through the examination of artist duo
of the film and video show Videos on the Street whether in an ancestral spiritualistic perspective of poetically - calling our attention to the power of Faivovich & Goldberg’s El Chaco en Kassel 2012 and
Educator in the Cultural Center of Penha, in the reference of Brazilian Afro-Indigenous practices, or precariousness in transvestism and testimony as director Lola Arias’ Mi Vida Después 2009.
Center of Cultural Training Cid. Tiradentes, in a critique of the construction of patriarchal ideas artistic acts. Both works generated new relations among
the Theater Company of the Apparitions and in of domination. otherwise disconnected audiences. They allowed
the Cultural Association Nego Fugido Assistant This research aims to a deepening of the for spaces of alternative spectator sites, what I
of Restoration of Papers at the Museum of relationship between these elements, since the Bertie Feldman call an off-site spectatorship—and allowed for “an
Contemporary Art of the from São Paulo artwork seem to evidence and claim an intricate City University of New York other” spectator—to inform the work.
Freelancer at the Ipiranga Museum. variety of dialogues. As theoretical references bferdman@bmcc.cuny.edu As part of Documenta 13, Faivovich & Goldberg
Main exhibitions: 2016-2017 Sesc Belenzinho: are presented to the authors Erick Felinto, Phillip planned to transport El Chaco, the 37,000
Im here. Sao Paulo-SP 2016 Red Bull Station: Dubois and Clément Chéroux to assist in the Bertie Ferdman is Assistant Professor at kg meteorite, from its original crash site in
Afrotranscendence. Are Paulo-SP 2015 Gallery: discussion of the spectra Hans Ulrich Gumbrecht BMCC at the City University of New York, where Argentina to Germany. This intercontinental
Performance Show Noise Gesture. Rio Grande for reflection on the presence and materiality and she teaches theater studies courses and public and temporary relocation caused a public media
- RS 2015 AGADU Park: Meeting of New the authors Griselda Pollock, Luana S. Tvardovskas speaking. Her essays have appeared in TDR, PAJ, frenzy and prompted the artists to cancel the
Artists. Montevideo - Uruguay 2015 Gallery and Anna Bernstein for discussions about art Theatre Journal,Theatre Survey, and Performance meteor’s scheduled trip. By embracing the public
Cañizares: V Performance Show - Conflicts and and feminism. The works of artists Maya Deren Research. She was co-editor of a Special Issue debates incited by their initiative, the artists
Convergences. Salvador BA 2015 Ibirapuera and Ana Mendieta are artistic references to the of Yale’s Theater Magazine on Performance changed the context of El Chaco en Kassel and
Park: Mato. Sao Paulo-SP research, during which it is intended to carry out Curating. Her essay from that collection is raised questions about the very “object” of art.
a survey of Brazilian artists whose works hold upcoming in an anthology titled Curating Live The meteor, in its journey as art, became the
discussions with the project. Arts: Global Perspectives, Envisioning Theory object through which a multiplicity of audiences,
and Practice in Performance. Her book, Off Sites: including a city council, emerged.
Mi Vida Después, a play written in reveals the interaction between the significant significativas do teatro e da vida cotidiana. Para o NHL Hogeschool, which aims to develop and
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collaboration with its original Argentine cast, all experiences of the theater and everyday life estudo da experiência dos espectadores do teatro monitor interactive social media communication
of whom were born at the height of the military experiences. For the study of spectators’ toma-se como base teórica o estudo de John Dewey strategies of art organizations in Leeuwarden,
dictatorship between 1976 and1983, enabled experience, we take as theoretical basis John Arte como experiência 2010 [1934]. A teoria do the Netherlands. She ’s working on her
the space of theatre to become the site of public Deweys Art as Experience 1934. Our vision espectador é embasada pelo estudo Figurations du PhD thesis ‘Values of theatre attendence in
witnessing. One of the performer’s testimonies about the spectator is based on the study spectateur: une réflexion par limage sur le théâtre et Groningen’ at the University of Groningen
was accepted at trial, impacting Argentine law, Figurations du spectateur: une réflexion par sur sa théorie 2006 da professora francesa Marie- forthcoming 2017 and is also a member of STEP
generating an “off-site” spectatorship concurrent limage sur le théâtre et sur sa théorie 2006 by Madeleine Mervant-Roux. Dessa forma, a partir de Project on European Theatre Systems.
with the one in the theatre. the French teacher Marie-Madeleine Mervant- relatos de espectadores que assistiram ao espetáculo
In what ways did these performances Roux. Thus, from the speech of spectators Go down, Moses Socìetas Raffaello Sanzio - Itália, Spaces for dialogue – developing social
materialize a relationship that united other who have seen the theatrical performance Go demonstra-se como o processo de construção da media communication strategies to
“non-art” spectators? And how might such an down, Moses Socìetas Raffaello Sanzio - Italy, memória e da própria experiência atua de maneira enhance online conversation between
interaction help us approach the porous divide we must show how the construction’s process dinâmica, num trabalho contínuo BOSI, 2012 [1979], theatre companies and audience members
that has always existed between art, on the one of memory and experience acts in a dynamic mesclando a experiência do teatro a vivências We live in a world that is increasingly
hand, and politics, on the other? way, working continuously BOSI, 2012 [1979], cotidianas. Para tal empreitada acompanhou-se influenced by social media. They offer a wide
Mixing the experience of the theater with o percurso da experiência de alguns espectadores, range of possibilities when it comes to sharing
the everyday experiences. For this work, we do momento que eles saem do espetáculo até as and exchanging ideas, opinions, experiences
Leonel Martins Carneiro followed the course of the experience of some ressonâncias verificadas alguns meses depois da peça and conceptions. Not only have technological
Universidade Federal do Acre spectators, from the moment that they leave ser assistida pelo espectador. Para a coleta utilizou-se developments made it possible to share these
leonelmcarneiro@gmail.com the theatre until the resonances verified a few a técnica da entrevista aberta BAUER & GASKELL, opinions, experiences etcetera whenever and
months later. To do this, the technique of the 2007 [2000], analisada qualitativamente com base wherever, they have also expanded its potential
Professor at University of Acre Brazil, Actor open interview is used BAUER & GASKELL, no método de análise de conteúdo BARDIN, 2000 reach. Arts organizations are aware of the
and Director. Currently his research is focused 2007 [2000], and such an approach is [1989]. Como um dos desdobramentos das entrevistas benefits that social media use can bring but they
on the Spectacles reception and in the relation analyzed qualitatively through the content surge a possibilidade de uma vida do teatro, vida esta generally use it as one-way-communication:
between memory, attention and experience. analysis method BARDIN, 2000 [1989]. The que opera em simbiose com a vida do espectador. information is ‘send’ by the organization and
Ph.D. in Theatre at University of São Paulo with interview, thus, becomes a possible trajectory Palavras-chave: Atenção. Emoção. Espectador. merely ‘received’ by the recipient.
collaborative period in Université Sorbonne of a theater’s life, a life that operates in Experiência. Memória. Our research project ‘Spaces for Dialogue’
Nouvelle - Paris 3 .Master´s in Theatre at symbiosis with the life of the spectator. focusses on developing more interactive social
University of São Paulo, Graduate in Theatre Keywords: Attention. Emotion. Experience. media communication strategies and methods,
at State University of Campinas. Member of Memory. Spectator. Antine Zijlstra that can be deployed by professionals within
Editorial Board: aSPAs and Rascunhos. NHL Hogeschool/University of Groningen theatrearts organizations to further develop
A construção da experiência do antine.zijlstra@nhl.nl, azijlstra@xs4all.nl interactive dialogue and relations between the
The construction of the spectator’s espectador: narração, memória e invenção organization and its audience and between
experiences: speech, memory and invention Este trabalho discute como a narração do espectador Antine Zijlstra (1965) is project manager members of the audience. A more effective
This paper aims to discuss how the speech acerca de sua experiência de um espetáculo teatral and leading researcher of the research project interactive communication about the art
of the spectator about a spectacle experience revela o imbricamento entre as experiências ‘Ruimte voor dialoog’ Spaces for dialogue at event can contribute to the way it resonates
within both individual audience members and the thesis „Vokale Performancekunst als the performative practices where to investigate inscription of procedures and aesthetics, and
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the audience as a collective, thus enhancing feministische Praxis. Meredith Monk und das those relations, for example by focusing on the even ideas of the past about a present and its
the societal effects of that art event. Since künstlerische Kräftefeld Downtown New York diversity of cultural expressions and references potential generators of communication, are a
professionals are a crucial part of this process, von 1964 bis 1979“, published by transcript of the stage performances, regardless of their way of relating and designing. Dilate and mix
we have chosen an iterative approach to the in 2015, supported by a scholarship of the „autochtone“ or „foreign“ nature. A key point correspondences and translations for an active
research, in which the strategies and methods Mariann Steegmann Foundation as well as by for this investigation is the concept of cultural present, observing us as part of the same story,
that are designed based on literature and good- the DAAD for a research visit to New York City appropriation, understood in the realm of which relates directly to our cultures and ways
practices, are subsequently applied in real-life as visiting scholar at the NYU. Kohl holds a MA glocalisation. This paper will discuss how this of being in the world. It is on this observation
cases by professionals. Based upon these case- in Musicology and Gender Studies from the approach can give further insides into the of Agamben that we understand in the
studies, the implementation of the strategies is Humboldt-Universität zu Berlin, and in Media and relationalities of talent shows’ performances. masking procedures of Ariane Mnouschkine
analyzed and evaluated, adjusted and improved. Communication Studies from the Freie Universität a correspondence to the past, but projected
Methodologies used include network-analysis Berlin. From 2012 till 2015 she was co-director for a future, this because the director, affirmed
and focusgroup interviews with professionals and chief curator of the Berlin-based art space Rudson Marcelo Duarte on the influences of Copeau and Lecoq in its
and audience members. alpha nova-kulturwerkstatt & galerie futura which USP observance of the paper of the body of the
The presentation focusses on the case of promotes the interaction of artistic, theoretical rudson@usp.br actor in the Scene and influenced by Oriental
Tryater. This theatre company is based in and political practices with an explicit gender- theater forms and procedures, recreates and
Leeuwarden, the Netherlands and has applied critical perspective. Her key activities in academia Postgraduate degree in Performing Arts at the processes these processes in seemingly very
one of the interactive social media strategies encompass Gender Studies, Voice and Vocal University of São Paulo. Graduated in Performing classic devices, but in their recreations they
on their theatre performance De wierheid fan Music, Music and Postcolonialism, Performance. Arts from the University of Campinas. Actor gain new contours and textures that project
Wylgeragea that premiered in October 2016. and Theater Director, creator of the Ovo Theater them to this present.
This case will be contextualized by examples About the Violence of Cultural Research center and participant of the O Círculo Keywords: Intercultural Theater,
of social media communication of other Appropriation. Talent Show Hybrid Theatrical Language Research Group. performance, mask.
professional Dutch theatre companies. Performances and the Processes of
Keywords: social media, conversation, theatre Identity and Alterity Building The mask as an intimate geography
professionals, theatre audiences Nigeria’s Got Talent, Arab Idol, X Factor Brasil, at the Théâtre du Soleil. Marcello Amalfi
The Voice of Germany. Major talent show brands According to Agambem, being contemporary Universidade de São Paulo
are increasingly dominating the entertainment is keeping the gaze inTo perceive in the dark of amalfi@usp.br
Marie-Anne Kohl market. They are a phenomenon of the Global the present this light of the centuries that seeks
University of Bayreuth, Germany North exported into the entire world, calling to reach us, from this reading it is observed Conductor, Composer Theater, Television,
marie-anne.kohl@uni-bayreuth.de for inquiring about power relationships, profit that contemporaneity is written in the present, Cinema, Musical Producer, Arranger, Interpreter,
distribution, dissemination of values and marking it first of all the past, and only the Writer and Researcher. website: maestroamalfi.
Member of research staff and Managing cultural identity building. Despite thorough one who perceives in the modern and recent com Doctorate student at University of São Paulo
Director of the Research Institute for Music studies of various aspects of casting shows, the indices and signatures Of the archaic may / Université Paris VIII Doctorate Sandwich, Editor
Theater Studies at the University of Bayreuth little attention has been paid to the actual be contemporary. Agambens reading of the of ASPAS Magazine USP, member of the SPA
since 2015. She finalized her PhD at the performative, theatrical, musical aspects of the needs inscribed in a present, projected by Organizing Committee ECA / USP. Author of the
Hochschule für Musik und Tanz Köln with whole phenomenon. However, I say it is exactly the past, corresponds to observing that the book THE MACRO-HARMONY OF THE MUSIC
OF THEATER 2015. Member of ARTA - Ass. de Du Soleil plays can not be inscribed in one place. indígena, localizando no mapa do espetáculo o and entrusted the work to Vishnudas. Here
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Recherche des Traditions de lActeur, Paris, Fr. do Through the most varied instruments, acquired novo mundo no qual a trupe irradia a sua arte. the intertwining of cultures happened between
CIRRAS - Centre International de Réflexion et by the musician in almost forty years of travelling two local cultures Kannada and Marathi and
de Recherche sur les Arts du Spectacle Paris, Fr., around the world, they invariably present a culminated in to a drama and it’s production.
e do IFTR - International Federation for Theatre wealth of rhythmic patterns and musical styles Anandha Krishnan Balakrishna Pillai This interweaving of cultures subjected for a
Research NY, USA Organized and taught a that bring to life a new music, when scales University of Hyderabad political shift during the post independent period
University extension course on SOUND DESIGN and timbres of different cultures and times are ananthu60@gmail.com by the interventions of the state apparatus.
in UNIFESP - Federal University of São Paulo 2014. amalgamated in one Joint creation process It directed to connect to the speculated
Idealizer, pedagogical coord. and manager of with the scenes. In every new play they draw a B. Ananthakrishnan is Professor of Theatre frameworks of Sanskrit theatricality in order
CLM, the first Municipal School of regular Music cartography of the impossible, in which we find Arts at University of Hyderabad and fellow of to create a ‘National’ theatre. It was opposite
education in the city of São Bernardo do Campo, the Sonographic Geography of Lemêtre breaking International Research Centre- Interweaving to the early official discussions on framing a
SP, Brazil 2009-2010. Coordinator of the Theater borders and revealing fantastic lands where Performance Cultures, Freie University, Berlin. strategy for Indian performance cultures in
Scoring Course FUNARTEs CAT 2007. With more the Chinese gong and the Indian raincoat can This paper has been written during his stay at general and modern in particular focused on
than 25 years of experience, has composed for cohabit, locating in the map of the spectacle The International Research Centre- Interweaving the rich and diverse folk performance traditions.
over 60 plays, working with Antonio Abujamra, new world in which the troupe radiates its art. Performance Cultures. The embroiling situation to discover a form
Naum Alves de Souza, Roberto Lage, Ivam Cabral, compelled to locate the other classical forms
Hugo Possolo, Marco Antonio Pâmio, Mario A música de Jean-Jacques Lemêtre para o Interweaving of Performance Cultures to appropriate the idea of classical in modern
Bortolotto, Rodolfo Vasquez, Celso Frateschi, THÉÂTRE du Soleil: geografias instáveis, and its Politics in Modern Indian Theatre time by exploring the forms like Kudiyattam,
Barbara Bruno, Georgete Fadel, among others. múltiplas teatralidades. Diversity in performance cultures has been Kathakali, dance forms and non-narrative martial
For television, he has composed for programs O artigo objetiva demonstrar o porquê das a potential exploratory terrain for modern arts forms. Paper will be drawing attention to
and mini-series, working with TV Cultura and composições de Jean-Jacques Lemêtre para os performance making in India. It dates back to the politics of this crossovers and migrations of
NATGEO And acting as a conductor at MTVs espetáculos do Théâtre Du Soleil não poderem 1795, when the Russian violinist and linguist performance forms in to a new body of modern
2012 VMB. He was awarded the Best National ser inscritas em apenas um lugar. Através dos Lebedeff adapted an English play ‘Disguise’ in to theatrical re presentation in India.
Film Soundtrack Award twice, with Our Life mais variados instrumentos, adquiridos pelo Bengali language and produced it for the Bengali
Does not Fit in an Opal, directed by Reinaldo músico em quase quarenta anos de viagens pelos audience in Calcutta Kolkata. The production
Pinheiro 2009, CINE PE and Hypotheses for Love quatro cantos do planeta, elas invariavelmente epitomized a synthesis of Western and Indian Joseph Nietlong
and Truth directed by Rodolfo García Vázquez, apresentam uma riqueza de padrões rítmicos e cultures in textual and performative levels. It Benue State University
screenplay by Ivam Cabral. 2015, DropsMagazine. estilos musicais que dão vida a uma nova música, continued in a different fashion in the writing jnietlong@gmail.com
“Hipoteheses… soundtrack was also nominated at quando escalas e timbres de diferentes culturas and making of Sitaswayamvar in Marathi by
the Brazilian Academy of Cinema. e épocas são amalgamados em um processo Vishnudas Bhave, which has been considered Joseph Nietlong is scholar and teacher with
de criação conjunta com as cenas. A cada novo as the first modern Indian language play. It was special interest in Philosophy of Mind.
The music of Jean-Jacques Lemêtre for the espetáculo elas desenham uma cartografia do not limited to one culture. The King of Sangli
Théâtre du Solleil: Unstable Geographies, impossível, na qual encontramos a Geografia a small state located in the extreme south Realism and Migration in Chimamanda
Multiples Theatricalities. Sonora de Lemêtre rompendo fronteiras e nos of Maharashtra after seeing a Yakshagana Adichies Americanah
The article aims to demonstrate why Jean- revelando terras fantásticas onde podem coabitar, performance in Kannada language desired to Chimamanda Adichie’s Americanah uses
Jacques Lemêtre’s compositions for the Théâtre por exemplo, o gongo chinês e o pau-de-chuva have a performance like it in Marathi language realism to explore the question of diaspora in
the contemporary context of migration and 2014) and co-edited Multiple Translation ephemera of protest and performance. In expressions and the type of historical plays
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globalization. In literature, realism aims at the Communities in Contemporary Japan doing so, it shows how ephemera can support written by new generation of playwrights. It is
reproduction of objective reality with emphasis (Routledge 2015). She is the current editor of other struggles and create dynamic sites of also about how the dislocation of history has
on the portrayal of everyday, quotidian activities IASIL Japan’s Journal of Irish Studies. contemporaneous translation, where knots of affected the arrangement of historical materials
and life, primarily among the middle or lower social unease can continue to be scrutinized and forcing playwrights to amend their thematic
class society, without romantic idealization Performing Manga: translation as a mode reconsidered across a range of media. pre-occupations in their plays. The three plays
or dramatization. This paper examines how of engagement chosen for this study which are written by two
Americanah raises a plurality of themes and Yokkaichi in Mie Prefecture is one of four Nigerian award winning playwrights – Sam
subthemes: studies in Philosophy, psychology, major sites of industrial pollution in Japan. Ngozi Udengwu Ukala’s Iredi War, and Ahmed Yerima’s Attahiru,
Politics, Race, Gender, etc. Globalization When the Yokkaichi petrochemical complex University of Nigeria, Nsukka and Ame Oboni the Great, emerged from the
occasions Migration. Chimamanda’s perspective opened in 1960 it was the largest petrochemical ngozi.udengwu@unn.edu.ng colonial history of Nigeria and have forced the
articulates the experience of Ifemelu, a migrant plant in the Asia respiratory diseases due to playwrights in their thematic expression to
that is a template at once particular and universal. sulphur oxides released into the atmosphere, Ngozi Udengwu is a Senior Lecturer in the re-examine the effect of forced cultural fusion –
Americanah collides the histories of race and and classrooms could not have open windows Department of Theatre and Film Studies, African and European – and also to arrive
colonialism. This paper critiques how this because of the odour. Manga artist Yada Eriko University of Nigeria, Nsukka where she teaches at a more plausible story which will encourage
collusion enriches Anglo-American experiences grew up in Yokkaichi and through most of her life a wide range of courses, as well as supervises a new nationalistic spirit in the new generation
of racial formation and how it can be an invaluable considered the petrochemical complex she saw research projects, at both undergraduate and African audience. The plays represent the
tool for the archeology of race, gender and every day as just part of the landscape and the postgraduate levels. She holds a PhD in Theatre playwrights’ dilemma in representing the
normative performances. In Americanah Adichie pollution it had caused, which she had studied Arts from the University of Ibadan, Nigeria an historical, cultural, and social dislocation as
characterizes the global society as a multi-voiced about at school, as a thing of the past. However, MA in Literature and BA Hons in Dramatic Arts offshoots of unstable geographies, and at the
body, a unity composed of differences. when she met people whose lives continued both from the University of Nigeria, Nsukka. same time embody the dialectic and didactic
Keywords: Migration, Realism, Politics, Race. to be affected by the pollution, she decided A Fellow of the American Council of Learned elements of theatrical performance.
to create Sora no Ito (2016) about Naoko, a Societies, Ngozi Udengwu is currently working Keywords: Historical Drama, Cultural
nine-year-old with acute asthma, the effects of on a book on Women in the Professional Yoruba Fusion, Playwrights, Theatrical Expression,
the environmental pollution on her body, and Travelling Theatre, and has to her name several Literary Commitment.
the resonance of her story. This presentation articles in mainline academic journals, book Joint work with Ahmed Yerima
Beverley Curran discusses a performance project based on Yada’s chapters and she is the author of Contemporary
International Christian University manga that translated the manga into powerful Nigerian Female Playwrights: A Study in Ideology
curran@icu.ac.jp and diverse performances in order to engage and Themes. She is a member of IFTR, AfTA, Stenio Dias Ramos
with the work and as a way of circulating a local SONTA, ANA, ARTerial Network, etc. Universidade de São Paulo
Beverley Curran teaches linguistic, cultural, site-specific story of Yokkaichi environmental steniorais@yahoo.com.br
and media translation in the Department of pollution through media translation and the Unstable Geographies, History, and
Society, Culture and Media at International materiality of pollution through the materiality Theatrical Expressions: A Study of Three Graduated in Languages and Literatures
Christian University in Tokyo. She is the author of the body. In the process, it considers the Nigerian Plays Portuguese and English in 2005 and
of Theatre Translation Theory and Performance circulation of knowledge concerning Yokkaichi In this paper we examine the effect of cultural Intermediate level in Spanish and Italian, with
in Contemporary Japan (2008; Routledge environmental pollution as it appears in the and historical diversities on the theatrical a 3-month specialization in 2008 at Sociante
Dante Alighieri and 6 months of Specialization Rodrigues to insert the theme of football in his de territórios e ao convívio dentro deles. Inicia-se trafficking and the mimetic representations of
DIGITAL HUMANITIES renowned avant-garde theatres, such as the EDUCATION: Constructing Social Belongings: Chinese
IN THEATRE RESEARCH Freie Bühne in Berlin, then utilized Ibsen as a Ph.D., University of Georgia, Theatre and American Performances on Social Media
central figure in the shaping of a new aesthetic Performance Studies second year The racial performances online that
Svein Henrik Nyhus agenda. American theatre history tells us that M.A., Shanghai Theatre Academy, Theatre many Chinese Americans presented through
s.h.nyhus@ibsen.uio.no domestic initiatives along the same lines were and Chinese Traditional Opera, 2013 their protests surrounding the indictment
Centre for Ibsen Studies, University of Oslo far more scattered and less consolidated. Thesis: The Theatrical Perception and Features of Peter Liang the Chinese American NYPD
To achieve success, in other words, Ibsen of Sarah Kane B.A., Shanghai Theatre Academy, officer who shot Akai Gurley, an African
Svein Henrik Nyhus is a Phd-fellow at the seemingly had to break into the commercial Literature of Drama, Film and Television, 2010 American male are representative of the
Centre for Ibsen Studies, University of Oslo. In theatrical market. My paper seeks to Lecture August.2013-July.2015 Dramatic situation that finds Chinese Americans
2016-2017 he was a visiting researcher at the investigate how this structure of the American Literature Dept. located in an intersectional area of ideal
Scandinavian Departement at UC Berkeley theatrical field set up certain premises and Xi’an University of Architecture and citizens and inferior foreigners. The group
affected the early assimilation of Ibsen. Technology Xi’an, Shaan Xi province, China supporting Peter Liang and the group
Ibsen in America, 1879-1914 - Between I will approach this topic by analyzing the RESEARCH PROJECT and PUBLICATION supporting Akai Gurley were both partially
commercialism and autonomous art major theatrical booking companies of the era Chinese and Chinese American Performance composed of Chinese
When the Norwegian playwright Henrik and their relation to Ibsen. A central question after 1966, presented at the 4 minutes, 33 Americans however, the mainstream media’s
Ibsen was introduced to America in theatre at is: To what degree can we say that Ibsen’s seconds: Spotlight on Scholarship at UGA, overstressing of the group that supported Liang
the end of the 19th century in his plays were progress in American theatre was counteracted November, 2016. obscured the diversity of Chinese American
transplanted into a theatrical field that was or incited by the large booking monopolies that Gender Politics in The White-Haired Girl, identities. Additionally, this overstressing
highly driven by economic interest. This was dominated the national market at the end of presented at the 23rd Annual Women’s Studies contributes to the reinforcement of the socially
not exceptional for theatre in the Western the 19th century? Secondly, I aim to shed light Student Research Symposium: “Feminist constructed illusion that a group can be
world at the time, but things changed as the on the nature of the relation between Ibsen Research Across the Disciplines,” University of identified solely through race, nationality, and
independent theatre movement began to and the burgeoning American independent Georgia, February, 2016. ethnicity. In fact, the diversity of the identities
take hold on the European continent towards initiatives. A central question here will be to The White-Haired Girl in China’s Cultural inside the Chinese American community often
the end of the century. Several of the most assess if and how these theatres utilized Ibsen Revolution and Ethical Performing, presented is ignored as a result, Chinese Americans are
still perceived as either the “Model Minority” or several large grant-funded projects on these AFRICAN & CARIBBEAN and reconstruct a shipping as a theatre space.