Teatralidade em frequência e intensidade: análise da matriz vocal do espetáculo Passos, do grupo Obragem de Teatro e Cia

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Nego fugido: o teatro das aparições

Pós-graduação em Artes - IA

A dramaturgia de Dea Lohe na peça Inocência: o hibridismo teatral na cena contemporânea

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Cenografia teatral: uma análise dos aspectos cênicos da peça Bê-a-Bá Brasil - memória, sonho e fantasia

The main objective of this project step is the evolution of scenery matter on the occidental theater media, related to space and technical possibilities of the theatrical building and space on history of contemporary arts. The main point is that scenery must communicate with a specific matter. Something in touch with the plot speeches. Something that makes all the plot elements to communicate. Acting has an specific message to deliver, and that message is what really matter to the viewer of the show. “It’s never late to state that scenery is not a decoration, or just an interior composition. Scenery is not a painting or a sculpture: it’s an integrated art form. It’s never too repetitive to say that scenery is a result from the composition with lights, shadows, shapes, lines and volumes, in balance and on harmony as a whole, that create movement and contrast” (Dias, 2001) On the second step of the project, the objective is to analyze the building process and the scenery aspects of the “Be-a-bá Brasil” show, using illustrations, pictures and analysis data of the context the show was inserted on

A Permanência do clássico mitológico em Omero, Iliade, de Alessandro Baricco

The work Homer, Iliad, by Italian writer Alessandro Baricco (be borned in 1958, in Italy), published in 2004, arose of a project of retelling of Homer’s work, aimed at the theater and which excluded the direct participation of the gods. But until which point the act of not focusing on the gods excluded the relationship between the literary with the mythological? It’s possible return to the classics excluding the presence of pagan gods? Which tripolar relationship could trace among the mythological, the literary and the theatrical in this Italian work? These are the questions that guide the undertaken study, aiming to check the sense that the elements taken from Classical Mythology engender in the produced text and in the artistic context in which it is inserted.

A recepção de Shakespeare na Alemanha

This is an article about a decisive moment in the formation of Western modern literature. We are talking about Lessing’s criticism of the excessive influence of neoclassical French theatre on German theatrical production. Lessing considered that the aristocratic model imported from France did not correspond to German society’s context at all – society which had already been marked by an incipient bourgeois mode of life. So the German critic dedicated his theoretical efforts to affirm the necessity and to raise possibilities about a literary production which had more consonance with what he considered to be the German Zeitgeist. It is in Shakespeare’s work that Lessing found his answer, and this fact will unleash the appearing of the Sturm und Drang movement and will consequently give birth to an incipient bourgeois literature. So we analyze here the way this Shakespearian influence happens and its relevance in the formation of a bourgeois literature.

Absurdo e censura na cena portuguesa: estudo do teatro de Prista Monteiro

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

O teatro do oprimido como ferramenta educativa: ações junto aos adolescentes em estado de vulnerabilidade social

This article is a theoretical and practical portrait of a non-formal educational activities aimed to examine the transformations experienced by young people in a state of social vulnerability participating in social discussions in a form of theater of the oppressed - the theater-forum. The technique of theater-forum was held as a methodology able to establish a critical space action / reflection / action on the social reality experienced by these young people. The discussions postulates in some theatrical performances were analyzed critically and scored from theoretical frameworks of contemporary thinkers (Bauman, Augé, Boal,Bock, Aguiar, Ozella). We conclude that this action re-signified social problems (violence, drug involvement, hyperconsumerism, poverty, cultural capital etc.) Among these young people. In general, the young through a collective construction could experience new processes of subjectivity and open to possible changes and social transformations criticism in your life.

O teatro do oprimido como ferramenta psicoeducativa

This article is a theoretical and practical portrait of a non-formal educational activities aimed to examine the transformations experienced by young people in a state of social vulnerability participating in social discussions in a form of theater of the oppressed - the theater-forum. The technique of theater-forum was held as a methodology able to establish a critical space action / reflection / action on the social reality experienced by these young people. The discussions postulates in some theatrical performances were analyzed critically and scored from theoretical frameworks of contemporary thinkers (Bauman, Augé, Boal) and analysts sociohistorical (Bock, Aguiar, Ozella). We conclude that this action re-signified social problems (violence, drug involvement, hyper-consumerism, poverty, cultural capital etc.) among these young people. In general, the young through a collective construction could experience new processes of subjectivity and open to possible changes and social transformations criticism in your life.

O militante em cena: Gianfrancesco Guarnieri e Eles não usam black tie

Pós-graduação em Artes - IA

A escrita para percussão dos compositores do Grupo Música Nova: a busca pelo novo analisada a partir da notação

Pós-graduação em Música - IA

Educação matemática encena

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Les liaisons dangereuses na Tela: ligações 'perigosas' entre cinema e literatura

The purpose of this article is to comment on the film adaptation by director Stephen Frears of the 18th-century novel Les liaisons dangereuses (in English, Dangerous Liaisons) by Choderlos de Laclos. It compares the film composition to the basic formal aspects of the novel. If, on one hand, Frears’ 1988 film adaptation breaks away from Laclos’ epistolary novel for being aligned with the standard elements of the classical cinema, on the other, it reveals a surprising affinity to the literary work: the relation with the theatrical language.

Direção teatral na perspectiva de Anne Bogart

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Augusto Boal: alguns encontros e desencontros com Bertolt Brecht

Pós-graduação em Artes - IA