Processing the Peace:An Interview with Teya Sepinuck

In this interview, Teya Sepinuck, the Artistic Director of Theatre of Witness reflects not only on her first two projects in Northern Ireland, but also vividly illustrates her way of working by evoking seminal moments in her previous practice. Although, she has resisted attempts to systematise the Theatre of Witness process, preferring to see it as a set of principles rather than a fixed methodology, these principles have given rise to clear guidelines that have come to govern the process through which she works. As the interview illustrates, Sepinuck, a Jewish Buddhist, has no hesitation in explaining her approach within the framework of a humanist ‘spirituality’ that explicitly deploys Judeo-Christian terminology. She invites discussion of each participant's ‘prayer-life’ and positions herself primarily as a listener rather than an interlocutor. The introduction to the interview contextualises Sepinuck's practice in relation to her previous work and other drama-based interventions in Northern Ireland. Concerns that the lack of critical distance between the tellers and their stories inhibits those who see it from freely engaging with it as they might with a fictionalised account, are also critiqued. In the interview, Sepinuck directly addresses the risk of the commodification of her work, explaining the safeguards in place to protect the participants, who have repeatedly asserted how beneficial they have found their involvement in the work to be. The sense of autonomy and empowerment that emerges from these responses represent a persuasive challenge to concerns that they are passive instruments of the Theatre of Witness process.

Post-Conflict Performance, Film and Visual Arts:Cities of Memory

This book examines how contemporary theatre, performance, film and the visual arts respond to the post-conflict condition. The contents of the volume focus on a range of post-conflict cities, encouraging interdisciplinary discussion on the role of the arts and its relation to issues of testimony, witnessing, forgetting, representation, healing, reconciliation, agency, and metaphor. Contributors include: Thomas Elsaesser, Jane Taylor, Marvin Carlson, Rob Stone, Laurel Borisenko, Katarzyna Puzon, Miriam Paeslack, Emma Grey, Paula Blair, Zoran Poposki, Marija Todorova, Elena Carduro, and Paul Devlin.

Procès-verbal ; suivi de Filiation(s) rompue(s) : mémoire en pièces et tissus de parole dans Parents et amis sont invités à y assister d’Hervé Bouchard

La première partie du mémoire consiste en un court texte théâtral intitulé Procès-Verbal. Il met en scène un récit fragmentaire et explore les idées d’éclatement identitaire, de rupture de la mémoire et de mimétisme. Ces thèmes sont mis en relation avec des mécanismes de répétition, un traitement formel minimaliste et d’abondants silences, représentatifs de l’effacement identitaire des personnages. La seconde partie du mémoire, intitulée Filiation(s) rompue(s) : mémoire en pièces et tissus de parole, porte sur le traitement des thèmes de la mémoire et de l’héritage dans le roman Parents et amis sont invités à y assister d’Hervé Bouchard. L’analyse vise à mettre en lumière le lien entre la fragmentation textuelle et la rupture filiale, et s’attarde spécifiquement à la dislocation de la parole, qui témoigne d’une construction identitaire problématique.

Caille-moi ; suivi de La violence du langage comme modalité de négociation avec le réel dans la pièce Rouge gueule d’Étienne Lepage

Par la nature double de sa réflexion, le présent mémoire propose d'interroger, au théâtre contemporain, la violence dans le langage comme modalité de négociation avec le réel. D'abord par une fiction au dispositif épuré et à la langue poétique, la pièce de théâtre Caille-moi, puis par un essai sur la pièce de théâtre Rouge gueule d'Étienne Lepage, nous désirons mettre en lumière un langage désubjectivé (Gilles Deleuze et Félix Guattari, Pierre Ouellet) au cœur duquel la présence de l'altérité remplace une certaine aliénation. Inscrivant notre démarche à la croisée des études littéraires et théâtrales, à la suite des travaux de Marion Chénetier-Alev sur l'oralité au théâtre, nous exposons à la fois la violence faite au dispositif théâtral et aux lecteurs-spectateurs dans l'espace du théâtre rendu possible par la violence du langage. Notre réflexion se pose également dans une visée plus large, interrogeant l'inscription du théâtre in-yer-face britannique (Sarah Kane) et de ses répercussions dans le théâtre québécois contemporain, en soulignant la connaissance de la dramaturgie québécoise dont fait preuve la pièce. En ce sens, le langage inventé par le jeune dramaturge offre le contrepoint à un certain cynisme contemporain et impose un langage riche et conscient de son histoire.

Dare voce agli invisibili: Il teatro di Beppe Rosso

The article – which is co-authored with Irene Zagrebelsky – focuses on the work of the Italian playwright and actor Beppe Rosso, and it is the most detailed critical account on Rosso’s production so far. Based on original material and interviews, it not only analyses Rosso’s widely acclaimed “Trilogy of invisibility” in the light of recent political events in Italy, but it also – in its first two sections – introduces the so called “teatro di narrazione” to Italian scholars in the UK, and in its two last sections opens up new perspectives on the relationship between contemporary theatre, citizenship and political participation.

Gerald Thomas e a (des)encenação do mundo : as paisagens visuais como grafia de intertextualidades, citações e hipertextos

This work is the result of a personal uneasy about the form and development taken by contemporaneous theater concerning its relationship with other media to create new hybrid organisms and organizing itself through new possibilities, connections, as well as with different levels of arrangements in the construction of the scene. The purpose of this research is to study the connections between the scene and the media within the context of the formation of hybrid organism wich is the key element. That stands for an aesthetic characteristic of the post-dramatic condition of contemporary theatre in Brazil. Thus, this work will investigate the concept of visual landscapes within the context of Gerald Thomas Sievers work in Brazil in the period of the first decade of twenty-first century having the play Rainha Mentira (2007) (Queen Liar, 2007) as the main empirical object of analysis, discussion and application of the framework developed in the text

A cena contemporânea aos pedaços : observação de um experimento pedagógico

We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Ceará, in 2010. Using the methodology of "pesquisa-ação", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater

Investigações acerca do uso da narrativa no teatro contemporâneo

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

O teatro inovador de Natália Correia

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Imágenes del patriarcado en el teatro de Patricia Zangaro

Este trabajo se encuadra en una investigación más amplia sobre el teatro argentino contemporáneo escrito por mujeres, en la cual pretendo examinar la representación de las cuestiones de género en la textualidad de las dramaturgas argentinas y su relación con las condiciones socio-históricas de producción, circulación y reconocimiento de sus obras. En este caso, indago en las obras de Patricia Zangaro para determinar si presentan una discursividad propia del género, es decir, que intente transgredir o subvertir el discurso masculino, proponiendo una subjetividad femenina autónoma, opuesta a los estereotipos culturales relacionados con diferencias genéricas y con la representación de la mujer. Asimismo, examino si dicha transgresión responde a una ideología estético-política que pueda inferirse a partir de la poética teatral de la autora. Me enfoco en sus piezas “Por un reino", “Última luna", “Tiempo de aguas" y “La hora nona".