Sinais de Cena

Craig: O arquitecto da cena em tempos inóspitos

Emília Costa — 2021-04-16

Edward Gordon Craig, Rumo a um novo teatro & Cena, tradução de Luiz Fernando Ramos, São Paulo, Editora Perspectiva, 2017, 272 pp.

O Worst of do Teatro Praga

Christine Zurbach — 2021-04-16

Crítica ao espectáculo Worst of. Criação: Teatro Praga. Textos: Gil Vicente, Correia Garção, Almeida Garrett, Francisco Gomes de Amorim, Júlio Dantas, Alfredo Cortês, André Brun, Luís de Sttau Monteiro, Bernardo Santareno, José Maria Vieira Mendes. Interpretação: Cláudia Jardim, Diogo Bento, Márcia Breia, Patrícia da Silva, Pedro Penim, Rogério Samora, São José Correia, Vítor Silva Costa. Cenografia: Joana Sousa. Figurinos: Joana Barrios. Desenho de luzes: Daniel Worm d’Assumpção. Desenho de som: Miguel Lucas Mendes. Produção: Teatro Praga. Co‑produção: Teatro Nacional D. Maria II, Teatro Municipal do Porto. Local e data de estreia: TNDMII, Lisboa, 1 de Novembro de 2018.

Da urgência de reformular o nada para um mundo pós‑capitalista

Cláudia — 2021-04-16

Crítica aos espectáculos Triste in English from Spanish. Concepção, direcção artística e escrita: Sónia Baptista. Co‑criação e interpretação: Ana Libório, Carolina Campos, Cleo Tavares, Joana Levi, Márcia Lança. Espaço cénico: Raquel Melgue. Música original: Sonja. Filme Super‑8: Aya Koretzky. Vídeo: Héloise Màrechal. Desenho de luz: Daniel Worm. Figurinos: Lara Torres. Produção: AADK. Co‑produção: Culturgest. Local e data de estreia: Culturgest, Lisboa, 24 de Novembro de 2017; Documentário. Direcção artística e coreografia: Joclécio Azevedo. Colaboração/cenografia: Paulo Mendes. Colaboração/música: Pedro Tudela. Interpretação: Ana Moreira, Dori Negro, Joclécio Azevedo, Pedro Prazeres, Ana Isabel Castro, Rocio Dominguez. Figurinos: Jordann Santos. Desenho e operação de luz: Miguel Carneiro. Produção executiva: Sofia Reis. Filmagem e edição de vídeos: Sofia Arriscado. Fotografia: Susana Neves. Co‑produção: Teatro Municipal do Porto. Local e data de estreia: Festival DDD – Dias da Dança, Teatro Campo Alegre, Porto, 11 de Maio de 2018.

There’s no welcome like an Indian welcome

Eunice Tudela de Azevedo — 2021-04-16

Pune (India). 1‑12 November 2017. IAPAR International Theatre Festival.

What are words worth?

Francesca Reyner — 2021-04-16

Crítica ao espectáculo sim sim não não. Trabalho de Maria Duarte, Sílvia Figueiredo e João Rodrigues a partir de John Berger e Susan Sontag. Interpretação: Maria Duarte e Sílvia Figueiredo. Violoncelo: Tatiana Leonor. Piano: Teresa Doutor. Co‑produção: Maria Duarte, Sílvia Figueiredo e João Rodrigues/Culturgest. Local e data de estreia: Palco do Grande Auditório da Culturgest, 11 de Abril de 2018.

Decisões em crise num domingo de manhã

Paula Varanda — 2021-04-16

Crítica ao espectáculo Do bosque para o mundo. Concepção e dramaturgia: Inês Barahona e Miguel Fragata. Texto: Inês Barahona. Encenação: Miguel Fragata. Interpretação: Anabela Almeida e Manuela Pedroso. Cenografia e figurinos: Maria João Castelo. Música original: Teresa Gentil. Desenho de luz: José Álvaro Correia. Direcção técnica: Nuno Figueira. Produção executiva: Formiga Atómica/Clara Antunes. Design gráfico (mapa): UVA atelier. Co‑produção: Formiga Atómica e São Luiz Teatro Municipal (versão portuguesa) | Formiga Atómica e Théâtre de la Ville (versão francesa). Local e data de estreia: São Luiz Teatro Municipal, Lisboa, 22 de Novembro de 2016 (versão portuguesa); Théâtre de la Ville, Paris, 20 de Maio de 2017 (versão francesa).

José Marques (1924‑2012) Profissão: fotógrafo de cena

Filipe — 2021-04-16

José Marques (1924‑2012) Profissão: fotógrafo de cena

Pedro Gil: o tempo das coisas

Ana Pais — 2021-04-16

Pedro Gil: o tempo das coisas

Amor ao futuro

Rui Pina Coelho — 2021-04-16

Amor ao futuro

Le plus buffle possible

Pauline Le Boulba — 2021-04-16

J'imagine les pièces chorégraphiques comme des amis, des complices, des lieux à parcourir, des bords à (re)démarrer. Comme de la nourriture, en quelque sorte. Avec la série La Langue Brisée, je déploie depuis 2015 des formes de vie issues de l'œuvre d'autrui, procédé que j'ai commencé à appeler "réceptions performées" : Je conçois des hypothèses affectives et gestuelles à partir de pièces de danse que j'ai vues. "As Buffard As Possible" raconte ma rencontre et ma relation continue avec deux œuvres du chorégraphe français Alain Buffard (1960-2013) : Dispositifs 3.1 (2001) et Mon déjeuner avec Anna (2005). Mais il raconte aussi ma rencontre avec The Flying Lesbians, le premier groupe de rock européen fondé par des lesbiennes dans les années 1970, et comment elles deviennent elles aussi mes complices et influencent ma perception des œuvres de Buffard. Je leur demande de m'accompagner sur scène pour La langue brisée (3), une pièce que j'ai présentée en octobre 2017 au Centre National de Danse (CND) de Pantin, à Paris. Ils me répondent que le groupe n'existe plus et qu'ils sont trop vieux maintenant, bien qu'ils acceptent de me recevoir chez eux. Ils me racontent leurs histoires. J'enregistre. Je prolonge une fiction à partir des œuvres de Buffard. Je fais une "affiliation-fiction". Je m'identifie à Heidi, la figure troublée de Dispositifs 3.1, coincée entre apprentissage et piratage, entre imitation et trahison.

RECHERCHE-CRÉATION / RÉCEPTION PERFORMÉE / AFFECTED CRITIQUE / FLYING LESBIANS / ALAIN BUFFARD

Transduções coreográficas através de meios de comunicação: problemas e objectos na Projecto Double Skin/Double Mind

Carlos Manuel Oliveira — 2021-04-16

O foco deste artigo é a individuação de conhecimento coreográfico no contexto do projecto Double Skin/Double Mind, desenvolvido pelo grupo de investigação Prática e Desenvolvimento Artístico, da Escola das Artes de Amesterdão, em torno do trabalho conjunto do coreógrafo e bailarino Emio Greco e do drama‑ turgista Pieter Scholten. O artigo expõe alguns problemas associados à concepção e ao desenho de uma série de objectos multimédia, criados com o intuito de transmitir o conhecimento coreográfico destes artistas através de estruturas análogas aos conceitos organizadores das próprias danças. Estes conceitos cor‑ respondem a princípios de movimento cuja transmissão se dá por meio de transducções, tanto entre corpos como entre diferentes média. A transducção é aqui proposta como uma operação adequada ao pensamento da transmissão coreográfica, abrangendo tanto as expressões intensivas e extensivas da dança como os processos abstractos e concretos pelos quais o conhecimento que lhe está associado emerge. Os problemas abordados referem‑se sobretudo à disparidade entre a dança e a escrita coreográfica, vista da perspectiva da diferença entre multiplicidades qualitativas e multiplicidades quantitativas. O projecto de investigação Double Skin/Double Mind debruçou‑se sobre este conjunto de problemas no que respeita à transmissão de conhecimento coreográfico em tempos de multimodalidade digital, não sem ter de lidar com as restrições diagramáticas e linguísticas necessárias à determinação de uma continuidade de ideias coreográficas através de corpos e média descontínuos.

DANÇA / COREOGRAFIA / CONHECIMENTO / TRANSDUÇÃO / MULTIMÉDIA

Antidote and method: practices of artistic research in choreographic choreographic context

Sílvia Pinto Coelho — 2021-04-16

Since 1999 I’ve been following João Fiadeiro’s work with some attention. Sharing his processes of research with several colleagues, collaborators, artists, research‑ ers, Fiadeiro has been able to produce myriads of questions under the umbrella of Real Time Composition (CTR). As I could explore some of these questions in workshops with Fiadeiro and his collaborators (first as a dance student, and later as an artist and researcher, 1999‑2018), I ended up using them and exploring them further in my PhD dissertation Body, Image, and Choreographic Thinking (2016). A great portion of the present paper was written between 2012 and 2015 as part of this larger research project.1 Several research practices – such as Fiadeiro’s CTR, Lisa Nelson’s Tuning Scores, Mark Tompkins’ Real Time Composition; Modus Operandi AND, or the Guest‑Host (G.HOST) game practice, organized by Eugénio and Fiadeiro, among many – present ways to articulate strategies in order to create new meanings and to think with and about ways of acting‑thinking. This paper tries to enhance the capacity that some of these practices have in themselves, and in the speech they produce, to generate the possibility of an antidote for each proposition (i.e. the possibility to escape dogmatic tendencies that methods in general reveal).

COMPOSITION IN REAL TIME / RE.AL / JOÃO FIADEIRO / AND_LAB / FERNANDA EUGÉNIO

Alla Prima: the body now

Ivana Menna Barreto — 2021-04-16

This article analyzes the performance Alla Prima, by Tiago Cadete, a Portuguese artist residing between Portugal and Brazil. The work was presented at the Sesc Biennial of Dance 2017 in Campinas. “Alla Prima” is an Italian expression that could be translated as “à la primera”, or “de primera”. It is used to designate a technique or style of painting in which the paint is applied directly to the base cho‑ sen, without studies or preparation, and the final result is reached after a single application, without touching the artist. The performance shows a dance from the dismantling of a body already given, printed in the collective memory in images documented on screens and authorized over time. These images were curiously presented by history as documents, records of the colonial period. Performance, however, diverts our gaze from the whole to the parts, to certain details of these images, to the way they are constructed from each artist’s point of view – and in this deviation lies their strength. We see the deconstruction of an idea of Brazil in a body. Is Brazil a country, or the built image of a country? Is the Brazilian body a pictorial, textual, sound invention?

PERFORMANCE / PAINTING / BODY / DECONSTRUCTION / DANCE

Collage, as the structuring of the image of Pablo Picasso's dramatic work: Desire caught by the tail

Ana Lúcia Brasil Malecha — 2021-04-16

This work is dedicated to the study of the correlations between the dramatic and pictoric discourse present in the dramaturgic text of Pablo Picasso The desire caught by the tail. The study aims to analyze the images created by Picasso in his
dramaturgic text with the idea of collage as the backbone of his scenic thinking.
The understanding of collage, from the idea of shock operated between heterogeneous materials, is the object of investigation and reflection of this research
through the images created by Picasso in his theatrical play. The work seeks to analyze this dramaturgic work with the intention of establishing parallels between istinct representative languages.

COLLAGE / DRAMATURGIC/ WORK / LANGUAGE INTERRELATIONS / PICASSO / FRAGMENT

Luís de Lima in Portugal before the 25th April

Márcia Regina Rodrigues — 2021-04-16

Luís de Lima (1925‑2002), among several pioneer achievements, was one of the first directors to stage the work of Eugène Ionesco in Brazil and Portugal, playing a fundamental role in the development of theater in the two countries in the second half of the twentieth century. The present text describes and analyzes the theatrical trajectory of Luís de Lima in Portugal before April 25th, after the presentation of the Ionesco Festival in Lisbon in 1959, and of the presentations that he directed in the theater groups of Porto (1959‑1960), Coimbra (1961‑1962, 1969) and Lisbon (1967), considering in particular his proposals for staging and the context of theatrical production of the period. The goal is to emphasize the importance of the artist’s contributions to the history of Portuguese theater at a time when the dramatic art produced in the country sought scenic renewal and faced the impediments of censorship.

LUÍS DE LIMA / PORTUGUESE THEATER / THEATER OF THE TWENTIETH CENTURY / THEATER GROUPS

Seduce me. Desire me. Or perhaps not - The dramatic voice of desire

Cátia Faísco — 2021-04-16

Since ancient times, sexual desire has been the object of multiple philosophical reflections and has served as a magnetic compelling force for the creation of the most diverse artistic oeuvres. In the theatrical context, its potential has been explored and (re)presented not only through a dramaturgical tradition, but also through its performative materialization. Therefore, this article proposes a brief approach to the subject of sexual desire, its significance and meanings within contemporary British drama, having has an example the voice of the post‑in‑yer‑ face generation of playwrights such as Nick Payne, Anya Reiss Penelope Skinner, among others. The chosen authors disclose a portrait of the 2000’s society (2000‑ 2015), and their plays were transformed into shows that premiered at the Royal Court Theater in London. This article also aims to understand how sexual desire is communicated within a dialogue and how its characters convey (or not) a naturalistic approach of the playwrights’ perspective on their contemporary society.

SEXUAL DESIRE / ROYAL COURT THEATRE / UK / CONTEMPORARY THEATRE

Magazine theatre in Madeira (1909-1959): spaces, themes and protagonists of a regional repertoire

Paulo Esteireiro — 2021-04-16

In the investigations carried out in the periodicals of the first half of the twentieth century, it became clear that one of the repertoires frequently performed in Madeira Island was the Theatrical revue. This is an area that has not yet been studied, but it seems to be possible to argue that, between 1909, the year in which the first theater of the Madeiran authors’ theatrical revue was known, and the beginning of the 1960s, dozens of original theatrical revues were produced in Funchal. This study intends to divulge a collection that is thought to be unpub‑ lished about the dynamization of theatrical revues in Madeira.

THEATRICAL REVUE / MADEIRA ISLAND / REGIONAL IDENTITY

Stanislavski's physical actions in the poetics of the contemporary actor

Vítor Lemos — 2021-04-16

This article contemplates fundamental questions that support the postdoctoral project The character as exercise of difference: perspectives for the physical actions of Stanislavski, which I am developing at the University of Lisbon (Center for Theater Studies). The study recognizes in the Russian “system” responses to one of the most complex longings of the contemporary actor: to make the char‑ acter, even in a dramatic context, an exercise of subjectivity. Some fundamental elements proposed by Constantin Stanislavski are Commented and revised from contemporary thinking as “baits” for the experience: a psychophysical state pro‑ duced by the ambivalent tension between, on the one hand, the attention of the actor to the fulfilment of a score of actions and, on the other, what is produced in him by the subjectifying forces that cross this same score.

PHYSICAL ACTIONS / EXPERIENCE / MODES OF SUBJECTIVATION / POETICS OF PERFORMANCE / STANISLAVSKI

Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work

Alexandra Balona — 2021-04-16

This article explores the potentiality of storytelling as a choreographic tool in Kat Valástur's work The Marginal Sculptures of Newtopia (2014-2016). Storytelling, in the path of Benjamin and Haraway, can be explored in deconstructing established linear meanings and narratives and ultimately in questioning political concepts anchored in the substratum of Western critical theory, which in turn condition discursive practices and knowledge production. Wandering in fictional historical and geographical timelines, choreographer Válastur proposes dystopian futures tangential to science fiction and "speculative fabulation" (Haraway, 2017) in the three choreographic worlds that constitute her trilogy The Marginal Sculptures of Newtopia. As a choreographic instrument, how does this contamination of storytelling translate into the discursiveness of gesture and movement? What is the choreographic potentiality in the destabilization of linear temporality that subverts material historical conditions, of the fictional coexistence of parallel realities and dimensions, and of the imagination of possible physicalities for dystopian futures?

CHOREOGRAPHY / STORYTELLING / WALTER BENJAMIN / DONNA HARAWAY / KAT VÁLASTUR

The place of performance art in the museum: memories, presences and absences

Daniela Salazar — 2021-04-16

This paper addresses two main questions: What museum can we create through theatre practice? And, what kind of theatre practice do we have through the perspective of the museum? This critical analysis has as its starting point the rela‑ tion between these two cultural instances: the Museum and Theatre (mainly its practice as an artistic discipline). The purpose of this paper is to define some lines and ways of reflecting on these curatorial processes, musealization, preservation and the institutionalization of the theatre memories and history. On the other hand, this paper aims to give also some new ways of thinking a new con‑ ception of the museum place based on the characteristics that define the thea‑ tre practice. This exercise of a critical analysis and also of a complementarity and opposition of two perspectives and different places will be the vehicle of present‑ ing some case studies that will support its argument: A Living Museum of Small and Forgotten Memories, from Joana Craveiro (2014), The Curiosities’ Cabinet, from Karnart (since 2012) and Alexandra do Carmo’s work All was Captured (even the movements of the Goat) (Quadrum Gallery, 2011).

MUSEUM / THEATRE / MEMORIES / INSTITUTIONALIZATION / PRESENCE

Loss as gain: artistic mourning in Sasha Waltz

Anabela Mendes — 2021-04-16

The most recent presentation (2017) in Lisbon of Sasha Waltz & Guests with the choreography Kreatur recovers the social and political horizon of previous works. It happens through a deep understanding of what we are as species – something we seem always to forget and distort, due to not considering our inner affinities. We lack the patience and wisdom to bring the art of the potter to the art of the dancer who, in order to reach the new and the unsuspecting, makes life an inti‑ mate ordeal to which it offers breath, gesture, movement. The dancer’s ability comes from the recognition of the distant and hidden expression of what preceded him or her and which they insist on not detracting.

SPACIALITY AND BODY / DEAD BODY AND LIVING BODY / BODIES’ CORALITY / REPETITION OUT OF REPETITION / PLEASURE AND TRAINING

Towards a questioning of performance mediated by technological means

Eunice Gonçalves Duarte — 2021-04-16

In his article “Against Ontology: Making Distinctions between Live and the Mediatized”, Philip Auslander, when discussing about contemporary performance, pins out that, despite the borders between the “live” and the “mediatized” events are narrowing and more and more blurred, there is still a strong resistance when media takes the leading role in a performance. Auslander points fingers to some performance academics and theorists accusing them of turning the discussion about the “live” and the “mediatized” into a melodrama, even considering that a live event has ontological integrity against media petrification and domination. By placing the discourse on a live event as a resistance act these scholars are declaring war on the technological mediation of performance. However, according to Auslander, this point of view is useless. Therefore, the author suggests shaking the grounds of the theories that oppose the two kinds of the events bringing forward the Ontology of Media. This paper undertakes the discussion started by Auslander, questioning the uses of media in a performance, focusing on how a digital video recording of a performance can have an aesthetic reading in itself, without compromising the idea of the artistic integrity of the work or taking the place of the original work.

ONTOLOGY OF THE MEDIA / DIGITAL PERFORMANCE / PERFORMANCE REPRODUCTION / PEIRCE’S SIGNS / INTERPRETATION

Elisabete Mileu: "exhibition" and performance of the naked body

Cláudia Madeira — 2021-04-16

Elisabete Mileu had a unique trajectory in the art of Portuguese performance, having participated in almost all the events/cycles/festivals/biennials of this artistic genre that happened between the years 1980 and 1990 in Portugal and also internationally, in countries like Spain, France, Canada, Austria. This expres‑ sive representation of her work contrasts, paradoxically, with the lack of docu‑ mentation we have of her performances: only some records, especially photographic, fragmentary and scattered in catalogs and reviews. From the anal‑ ysis of these records, or the absence of them, we will try to analyze the value of “exposition” and “cult” of their performances where the exposure of their naked body stands out.

PERFORMANCE / DOCUMENTATION / “EXHIBITION VALUE” / “CULT VALUE” / NAKED BODY