Teatro de rua como apropriação da silhueta urbana: hibridismo e jogo no espaço inóspito

Pretende-se refletir aqui sobre a exploração de fronteiras no campo do teatro a partir da utilização do conceito de risco. A experimentação de técnicas de risco na preparação do ator e na construção do texto espetacular se orienta à criação de cerimônias teatrais cujo eixo é a constituição de novos vínculos entre a audiência e a performance.

Espaços teatrais da Lisboa do barroco aos séculos XVIII e XIX

A situação teatral portuguesa herdada de seiscentos (século XVII), se bem que marcada por alguma pujança em termos de oferta de espectáculos (muitos dos quais importados do estrangeiro, sobretudo de Espanha e de Itália), não apresenta, todavia, quaisquer vestígios de estruturas de produção fixa que permitissem o florescimento de uma expressão teatral própria ou que facultassem o desenvolvimento, entre nós, de companhias nacionais estáveis. As festas teatrais estavam confinadas aos espaços privados do Paço real, da Igreja e da Universidade -- incluindo os colégios jesuíticos --, embora a baixa nobreza e a plebe, sobretudo a plebe lisboeta mais endinheirada, tivessem à sua disposição alguns pátios onde vinham fazendo furor as comédias "de capa e espada" de origem espanhola.

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

O teatro político de rua praticado pelos coletivos ALMA e Dolores: estéticas de combate e semeadura

Pós-graduação em Artes - IA

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

Escarcéu e escassez no teatro de Mossoró: percursos e percalços de uma dramaturgia na rua

This research is a result of the theatrical Street show named A Árvore dos Mamulengos, an appropriation of the drama text by Vital Santos, this presentation was done from 1989 to 2001, with the Companhia Escarcéu de Teatro, in the city of Mossoró/RN, Brazil. The intention here is to mapping the voices and memories of actors and actresses who have experienced the performance, the developments and achievements which resulted from twelve years of the season. In our study, we consider the importance of the choice for the open space such as streets and squares as the main local for representation considering it as a catalyst factor of aesthetic choice. However, we`ve consider the option for the collaborative process as the methodology staging by interpreters, as well as, the social and cultural determinants that were taking place deeming the realization of the spectacle

O tema no processo criativo da asmarias companhia de teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

Identidade e território como norte do processo de criação teatral de rua: buraco d'Oráculo e pombas urbanas nos limites da zona leste de São Paulo

Pós-graduação em Artes - IA

O ator na rua: uma expressividade caótica

Ce travail a recherché sur le processus de préparation corporel\vocal\énergique de l’acteur pour la rue. Notre quête principale c’est comprendre les processus qui l'acteur se déplace afin de développer une énergie à la scène dans la rue. C'est cette énergie qui est mis en place et se rapporte à le passant\spectateur? Qui attire l'attention de passant\spectateur? Serai l'histoire? Le code vestimentaire ou être une expressivité dynamisée? Serai une énergie présente dans le corps de l'acteur qui se relacione avec les passants? Comme l'acteur se rapporte à l'espace urbain? Pour tenter de répondre à ces questions, nous allons utilisé certains principes de la physique moderne, tels comme: la Théorie Quantique et le Principe d'Incertitude, autan la Théorie du Chaos. Le théâtre jouée dans les rues, surtout par le biais de longs prolongements de construction scénique, cependant, lorsque présentée au public, est prise par les autres causalités, car étant situé sur la rue, l'acteur devient assujettie à cet espace et ne peut pas nier la possibilité des faits qui peuvent se produire. Selon la physique quantique l'énergie se propage dans un espace vide, la quantité d'énergie physique étant échangé dans la rue, ce qui entraîne le moment magique où les corps des acteurs, des échanges constants avec les spectateurs, en permettant le saut quantique: le spectacle théâtral de la rue.

O tema no processo criativo da Asmarias Companhia de Teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

O tema no processo criativo da Asmarias Companhia de Teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

Resistência carnavalesca ao espetáculo global

Este artigo apresenta uma proposta de aplicação crítica pós-moderna do "espetáculo" de Debord e do "carnaval" de Bakhtin às encenações que têm acontecido nas ruas das cidades, nos campi de universidades e na Internet resistindo à nova economia globalizada. Na última década, a Administração Pública passou por uma virada pós-moderna, ficando presa às encenações conflitantes de um espetáculo corporativo orquestrado pela mídia e ao carnaval de resistência do discurso de globalização. Pretende-se neste artigo teorizar a interação do espetáculo e do carnaval como construções teatrais de poder e resistência empresarial e estatal. São analisados o crescimento do espetáculo da indústria de monitoramento, que atesta códigos corporativos de conduta em narrativas de progresso, e os carnavais anti-sweatshop1 e anti-globalização, que desempenham um roteiro de entrega no teatro de rua, nos shows de moda anti-sweatshop e no ativismo cibernético.

Collection de pièces de théâtre. TOME XXIV

Contient : 1 "O orgulho castigado ou A vinda inesperáda. Comedia em trez actos de Mr Mercier intitulláda : O irmaõ naturál e compósta na lingua portugueza, por J. A. C." ; 2 "O que fazem os herdeiros. Comedia em hum acto por Pedro Alexandre Cavroé. Anno de 1821." ; 3 "Odio, valôr, affécto ou O novo Farnace em Eracléa. Drama heroico de quatro actos, que se repprezentou no theatro nacional da rua dos Condes com geral aceitaçaõ, composto em idiôma estranho por hum anónimo, traduzido no idiôma portuguez pelo actôr Antonio Jozé de Paula, copiado aos 2 de setembro de 1817." ; 4 "Olimpiade. Opera de Mathestacio. Traduçaõ de Lereno." ; 5 "A oppressaõ de amor ou Victor e Jozina. Drama sentimental de trez actos, composto por ****, copiado aos 5 de junho de 1808."

Collection de pièces de théâtre. TOME XXXIV

Contient : 1 "O urso ou Os caçadores medrózos. Farça que se repprezentou no theatro nacional da rua dos Condes, com geral aceitaçaõ, composta pelo actor Antonio Jozé de Paula, copiada aos 23 de janeiro de 1818." ; 2 "Entremêz intitulado : A utilidade da partida, aprezentada na secretaria de estado dos negocios do reino, em 19 de mayo de 1797." Incomplet à la fin. La partie qui manque ici se trouve dans le manuscrit Portugais 107, f. 261 à 267 v° ; 3 "As variedades de Protheo ou Os irmaons rivaes. Drama magico de trez actos, que se repprezentou no theatro nacional do Bairro Alto, com geral aceitaçaõ, composto pelo antigo e vulgarmente denominado Judêo, ampliado por Alexandre Jozé Victor da Costa Sequeira, copiado aos 21 de junho de 1817." ; 4 "A velha namorada ou Os amantes graciozos. Farça composta por hum anónimo, ampliada por Alexandre Jozé Victor da Costa Sequeira, copiada aos 28 de agosto de 1819." ; 5 "As velhas rabugentas ou Os velhos fingidos. Farça composta por hum anónimo, ampliada por Alexandre Jozé Victor da Costa Sequeira, copiada aos 20 de dezembro de 1827." ; 6 "Nova farça intitulada : O velho da lanterna ou O cazamento embaraçado, por J. J. N. A. junior. Anno de 1825." ; 7 "O velho das piroletas. Farça para uzo do theatro da rua do Arco." Deux exemplaires ; 8 "Farça intitulada : O velho e o poeta namorados e illudidos... Aranjada para o theatro nacional da rua dos Condes, pelo socio R. J. Fortuna, no anno de 1825." ; 9 "Farça. O velho entalado, por Antonio Xavier Ferreira d'Azevedo." Permis de représenter, daté de Lisbonne, 12 août 1829 ; 10 "O velho perseguido. Farça composta por Antonio Xavier F. de A." ; 11 "Os velhos amantes ou O velho estrangeiro. Farça que se repprezentou no theatro nacional do Bairro Alto, com geral aceitaçaõ, composta por hum anónimo, ampliada por Alexandre Jozé Victor da Costa Sequeira, copiada aos 22 de dezembro de 1817."

Collection de pièces de théâtre. TOME II

Contient : 1 "Antes a filha que o vinho. Farça." ; 2 "A apotheose de Hercules. Drama em trez actos. Lisboa, 1806." ; 3 "Drama em hum só acto, que se intitula : A appariçaõ a Affonso Henriques no campo de Ourique, representado no theatro nacional do Salitre, no mes de março (na quaresma) de 1813." ; 4 "A quanto obriga amor ou Os doidos da data moderna. Entremez." ; 5 "Drama intitulado : Argonauta escravo." ; 6 "Comedia emtitulada : Armida e Reinaldo, em dous actos." ; 7 "Opera. Os asombros da constancia : Volugeso e Berenice. Copiada aos 20 de novembro de 1788." ; 8 et 9 "A assembleia rafada ou A velha taful. Farça composta por hum anonimo, ampliada por Alexandre José Victor da Costa Sequeira, copiada aos 29 de novembro de 1817." Deux exemplaires, dont un non daté et sans le nom de l'arrangeur ; 10 "As astucias de Zanguizarra ou Os velhos logrados. Farça que se repprezentou no theatro nacional da rua dos Condes, com geral aceitaçaõ, composta pelo ponto Ricardo Jozé Fortuna, copiada aos 20 de abril de 1818." ; 11 "A audiencia ou A eschola dos principes, drama sentimental de trez actos, que se repprezentou no theatro nacional da rua dos Condes, com geral aceitaçaõ, composto pelo actor Antonio Jozé de Paula, copiado aos 20 de setembro de 1817." ; 12 "O aventureiro nocturno. Drama em 3 actos. Anno de 1814. Por A. R. C." ; 13 "O aviso á gazeta. Farça."