Suchergebnisse

This article synthesizes the origins of the modern theater in Portugal according to the
view of Alexandre Herculano who anonymously published his views in the periodical
Jornal Literário e Instrutivo "O Panorama" (1837-1868).

The author intends to account here for the multiplicity of forms and sites of contemporary theatrical creation through the notion of "théâtre traversé / traversed theater," based especially on three examples chosen for their diversity: BR-3, a site-specific work of the Teatro Vertigo; theatrical video performances of the Berlin Group, in particular Land's end; the literary, visual and technological creations of director Guy Cassiers. The understanding is that these pieces do not seek so much to produce representations with spectators but rather perspectives, referring to Viveiros de Castro's anthropological notion: Perceptual slips, conceptual disconnections, social disaffiliations, activating, for each spectator in his or her own way, the politics of "ignorant master" (Jacques Rancière), and thus promoting new modes of subjectivity.English version by Leslie Damasceno. ; O autor tenta dar conta aqui da multiplicidade de formas e de lugares da criação teatral contemporânea por meio da noção de "teatro atravessado". Ele se apoia especialmente em três exemplos escolhidos por sua heterogeneidade: BR-3, trabalho site-specific do Teatro da Vertigem; as performances vídeo-teatrais do Grupo Berlin, em particular Land's end; as criações literárias, visuais e tecnológicas do encenador Guy Cassiers. O entendimento é o de que esses espetáculos procuram produzir nos espectadores menos representações que perspectivas, para retomar a noção antropológica de Viveiros de Castro: deslizamentos perceptivos, desligamentos conceituais, desfiliações sociais, colocando em ação, cada um à sua maneira, a política do "mestre ignorante" à que se refere Jacques Racière. Eles promovem assim novos modos de subjetivação.Tradução do francês para o português de José da Costa (Universidade Federal do Estado do Rio de Janeiro – UNIRIO)

This article reflects about the handling that the actor performs on the dramatic text as a chance to rescue the use of text in the contemporary context. Experiments in postdramatic theater can have text as a stimulating material and not confer on drama a central role. The attitude of the actor of making contact with the words in order to reveal the meaning beyond the speech is essential to find a text function in line with all other elements of the play.

In this study, dedicated specifically to 'The Origins of Greek Thought', we would like to show how Vernant's analysis method of the different moments that defined the human's history proceeds above all through the systematic examination of the constitutive relations that differentiated them as such or such. However, as its development is unfolded, we also believe that we can demonstrate the existence of a thought implicating a series of concepts that, from the perspective of a philosophical reflection, have inseparably bounded to them an understanding on the problem of the nature of action, as well as the relation between action and the sense or animation that it expresses in its performance. When defining the different elements and roles of a historical context, not as isolated terms in and by themselves, but through the complex state of interactions which they found themselves in, Vernant demonstrates to conceive a character as that which distinguishes itself for the actions he performs, but these actions, on the other hand, as an activity that solely differentiates as such or such together with what it's interacting with. Furthermore, this condition has shown us to be accompanied by the capacity of action to express the constitutive relations that it entertains with its surroundings. Far from suggesting a timeless Form that could subsist indifferent to the changes happening at the level of the interactions between the elements of a network of relations, the animations expressed by its characters are autochtonous and varies at the same speed in which their activity transforms.

O artigo aborda o processo de implantacao do teatro moderno no Brasil, destacando a importancia da critica periodica de Decio de Almeida Prado, exercida por cerca de vinte anos no jornal "O Estado de Sao Paulo". (Novos Estud/DÜI)

This article addresses the teaching and learning dynamics of theatrical language in 2 courses of Licentiate Degree in Countryside Education (Licenciatura em Educação do Campo – LEDOC) – at the University of Brasília (Universidade de Brasília – UnB) and the Federal University of Piauí (Universidade Federal do Piauí – UFPI). What is common between these two courses is the work of Terra em Cena, a theater and audiovisual collective that operates as a university outreach program and a research group, based on popular education methodologies and on Political Theater (Theater of the Oppressed and Dialectic Theater). Experiences of working with student groups and creating theater groups in rural communities are described and analyzed, in order to see in which aspects theatre education contributes to qualifying educators from an emancipatory perspective. It is verified that adopting the Theatre of the Oppressed, as a method and education content, potentiates the LEDOCs as cultural resistance fronts and as a crucial domain for expanding the Brazilian popular education. ; Este artículo aborda la dinámica de enseñanza y aprendizaje del lenguaje teatral en 2 cursos de Licenciatura en Educación del Campo (Licenciatura em Educação do Campo – LEDOC) – de la Universidad de Brasilia (Universidade de Brasília – UnB) y de la Universidad Federal de Piauí (Universidade Federal do Piauí – UFPI). Lo que es común entre estos 2 cursos es el trabajo del Terra em Cena, colectivo de teatro y audiovisual que actúa como programa de extensión universitaria y grupo de investigación, basado en metodologías de educación popular y del Teatro Político (Teatro del Oprimido y Teatro Dialéctico). Se describen y analizan experiencias de trabajo con las clases y de creación de grupos de teatro en las comunidades rurales, con el objetivo de comprender en qué aspectos la formación teatral contribuye con la formación de educadores en perspectiva emancipatoria. Se verifica que la adopción del Teatro del Oprimido, como método y contenido educativo, potencia las LEDOCs como frentes de resistencia cultural y como un ámbito crucial para expandir la educación popular brasileña. ; Cet article traite de la dynamique de l'enseignement et de l'apprentissage de la langue théâtrale dans 2 cours de Baccalauréat en Éducation à la Campagne (Licenciatura em Educação do Campo – LEDOC) – de l'Université de Brasilia (Universidade de Brasília –UnB) et de l'Université Fédérale de Piauí (Universidade Federal do Piauí – UFPI). Ce qui est commun entre ces 2 cours est le travail du Terra em Cena, collectif de théâtre et d'audiovisuel qui fonctionne comme un programme d'extension et un groupe de recherche, basé sur les méthodologies d'éducation populaire et du Théâtre Politique (Théâtre de l'Opprimé et Théâtre Dialectique). Expériences de travail avec des groupes d'étudiants et de création de groupes de théâtre dans les communautés rurales sont décrites et analysées, afin de comprendre en quels aspects l'éducation théâtrale contribue à la formation des éducateurs dans une perspective émancipatrice. Il est prouvé que l'adoption du Théâtre de l'Opprimé, comme méthode et contenu éducatif, potentialise les LEDOCs en tant que fronts de résistance culturelle et en tant que domaine crucial pour l'expansion de l'éducation populaire brésilienne. ; Este artigo aborda a dinâmica do ensino e aprendizagem da linguagem teatral em 2 cursos de Licenciatura em Educação do Campo (LEDOC) – da Universidade de Brasília (UnB) e da Universidade Federal do Piauí (UFPI). O que há em comum nesses 2 cursos é a atuação do Terra em Cena, coletivo de teatro e audiovisual que funciona como programa de extensão e grupo de pesquisa, a partir das metodologias de educação popular e do Teatro Político (do Oprimido e Dialético). Experiências de trabalho com as turmas e de formação de grupos teatrais nas comunidades rurais são descritas e analisadas, com o objetivo de compreender em quais aspectos a formação teatral contribui com a formação de educadores em perspectiva emancipatória. Verifica-se que a adoção do Teatro do Oprimido, enquanto método e conteúdo de formação, potencializa as LEDOCs como fronts de resistência cultural e como âmbito fundamental de alargamento da educação popular brasileira.