ESMAE - Departamento de Teatro
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Browsing ESMAE - Departamento de Teatro by Author "Marisa, Cláudia"
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- Agir num mundo imprevisívelPublication . Marisa, CláudiaThis 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.
- Dançamos? O Baile de Ettore Scola: traçando história através da dançaPublication . Marisa, Cláudia; Tudela, NunoThe 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.
- Porque é que queres dançar? Porque é que queres viver? A glorificação da fragilidade da vida no filme The Red ShoesPublication . Marisa, CláudiaThe Red Shoes (Michael Powell; Emeric Pressburger: 1948) expresses the burning need for art, revealing anguished artists struggling for a transcendent pirouette. Other films have given us ballet, but generally as an interlude, but in this film the characters live for ballet and nothing but ballet; one of them even dies for it. Indeed the theme of the film is artistic dedication, even unto death. The script is adapted from Hans Christian Andersen’s tale: “The girl whose shoes danced away with her, through the streets and over the hills and far away to death itself”. One can note two plot lines in The Red Shoes: the first is a traditional Hollywood romance about a young ballerina who becomes a meteoric sensation and falls in love with the composer of the ballet that was inspired by her; the second, that looks more menacing, involves obsession, manipulation and control. In this paper we aim to analyze The Red Shoes taking in account: (i) The film is an atypical musical that goes well beyond the confines of a “backstage musical” into areas richer, deeper, and darker than any such film had ventured toward before—or would after; (ii) the acting, taking artistic expression through dance so seriously, is taken by several of the foremost and most legendary ballet dancers of its era, and this fact will be crucial for the ballet history, namely concerning dance interpretation.