Intervention in space - Space for intervention

Maia, Helder

http://hdl.handle.net/10400.22/21017

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Authors

Maia, Helder

Abstract(s)

This 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.