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Publication
A invisibilidade da performance do maquinista de teatro
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| 12.74 MB | Adobe PDF |
Advisor(s)
Abstract(s)
A presente reflexão escrita auxilia o projeto de mestrado em Artes cénicas, especialização em Cenografia com o título A Invisibilidade da Performance do Maquinista de Teatro. Esta pesquisa investiga a “invisibilidade” do maquinista de teatro, profissional crucial na execução técnica das produções. Como dar visibilidade a este profissional e valorizar o seu trabalho? A pesquisa para este projeto começará com uma breve contextualização histórica do papel do maquinista no teatro, traçando uma linha do tempo que revelará como as suas responsabilidades e a perceção do seu trabalho evoluíram ao longo dos anos. O estudo analisa como essa invisibilidade afeta a perceção e valorização do seu papel. Através da adoção de uma estratégia híbrida e em permanente oscilação entre practice-led research (pesquisa derivada da prática) e practice-based research (pesquisa baseada na prática) (Smith & Dean, 2009), baseada nos meus 30 anos de experiência como maquinista, procuro que este estudo aplicado se materialize num projeto prático que consiste numa apresentação pública que utiliza efeitos mecânicos para revelar os processos de criação teatral, destacando o maquinista na interseção entre realidade e ficção, obra e processo, arte e vida. Trata-se de uma investigação-ação, que investiga a dinâmica de invisibilidade que cerca os maquinistas de teatro, numa abordagem qualitativa, incluindo entrevistas com maquinistas, encenadores e cenógrafos, assim como um estudo do panorama nacional acerca da maquinaria de cena.
Pretendo com este estudo abordar questões como qualidade na produção teatral e divisão de reconhecimento entre artistas e técnicos. O projeto visa dar visibilidade ao trabalho do maquinista, promover a reflexão sobre a natureza do teatro e da arte, e desafiar as convenções artísticas. A apresentação procura explorar a estética do acontecimento, a relação entre a fisicalidade, operacionalidade dos maquinistas e performance. O seu corpo torna-se uma extensão da maquinaria, e vice-versa. A interação física, o toque, o esforço visível, comunicam uma intimidade com os mecanismos que carregam consigo uma história de uso e uma materialidade específica. Nesse sentido, a presença física do maquinista não deve ser vista apenas como um elemento técnico, mas sim como uma força performativa em si mesma. Assim, a visibilidade dada ao maquinista não apenas valoriza o seu papel, mas também enriquece a experiência teatral como um todo e contribui para a valorização desses profissionais.
This written reflection supports my master’s degree vilement in Performing Arts, specialising in Scenography, entitled The Invisibility of the Theatre Conductor’s Performance. This research investigates the ‘invisibility’ of the theatre conductor, a crucial professional in the technical execution of productions. How can this professional vilement visible and their work valued? The research for this vilement will begin with a brief historical contextualisation of the role of the conductor in theatre, tracing a timeline that will reveal how their responsibilities and the perception of their work have evolved over the years. The study analyses how this invisibility affects the perception and appreciation of their role, both by the audience and the theatre community. By adopting a hybrid strategy that is constantly oscillating between practice-led research and practice-based research (Smith & Dean, 2009), based on my 30 years of experience as a machinist, I try to make this applied study materialise in a practical project consisting of a public performance that uses mechanical effects to reveal the processes of theatre creation, highlighting the machinist at the intersection between reality and fiction, work and process, art and life. This is an action research project that investigates the dynamics of invisibility surrounding theatre stagehands, using a qualitative approach that includes interviews with stagehands, directors and set designers, as well as a study of the national landscape regarding stage machinery. I intend this study to address issues such as quality in theatre production and the division of recognition between artists and technicians. The project aims to give visibility to the machinist’s work, promote reflection on the nature of theatre and art, and challenge artistic conventions. The presentation seeks to explore the aesthetics of the event, the relationship between physicality, machinist operability and performativity. His body become an extension of the machinery, and vice versa. The physical interaction, the touch, the visible effort, communicate na intimacy with the mechanisms that carry with them a history of use and a specific materiality. In this sense, the machinist’s physical presence should not be seen merely as a technical element, but as a performative force in its own right. Thus, making the machinist visible not only acknowledges the value of their role, but also enriches the theatrical experience as a whole and contributes to the recognition of these professionals.
This written reflection supports my master’s degree vilement in Performing Arts, specialising in Scenography, entitled The Invisibility of the Theatre Conductor’s Performance. This research investigates the ‘invisibility’ of the theatre conductor, a crucial professional in the technical execution of productions. How can this professional vilement visible and their work valued? The research for this vilement will begin with a brief historical contextualisation of the role of the conductor in theatre, tracing a timeline that will reveal how their responsibilities and the perception of their work have evolved over the years. The study analyses how this invisibility affects the perception and appreciation of their role, both by the audience and the theatre community. By adopting a hybrid strategy that is constantly oscillating between practice-led research and practice-based research (Smith & Dean, 2009), based on my 30 years of experience as a machinist, I try to make this applied study materialise in a practical project consisting of a public performance that uses mechanical effects to reveal the processes of theatre creation, highlighting the machinist at the intersection between reality and fiction, work and process, art and life. This is an action research project that investigates the dynamics of invisibility surrounding theatre stagehands, using a qualitative approach that includes interviews with stagehands, directors and set designers, as well as a study of the national landscape regarding stage machinery. I intend this study to address issues such as quality in theatre production and the division of recognition between artists and technicians. The project aims to give visibility to the machinist’s work, promote reflection on the nature of theatre and art, and challenge artistic conventions. The presentation seeks to explore the aesthetics of the event, the relationship between physicality, machinist operability and performativity. His body become an extension of the machinery, and vice versa. The physical interaction, the touch, the visible effort, communicate na intimacy with the mechanisms that carry with them a history of use and a specific materiality. In this sense, the machinist’s physical presence should not be seen merely as a technical element, but as a performative force in its own right. Thus, making the machinist visible not only acknowledges the value of their role, but also enriches the theatrical experience as a whole and contributes to the recognition of these professionals.
Description
Keywords
Cenografia Maquinaria Efeitos cénicos Invisibilidade Performance Scenography Machinery Scenic effects Invisibility