Navegando por Assunto "Teatro - Filosofia"

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Acesso aberto (Open Access)
Bubuiologia: pensando dibubuísmo como estética e metodologia em uma prática teatral
(Universidade Federal do Pará, 2018-06-29) ANDERSON, Andreh Sampaio; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This work has, as its main goal, the analysis of the research process that generated the play “Ó”, based on the drama Oxygen (Кислород), from Ivan Vyrypaev (1974 -) and on the homonymous film. Through the process, the Amazonian concept of dibubuism, crafted by João de Jesus Paes Loureiro, is expanded, modified and used as theatre methodology and aesthetical pillar, permeating dramaturgical decisions, acting routes, soundtrack choices, stage lighting decisions and all the tonus of the play’s directing. Crossed by such dibubuism, rehearsals routines, production challenges, staging strategies and aesthetical options are described and exposed as tools for the understanding, not only of the Russian drama, but also as how the concept of dibubuism could be used beyond the scene, as an academical research methodology. It is ambitioned that its qualities might be understood, respecting all the specificities inherent to the bubuia, considering its virtues as well as its flaws, trying to imagine a situation where the researcher-artist could be better served by a dibubuist approach.
Acesso aberto (Open Access)
O teatro precisa de teatro? territorialização, (des)territorialização e (re)territorialização do movimento teatral em Belém do Pará nas conexões e trânsitos periferia-centro-periferia (1980 a 2000)
(Universidade Federal do Pará, 2023-06-29) FURTADO, Paulo Roberto Santana; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414; https://orcid.org/0000-0001-8277-5210
This thesis investigates processes of (de)territorialization and (re)territorialization of the contemporary theater movement in Belém do Pará, from the periphery-center-periphery connection and transits of artists and groups. Critical reflection on space-time and theatrical movement in the city of Belém – does theater need theater? – from the point of view of geography, using as references the theorists who guide the understanding of theater making, Milton Santos, Marcos Aurélio Saquet, Valdir Roque Dallabrida, Rogério Haesbaert, Yi-Fu Tuan, where the theme was investigated from the perspective that the nature of the theatrical place is important to reflect the theatrical making. As an artist and founder of the PALHA Theater Group, I metamorphosed into an amphibious snake, between water and land, changing skin and submerging to address the trajectory of artists and groups, their scenic experimentation, and their relationship with the place of action, periphery-center-periphery and subjectivity of doing, time, and place. However, I needed to return to the surface and remain irate for a long time to understand the price of depth and try to specify certain principles of cohesion that unified the superficial images of this trajectory lived by the time of making theater and its reordering, from the maturation of a phenomenon still defined in a “groping” way, as globalization, whose main objective in making the comparison is to try to understand a contemporary phenomenon that has captured everyone: the acceleration of historical time, because to speak of the questions of time and modernity would then be to reflect about how this process influenced and influences the artistic making of these artists and groups, resistant and survivors. Dialoguing with theatrical philosophy, the history of theater and theatrical studies, in line with theories and epistemic interfaces, in inter and transdisciplinary connections with other areas of knowledge.