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Abstract(s)
A presente reflexĂŁo escrita complementa o Projeto de Mestrado em Teatro que resultou no espetĂĄculo teatral intitulado âPara saber onde acaba (o)â apresentado nos dias 13, 14 e 15 de julho nas instalaçÔes de um antigo talho na Rua do Lidador em Vila do Conde e foi desenvolvido em colaboração com um grupo de adolescentes da associação CamaleĂ”es dâAlma.
Este projeto partiu de uma pesquisa que procurou perceber de que forma Ă© possĂvel partir de um estado de Nada para a procura de um âTudoâ que constituirĂĄ a linguagem do coletivo teatral na criação colaborativa de um espetĂĄculo resultante dos embates do interesse e do saber dos diferentes agentes criativos (entendidos como todos os elementos humanos geradores de material cĂ©nico) integrados nas diferentes fases do processo de criação atravĂ©s de um conjunto de dispositivos de recolha e tratamento de material cĂ©nico que funcionaram como «terreno de jogo» com realidades autĂłnomas em que as leis e costumes da vida quotidiana perdem validade de modo a potenciar a delimitação de um «universo» prĂłprio de valor temporĂĄrio no qual a atividade seja desligada dos interesses materiais de cada indivĂduo com vista a potenciar a tradução do pensamento individual na lĂłgica coletiva.
Esta investigação pretende entender de que forma pode o teatro interagir com a época em que vivemos, com os seus valores de espontaneidade, aleatoriedade, imediatez, transitoriedade e multidisciplinariedade numa era tecnológica marcada pelo «fenómeno» da Internet, assim como a função do caos na linguagem derivado da heterogeneidade e instabilidade das designaçÔes e representaçÔes percebendo de que forma a multiplicidade de meios, suportes, tarefas e funçÔes pode contribuir para a procura da materialização do pensamento através da sua demonstrabilidade.
The present written reflection complements the Master Project in Theater that resulted in the theater show titled "To know where it ends (o)" On July 13, 14 and 15 in the units of a former butcher's shop at Rua do Lidador in Vila do Conde and it was developed in collaboration with a group of adolescents of the association âCamaleĂ”es d'Almaâ. This project was based on a research that sought to understand how it is possible to start from a state of Nothingness to the search for an "Everything" that will constitute the language of the theatrical collective in the collaborative creation of a theater show, resulting from the conflicts of interest and knowledge of the different creative agents (understood as all the human elements that generate scenic material) integrated in the different phases of the creation process through a set of collecting and processing of scenic material that functioned as a "playing ground" with autonomous realities in which the laws and customs of everyday life lose their validity in order to foster the delimitation of a temporally valuable "universe" in which activity is disconnected from the material interests of each individual in order to promote the translation of individual thought into collective logic. This research intends to understand how the theater can interact with the epoch in which we live, with its values of spontaneity, randomness, immediacy, transience and multidisciplinarity in a technological age marked by the "phenomenon" of the Internet, as well as the function of chaos in Language derived from the heterogeneity and instability of the designations and representations perceiving how the multidisciplinarity of means, supports, tasks and functions can contribute to the search for the materialization of thought through its demonstrability.
The present written reflection complements the Master Project in Theater that resulted in the theater show titled "To know where it ends (o)" On July 13, 14 and 15 in the units of a former butcher's shop at Rua do Lidador in Vila do Conde and it was developed in collaboration with a group of adolescents of the association âCamaleĂ”es d'Almaâ. This project was based on a research that sought to understand how it is possible to start from a state of Nothingness to the search for an "Everything" that will constitute the language of the theatrical collective in the collaborative creation of a theater show, resulting from the conflicts of interest and knowledge of the different creative agents (understood as all the human elements that generate scenic material) integrated in the different phases of the creation process through a set of collecting and processing of scenic material that functioned as a "playing ground" with autonomous realities in which the laws and customs of everyday life lose their validity in order to foster the delimitation of a temporally valuable "universe" in which activity is disconnected from the material interests of each individual in order to promote the translation of individual thought into collective logic. This research intends to understand how the theater can interact with the epoch in which we live, with its values of spontaneity, randomness, immediacy, transience and multidisciplinarity in a technological age marked by the "phenomenon" of the Internet, as well as the function of chaos in Language derived from the heterogeneity and instability of the designations and representations perceiving how the multidisciplinarity of means, supports, tasks and functions can contribute to the search for the materialization of thought through its demonstrability.
Description
Keywords
Teatro Dispositivo Caos Processo colaborativo Jogo Ordem Theater Device Chaos Collaborative process Game Order