ESMAE - Departamento de Teatro
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- Intervention in space - Space for interventionPublication . Maia, HelderThis theme is a challenge when addressing the specific field of teaching Theatre and Stage Design. On one hand it draws attention to the use and appropriation of space within an artistic perspective and on the other hand, it brings to the fore the interventional aspect of art in a social space that is moreover confined within the boundaries of what is correct, safe and practical. In Theatre we examine the interdisciplinary principles between the different areas involved, but, we should ask ourselves, do we really put into practice those principles? And, indeed, does it matter? I can find many interlocutores willing to argue about this subject, however, we find the answers in the practice (research/action) far more than in discourse. I focus my attention in areas of interdisciplinary crossroads, exploring different ways of connection: collaboration, interaction, participation and partnership, this has been so far a condition of the utmost importance in the development of practice relating to methodological improvement. Moving from the specific field of Stage Design to the interdisciplinary practices involved in the process one can draw a connective line between the examination of space and artistic intervention. I want to propose to explore the role of the stage designer as a transformer of space, that should be understood as a physical experience in space and time. Confronting this subject inevitably leads to the desire for realisation, therein testing the capacity for imagining and transforming of the space, moreover, developing the skills of organisation and production and establishing a bridge between the disciplines of Stage Design and Production. This leads us to the theme of this conference. The producer, as known in Theatre, has the ability to propose new challenges and to gather around them a team that works as a whole. In a time of mega- scenarios I find it pertinent to question whether the role of the “new “ stage designer is that of the great maestro, the Curator.
- 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.
- Metamorfoses: filme para uma narrativa coreografadaPublication . Marisa, Cláudia; Tudela, NunoMetamophosis 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.
- When space becomes art: making sense in an aleatory worldPublication . Marisa, CláudiaThe 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.
- 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.
- Space and place in the urban culturePublication . Araújo, Catarina; Maia, HelderWhen we think of art as an integral part of the construction and transformation of urban culture, we find the public space as the main stage of this event. The public space, as José Pedro Regatão defends, is "a territory of political character that reflects the structure of the society in which it operates." (Regatão, 2007). This way, we may think the crisis of social structure as being the responsible for the identity crisis of public spaces, which may lead them to what is called "non places”. These correspond to a functional logic that creates a contractual level of social relations, in contrast to the concept of place, which brings together space, culture and memory. Places are reservoirs of memory. They cover a dual visible and invisible landscape. Anne Whiston Spirn is a landscape architect that defends the place as private, "a tapestry of woven contexts: global, disclosed and lasting and ephemeral, local and reveal, now and then, past and future..." (Spirn, 1998). Addressing concepts such as space, public space, place, home and urban art, we intend to understand how art is responsible for social transformation in communities and what’s their place within them. Placing art in city public spaces will enable a dialogue between the collective and the individual, often prompting personal memories to enable the appropriation of space/place city.
- Exercícios de representação: simulacro e vida na criação da personagemPublication . Marisa, CláudiaWithin a film analysis the character proves to be a constitutive element of representation being at the root of the dramaturgical discourse. Thus the character, as an “actant being” amongst the boundaries of fiction and life, is traversed by artistic invention, historical facts and biographical reflection. Traditionally, the character has had the function, through verisimilitude, to enable the audience to project their own life counteracting what one has / is with a contemplation of what one could have / be. Hence through character's lives one can have the possibility to overcome failures and disappointments. Currently we observe the advent of new character building models that emphasize the resourceful aptitude of the transmutation of the Self as well as its constant reinvention through an autobiographical discourse. This new proposal aims to develop in the audience an urge to personal change through contact with characters that have a direct reference to contemporary reality. This way the character reveals itself as a possibility of reinventing existence and interactions with others in a direct transposition with our daily-life. This paper aims to analyze these dramaturgical proposals of “daily-life-characters” supported, for that purpose, on mike Leigh’s film happy-go-lucky (2008).
- O espaço como exercício de representaçãoPublication . 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. It also questions performance art as an event that takes place between performers and spectators in a given space and time. In this process, embodiment is the structuring element of this new aesthetic behaviour.
- Dancing in the dark: quando a Dança-Teatro encontra o VaudevillePublication . Marisa, CláudiaThe Band Wagon (Vicente Minnelli: 1953) starring Fred Astaire and Cyd Charisse is a MGM musical that, as a substantial percentage of the musicals produced in Hollywood in the forties and fifties, has as main narrative line the backstage variety where putting on a show provided the strongest impetus for the plot. Though “The Band Wagon” also involves a love story, the putting-on-a-show theme tends to be central and the romantic plot becomes incidental. The film deliberately uses Astaire and Charisse as characters posing the question of whether they can dance together (with all that implies). The film suggests an idea of fusion of difference within dance identities replicating what was happening in the musical films industry: the shifting from vaudeville to a ballet-theatre style. Our main aim with this paper is to analyze the number “Dancing in the Dark” taking in account that the dancers, as characters and stars, represent two sets of values explicitly embodied in their dancing styles. He is the old Hollywood musical representing the purpose of “pure entertainment”; she, with her background in ballet, represents the new Hollywood musical, with its infusion of Ballet Theatre and its aspiration to be meaningful as well as entertaining.
- When space becomes artPublication . Marisa, CláudiaPeter 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.