http://hdl.handle.net/10400.22/3988 Sat, 13 Oct 2018 12:34:55 GMT 2018-10-13T12:34:55Z http://hdl.handle.net/10400.22/10688 Título: When space becomes art: making sense in an aleatory world Autor: Marisa, Cláudia Resumo: The aim of this paper is to discuss the concept of space as a site of ephemeral representations that gives us a glimpse of an aleatory artistic performance. Thus, one can conceive space as a representation of social relationships between people that are mediated by images. Consequently, it is through a physical space that people organise their own personal trajectory. Within this idea, one can argue that actions taking part in public spaces are performed according to shared rules within a known set of applications. Hence a polarisation effect is similar on a stage and on a daily life: there is always an interchange of roles between the “performer” (the promoter of the action) and the spectator (the witness of the action); and that interchange is crucial to the creation of a symbolic system. It appears that there is a semiotic and meaningful correspondence between scenic space (physical space of a performance) and other social spaces of representation. This paper proposes a phenomenological and aesthetic approach to “performative spaces”, suggesting implications and discussing various performative (concrete and fictional) places as scenic spaces of symbolic interaction. In doing so it confronts social-philosophical theories and multiple theatrical practices, proposing different ways to understand the concept of performance as a phylogenetic and cosmological experience. It also questions performance art as an event that promotes an interruption of daily-life routine and creates different perspectives of how life can be interpreted. Tue, 01 Jan 2013 00:00:00 GMT http://hdl.handle.net/10400.22/10688 2013-01-01T00:00:00Z http://hdl.handle.net/10400.22/10670 Título: Agir num mundo imprevisível Autor: Marisa, Cláudia Resumo: This paper proposes a phenomenological and aesthetic approach to “performative spaces”, suggesting implications and discussing various performative (real and fictional) places as scenic spaces of symbolic interaction. In doing so it confronts social-philosophical theories and multiple theatrical practices, proposing different ways to understand the concept of scenic space. Thu, 01 Mar 2012 00:00:00 GMT http://hdl.handle.net/10400.22/10670 2012-03-01T00:00:00Z http://hdl.handle.net/10400.22/10669 Título: Metamorfoses: filme para uma narrativa coreografada Autor: Marisa, Cláudia; Tudela, Nuno Resumo: Metamophosis is a film project, which will be presented as a case study that intends to explore the dialogue between dance, music and film in a collaborative/devising process. Our aim is to research the implications of film (and therefore its role) during an artistic process: from the writing of the script to endeavour the consequences in the performance practice (both the relation between the different art fields present here, and between these last and the method used). Many arguments about art assume that they are expressing the truth. However, and following Merleau-Ponty’s assertion that art does not provide us with access to the “Real”, but rather with a version of reality, one can note that artistic narratives move into fiction territories containing one or more implicit truths. Most narratives highlight neither the process of construction this “truth” nor the specific position from which this “truth” is being constructed. To do so would reveal the fact that this “truth” is a particular version authored by a particular person, and is thereby open to question and revision. One name given to these implicit truths is verisimilitude. The concept of verisimilitude needs to be embodied, that is recognized as a metaphor and paradigm. Thus the question is not whether film can/should be metaphorical, but what specific “metaphors” are performers to “live by”. Briefly, Metamorphosis is an artwork that considers the results achieved by the collaborative process, and envisages new possibilities in film, where both traditional choreographic forms and cinema strategies are mixed. Tue, 01 Jan 2013 00:00:00 GMT http://hdl.handle.net/10400.22/10669 2013-01-01T00:00:00Z http://hdl.handle.net/10400.22/10667 Título: Dançamos? O Baile de Ettore Scola: traçando história através da dança Autor: Marisa, Cláudia; Tudela, Nuno Resumo: The social sciences no longer question what science does to art but instead what art brings into human knowledge. This notion leads to the analysis of artistic production, assuming that art helps to perceive the world and to anticipate future logic. In this sense, art reveals itself as a site par excellence for the uptake of social meanings and subtext produced. The cinema, as an artistic language, has the power to become eternal through the invasion of all aspects of human existence. The relationship between social movements and their inscription in the daily-life-body have, on film, a screen that in an enlarged way creates an indispensable language for the construction of sociability. Having this notion in mind we intend with this paper to discuss the film Le Bal by Ettore Scola (1983) taking in account its production of meanings. Through a choreographic narrative, this film describes the European society from the 30s to the 80s of the XXth century. The characters are brought together in a dance hall, assuming the body as the sign of interaction. Our main aim with the analysis of this film is to reflect art as a projection of social movements and consequently research the individual models of interpretation as creative devising. Although film interpretations have, already, a given direction, one can find unlimited variations for the same set of situations. Thus, a film is not limited to predetermined direction; there are always possibilities for new meanings and interpretations. Wed, 01 Jan 2014 00:00:00 GMT http://hdl.handle.net/10400.22/10667 2014-01-01T00:00:00Z http://hdl.handle.net/10400.22/10666 Título: When space becomes art Autor: Marisa, Cláudia Resumo: Peter Brook claims that a space shared by the “emitter” and “receptor” is an intrinsic element of artistic interaction. We can therefore argue that actions taking place in public spaces are performed according to shared rules within a known set of expectations. There is always an interchange of roles between the “emitter” (or performer; the promoter of the action) and the “receptor” (or spectator; the witness of the action). This interchange is crucial to the creation of a symbolic system. It follows therefore that all kinds of space are – potentially – scenic spaces. It is worth mentioning that it was not until Richard Wagner insisted on turning off the lights in the auditorium that the stage became a “solo” space. Until then, theatre architecture included the audience in the event of the play. Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/10400.22/10666 2016-01-01T00:00:00Z