Sinais de Cena

Sara Barros Leitão: “Cabe aos artistas descobrir a flor que cresce no asfalto”

2024-10-10T11:53:31+01:00

Interview with Sara Barros Leitão.

Editorial

2024-10-11T20:34:16+01:00

Editorial

TEC - Teatro Experimental de Cascais. Images of complicity 1965-2024

2024-10-10T12:04:42+01:00

Portfolio dedicated to the work of the Teatro Experimental de Cascais between 1965 and 2024.

The experiential dimension of theater history with Action Research

2024-10-10T11:35:29+01:00

The experiential dimension favors the growth of the individual both on a cognitive and sensory level. With experience the student learns to know, to do and to be. Observation plays a fundamental role because through it the individual puts skills, knowledge, values and ways of being into practice: he learns in every situation.

This type of learning can be promoted, supported and trained also through the use of well-structured and ad hoc activities in a context of individual but also group exchange. Experiential learning is the way in which each of us can acquire new skills through behaviors that allow us to touch and overcome our limits, to discover and strengthen our values. The teaching of the history of theater with the pedagogical approach of Action Research in middle school contributes to the development of skills and soft skills in a period of great psychophysical change for adolescents.

What is close-up magic? A contemporary modality in the art of magic

2024-10-10T11:07:51+01:00

Nowadays, close-up magic is the most widespread branch of illusionism. Its representations are easily recognizable and cover a wide variety of styles disseminated in different landscape and media. The singularity of this art, defined in the magic field in a synthetic way, stimulates to investigate in greater depth its foundations and its essential principles. In the first instance, it is necessary to survey and systematize the terminological range of the specialty. Then, using a comparative method, it is necessary to establish significant cross-references between the specific bibliography, direct observation and the testimony of the protagonists. From this initial arrangement, it is possible to analyze the practical and theoretical implications derived from close magic, which encompass not only the artistic sphere but also the social, ideological and cultural dimension. The research from various fields of knowledge, such as anthropology, theater studies, sociology, psychology and philosophy, provide appropriate concepts that contribute to the expanded definition of close-up magic. The development and partial results contained in this article are an advance of a work in progress for the doctoral thesis in Arts of the UNA (Universidad Nacional de las Artes, Bs. As.).

Mais longe do palco, mais perto do público: o teatro expandido depois da pandemia

2024-10-09T20:42:00+01:00

Recensão ao livro Theatre and its audiences Reimagining the relationship in times of crisis, de Kate Craddock e Helen Freshwater

”Um cofre de segredos”: a história do Teatro Experimental de Cascais

2024-10-09T10:42:27+01:00

Book review of Fazer Sonhar: Teatro Experimental de Cascais (1965-2023), by José Pedro Sousa.

Praticar o arquivo, arquivar a prática: um itinerário pelo livro práticas de arquivo em Artes Performativas

2024-10-09T19:46:18+01:00

Book review of Práticas de arquivo em artes performativas, by Cláudia Madeira, Fernando Matos Oliveira and Hélia Marçal (coord.)

O jogo da transitividade e da permanência: para uma teoria vivida sobre atores artistas

2024-10-09T10:11:46+01:00

Book review of Atriz e Ator Artistas. Representação e Consciência da Expressão, by João Brites and Teatro O Bando

Gender and Theatre

2024-10-09T20:25:10+01:00

Book review of The Methuen Drama Handbook of Gender and Theatre, by Sean Metzger and Roberta Mock (ed.)

Festival d'Avignon 2024: à procura das palavras e de mundos possíveis

2024-10-02T23:10:29+01:00

Review of the Avignon Festival 2024

Azira’i: um enfrentamento amoroso e armado

2024-10-02T15:09:40+01:00

‘Toutes les femmes que souffrent’ - A specific critical perspective on the female figures of the 38th edition of the Printemps des Comédiens Festival in Montpellier (May 30 - June 21, 2024)

2024-10-02T23:20:18+01:00

Review of the Printemps des Comédiens Festival 2024

You say you want a Revolution. Marionetas em resistência no FIMFA Lx24

2024-10-02T18:26:54+01:00

Review of the FIMFA Lx24 puppet festival

Nas entranhas da crueldade humana

2024-10-02T15:45:03+01:00

Review of Martin McDonagh's The Beauty Queen of Leenane

Um murro no estômago

2024-10-02T15:50:20+01:00

Review of the playO filho.

Arquivos e Artes Performativas: memórias, transmissão e criação

2024-10-11T20:28:38+01:00

Thematic Dossier Editorial

Um Another theater? - The queer presence at the National Museum of Theater and Dance

2024-10-02T12:15:37+01:00

Through a selection of theater pieces with queer tones presented in Lisbon from 1915 to the beginning of 2000, and documented in the archive of the Museu Nacional do Teatro e da Dança (MNTD), this presentation will attempt to reflect on the impact of these works on the creation of a national queer identity. Therefore, a re-reading of an archive is proposed. The MNTD collection allows, through its programs, photographs, or posters, to understand part of the historical arc traced by these shows and identify the emergence of creative lines that reinvent the past, correct it and propose new paths. It is possible to carry out different readings of an admittedly queer material and even discover other concealments. What past lives were not lived to their fullest? What community was this that we saw on stage and who were its spectators? What meeting points were these theaters? What was brought into play and what did we discover together?

Archiving and re-activating Portuguese music-theatre

2024-10-01T10:59:44+01:00

Productions belonging to the performative genre of music theatre in Portugal composed since 1970 present numerous challenges with regard to their preservation, especially in the context of the archive. Part of the music theatre documentation is dispersed among various institutions and personal collections. These works are based on idiosyncratic languages and unconventional performative practices, which need to be identified and systematized. It is often necessary to turn to the agents involved in these performances (composers, performers, directors, sound technicians, light designers, among others) to understand aspects of the performance that are intrinsic to the creation process, which cannot be uncovered from the documentation and, also, understand the relationships between the existing documentation. This is the great challenge currently facing musicologists and archivists, and only through collaborative work between these two areas of knowledge will it be possible to archive and reactivate music theatre. In this article, I propose to discuss the concepts of performance and re-performance, from the perspective of Diana Taylor, to understand the feasibility of safeguarding performance in the digital archive.

A The Revolution, the Theatre Fund and the Independent Theatre: when gesture goes beyond discourse

2024-10-02T12:37:13+01:00

The concept of independent theatre assumes various forms depending on the historical and institutional context under analysis. In Portugal, the significance of the 1974 Revolution in its assertion yields distinct characteristics at the European level. In the ARTHE – Archiving Theatre project, we applied the concept of independent theatre to refer to the “heterogeneous set of non commercial companies that emerged after the Revolution”. But how did this process unfold? In what manner did they grow? With what support and funding? Within what legal framework and institutional relationships? Drawing from historical analysis of documents from various archives, interviews, and legislation, I sought to address these questions from the perspective of neoinstitutional theory (Balme, 2017), engaging in dialogue with the analyses of Manfred Brauneck (2017) and Daria Lavrennikov (2020) regarding independent theatre at the European level. I conclude that the programmatic goal of theatrical and cultural democratization influenced cultural public policy institutions after the Revolution in an ambivalent manner, promoting “independent theatre” and “decentralization” through a change in the balance of power within the Theatre Fund, but never assuming them as a coherent public policy.

The Cornucópia Theater archive: Traces of the organization of an independent theater company

2024-10-02T11:44:19+01:00

This article undertakes an investigation into the identity markers of the Teatro da Cornucópia, focusing on information extracted from part of the company's official archive. The analysis is primarily based on bureaucratic documentation, especially on correspondence exchanged with official government bodies, trade unions, foundations, theater groups, and other social and cultural agents. The aim is to contribute to a broader understanding of this theater company, recognized as one of the most relevant in the second half of the 20th century in Portugal, as part of the independent theater movement that promoted significant aesthetic and dramaturgical transformations in the post-Revolutionary scenario.

A prática de Alecky Blythe: Headphone Verbatim Theatre um dispositivo de autenticidade

2024-09-18T17:37:40+01:00

In this article we will analyze the creation procedures of Alecky Blythe, founder of the theatre company Recorded Delivery, which uses the headphone verbatim theatre, in which the testimonies recorded in audio and listened in real time by the actors on the headphones, work as a guarantee of the authenticity of the testimonies giving visibility to the stories of a certain community. We will start from the plays Come Out Eli and The Girlfriend Experience to analyze the playwright's practice and her creation methodology. The questions to deal with are: from the analysis of the creator Aleck Blythe, what kind of processes and methodologies of writing and staging are summoned? From the creation of the text to the staging, what are the ethical