ESMAE - Departamento de Teatro
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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.
- Algures entre o corpo e a representaçãoPublication . Marisa, CláudiaThis paper reflects over the possibility of a body on stage becoming a dramaturgic language that is capable, through the (re)creation of reality, of attributing sense and meaning to the individual and interpersonal trajectories of performers and the audience, in a dialectic between life and its representations. The main reason for that reflection is found in studies about scenic arts, which state the non-existence of single process to analyse a performance; however, several methods exist that express diverse creation and reception models, in a participating and interactive relation through which interpreters and spectators build their identity around a common "scenic body".
- Cenário - matéria vivaPublication . Maia, HelderA Cenografia situa-se contemporaneamente num espaço de cruzamento implicado com a artes vivas. Recuperamos o conceito de Adolphe Appia, para uma “Obra de arte viva”, enunciando uma elipse temporal de exploração de uma vertente da arte implicada e relacional. A esta condição de ser “Vivo” na arte, temos hoje de somar um conjunto de significações várias que de alguma forma se relacionam com o nosso campo de trabalho: falo de participação, implicação, cidadania, interação, enunciado numa necessidade de ter voz, tomar partido e arriscar soluções. A exploração dos conceitos de lugar, espaço público de interação e de intervenção enuncia ações artísticas em contexto que importa valorizar e aprofundar.
- Cenografia em campo expandido: práticas artísticas e terminologias em debatePublication . Maia, HelderNesta apresentação procurarei expor alguns elementos que nos ajudam a caracterizar a cenografia como prática artística que, pela sua herança das práticas de palco (stagecrafts) se afirma como uma arte de criação coletiva, material e socialmente implicada. A diversidade deste campo disciplinar, corroborada pela história, não nos permite centrar a discussão no âmbito das terminologias, antes nos obriga a uma forte reflexão sobre práticas e métodos. A performatividade tem sido uns dos assuntos centrais na evolução dos conceitos. Perante a vertigem da imediatez, alguns autores têm procurado estabelecer relações entre a cenografia e a performance design, procurando recentrar as discussões sobre cenografia, o seu caracter expositivo e de curadoria, aspeto em relação ao qual sou crítico. As abordagens contemporâneas colocam a cenografia e uma boa parte da sua expressão num campo híbrido e interdisciplinar que, de uma forma positiva alarga o seu campo de trabalho e reflexão, atraindo novos pensadores para as questões da espacialidade nas artes. Sabendo do valor desta abertura, não podemos ficar indiferentes ao interesse que alguns assuntos têm tido entre a comunidade académica. Por outro lado, percebemos que a abrangência e expansão do campo de discussão também nos coloca numa zona cinzenta de dispersão de referências, principalmente do ponto de vista das metodologias e das práticas artísticas. O que norteia a minha intervenção não é a defesa da práxis como contraponto às propostas desenvolvidas, antes a procura de uma noção de equilíbrio, assumindo o interesse de uma Practice based or led research, que nos situe e nos ajude a enfrentar o futuro sem reservas e preconceitos, mas também sem fronteiras, valorizando o campo frutuoso de debate no qual participamos hoje.
- 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.
- 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.
- Ecos da memória colonial na filmografia de Margarida Cardoso e Miguel GomesPublication . Marisa, Cláudia; Passos, SóniaIn more recent times we are starting to come across more frequent artistic perspectives that echo the Portuguese colonial history from a metaphorical representation. Accordingly, one can affirm that a revisiting of a factual episode, within an artistic context, infers the reinterpretation of the given event; in doing so, it alters the meaning of reality. Through cinema “story” becomes “History”, as a film is in itself a document. The scripts have thus mutual aspects: The need to understand the colonial history in Africa; the questioning of the concept of “Empire”; the role of the revolutionary hero; the unbearable grief of those who stayed behind and those who have returned. Having in mind these assumptions we will analyze the representations of the colonial memory in the following films: A Costa dos Murmúrios (Margarida Cardoso, 2004); Tabu (Miguel Gomes: 2012); Yvone Kane (Margarida Cardoso: 2014).
- 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.
- 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).
- 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.