Você está na página 1de 295

ab-

stracts
technical information coordenação de produção / PROGRAMA DE PÓS-GRADUAÇÃO EM
IFTR USP 2017 production coordination: Laura Haddad ARTES CÊNICAS
FICHA TÉCNICA IFTR USP 2017 diretora de produção / director of POSTGRADUATE PROGRAM
production: Juliana Pedrozo IN SCIENTIFIC ARTS
COMITÊ ORGANIZADOR produtores executivos / producers: coordenadora / coordinator:
ORGANIZING COMMITTEE Carmen Melo, Eduardo Ramos, Michele Profª. Drª. Elisabeth Silva Lopes (Beth Lopes)
Profª. Drª. Elisabeth Silva Lopes Bittencourt, Sidy Correa, Pablito Kucarz, secretária / secretary:
(Beth Lopes) Renata Bruel, Carolina Meinertz Tamara Elizabeth Cury Scire
Prof. Dr. Ferdinando Martins designer gráfico / graphic designer:
Prof. Dr. José Batista (Zebba) Pablito Kucarz e Adriana Campos ESCOLA DE COMUNICAÇÕES E ARTES
Dal Farra Martins fotógrafa / photographer: Maria Fanchin COMMUNICATIONS AND ARTS SCHOOL
produção / production : diretor / director: Prof. Dr. Eduardo
COMITÊ CIENTÍFICO Duplo Produções Culturais Henrique Soares Monteiro
scientific committee vice-diretora / vice:
Profª. Drª. Andréia Vieira Abdelnur Camargo DEPARTAMENTO DE ARTES CÊNICAS Profª. Drª. Brasilina Passarelli
Prof. Dr. Antonio Araújo DEPARTMENT OF SCIENTIFIC ARTS secretária / secretary: Elaine Cristina
Profª. Drª. Elisabeth Silva Lopes chefe / head: Prof. Dr. Marcelo Denny Nogueira Araujo e Robson Cezar Zanovelo
(Beth Lopes) de Toledo Leite diretoria de serviços gerais / service
Prof. Dr. Felisberto Sabino da Costa vice-chefe / vice: Prof. Dr. Sérgio Ricardo manager: Irineu Fernandes Lobão
Prof. Dr. Ferdinando Martins de Carvalho Santos coordenação de eventos / coordination:
Prof. Dr. Luiz Fernando Ramos Maria de Lourdes Bianchi Avila
Prof. Dr. José Batista (Zebba) CORPO ADMINISTRATIVO DO assistente de comunicação / media
Dal Farra Martins DEPARTAMENTO DE ARTES CÊNICAS assistant: Verônica Cristo
Profª. Drª. Maria Helena Franco de ADMINISTRATIVE BODY OF
Araujo Bastos (Helena Bastos) DEPARTMENT OF SCIENTIFIC ARTS UNIVERSIDADE DE SÃO PAULO
Profª. Drª. Sayonara (Sayô) Pereira Alê Vaz Machado reitor / provost: Marco Antonio Zago
Prof. Dr. Sérgio Ricardo de Carvalho Santos Alexandre Lopez Afonso vice-reitor / vice: Vahan Agopyan
Idalvo Silva dos Santos (Fernandes)

ab-
ASSISTÊNCIA DE ORGANIZAÇÃO Jonas de Moraes GOVERNO DO ESTADO DE SÃO PAULO
relief organization Juliano Tramujas Geraldo Alckmin
coordenação / coordination: Luis Gustavo Viggiano governador do estado / state governor
Stenio Ramos Marco Antonio Vieira da Silva
colaboração/collaboration: Maria Josenilda Fernandes
Marcello Amalfi Raimunda Lopes da Silva Santos USP – Universidade de São Paulo
apoio / support: Robenilto Araújo da Silva Escola de Comunicação e Artes
William Mathias de Oliveira Av. Prof. Lucio Martins Rodrigues, 443

stracts
Abílio Tavares e Thomas Holesgrove
Cidade Universitária, São Paulo – SP
PRODUÇÃO / production
assessoria de imprensa e comunicação Departamento de Artes Cênicas
press office and communications: Rua da Reitoria (antiga Travessa J) nº 215
Michel Sitnik e Verônica Cristo Cidade Universitária, São Paulo – SP
introduction aesthetic forms, intervene in the city as an abertura de resistência, tornando-se impensável, na

introduction 5
action of resistance, becoming unthinkable, contemporaneidade, conceber a Política e a
Dear friends and colleagues, in contemporaneity, conceive Politics and Queridos amigos e colegas, Estética como dimensões apartadas.
Aesthetics as remote dimensions.
Welcome to IFTR 2017 in São Paulo! Sejam bem-vindos ao IFTR 2017 em São Paulo! É importante enfatizar que este encontro, ao
It is important to emphasize that this reunir pesquisadores e artistas brasileiros das
The realization in Brazil of this encounter meeting, by bringing together Brazilian A realização, no Brasil, deste encontro entre mais distantes universidades desse imenso
between researchers of the whole world researchers and artists from the most distant pesquisadores das Artes Cênicas do mundo país com participantes de outros países, se
means, for us, a narrowing of the dialogue universities of this immense country with inteiro significa, para nós, o estreitamento propõe, como ação coletiva, a refletir como as
with other universities, countries and participants from other countries, proposes, do diálogo com outras universidades, países Artes Cênicas influem, se engajam e refletem
continents, beyond the recognition and as a collective action, to reflect how the e continentes. Além do reconhecimento e da no comportamento, nos gestos e ações dos
appreciation of the cultural, artistic and Performing Arts influence, engage and reflect valorização das diferenças culturais, artísticas indivíduos, atravessados pelas questões
academic differences that constitute the in behavior, gestures And actions of the e acadêmicas que constituem o território sociais e políticas contemporâneas mundiais.
transactional territory of the Performing individuals, crossed by the contemporary transacional das Artes Cênicas. O IFTR Nossas diferenças são os motores sensíveis
Arts. The IFTR represents the opening social and political issues of the whole representa a abertura de um espaço de convívio capazes de mobilizar os afetos necessários para
of a space of conviviality and interaction world. Our differences are the sensitive e interação entre os participantes, ampliando avançarmos nessas reflexões.
among the participants, thus broadening the engines capable of mobilizing the affections dessa forma, os vínculos que definem uma troca
bonds that define a permanent exchange necessary to advance in these reflections. de experiências permanente entre as instituições Aprendemos com a irreverência e
of experiences between institutions with com interesses comuns. vanguardismo dos artistas brasileiros Flávio de
common interests. We learn from the irreverence and Cavalho, Lígia Clark, Helio Oiticica e Augusto
vanguardism of the Brazilian artists Oscar O tema da Conferência - Geografias instáveis/ Boal, ícones do modernismo brasileiro, que a
The theme of the Conference - Unstable Niemeyer, Flávio de Cavalho, Lygia Clark, Múltiplas Teatralidades - reflete as condições arte pode ser relacional antes mesmo de ser
Geographies / Multiple Theatrics - reflects Helio Oiticica and Augusto Boal, icons de criação e permanência de artistas e vista como uma estética. Eles antecipam os
the conditions of creation and permanence of Brazilian modernism, that art can be pesquisadores das Artes Cênicas que criam nossos destinos com ações multi relacionais
of artists and researchers of the Performing relational before even being seen as an formas e práticas capazes de confrontar as radicais, ampliando a percepção entre nós
Arts that create forms and practices capable aesthetic. They anticipate our destinies with questões geradoras de enormes diferenças e de que as artes representacionais podem
of confronting the issues that generate multi-relational radical actions, broadening injustiças sociais, em um país de proporções ser colaborativas e ter tradução de cultura
enormous differences and social injustices in the perception among us that the continentais, envolvido em uma significativa própria. E, descolonizando as formas de
a country of continental proportions, Involved representational arts can be collaborative crise política. A formação, ao longo dos produção e as políticas públicas com uma
in a significant political crisis. The formation, and have a translation of own culture. anos, de uma geração artística reflexiva visão de mundo integradora, onde o plural
over the years, of an artistic generation that And, decolonizing the forms of production e atenta aos acontecimentos nacionais e e o diferente tornam a arte um modo de
is reflective and attentive to national and and the public policies with an integrating internacionais, recoloca continuamente o foco existência junto ao seu público. A influência
international events, continually replaces vision of the world, where the plural and the nas questões transnacionais. O teatro, a dança destes pensamentos vindos da experiência
focus on transnational issues. Theater, different make art a way of existence with e a performance compõem um corpo único artística brasileira faz emergir uma grande
dance and performance make up a unique its audience. The influence of these thoughts que, em sua pluralidade de formas artísticas variedade de grupos de arte e ativistas, no
body that, in its plurality of artistic and coming from the Brazilian artistic experience e estéticas, intervêm na cidade como ação centro e fora do eixo das grandes cidades,
gives rise to a great variety of art groups In this sense and with these experiences, que singularizam os fazeres que fervilham por Nesse sentido e munidos dessas experiências,

introduction 7
and activists, in the center and outside the we wish that networks of human relations todos os lados. Permanece, no entanto, uma desejamos que as redes de relações humanas
axis of the big cities, that singles out the act such as the IFTR, of enormous artistic and questão a desbravar juntos: como prosseguir como a do IFTR, de enormes qualidades
of making that boils on all sides. It remains, academic qualities, open themselves to debatendo sem a homogeneidade cultural, e artísticas e acadêmicas, se abram para outros
however, a question to be explored together: other countries which, like ours, experience buscar o entendimento mútuo nas relações países que, como o nosso, experimentam em
how can we continue to debate without in their aesthetic forms the dynamics of sociais marcadas pelo global, o local, o nacional suas formas estéticas as dinâmicas da vida
cultural homogeneity, and seek mutual contemporary life. And let them continue e o regional? O geógrafo Milton Santos nos contemporânea. E que prossigam com o diálogo
understanding in social relations marked by with the dialogue and always allow revelou a possibilidade de construir uma e nos permitam sempre, com estes encontros,
the global, the local, the national and the us, through these encounters, to globalização mais humana com os fenômenos socializar o conhecimento.
regional? The geographer Milton Santos socialize knowledge. que fazem emergir uma nova história, feitos da
revealed to us the possibility of constructing mistura de povos, raças e culturas. Que estes
a more human globalization with the Beth Lopes, Zebba Dal Farra processos de internacionalização nos façam
phenomena that emerge a new history, and Ferdinando Martins. exercitar as práticas de inclusão, superando as Beth Lopes, Zebba Dal Farra
made of the mixture of peoples, races and the organizers questões mundiais de segregação, violência e Ferdinando Martins.
cultures. May these internationalization e pobreza que inviabilizam muitos artistas e os organizadores
processes make us exercise inclusion pesquisadores do direito ao conhecimento e ao
practices, overcoming the global issues of acesso as formas de saber. A lista daqueles com
segregation, violence and poverty that make quem aprendemos a fazer e pensar a arte entre
many artists and researchers unfeasible for os brasileiros é enorme. Não poderia faltar,
the right to knowledge and access to ways no entanto, o grande professor Paulo Freire,
of wisdom. The list of those with whom com o qual aprendemos que só a Educação
we learn to make and think art among pode ser um caminho para conquistar a nossa
Brazilians is enormous. Nevertheless, It liberdade e emancipação intelectual. Na
could not lack the great teacher Paulo Freire, singularidade do seu pensamento, Freire propõe
with whom we learned that only Education um compartilhamento do mundo a partir da
can be a way to conquer our freedom and construção e reconstrução do conhecimento.
intellectual emancipation. In the singularity
of his thought, Freire proposes a sharing
of the world from the construction and
reconstruction of knowledge.
GP
destiny of all people confronted with a national young people and in the juvenile prison

general panels 9
border. Today it is more topical than ever. system in Mexico City.
Even if contemporary performing art Janina Möbius studied Science of Theatre,
overcomes national borders in thinking, Film, and TV as well as Spanish Philology at
transnational cooperations and a strong the Freie Universität Berlin, the University of
aesthetical approximation, some countries like Granada Spain, and the UNAM in Mexico City.
Mexico have to deal with it. Mexican theater She received her PhD on the subject of
stuns with its growing heterogeneous and often Mexican Wrestling in 2002 with the thesis “And
very political theater landscape. The precarious behind the mask ... the people. Lucha Libre – a
condition off the country induced by the non- Mexican popular spectacle between tradition
GENERAL PANELS stopping drug wars, the asymmetrical boarder and modernity, Department of Theatre Studies,
politics with the US and the continuing refugee Freie Universität Berlin.
Jurgita Imbrasaite Con_fronteras: Borders, Bodies and tragedies is directly addressed in plays, festivals
Ruhr-University Bochum Contemporary Mexican Theater and research projects. In comparison to the Spheres of Interventions –
jurga_imbras@yahoo.de An immense wall closes the horizon, a wall Western theater, ‘political theater’ in Mexico political, aesthetical and ethical
Dr. des. Jurgita Imbrasaite LT/D is a research named by Mexicans as “The Wall of Shame”. seams to mean an existential form of resisting responses to violence in Mexico
assistant at the Institute for Theatre Studies at This monolithic wall shows the ambiguity of the rather than a discursive negotiation. In the context of accelerated levels of publicly
the Ruhr-University Bochum D. She also works border relationship between Mexico and the In my paper I would like to present several exposed violence in Mexico, the use of the public
as a free dramaturge, translator and organizer of United States. The applicants going through it Mexican theater artist from the perspective sphere to stage or a theatre of political power or to
academic events. In 2003 Ms. Imbrasaite moved are always a lot the coyotes are greedier each of the ‚frontera’ border and the ways of send violent threatening messages to the public,
from Lithuania to Germany to study Media and time and the police control of the American “confronting“ it. mainly done by drug cartels, is actually challenging
Theatre Studies. After graduating in Bachelor of border is more violent each time.’ This is not the theatrical practitioners to reconsider their
Arts she continued with Dance and Performance a depiction of a possible future given that “campos de batalla” – spaces-of-action” strategies.
studies in Germany and Belgium and gained president Trump keeps his campaign pledge to Janina Möbius Facing this massive public staginess of
her Master of Arts in 2009. Between 2004 and “build the wall“. The portrayal is an introduction Freie Universität Berlin violence and politics in Mexico, where the
2013 she participated in differed theater and to the play “Amarillio“ 2012 by one of the most janina.moebius@fu-berlin.de exposed tortured body is used as a memento
dance projects as dramaturge and performer. celebrated Mexican theater ensembles ‘Teatro mori or forms part of a necroteatro concept
Between 2011 and 2016 Ms. Imbrasaite Linea de la Sombra’. It sets a very exact view Janina Möbius, PhD, works as author, director developed by Ileana Diéguez and politics are
organized several interdisciplinary conferences on the current immigrant condition. The wall and producer of documentaries and does dominated by symbolical, theatrical gestures,
and summer schools. 2015 she finished is already there, endangering hundreds of academic and cinematographic research on theatre practitioners are questioned to develop
her dissertation project with the title “The women, men and children everyday who try cultural phenomena in Latin America and Europe. different aesthetical means and to conquer
révolution in Dance. From King to the Modern to flee from the ridiculously bloody drug wars Since December 2012, she is a research other spaces for intervention:
Subject”. Her research foci are: dance history and poverty, looking for a better tomorrow. This associate at the ERC granted research project On the one hand, several theatre groupes,
and epistemology, psychoanalysis, postcolonial piece directed by Jorge A. Vargas addresses a “The Aesthetics of Applied Theatre”, based labelled as “La Escena Expandida – The Extended
theory, contemporary performing arts in Mexico particular refugee movement from Mexico to the at the Freie Universität Berlin. Here, her focus Stage” are leaving behind the theatrical space in
and the USA. Texan town Amarillo and turns it into a collective is on theatre initiatives with “marginalized” order to intervene in concrete social settings. Or
regaining public spaces, abandoned because She was a Fellow at the International Research My PostDoc research projects aims to

general panels 11
The materiality of
of violence, creating “a stage in state of Center “Interweaving Performance Cultures”, Freie question who these artists and their work were. theater and intensities.
emergency” as Angel Hernández is proposing Universität Berlin from 2014 until 2015. Previous Since their theatrical work is not documented This article is based on Gilles Deleuzes’s
in Tampico with his festival “theatre for the she was a researcher at the Balzan Prize Project or contextualized within German theatre aesthetics of intensities and analyses a form of
end of the world”. Or to bear witness of the “The Role of Independent Theatre in Contemporary studies, I want to investigate theatre made theatre which plays with the actualized time of non
multitude of forced disappearences of people, European Theatre: Structural and Aesthetic by migrants and artists of color throughout fictional theatre elements. It seeks to present the
as done by the collective “Campo de Ruinas” Changes” by Prof. Dr. Manfred Brauneck, organized German theatre history. While my research is materiality of the theatre as an affection factor by
from Mexico City. by the International Theatre Institute ITI, Germany. based mostly on oral history and the maybe itself, and contrasted by the time of its perception.
On the other hand, applied theatre forms She completed her Ph.D. in Cultural Studies at the private documentation of the artists themselves, Therefore I also analyse how these elements can be
such as prison theatre try to intervene on the University of Hildesheim in 2011. in my presentation I want to inquire how an set up in time, favouring an intensive relationship
basis of structural violence by working with archive can be created that somehow relies on between them in a performing context in order to
juvenile inmates – within a justice system which Dis/Continuity of Post-migrant theatre in memory of the artists themselves as well as emphasize to the audience the perception of the
is performing itself within violent discourses of Germany theatre history their invention. And in very close relation to the presence. Finally, I discuss how playing with non
power relations and punishment. The history of theatre by immigrants and people conference I want to examine possible theatrical fictional theatre elements could lead the viewer to
My paper will present some examples of these of color in Germany is affiliated with one specific landscapes which could be created by an post- the feeling of suspended time.
theatrical strategies developed in the context of venue, Ballhaus Naunynstraße in Berlin. Ballhaus mgirant theatre archive. Keywords: intensity, matter, time, perception
violence in Mexico, and will discuss the ethical Naunynstraße was founded in 2008 because
and aesthetical questions arising in this “battle immigrants and artists of color living and working A materialidade do teatro
for representation – or meaningfulness”. in Germany were not present in German theatres. Vinicius Torres Machado e as intensidades.
The self-defined label post-migrant UNESP Este artigo toma por base a estética das
theatre have become a synonym for stories viniciustorresmachado@gmail.com intensidades de Gilles Deleuze para analisar o teatro
Azadeh Sharifi and perspectives of the second generation que tem por característica o jogo com o tempo
Department of Theatre Studies immigrant artists and artists of color who Vinicius Torres Machado is the artistic director real da matéria cênica não fabulada. Procura-se
Theaterwissenschaft, LMU Munich have migration as part of their personal of Coletivo Plataforma2 and professor of Acting apresentar a materialidade da cena como fator de
azadeh_sharifi@web.de knowledge and collective memory. Since at and Performance at São Paulo State University afecção por si contrastada no tempo da percepção.
least its production Verrücktes Blut mad blood Julio de Mesquita Filho- UNESP. He completed his A partir daí analiso se os elementos da cena
Azadeh Sharifi is a writer, researcher and by Nurkan Erpulat and Jens Hillje which was PhD in theory and practice of theater at University podem ser compostos no tempo, privilegiando uma
activist. She is currently working on her a invited to Berliner Theatertreffen, Ballhaus of São Paulo USP in 2014. His research focuses on relação intensiva entre as partes de um espetáculo
Postdoc Habilitation project Postmigrant Naunynstraße and its post-migrant theatre questions of the materiality of the theatre as an e possibilitando destacar para o espectador a
Theatre in German Theatre History – has become internationally well known. And affection factor by itself, designed both historically percepção da presença. Por fim, abordo como o jogo
DisContinuity of aesthetics and narratives as since then also the German theatre studies has and in the contemporary theatrical landscape. com a matéria cênica não fabulada pode conduzir o
part of the Theatre Department Munich LMU. become well interested in their topic. But as the His artistic production as director and dramatist espectador à sensação de um tempo em suspensão.
Her research interests include post-migrant artists themselves always referred to, the work include: “ A Porta” 2009, “Aporia” 2015, ”Saudade” Palavras-chave: intensidade, matéria,
theatre in Europe, cultural theory and minority and the achievements of post-migrant theatre 2013, “Anonimo” 2012 and “Romeo et Juliett” from tempo, percepção
discourse, postcolonial discourses in theatre and is built on the work of artists - immigrants and Charles Gounod’s opera 2011.
performances of race and gender. people of color - who were there before them.
Sebastian Kirsch traditions of souvereignty, that have more and Anderson has also worked on two national

general panels 13
The Dislocation of Theatre
Ruhr-University Bochum more turned out to be phamtasms? In recent years, calls for a spatial tours and numerous regional and off-Broadway
Sebastian.Kirsch11@gmail.com Starting with the observation that the greek historiography and material semiotics of theatre productions. Her fields of interest include musical
word “KHAOS” is much more ambivalent than (Banks, Kobialka, Knowles) have delivered theater and postcolonial drama. Anderson is
Sebastian Kirsch studied theatre, german our generally accepted “chaos”, Chétouanes poignant critiques of the often unacknowledged currently Assistant Director of Theatre Arts,
literature and history in Bochum 2000-2005 piece uses the ancient atomic theory of tendency in theatre and performance studies Specialist Professor, and the Department Advising
where he, during a position as lecturer 2008-2011, Epicure – which implies at the same time to disregard the “unstable geographies” of Coordinator in the Department of Music and
also reached his PhD with a work on the Baroque an ethical understanding of the world – as a performance, e.g., the spatial contradictions Theatre Arts, Monmouth University.
and Lacans pschyoanalysis 2011, supervisor Prof. philosophical echo and as an inspiration for a within supposedly coherent theatre cultures or
Ulrike Haß. In 2013/2014 he held a post-doc- strange choreography. Especially the Epicurean/ the localized meanings of seemingly universal Bohemians in the Empire State: A
assistance at the department for theatre, film and Lucretian theory of “clinamen” which has had, performance practices. Within this larger Postcolonial Reading of Jonathan
media studies of the university in Vienna where following Michel Serres, an enormous afterlive framework, I am interested in the discursive Larson’s RENT
he since then has also regularly been teaching. in modern physics of turbulence is a starting formations of space that underlie such acts of In their 1902 work A Short History of the
Since 2014 S. Kirsch is again associated to the point for a complex exploration of vertical and “dis-locating” theatre. Taking “World Without State of New York, John Jacob Anderson and
university of Bochum with the habilitation project horizontal orders that is undertaken by the Us” (2016) by Belgian company Ontroerend Alexander Clarence Flick praise New York for its
Beyond Oedipe which is supported by the DFG dancing bodies themselves: “Exposed to the Goed as my starting point, I will read this “higher conception of state, national, and world
for 36 months. Beyond his academic work S. possibility of crashing, of losing, of fear and performance, which asks us to imagine a space citizenship,” before stating that “New York is well
Kirsch was also en editor of the German theater mourning, the dance becomes an autonomous without humans, against its grain, arguing that called the Empire State, therefore, not only because
magazine Theater der Zeit 2007-2013. doing and becoming, a state without goals or any it becomes paradigmatic for a genealogy of of the vastness of its resources, but because it
predictable time axis“, Chétouane says. I want to modern Western theatre, in which attention to so conspicuously illustrates the imperial power
Chaos and KHAOS. Laurent Chétouanes discuss what this ambivalent dispositions means space and to performance as a highly localised of law-abiding liberty among the people.” While
choreographic exploration of turbulence on the one hand for contemporary ways of practice ultimately leads to its opposite: the Anderson and Flick were directly referencing the
In my lecture I want to talk about the dance subjectivation and on the other hand for todays “dislocation” of theatre. grand history of the state, this paper seeks to
piece “KHAOS” 2016, a production that was possibilities of politics. explore the ways in which title might also refer to
developed by the French-born choreographer the darker side of imperialism, in which weaker
and director Laurent Chétouane in cooperation Sheri Anderson societies find themselves disenfranchised by a
with the Philosopher Jean-Luc Nancy. Under Michael Bachmann Monmouth University greater imperial power. Unlike Jay Z’s 2009 hit
the condition that the present is today a University of Glasgow shanders@monmouth.edu “Empire State of Mind” which views the city as
synonym for crisis, this piece tries to relate Michael.Bachmann@glasgow.ac.uk a land of possibility, the characters of Jonathan
a bodily experience of chaos not so much Sheri Anderson has an MFA in Stage Larson’s RENT find that their outsider status denies
to the notion of “state of execption” but to Dr Michael Bachmann is Lecturer in Theatre Management from University of California–San them the aforementioned “imperial power.”As
understand it as an inevitable model for the Studies at the School of Culture and Creative Diego. Anderson began her Broadway career as such, it provides an excellent vehicle to further
future. How to find ways to deal with chaotic Arts, University of Glasgow. He has also taught the Assistant Director for the musical Play On!. explore the notion of New York as “empire.” In
processes – that for example derange our at the universities of Vienna, Berne, Cologne, and She has subsequently worked on more than a viewing RENT through a postcolonial theoretical
usual ideas of space and time as metric Mainz, where he was Junior Professor in Theatre dozen Broadway plays, including Phantom of lens, we will explore such colonial constructs as
entities – without relying on the politicial and Comparative Media Studies from 2010-2014 the Opera, Little Me, and The Full Monty. Prof. the “ideal citizen,” the consequences of deviance
from societal norms, and the struggle to maintain Ipojucan Pereira da Silva

general panels 15
Gambiarração gambiarration: poetics in Gambiarração: poéticas
individual identities while under pressure to choreographic composition em composição coreográfica USP
adhere to the status quo of the dominant power. The hypothesis here constructed is that from A hipótese aqui construída é que a partir da noção ipojucan22@hotmail.com
We will likewise study the roles of race, class, the notion of gambiarra, gambiarração can be de gambiarra, pode-se entender a gambiarração
gender, sexual orientation, and health, not only understood as a way for the body to operate como um modo do corpo operar dispositivos para a Actor, director and professor of Acting,
in terms of their contributions to the characters’ devices for dance composition. In this way, composição em dança. Deste modo, se faz relevante Theory, Physical Theatre and Masks. Bachelor,
disenfranchisement, but also as unifying factors in it becomes relevant to think about the daily pensar acerca das práticas cotidianas, vistas em Master and Doctor in Performing Arts at
the creation of a bohemian subcommunity. practices, seen in Michel de Certeau as poetic Michel de Certeau como produções poéticas que the School of Communication and Arts of
• Joint work with Molly Huber productions that trigger formulations about desencadeiam formulações acerca das relações University of São Paulo USP. It developed a
the immanent relations to the production of imanentes à produção de gambiarras, assim como doctoral research on Spatial Masking, which
gambiarras, as well as make possible to perceive possibilitam perceber uma potência para a criação de includes the Physical Theatre, Contemporary
Carolina De Nadai a power for the creation of procedures and procedimentos e ações voltados à composição artística. Dance, Performance and the Puppets and
USP actions directed to the artistic composition. No âmbito das composições coreográficas, o método Masks Theatre. It working with performing arts
cacadenadai@gmail.com Within the framework of choreographic de Composição em Tempo Real, em desenvolvimento in São Paulo since 1992, leads in recent years
compositions, the Real Time Composition pelo coreógrafo português João Fiadeiro desde o the Theater Group Isla Madrasta, in which
Performer, researcher and dance producer, method, developed by the portuguese início da década de 1990, e o Modo Operativo AND, develops a focused research work on the actors
born in Brazil. Lives and works in São Paulo-SP. choreographer João Fiadeiro since the beginning estruturado pela antropóloga Fernanda Eugénio, body as the center of creation, combined with
Acts with contemporary dance, body awareness, of the 1990s, and the AND Operational Mode, foram os responsáveis por partilharem sentidos que physical languages such as Puppets and Masks
performance and creation of articulated structured by the anthropologist Fernanda compõem com o tema gambiarra, contribuindo para Theatre, Clown, Commedia dell Art, Mime etc.
proposals between academic and artistic Eugénio, were responsible for sharing senses a pesquisa em seu desdobramento teórico-prático.
environments. Developed her PhD research that compose with the subject gambiarra, Assim, a noção de gambiarração surge como um The Space as Fold: body,
USP-Brasil and ISCTE-Portugal: Gambiarração contributing to the research in its theoretical- estado-ação do e no corpo, percepções que são mask and masking
gambiarration: poetics in choreographic practical unfolding. Thus, the notion of também modos de fazer ou de ser que operam à It is from the coexistence between materials
composition. Made improvements in Motor gambiarração appears as a state of action of and semelhança das gambiarras, a partir do improviso, da of such diverse natures such as the actor and
Coordination, body awareness method and in the body, perceptions that are also ways of capacidade de agenciar ações em tempo real, de lidar scenic space that projects of staging are based
postural organization developed by Madame doing or of being that operate in the likeness of com acidentes, com a instabilidade e precariedade on. When we observe the dialogue between
Béziers. She has experience in the field of gambiarras, from the improvisation, the ability to e com a suficiência daquilo que há em determinada spatiality and performativity, there comes the
Arts as a performer and educator with an act actions in real time, to deal With accidents, circunstância compositiva. Identificamos no possibility of considering the relation between
emphasis on dance, mainly in research that with instability and precariousness and with pensamento de Baruch Spinoza e Gilles Deleuze e Félix the plasticity of the body and space as a possible
relates the following topics: dance, body, the sufficiency of what there is in a certain Guattari modos de perceber afetos, corpo, experiência axis of exploration of the actor’s work, here called
design, performance, composition, creative compositional circumstance. We have identified e composição, que fortalecem essa proposição artística. Spatial Masking. Mask and masking may end up
procedures and operating modes. He is currently in the thinking of Baruch Spinoza and Gilles having the same idea, but can also be seen from
developing a series of performances based on Deleuze and Félix Guattari ways of perceiving different points of view: besides being the cause
the Composition method in Real Time that make affection, body, experience and composition, of the absence/presence of the body, masking
up the practical development of his doctorate which strengthen this artistic proposition. has also the possibility to connect quickly and
http://cargocollective.com/cacanadai. intensely to the territory of performativity.
For the spatial masking the space is not a do ofício do ator, denominado de Mascaramento Claudia Muller Sachs proposed a 7-day experience of practical meetings in

general panels 17
different nature of the body, nor is it the absence Espacial. Máscara e mascaramento podem vir a UFRGS which the teachers of body, voice and acting joined
of impenetrable substances, as if it were an significar a mesma ideia, mas podem também claudiasachs@terra.com.br to recover the interrupted semester. We suggested
entity that isolates and separates the visible serem encarados de pontos de vista diferentes: that each student bring a written manifesto from
elements. It is the investigation of the spatiality para além de apenas provocar a ausência/ Doctorate and Master in Theater at UDESC which to build a scene. Thus, we had the opportunity
emanating from both organisms and scenic presença do corpo, o mascaramento tem a University of the State of Santa Catarina. She to get to know the anxieties of each one, creating
materialities, as affects and fields of forces, or ainda a possibilidade de nos conectar rápida e works as an actress, director and theater teacher, a space for different aesthetics and themes, a
as more subtle unfoldings of dense materials. intensamente ao território da performatividade. with emphasis on acting, body movement privileged locus to analyze some trends of the young
The scenic space would operate this way in a Para o mascaramento espacial o espaço não and improvisation. She studied at the École Brazilian artists. I highlight some of the recurring
continuous flow of spatialitiy folds. é de natureza diversa do corpo, e tampouco é a International de Thèatre Jacques Lecoq 1992/93. themes, such as feminism, multi-sexuality, disbelief in
Even though they are present in different ausência de matéria impenetrável, como se fosse Research on how certain practices based on the politics and even in human beings, among others, to
parts of the stage environment, the scenic ele- um ente que isola e separa os elementos visíveis. pedagogy of Jacques Lecoq contribute to the establish relationships between art, subjectivity and
ments are connected in an exchange of affect Trata-se de investigar a espacialidade emanada, development of the imagination of the actor and contemporaneity.
between the audience and the stage, setting tanto dos organismos quanto das materialidades to the productions of collaborative theater with Keywords: subjectivity impeachment occupation
up a recursive structure, which incessantly cênicas, como afetos e campos de forças the emphasis on the actor as author. Ministered creation process
returns upon itself in a feedback process, and manifestos, ou ainda como desdobramentos mais the extension course “Painting in Lecoq:
that causes the space to bend, configuring a sutis da matéria densa. O espaço cênico operaria Composition from Motion in Space” at UFRGS. O jovem artista de teatro num Brasil
privileged place for the development of the dessa maneira segundo um fluxo contínuo de Postdoc scholarship PNPD holder at the PPGAC dominado: processos criativos a partir de
subject’s relationships with the world. To dobras espacialidades. - Postgraduate Program in Performing Arts, manifestos
observe the staging as a system of organic and Os elementos cênicos se conectam embora UFRGS. She is currently Adjunct Professor A at O ano de 2016 foi marcado por mudanças políticas e
non-organic folds that continually interpenetrate estejam em diferentes pontos do ambiente, the Department of Dramatic Art at the Federal sociais radicais no Brasil. As manifestações populares
in creating the scenic environment seems to be num intercâmbio de afetos entre a plateia e o University of Rio Grande do Sul UFRGS. Artistic contra e a favor do impeachment que acarretou
a good proposition, not only to think about the palco, configurando uma estrutura recursiva, name: Claudia Sachs na derrubada da presidente eleita, assim como o
theatrical writing but also to relativize the work que retorna incessantemente sobre si mesma Movimento de Ocupação das escolas e universidades
of the contemporary actor. num processo de realimentação, e que provoca The young theater artist in a dominated públicas deixaram marcas profundas naqueles que
Keywords: fold, space, body, masking. a dobragem dos espaços, configurando um lugar Brazil: Creative processes from manifestos delas participaram. Proponho aqui a avaliação de
privilegiado para o desenvolvimento de relações The year 2016 was marked by radical political um momento que se seguiu às ocupações em nosso
O Espaço como Dobra: corpo, máscara e do sujeito com o mundo. Observar a encenação and social changes in Brazil. The popular departamento de arte dramática da UFRGS. De volta
mascaramento como um sistema de dobras orgânicas e não- demonstrations against and in favor of the à sala de aula propusemos uma vivência de 7 dias de
É da coexistência entre materiais de naturezas orgânicas que se interpenetram continuamente impeachment that led to the overthrow of encontros práticos nos quais as professoras de corpo,
tão diversas, que são o ator e o espaço cênico, na criação do ambiente cênico parece ser uma the elected president, as well as the Occupy voz e atuação se juntaram para recuperar o semestre
que se fundam os projetos de encenação. Ao se boa proposição, não só para se pensar a escritura Movement of public schools and universities left interrompido. Sugerimos que cada aluno trouxesse um
lançar um olhar para o diálogo entre espacialidade teatral como também para relativizar o trabalho deep marks on those who participated in them. manifesto escrito a partir do qual construiria uma cena.
e performatividade, surge a possibilidade de se do ator contemporâneo. I propose here the evaluation of a moment that Assim, tivemos a oportunidade de conhecer as ânsias de
observar a relação entre a plasticidade do corpo Palavras-chave: dobra, espaço, followed the occupations in our department of cada um, suscitando um espaço para diferentes estéticas
e do espaço como um eixo possível de exploração corpo, mascaramento dramatic art at UFRGS. Back in the classroom we e temas, um locus privilegiado para analisar algumas
tendências do jovem artista brasileiro. Saliento One of the most popular artists using the textiles Izabela Brochado

general panels 19
Brazilian Popular Puppet Theater -
alguns dos temas que foram recorrentes, como do in a very particular way is Gabriel Villela. On UNB Mamulengo, Babau, João Redondo and
feminismo, da multi sexualidade, da descrença na this presentation, as a visual complement, izabelabrochado@gmail.com Cassimiro Coco as an intangible heritage:
política e mesmo no ser humano, entre outros, para some examples of different uses of embroidery what that means?
estabelecer relações entre arte, subjetividade e techniques from Villela’s costumes will be shown. Izabela Brochado is a researcher, theater Mamulengo is a puppet theatre tradition of
contemporaneidade. director and permanent professor of the Pernambuco, that seems to have originated
Palavras-chave: subjetividade impeachment Os têxteis e a memória: o trabalho manual Department of Performing Arts at the University about two centuries ago, and even today it
ocupação processo de criação e o bordado no traje de cena of Brasília, where she coordinates the Laboratory remains a significant form of entertainment
O bordado é uma arte cotidiana muito popular no of Puppet and Animated Theater, created in 2001. for the people of the Northeast region, and an
Brasil e guarda estreita relação, não só com a tradição Her thesis, Mamulengo Puppet Theater in the affirmation their cultural identity.
Maria Celina Gil oral, como com a construção de uma memória Socio-Cultural Context of Twentieth-Century From Pernambuco, this puppet theatre
USP coletiva. A grande maioria das pessoas possui alguma Brazil Trinnity College Dublin – 2005 is a spread to others northeastern states acquiring
mariacelina.gil04@gmail.com história pessoal, ligada às suas lembranças, que tem historical and aesthetic study of the Brazilian particular features and different names. It
o bordado como elemento central. Quando está Northeastern puppet tradition. is called Babau in the state of Paraiba João
Maria Celina Gil, brasileira e estudante do presente no traje de cena, o bordado se mostra não só From 2008 to 2014, she coordinated the Redondo in Rio Grande do Norte and Cassimiro
Mestrado no Programa de Pós-Graduação em como elemento decorativo, mas também narrativo. Process of Registration of the Northeastern Côco in Ceará.
Artes Cênicas da ECA-USP. Formada em Cinema Pensando nessa relação entre os têxteis e a memória, Puppet Theater as Cultural Heritage of Brazil Considering the fact that from the 1980s,
pela FAAP e Letras pela FFLCH-USP essa apresentação explorará como essa relação within the National Historical and Artistic this part of Brazilian culture had suffered
se expressa nos trajes de cena, tanto no processo Heritage Institute - IPHAN - Ministry of Culture. considerable decline in its original ways of
Textiles and memory: handmade and de feitura quanto no resultado final e na relação In 2012, she became part of the Trapusteros production and circulation, the Brazilian Puppet
embroidery on costumes estabelecida com o público. Alguns artistas brasileiros Teatro, directed by Marcos Pena Spain. Within Theater Association asked the Historical and
Embroidery is a very popular everyday art in contemporâneos têm usado a técnica como peça Trapusteros she directed Contos Escolhidos Artistic National Institute to open a registration
Brazil and has a close relationship, not only with chave para a criação de universos e poéticas próprias. 2013 and translate and directed the Portuguese process of the Northeastern Popular Puppet
oral tradition, but also with a construction of a Um dos artistas mais conhecidos que explora os versions of the shows Este Conto não é meu Theatre as part of Brazil’s intangible heritage. On
collective memory. Most of the people have a têxteis de maneira particular é Gabriel Villela. Nessa 2012 e Uma História Simples 2013. The group March 2015, the Consultative Council of Cultural
personal tale connected to their memories, in apresentação, para embasar as afirmações teóricas, has been participated in several puppet festivals Heritage of Brazil endorsed the process.
which embroidery stands at a central position. serão apresentados alguns exemplos de possíveis both in Latin American and European countries. In terms of patrimony, the Brazilian Northeastern
When used in costumes, embroidery is more usos do bordado – para além da simples decoração de She is part of the editorial board of Moin- Popular Puppet Theater is part of the social life
than just a decorative piece: it is also narrative trajes – a partir de sua obra. Móin – Revista de Estudos sobre Teatro de of a community, linked to other aspects that
in a certain way. In view of this relation between Formas Animadas and has published many characterize it as such. At the same time, it is in
the textiles and the memory, this presentation articles and book chapters focusing on dialogue with puppet theater forms that are located
will explore how this relation is expressed in puppetry and theatre education. in the field of “the Arts”, and are recognized as
its process of making and in its final result and In 2016 she became part of the Unima predominantly artistic events within the context of
relation with the audience. Some contemporary Union Internationale de la Marionnette other urban arts. So, some questions arise: how do
Brazilian artists have been using the technique Research Commission. these two forms and their variations coexist and/
as key to create personal universes and poetics. or conflict? How does this popular puppet theater,
whether in its traditional or more contemporary de 2015, o Conselho Consultivo do Patrimônio Janeiro with the final work “First steps towards party and bringing together approximately forty

general panels 21
form, relate to the theater segment included in Cultural do Brasil aprovou o processo. Étienne Decrouxs Corporeal Mime: scene and thousand people during the June presentations.
the field of performing arts? The answers to these Como um patrimônio, o TBPN está inserido na pedagogy”. He was sponsered by the Ministry of That research presents the production of the
questions are complex, since the dynamics of vida social das comunidades, articulado aos demais Culture of Brazil with the scholarship “Connection groups of Bumba-meu-boi from Piauí, focusing
the present time dislocate categories which were aspectos que o caracterizam como tal. Ao mesmo Culture Exchange” 2014, by wich he was resident on Nova Fazendinha, and on the play Berra Boi
once solid and fixed, by bringing new spaces and tempo, ele está em diálogo com as formas de artist at HANGAR - Centre de producció i recerca of the dance-theater group Raízes do Nordeste,
configurations which make categorization more teatro de bonecos que se localizam no campo “das darts visuals of Barcelona and exchange student created in exchange with Nova Fazendinha, as
difficult. Those are the points that will be discussed artes” e que são reconhecidas como manifestações at MOVEO - International School of Corporeal an alternative to the standard historiography
in the propose article. predominantemente artísticas, inseridas no contexto Mime of Barcelona. He studied Specialization in that emphasizes the inexistence of a continued
Keywords: Puppet theater. Intangible heritage. das outras artes urbanas. Como essas duas ‘formas’ Arts Education at Cândido Mendes University and theater production in the state. It is not a matter
Brazilian culture e suas variações convivem ou entram em conflito? currently does a Master of Arts at UERJ University of restricting Bumba-meu-boi and the production
Como esse teatro ‘popular’, seja o tradicional ou o of Rio de Janeiro with the research project Raízes do of these artistic groups to the Theater field, but of
Mamulengo, Babau, João Redondo and ‘urbano’, relaciona-se com o segmento do teatro Nordeste Group and Berra Boi play: identities in the perceiving them at the crossroads of the Theater,
Cassimiro Coco - patrimônio imaterial do inserido no campo das artes cênicas e/ou das theater of Piauí”. He has experience in the Arts area, as Tácito Borralho defended of the dramatic
Brasil: o que isso significa? manifestações e expressões populares? As respostas having interest especially in the following subjects: dances, as Mario de Andrade said and even of the
Mamulengo é um teatro de bonecos popular do a estas perguntas são complexas, uma vez que Pedagogy Popular Culture and History of Brazilian Folklore. This not folklorized i.e., not crystallized
Brasil e embora não existam informações precisas a própria dinâmica dos tempos atuais desloca Theater out of Rio de Janeiro and São Paulo. as Torquato Neto 1968 also wanted.
sobre o assunto, ele parece ter se originado em categorias antes sólidas e fixas, inserindo nos novos
Pernambuco há cerca de dois séculos e, ainda espaços configurações nas quais antigos conceitos Raízes do Nordeste Group and Berra Boi play: Grupo Raízes do Nordeste e espetáculo
hoje, continua a ser uma forma significativa de e categorizações já não servem. São esses os pontos identity and alterity in the Theater of Piauí Berra Boi: identidade e alteridade no
entretenimento e forte elo de identidade cultural. discutidos no artigo proposto. The Bumba-meu-boi is seen by Mário de Teatro do Piauí
De Pernambuco, essa forma teatral realizada Palavras-chave: Teatro de bonecos popular. Andrade 1982 as one of the brazilian dramatic O Bumba-meu-boi é visto por Mário de Andrade
com bonecos espalhou-se para outros estados do Patrimônio imaterial. Cultura brasileira. dances. The researcher Tácito Borralho 2012 1982 como uma das danças dramáticas brasileiras.
Nordeste, adquirindo características particulares analyzes the Bumba-meu-boi, perceiving it as a O pesquisador maranhese Tácito Borralho 2012
e nomes diversos. É chamado Babau na Paraíba theatrical manifestation, which presents mixed analisa o Bumba-meu-boi, percebendo-o enquanto
João Redondo no Rio Grande do Norte e Cassimiro Weslley Fontenele techniques, such as the Theater of Animation. Aci manifestação teatral, que apresenta técnicas
Côco no Ceará. UERJ Campelo 2001, a director, playwright and historian mistas, como a do Teatro de Animação. O diretor,
Considerando que, a partir da década de weslley.fontenele@hotmail.com from the brazilian state of Piauí, points to the search dramaturgo e historiador piauiense Aci Campelo
1980, essa expressão cultural sofreu um declínio for an identity and to the need to find out what 2001 aponta para a busca de uma identidade e
considerável em seus modos originais de Weslley Fontenele is a brazilian actor, theater would be the heritage of the Theater produced in para a necessidade de encontrar qual seria a herança
produção e circulação, a Associação Brasileira director and researcher born in Piauí, northeast Piauí. The state has many groups of Bumba-meu- do Teatro produzido no Piauí. O estado apresenta
de Teatro de Bonecos solicitou ao Instituto de of Brazil. He published some academic articles, boi that work intensively and continuously during inúmeros grupos de Bumba-meu-boi que trabalham
Patrimônio Histórico e Artístico Nacional – acted in many plays and directed the play Sofia the year. This is the case of Nova Fazendinha, which de forma intensiva e continuada ao logo de todo o
IPHAN que abrisse um processo de registro do -35 about a fictional brazilian transvestite from performs in the city of Parnaíba the presentation ano. É o caso do Nova Fazendinha, que realiza na
Teatro de bonecos Popular do Nordeste Parte the state of Ceará. He holds a degree in Theater of the death and resurrection of a bull, involving cidade de Parnaíba a apresentação da morte e da
como patrimônio imaterial do Brasil. Em março from UNIRIO University of the State of Rio de dozens of people around the ritual-spectacle- ressurreição do boi, envolvendo dezenas de pessoas
em torno da festa-ritual-espetáculo e reunindo heroines usually performing acts of comedy appreciation and even the political context of tradicionais, o cânone no qual foi situado, para

general panels 23
aproximadamente quarenta mil pessoas durantes and drama from everyday life. The aim of this several themes arranged in his work not only as ser relido como uma exposição crítica e histórica
as apresentações juninas. Esta pesquisa apresenta presentation is to briefly analyse some popular adornments or superficialities. These visions, da época em que viveu, introduzindo diálogos
a produção dos coletivos de Bumba-meu-boi do forms of Brazilian puppetry in its relations to which go beyond psychological realism, are com um público à espera de outros aspectos
Piauí, com foco no Grupo Nova Fazendinha, e no a wider context of specifically political theatre shown from the succinct analysis of some of his da obra do autor, que não sejam as mesmas de
espetáculo Berra Boi do grupo de teatro-dança Raízes such as the one performed by Peter Schumanns works, which shows how much the Tennessee sempre: autobiográficos, psicologizantes e autos
do Nordeste, criado em intercâmbio com o primeiro, Bread an Puppet Theater, starting from the Williams´ Theater must be taken from the de moralidade.
como alternativa para a historiografia padrão que tradition of Punch and Pulcinella to Russian agit- traditional principles, the canon in which it was Palavras-chave: Tennessee Williams - realismo
enfatiza a inexistência de uma produção teatral prop Petrushka and Bread and Puppets Kasperle. situated, to be reread as a critical and historical psicológico - Dramaturgia norte-americana
perene no estado. Não se trata de restringir o Bumba- Keywords: Puppetry Mamulengo exposition of the time in which he lived,
meu-boi e a produção destes coletivos ao domínio Punch Petrushka introducing dialogues with an audience waiting
do Teatro, mas de percebê-los na encruzilhada do for other aspects of the authors work, which Mariela Lamberti de Abreu
Teatro, como defendeu Tácito Borralho das danças are not the same as always: autobiographical, Universidade Estadual de Maringá
dramáticas, como definiu Mário de Andrade e até Luis Marcio Arnaut de Toledo psychologizing, and morality. marielalamberti@gmail.com
mesmo do Folclore. No entanto, não folclorizado ou University of São Paulo Keywords: Tennessee Williams - psychological
seja, não cristalizado como disse o também piauiense sp.vi@hotmail.com realism - North-American Dramaturgy Graduada em Psicologia pela Universidade
Torquato Neto 1968. Estadual de Maringá - UEM 2008, pós graduada
Actor and Educator, graduated at Faculdade Além do “realismo psicológico”: as pela mesma instituição em Intervenções
Paulista de Artes FPA, Luis Marcio Arnaut is also questões sociais e históricas na obra Sistêmicas, com monografia sobre o tema
Mayumi Ilari a Civil Engineer, Specialist in Energy and Master in de Tennessee Williams Narrativas e Auto-Narrativas no Teatro.
USP Buildings Construction. With a post-graduate degree Este artigo procura revelar criticamente como é a Mestranda no Programa de Pós Graduação de
mayumi_ilari@yahoo.com in Theater-Education, holds a PhD in Performing leitura hegemônica da obra de Tennessee Williams Artes Cênicas pela Escola de Comunicações e
Arts at University of São Paulo ECA-USP no Brasil e nos Estados Unidos, tradicionalmente Artes ECA na Universidade de São Paulo USP
Professor of English and American Literatures vista como psicologizante e autobiográfica. com orientação do Prof. Dr. Ferdinando Crepalde
at University of São Paulo, Brazil, since 2009. Beyond psychological realism: the Contornos históricos, sociais e políticos são, Martins. Como atriz trabalhou em núcleos de
Department of Modern Languages, English Area, social and historical issues in Tennessee geralmente, negligenciados, diminuindo dimensões pesquisa no Teatro Universitário de Maringá de
Faculty of Philosophy, Languages and Social Williams´plays críticas de sua dramaturgia. Discute-se como esta 2002 até 2011, com estudos de textos, montagens
Sciences. Research in the field of Drama Studies, This paper reveals critically the hegemonic visão restringe consideravelmente o conjunto de e oficinas, e na companhia Circo Teatro Sem Lona
English and American Contemporary Theatre. reading of Tennessee Williams plays in Brazil obras do dramaturgo, desdenhando sua apreciação PR. Nestes grupos exerceu também a função
and the United States, traditionally seen as social e histórica e, inclusive, o contexto político de educadora e diretora, ministrando oficinas
Puppetry and Insurrection psychologizing and autobiographical. Historical, dediversos temas dispostos em sua obra não vinculadas à UniversidadeEstadual de Maringá
in Brazilian Theatre social, and political contours are often apenas como adornos ou superficialidades. Estas de interpretação, jogos dramáticos, circo e teatro
A member of Mr Punchs worldwide folk neglected, diminishing critical dimensions of visões, que vão além do realismo psicológico, são contemporâneo, Em São Paulo participou de
puppet family, Mamulengo is a Brazilian his dramaturgy. It is discussed how this view mostradas a partir da análise sucinta de algumas diversas oficinas sobre a cena contemporânea,
traditional and popular puppet show that tells restricts considerably the set of works of the de suas obras, o que mostra o quanto o teatro de teatro documentário, performance, método
lively stories featuring familiar heroes and playwright, disdaining his social and historical Tennessee Williamsdeve ser tirado dos princípios Suzuki e Viewpoints, Interpretação Realista para
teatro, Interpretação para Cinema, entre outros. deTeatro. In order to assist the analysis of object, pensamentos representam uma contribuição positive, Edgar died after an intense legal battle for

general panels 25
Foi produtora de cinema na empresa Bela mainly as a methodological proposition, we will teórica fundamental na tarefa de levar a his health insurance, so it would cover the expenses
Filmes, onde produziu o longa metragem use the concept of “post-dramatic theater”, cabo o alargamento da compreensão do que of his treatment against AIDS, setting precedents for
Hamlet de Cristiano Burlan. Atuou como proposed by Hans- Thies Lehmann, considering designamos por teatro feminista. the rights of patients in Brazil. From the perspective
produtora teatral das peças A vida dos that these thoughts represent a fundamental of gender and sexuality studies, the intention is
Homens Infames - São Paulo 2014, e Josefina theoretical contribution necessary to carry out to rebuild dimensions of his social experience
Canta- São Paulo 2015. Sócio-fundadora do the assignment of enlarging the understanding Carolina de Melo Ferraresi elucidating at the same time, the interrelationship
Estúdio Colordrama junto com o videomaker of what we call feminist theater. Universidade de São Paulo between politics and culture and the possibilities for
e diretor dearte Luís Gustavo Meneguetti, carolina.ferraresi@uol.com.br social transformation through theatrical practice. In
trabalhando como atriz, pesquisadora e Do amor à histeria: Uma análise acerca do this sense, understanding the connection between
produtora em projetos relacionados a teatro, léxico teatro feminista na peça Hysteria Mestranda em Artes Cênicas pela urban space, cultural production and the expression
cinema e artes visuais. Professora convidada do Grupo XIX de Teatro. Universidade de São Paulo USP, bacharel of sexuality is crucial to the comprehension of the
na Academia Internacional de Cinema AIC O presente estudo visa debruçar-se em Direito pela Faculdade de Direito de São story of Edgar Gurgel Aranha.
no curso técnico FilmWork. Atriz nos longa- sobre o conceito de teatro feminista e suas Bernardo do Campo 2006, e técnica em Keywords: Gender, Aids, Brazilian Theatre
metragens: No Vazio da Noite e Antes do reverberações a partir da análise de um Arte Dramática pela Fundação das Artes de
Fim de Cristiano Burlan Círculo do Amor de espetáculo contemporâneo, de modo a São Caetano do Sul 2012. Tem experiência Um Corpo fora de foco: Edgar Gurgel
Marcelo Sakabe. perceber a quantidade de elementos teatrais, na área de Artes Cênicas, com ênfase em Aranha, Homossexualidade e Aids
tanto do ponto de vista do conteúdo quanto interpretação teatral, dublagem, processos no Teatro Brasileiro
From love to hysteria: An analysis on the da forma, que são influenciados pelos papéis de criação e estudos de gênero e sexualidade. Esta Pesquisa tem por objetivo deter-se sobre a
concept of feminist theater in the play desempenhados pelas mulheres no teatro Atualmente é dubladora, intérprete, dramaturga trajetória do ator Edgar Gurgel Aranha 1937-1990
Hysteria of Grupo XIX. e de suas representações, na esteira das e pesquisadora do Coletivo Burla de Teatro. a partir da produção teatral brasileira feita durante
The present study aims to discuss the concept teorias feministas da contemporaneidade. a Ditadura Militar nas cidades do Rio de Janeiro e
of the feminist theater and its reverberations A fim de discutir a abrangência do conceito A body without a focus: Edgar Gurgel São Paulo. Aluno da Escola de Arte Dramática da
based on an analysis of a theatrical show, teatro feminista, utilizaremos a obra teórica Aranha, Homossexuality and Aids in USP, o ator viveu de perto o engajamento político de
pointing the quantity of theatrical elements, das pesquisadoras Maria Brígida de Miranda, Brazilian Theatre alguns setores da intelectualidade e da classe artística
from both perspectives, form and content - Elza Cunha de Vincenzo, Lúcia Romano, This research aims to dissert on the trajectory of brasileiras, atuando em espetáculos como O Rei da
which are influenced by the roles played by Lizbeth Goodman e Jill Dolan que discorrem the actor Edgar Gurgel Aranha 1937-1990 starting Vela e Navalha na Carne ao lado de nomes importantes
women in theater and its representations sobre este tema. Para também não deixar de from the Brazilian theater production made during como Jairo Arco e Flexa e José Celso Martinez Corrêa.
- based on contemporary feminist theory. In fazer ressoar a presente discussão teórica the military dictatorship in the cities of Rio de Portador do vírus HIV, Edgar faleceu após uma intensa
order to discuss the scope of the “feminist no plano da prática teatral, analisaremos a Janeiro and Sao Paulo. Student at the School of batalha na Justiça para que sua seguradorade saúde
theater” concept , we will use the theoretical obra teatral Hysteria, do Grupo XIX de Teatro. Dramatic Arts EAD - USP, the actor lived closely cobrisse os gastos com seu tratamento contra a AIDS,
work of researchers Maria Brigida Miranda , De forma a auxiliar a análise do objeto, the political engagement of some sections of abrindo precedentes para os direitos dos pacientes no
Elza Cunha de Vincenzo, Lizbeth Goodman and principalmente como proposição metodológica, the Brazilian intelligentsia and the artistic class, Brasil. Sob a ótica dos estudos de gênero e sexualidade,
Jill Dolan. To echo the theoretical discussion in utilizaremos o conceito de teatro político e performing in plays such as O Rei da Vela and pretende-se reconstruir dimensões de sua experiência
terms of theatrical practice, we will also analyze de teatro pós-dramático, proposto por Hans- Navalha na Carne alongside big names like Jairo social que elucidem, ao mesmo tempo, a inter-
a theatrical works Hysteria, from Grupo XIX Thies Lehmann, por considerar que estes Arco e Flexa and José Celso Martinez Corrêa. HIV relação entre política e cultura e as possibilidades de
transformação social por meio da prática teatral. articulation between different spheres of the articulação entre diferentes esferas do campo the courses at the integrated secondary level

general panels 27
Nesse sentido, entender a conexão entre o espaço theatrical field such as the training of actors, teatral: a formação de atores, o ensino do teatro in Communication and Arts and Performing
urbano, a produção cultural e a manifestação da theater teaching and artistic creation was a e a criação artística. Tais ações operaram como Actor of the State College of Paraná from 2003
sexualidade é crucial à compreensão da trajetória de peculiar aspect of these experiments carried processos formativos e investigativos para os to 2010. She provided services in the SAREH
Edgar Gurgel Aranha. out in the scope of the postdoctoral research atores, ao mesmo tempo que proporcionaram - Hospital Escolarização At the Waldemar
developed at the Federal University of Ouro às crianças experiências nas quais elas puderam Monastier Childrens Hospital from 2011 to 2016.
Preto. Such actions, worked as training and se apropriar da linguagem teatral por meio da She was director of the Amador Theater Group
Melissa Ferreira investigative processes for the actors, provided atuação em contextos ficcionais complexos que at the Campo Largo Cultural House 2014/2015.
UDESC the children with acting experiences in complex tinham ressonância com suas próprias realidades She has been a professor at the Education
mellunar@hotmail.com fictional contexts that resonated with their sócio-étnico-culturais. A busca por realizar Department of the State of Paraná since 1998,
own socio-ethno-cultural realities. The search processos artísticos que associem a pedagogia currently has a 20-hour release for studies. She
Melissa Ferreira is a director, actress, for artistic processes that associate actors do ator, a aprendizagem do teatro e a experiência has a Masters degree in Theater from UDESC,
performer, researcher and professor at the pedagogy, theater learning, and performing cênica surge como um desdobramento prático de with research in Theater, Society and Scenic
University of the State of Santa Catarina, experience emerges as a practical unfolding of ideias e fenômenos que foram investigados em Creation. Research interest areas: NURSING
in the field of Performing Arts. She holds a ideas and phenomena that were investigated in pesquisas teóricas realizadas anteriormente e AND MEDICINE BASED ON SIMULATIONS
PhD in Theater UDESC - University of the previous theoretical researches and published in publicadas no livro Isto não é um ator: O teatro da Work of the actor / actress.
State of Santa Catarina. She is the author the book Isto não é um ator: O teatro da Socìetas Socìetas Raffaello Sanzio 2016, tais como a noção
of the book Isto não é um ator: O teatro da Raffaello Sanzio 2016, such as the notion of de pedagogia reversa, os modos de ser e estar na Attraction and actor work
Socìetas Raffaello Sanzio Perspectiva, 2016. reverse pedagogy, the ways of being child on criança em cena, as novas identidades artísticas on simulation scenarios
As an artist, she participated in festivals in stage, new artistic identities in the contemporary da cena contemporânea e os limites e as fronteiras This communication is a part of the masters
Brazil, Costa Rica, Germany and Italy. She scene and the limits and borders between entre a criação artística e a pedagogia. research on THEATER PRACTICES IN THE
is cofounder of Cria - Collective of Theater, artistic creation and pedagogy. COURSES OF MEDICINE AND NURSING and
Education and Gender. In her current research, will address the work of the actress and the actor
she investigates articulations between theater Atores, performers e crianças Raquel Mastey in a hospital learning environment. It will start
pedagogy, actor training, and artistic creation. em parcerias artísticas: articulações UDESC by presenting the practice named Simulation
entre a formação do ator, o ensino raquelmastey@bol.com.br that is supported by specific laws that guide and
Actors, performers and children in artistic do teatro a criação artística guarantee this new methodology of teaching
partnerships: articulations between the Este trabalho aborda a noção de prática Rachel Mastey holds a Bachelors Degree / learning in medical and nursing graduations.
training of the actor, theater teaching and como pesquisa no contexto de uma série de in Theater from the Faculty of Arts of Paraná Among the techniques of Simulation, will be
artistic creation experimentos cênicos que promoveram parcerias 2007 and a Bachelors Degree in Performing presented those that use practices coming from
This work approaches the notion of practice artísticas entre atores, performers e crianças da Arts from the Faculty of Arts of Paraná 2000. the theater such as scenarios, scripts, scene
as research in the context of a series of scenic educação infantil de uma escola pública na cidade Specialization in Art Education FAP-2003 assembly, characterization of characters, artists
experiments that promoted artistic partnerships de Ouro Preto Brasil nos anos de 2015 e 2016. A and Health for Elementary and Middle School and dolls. According to Quilici 2012, page 31:
between actors, performers and children in early peculiaridade destes experimentos, realizados no Teachers, by the Department of Nursing according to the new guidelines, several health
childhood education of a public school in the âmbito da pesquisa de pós-doutorado realizado UFPR 2013. She was a professor of technical graduations have had or have to modify teaching
city of Ouro Preto Brazil in 2015 and 2016. The na Universidade Federal de Ouro Preto, está na disciplines, theater director and coordinator of practice, especially in medical and nursing
schools, this means incorporating simulation 2012, p. 31: de acordo com as novas diretrizes, From 2011-2014, he was the Festival Manager TYA, which in return affects the conditions of

general panels 29
techniques into educational methods. In this diversas graduações em saúde, tiveram ou têm que for I Theatre, in which he curated and managed production and reception. In particular, there
context, the Simulation in Health, configures modificar a prática de ensino, sobretudo as escolas the ACE! Festival- A performing arts festival is a perceived notion that these imports are
itself in new opportunities of work and research de medicina e enfermagem, isso significa incorporar dedicated to children and their families. necessarily ‘better’ than local productions.
to the theater professionals, since the practice in técnicas de simulação aos métodos educativos. Caleb is currently an independent producer My intention in this paper is to examine the
Simulation works with representations. For this, Neste contexto, a Simulação em Saúde, configura- for TYA- specialising in international projects contested and messy space of local TYA that cuts
we will cite testimonials from artists who work se em novas oportunidades de trabalho e pesquisa management. He is also a Creative Associate across education, art making and nation building in
in different hospitals such as Albert Einstein and aos profissionais de teatro, já que a prática em of The Paper Boats project- an international relation to western imports. Rather than defining
Hospital Universitário de Florianópolis, who tell Simulação trabalha com representações. Para isso, partnership platform for performance-makers. the extreme polarities- the ugly side of commercial
us how they develop this work and how they serão citados depoimentos de artistas que atuam em As an academic, he is on the Editorial Board of capitalism and the other as emancipatory- I am
are inserted in protocols and teaching practices hospitais distintos como o Albert Einstein e o Hospital The Journal of Theatrex Asia. interested in finding ways to negotiate the tricky
in health graduations such as Medicine and Universitário de Florianópolis, que nos contam como Caleb recently established the Singapore terrain and to find new ways to think through
Nursing, So that we can have a comparative desenvolvem este trabalho e como estão inseridos Theatre for Young Audiences Researchers structures of power, patterns of consumption and
idea about the methods of composition. The em protocolos e práticas de ensino nas graduações STYAR- A research collective that is interested political implications that overlap. Importantly, I
Simulation in Health is a practice, that uses de saúde como Medicina e Enfermagem, para in and committed to engaging with research, hope to loosen the tensions and find points where
methods of theater and currently employs que possamos ter uma ideia comparativa sobre os discourse and documentation of TYA. commodification, social dimensions and artistic
artists. It tends to grow in our country, even in métodos de composição. A Simulação em Saúde practices blend and merge.
the current Brazilian political situation, which é uma prática, que utiliza métodos de teatro e Playing it Local - Negotiating
is conducive to cutting funding for the areas of atualmente emprega artistas. Tende a crescer em the Politics of Theatre for Young
Education and Health. nosso país, mesmo diante da atual conjuntura política Audiences in Singapore. Ilda Andrade
brasileira, que está propícia a cortar verbas para as Theatre for Young Audiences TYA is UNESP
Trabalho do ator e da atriz áreas de Educação e Saúde. a growing area of interest in Singapore. ilda_andrade@hotmail.com
em cenários de simulação In the recent years, there has an been
Esta comunicação é uma parte da pesquisa increasing number of TYA activities and Actress, Educator and Storyteller. Brazilian,
de mestrado sobre PRÁTICAS DE TEATRO NOS Caleb Lee initiatives, signifying how TYA is quickly born on 05/03/1985, holds a Masters Degree
CURSOS DE MEDICINA E ENFERMAGEM e LASALLE College of the Arts being embedded in urban spaces and is in Arts from the Institute of Arts - UNESP,
abordará o trabalho da atriz e do ator em ambiente caleb.lwh@gmail.com contributing to defining city and cultural where she also graduated in Art-Theater in
de aprendizado hospitalar. Iniciará apresentando a life. Given this climate where much focus is 2012. She participated in several Congresses,
prática nomeada Simulação que é amparada em Caleb Lee is a Lecturer in Performance placed on young people and their families, it Seminars and Meetings as the IX Congress of
leis específicas que norteiam e garantem esta nova at LASALLE College of the Arts and holds is not surprising that western mega-musicals ABRACE - Brazilian Association of Research
metodologia de ensino/aprendizado nas graduações a Masters and Bachelor of Arts Hons in such as Disney’s The Lion King that targets and Postgraduate Diploma in Performing
de medicina e enfermagem. Dentre as técnicas de Theatre Studies from the National University family audiences have been introduced Arts in 2016 III International Symposium of
Simulação, serão apresentadas as que utilizam of Singapore. He is currently pursuing his and integrated into the city. While these Contemporary Scenic Reflections at the State
práticas advindas do teatro tais como cenários, PhD at Royal Holloway, University of London, musicals help enhance the global image of University of Campinas - UNICAMP in 2014 II
roteiros, montagem da cena, caracterização de researching on Theatre for Young Audiences the city, their presence in the TYA ecologies Engrupe - Meeting of the Research Groups in
personagens, artistas e bonecos. Segundo Quilici TYA in Creative Cities. complicates and troubles the place of local Dance at the Federal University of the State of
Rio de Janeiro - UNIRIO in 2009 Meeting of regions. For this it is based on the bibliographic Flaviana Benjamin Tellas, an Argentinian director who coined the

general panels 31
the Teaching Nucleus of UNESP at the Institute study and analysis of the translations and USP bio-drama, composed of written biographical
of Arts of UNESP in 2009 World Meeting of transcriptions of these classes. flabenjamin@gmail.com scenes. For this work, the director brought her
the Performing Arts - ECUM in 2008 4th. Keywords: Jerzy Grotowski: Collège de France. biological mother and aunt for the staging, in
University Extension Congress of Unesp in Mestranda pela Escola de Comunicação e accordance with the director’s proposition that
2007 International Seminar on Memory and Fronteiras entre arte e vida Artes USP, pelo Programa de Pós Graduação use non-actors (here in Brazil, Augusto Boal had
Culture at SESC Vila Mariana in 2007, in nas aulas de Grotowski no em Artes Cênicas na área de Teoria e Prática do already used this approach). It is noteworthy
addition to having participated as a scholar in Collège de France Teatro. Graduada em Artes Cênicas com ênfase that in countries like Brazil and Argentina, the
the Research Group on Dance, Aesthetics and A presente comunicação integra a pesquisa de em direção teatral pela Universidade Federal autobiography is used to mirror social situations,
Education coordinated by Kathya Godoy and mestrado em andamento, cuja busca consiste em de Ouro Preto, Minas Gerais. Pesquisa o corpo at first revealing individual relationships and
currently participates in the Terreiro Group for analisar e discutir entendimentos e noções oriundas como ferramenta de criação e suas variáveis. then broadening to the social level, with a
Research and Scenic Investigations: Theater, das pesquisas de Jerzy Grotowski. O período É artista atua nas áreas de teatro, dança, focus on artistic practices. In this sense, this
Games, Rituals And Mischief coordinated by escolhido para investigação são as aulas ministradas fotografia, vídeo e performance autobiographical research beside female seeks
Marianna Monteiro. por ele na cadeira de Antropologia Teatral do to investigate the testimony, documents and that
Collège de France entre os anos de 1997 – 1998, Poetics of the Self: Autobiography and which is considered minor, focusing the analysis
Frontiers between art com o curso “A linhagem orgânica no teatro e no hybrid forms in contemporary art on evidence of this artistic practice here in Brazil.
and life in GROTOWSKI’S class at the ritual”. De modo específico neste texto, a discussão The autobiography is not limited to literature; Keywords: Autobiography, women, theatre.
Collège de France se dará a partir de questões relativas aos diálogos it appears in other artistic forms. In the middle of
The present communication integrates possíveis e as delimitações inferidas por Grotowski the twentieth century, it was used to represent Poéticas de si: Autobiografia e hibridismo
the research of master in progress, whose no que tange as regiões fronteiriças entre teatro the self in various artistic manifestations. transbordante na cena contemporânea
search consists in analyzing and discussing e ritual arte e vida. Também discutirá como suas The main thread of this research relies on the A autobiografia não se limita apenas à literatura,
understandings and notions from the colocações acerca das linhas orgânica e artificial, female autobiography as a basis for analysis, mas aparece em outros desdobramentos artísticos.
researches of Jerzy Grotowski. The chosen e das performing arts podem contribuir para novos scrutinizing documents considered “minor”, Proporciona, em meados do século XX, diversas
period for investigation are the classes taught modos de compreensão dessas regiões, muitas but which convey narratives left behind by manifestações artísticas que potencializam através
by him in the chair of Theater Anthropology vezes, nebulosas. Para isso pauta-se no estudo history. Thematic questions surrounding the das representações do eu na arte. O fio condutor
of the Collège de France between 1997 and bibliográfico e análise das traduções e transcrições theatrical staging of the female autobiography da pesquisa pauta-se na autobiografia do gênero
1998, with the course The organic lineage in dessas aulas. takes its first cues from visual arts, especially feminino como alicerce de análise, esmiuçando,
the theater and in the ritual. Specifically in this Palavras-chave: Jerzy Grotowski: performance art. Doing so raises the question: os documentos tidos como menores, mas que
text, the discussion will be based on questions Collège de France. why is the autobiography still subordinate to transpuseram narrativas deixadas para trás pela
regarding the possible dialogues and the other artistic languages in theatre? How did História As perguntas que cerceiam o tema da
delimitations inferred by Grotowski in what female artists conceive of their autobiographies autobiografia de mulheres para a encenação
concerns the border regions between theater as political acts through art? Given the rise of teatral, toma como aporte inicial o olhar para as
and ritual art and life. He will also discuss how its use in Brazil, where else in Latin America artes visuais que apresenta um avanço, sobretudo
his statements about organic and artificial lines is there evidence of the autobiography being na arte da performance. Desta forma, o que se
and performing arts can contribute to new employed in theatre? This research is based pretende levantar é por que o autobiográfico no
ways of understanding these often nebulous on the work Mi mama y mi tia (2003) by Vivi teatro ainda subjaz em relação a outras linguagens
artísticas? Como artistas mulheres postularam suas different, artists from different places focus on such issues, demystifying the ways art can assumir e dando ênfase a seu caráter processual.

general panels 33
autobiografias como um ato político através da arte? on such issues, demystifying the ways art can take and emphasizing its procedural character. A relevância estética é deflacionada, dando lugar
Em um deslocamento geográfico, quais insurgências take and emphasizing its procedural character. Aesthetic relevance is deflated, giving way to à programaticidade e relacionalidade. Em muitos
destas práticas em países da América Latina? Visto Aesthetic relevance is deflated, giving way to programmability and relationality. In many cases, casos, neste contexto, os procedimentos de criação
que, existe um crescente em países como o Brasil programmability and relationality. In many cases, in this context, creation procedures become, tornam-se, mais do que a revelação do mecanismo
sobre o autobiográfico nas obras teatrais. Para in this context, creation procedures become, rather than the revelation of the mechanism ou teatralidade das obras, a própria matéria da
tanto, pauta-se na obra Mi mama y mi tia (2003) rather than the revelation of the mechanism or theatricality of works, the matter of art in arte em sua dimensão performativa, destacando a
de Vivi Tellas: diretora de teatro na Argentina que or theatricality of works, the matter of art in its performative dimension, highlighting the indeterminação entre as fronteiras das linguagens.
cunhou o termo biodrama - um projeto de escrever its performative dimension, highlighting the indetermination between the boundaries of Dentro deste amplo escopo, nosso problema diz
biografias cênicas. Nesta obra, a diretora trouxe sua indetermination between the boundaries of languages. Within this broad scope, our problem respeito às relações que a dança estabelece com a
mãe e tia (biológicas) para a encenação. Segundo languages. Within this broad scope, our problem concerns the relationships that dance establishes escultura. Se o caráter performativo de obras como
a diretora a proposta coloca em cena não-atores e concerns the relationships that dance establishes with sculpture. If the performative works’ as do escultor minimalista Robert Morris e do artista
antes dela, aqui no Brasil, Augusto Boal já desenhava with sculpture. If the performative works’ character of artists such the minimalist sculptor visual neoconcreto Hélio Oiticica estão consolidados
esta prática. É notório ressaltar que o uso do character of artists such the minimalist sculptor Robert Morris or the neo-concrete visual artist em estudos histórico-críticos, há uma contraparte
autobiográfico em diferentes países como o Brasil e Robert Morris or the neo-concrete visual artist Hélio Oiticica, for exemple, are consolidated in que ainda merece atenção. A partir da análise do
a Argentina, por exemplo, aparecem em contextos Hélio Oiticica, for exemple, are consolidated in historical-critical studies, there is a counterpart minimalismo na dança estadunidense dos anos 1960
geopolíticos que podem servir para testemunhar historical-critical studies, there is a counterpart that still deserves attention. From the analysis e sua recepção no Brasil, pretendemos introduzir
situações sociais que se inicia numa esfera singular that still deserves attention. From the analysis of the minimalism in the 1960s American dance algumas questões que colaborem para a ampliação
e se amplia para revelar uma esfera social e assim, of the minimalism in the 1960s American dance and its reception in Brazil, we intend to introduce do debate acerca das contaminações dos processos
derrama-se para as práticas artísticas. Neste and its reception in Brazil, we intend to introduce some questions that contribute to the expansion escultóricos nos procedimentos de criação de
sentido, o autobiográfico, nesta pesquisa, perpassa o some questions that contribute to the expansion of the debate about the contaminations of the coreógrafos e dançarinos contemporâneos.
gênero (feminino) e pretende olhar os testemunhos, of the debate about the contaminations of the sculptural processes in the procedures of creation Palavras-chave: dança contemporânea, escultura,
documentos e aquilo que é tido como menor, sculptural processes in the procedures of creation of contemporary choreographers and dancers. minimalismo, linguagens híbridas
direcionando para indícios desta prática artística no of contemporary choreographers and dancers. Keywords: contemporary dance, sculpture,
Brasil, tentando diagnosticar como aqui se apresenta. minimalism, hybrid languages
Palavras-chave: Autobiografia, mulheres, teatro. Sculptural contaminations in dance: Ajeet Singh
approximations and distancing of Contaminações escultóricas na dança: Bhagat Phool Singh Mahila Vishwavidyalaya
interlingual procedures from minimalism aproximações e distanciamentos de saritamalik1985@gmail.com, berwalajeet@gmail.com
Catarina Gomes São Martinho Sculptural contaminations in dance: procedimentos interlinguagens a partir
USP approximations and distancing of interlingual do minimalismo Having teaching experience of more than
catarinasaomartinho@gmail.com procedures from minimalism A arte contemporânea é marcada pelo desejo Eight years ranging from Undergraduate to
Contemporary art is marked by a critical crítico, seja às relações que estabelece com seu Postgraduate levels as Assistant Professor, Dept.
Contemporary art is marked by a critical desire, either to the relations it establishes contexto institucional, seja com seu contexto social. of English, BPSMV, Khanpur Kalan, Sonipat, from
desire, either to the relations it establishes with its institutional context, either to its social De formas, às vezes, radicalmente diferentes, August 2008, teaching Contemporary Literary
with its institutional context, either to its social context. In ways that are sometimes radically artistas de diversas localidades põem em foco tais Theory, Indian Poetics, Cultural Studies and
context. In ways that are sometimes radically different, artists from different places focus questões, desmistificando as formas que a arte pode Western Literary Theory and Criticism to M.A.,
M.Phil. & Ph.D. Students. My doctoral thesis is on Keywords: Experimental Theatre, Abhinaya, the method in French and English, enabled

general panels 35
Augusto Boal’s Theatre of the
European Experimental Theatre covering Antonin ‘Spect-actor’, Ancient Indian Theatre, language Oppressed: local political action a the Theatre of the Oppressed to spread
Artaud, Bertolt Brecht, Augusto Boal, Jerzy of theatre, Dramaturgy etc. nd transnational network throughout Europe as well as to countries in
Grotowski and Bharata’s Natyasastra. To hone This work reflects on a double dynamic of the Africa and in Asia. This presentation will focus
my abilities and skills as teacher of English, I have Theatre of the Oppressed Teatro do Oprimido, on the changes and transformations of the
done PDCTE & PGDTE from EFLU Hyderabad. Clara de Andrade a method developed by the Brazilian director, method in France, by analysing the reports
Unirio playwright and political activist Augusto Boal. The of the “Bulletins du Théâtre de lOpprimé”,
Making Bodies Talk in Theatre: An Analogy clara.and@gmail.com first part of this dynamic refers to its local action, publications of this pioneer centre of the
between Bharata and Augusto Boal when applied as a political tool for social groups Theatre of the Oppressed in Europe.
Human body is central to the conception of Clara de Andrade is an actress, singer, with common interests, and the second is about Keywords: Theatre of the Oppressed,
European Experimental theatre and ancient researcher and professor of theatre. Currently its transnational reach, spread globally throughout Augusto Boal, transnationality.
Indian theatre. Both the traditions perceive she finishes her PhD in Performing Arts at the the five continents, forming an international
the metaphysical roots of theatre in human Federal University of the State of Rio de Janeiro, network of practitioners of the method. Teatro do Oprimido de Augusto Boal: ação
body. Bharata and Augusto Boal, two great UNIRIO, with a scholarship from CAPES. Her The Theatre of the Oppressed was shaped política local e rede transnacional
names in European Experimental theatre and current research focuses on the relations during Boal’s political exile 1971-1986 and Este trabalho reflete sobre uma dinâmica dupla
ancient Indian theatre respectively, based their between theatre and politics in the methods thus crossed borders and different political do Teatro do Oprimido, método desenvolvido pelo
dramaturgy on theatrical possibilities of human and processes of the Brazilian playwright regimes. The central idea of this work is to diretor, teatrólogo e ativista político brasileiro
body and made it central to performance. Their and director Augusto Boal. In 2014 she held analyse historically and theoretically how, Augusto Boal. A primeira parte dessa dinâmica se
philosophy of theatre does not project any a sandwich appointment at the Sorbonne from the mobility of exile, the Theatre of the refere ao seu caráter de ação local, ao ser aplicado
possibility of performance without human body Nouvelle, Paris 3. She is the author of “The exile Oppressed acquired an open methodological como ferramenta política por grupos sociais com
as they identify it as the main source of action of Augusto Boal: reflections about a theatre approach that enabled its dissemination in an interesses comuns, e a segunda diz respeito à
and movement. In their respective theatrical without frontiers” ed. 7Letras, 2014 and co- international network. Such characteristic of sua expansão transnacional, ao ter se difundido
aesthetics, they create a semiotic structure organizer of the collection of articles “Augusto the method allowed changes, adaptations and globalmente pelos cinco continentes, formando uma
of human body exploring its possibilities as a Boal: art, pedagogy and politics” ed. Mauad X, contamination by local cultures and traditions rede internacional dos praticantes do método.
theatrical tool. Despite temporal and spatial 2013. Her own articles have been also published of the territories in which it came to be O Teatro do Oprimido foi gerado quando Boal
differences in their respective theories, there in specialized journals such as Palimpsesto applied, which enabled its survival in the most encontrava-se em trânsito, durante seu exílio
are some deep rooted similarities in the UERJ, Cena UFRGS and Sala Preta USP. Clara diverse contexts. político 1971-1986 e, assim, atravessou fronteiras
fundamental premises of their dramaturgy. This graduated in Theatre Interpretation and holds In France, for example, the method received e regimes distintos. A ideia central deste trabalho
research paper attempts to analyze these two a Masters Degree in Performing Arts from a strong influence from the French theatrical é refletir historicamente e teoricamente como,
entirely different conceptions of theatre in order UNIRIO. She also teaches interpretation for traditions, when it absorbed contributions a partir da mobilidade do exílio, o Teatro do
to find out a common pattern in their theatrical singers, at the Instituto Casa do Choro, and as from artists and intellectuals that gathered Oprimido adquiriu uma abertura metodológica
aesthetics. The paper focuses on Bharata’s an actress she has been active in the scene of around Boal in the first centre for research que possibilitou sua difusão em rede
concept of abhinaya and Boal’s concept of Rio de Janeiro for about 20 years. Recently, she and practice of the Theatre of the Oppressed, internacional. Tal característica condicionante
‘spect-actor’ to explore the communicative co-idealized and acted in “Crônicas de Nuestra founded in Paris. This dialectical process that do método permitiu que acontecessem trocas,
possibilities of human body as a theatrical tool or América 2014/2015, a stage adaptation of the combines appropriation and dissemination, adaptações e contaminações com culturas locais
human body as language of theatre. stories written by Augusto Boal in exile. coupled with the publication of books on e tradições dos territórios em que passou a ser
aplicado, o que possibilitou sua sobrevivência nos Key-words: anti-performance, strike, caste-

general panels 37
Job Experience You’re Mother, You Perform: Critique of
mais diversos contextos. Assistant Professor tenure, School of Arts & Performative Regime and the Meaning of system, Neoliberalism and Performative Regime
Na França, por exemplo, o método recebeu forte Aesthetics, Jawaharlal Nehru University, New ‘Anti-performance’ in India
influência das tradições teatrais francesas, ao Delhi, July 2012-15 July 2014. In 2016, India witnessed an unprecedented strike
absorver as contribuições dos artistas e intelectuais Adjunct Assistant Professor, Centre for Media and protest march in the state of Gujarat after the FRANCIMARA TEIXEIRA
que se juntaram em torno de Boal no primeiro Studies, School of Social Sciences, Jawaharlal incident of flogging of Dalit youth in public by a cow IFCE
centro de pesquisa e prática do Teatro do Oprimido, Nehru University, New Delhi vigilant group. Known as Una strike, the protest FRANTEIXEIRA00@GMAIL.COM
fundado em Paris. Esse processo dialético que Visiting Faculty, School of Arts & Aesthetics, created a history and signaled a new practice
conjuga apropriação e propagação, somado às Jawaharlal Nehru University, New Delhi, July of politics as well as an unceremonious end of Fran Teixeira is director of theater and artist
publicações dos livros sobre o método em francês 2014- July 2015. performance by the most performative regime of the Teatro Máquina Fortaleza-CE. She has a
e inglês fizeram com que o Teatro do Oprimido Awards & Grants in the post-independent India. The protestors degree in Psychology from the Federal University
se espalhasse geograficamente por toda Europa, Dwight Conquergood Award of Performance in Gujarat defied the structure by refusing to of Ceará 1997, a Masters degree in Arts from
assim como para países da África e Ásia. Esta Studies International pSi 2013 perform caste assigned roles and created uproar by the School of Communications and Arts at
apresentação se concentrará sobre as adaptações Central Research Fund Grant of University of dumping animal carcasses at the state government the University of São Paulo 2001 and a PhD in
e transformações do método ocorridas na França, London, 2010 offices and public places. The unperformative Performing Arts at UFBA 2013. Her research
a partir dos relatos dos Bulletins du Théâtre de Reid Research Scholarship in the name of declaration of the strike, “Your Mother, You Perform focuses mainly on Brechtian poetry, his models
l’Opprimé, publicações desse núcleo pioneiro do Elizabeth Jesser Reid, anti-slavery activist, 2009 the last rites” had an inherent statement: we of staging and the dramaturgy of the learning
Teatro do Oprimido na Europa. will not perform it any longer. The protest led to plays. She also investigates creative processes
Palavras-chave: Teatro do Oprimido, Augusto Publications resignation of then the chief minister of Gujarat in group theater in the interfaces dramaturgy
Boal, transnacionalidade. “Architectures of Fear and Spaces of Hope in Anandiben Patel and an emotional appeal from and staging. She is a professor of the Theater
Banaras: A City beyond Monolithic Identity,” co- Prime Minister, Mr. Narendra Modi. I read Una Degree at the IFCE, a course she currently
authored with B.K. Choudhary. Asian Journal of strike as critique of performative regime and coordinates, anda also of two Master in Arts
Social Science 44 2016: 34-53. emergence of what I term as the formation of “anti- UFC anda IFCE. She leads the research group
Brahma Prakash Bidesiya in Bihar Strategy for Survival, performance” in postcolonial Indian context. Drama, dramaturgy, scene: contemporary issues
JNU, New Dehli Strategies for Performance, Asian Theatre Unlike seeing strike as performance, I take CNPq / IFCE and participates in the Dramatis
prakash.brahma@gmail.com Journal 33, 1 Fall 2016. “strike as cease” in a more conventional sense. Group - Dramaturgy: media, theory, criticism
“Review of Theatre in Colonial India: Play- The strike here stands for an act of empting and creation CNPq/UFBA.
Qualifications House of Power, Edited by Lata Singh, and the movement or shutting down the factory
Ph.D. in Theatre & Performance Studies, Royal Performing Women, Performing Womanhood: by workers. What can be conceptualized as WHAT STILL BELONGS TO THE THEATER?
Holloway, University of London, 2013. Theatre, Politics and Dissent in North India, By “strike as cease” emerges as a motif through REFLECTIONS ON POLITICS AND HISTORY
M.A. in Aesthetics and Philosophy, National Nandi Bhatia.”Theatre Research International which Indian Dalits can be seen organizing THROUGH THE CREATIVE PROCESSES
Central University, Taiwan, 2008. 37.1 March 2012: 88-90. themselves. In the context of Una strike, Kalpana OF TEATRO MÁQUINA
M.A. in Arts & Aesthetics, Jawaharlal Nehru Kannabiran 2016 rightly observes that what is In this article we reflect about the creative
University, New Delhi, 2005 one year. frightening especially to the ruling party and its processes in theater contemporaneously,
B.A. in language and culture, Jawaharlal Nehru fringe armies is the “consequences of strike” studying the case of the group Teatro Máquina,
University, New Delhi, 2004 [emphasis. which shuts their performance]. from Ceará, Brazil. The question that triggers
theoretical reflection is: what still belongs to the Mnena Abuku Maria Ines Castagnino becomes more evident when the object under

general panels 39
theater? For this purpose, the topics of history Benue State University Universidad de Buenos Aires scientific study is human consciousness, as
and politics are chosen as key points of reflection, mneabuku@yahoo.com inex13@gmail.com happens in Stoppard’s 2015 play. It is the aim of
supported by the studies of Benjamin 1994, this paper to analyze comparatively the treatment
Arendt 2015, Nancy 2015 and Ranciére 2005. Mnena Abuku is a creative artist, María Inés Castagnino holds a degree in given to scientific issues in drama, as reflected by
Reflecting on the practice of the group is also to teacher and scholar. Literature from the University of Buenos Aires, the work of the aforementioned playwrights.
discuss the close relationship between creative Argentina and has trained as a Literature teacher Keywords: Stoppard, Frayn, science
processes and the awareness that theater is The World as a Global Market Place: A for secondary and higher education. Since 1996
production of history. The collective practices of Reflection of Wole Soyinkas Samarkand she works as an assistant teacher for the chair
Teatro Máquina are presented and defended as The 21st century has brought with it a of English iterature at the School of Philosophy Thiago Russo
the notions of historical consciousness, political tremendous and growing change as post dramatic and Literature of the University of Buenos Aires. The Arthur Miller Society, USA
topology, distribution of the sensible and crisis of theatre has advanced and taken the frontline in She has also taught courses on literature for the wescream@gmail.com
representation are debated. style, space, technique and form. Theatre has Cambridge IGCSE exam, and on the work of Tom
O QUE AINDA CABE AO TEATRO? REFLEXÕES therefore moved from the conventional art of Stoppard, about which she published a book Thiago Russo is a psychoanalyst, a member
SOBRE POLÍTICA E HISTÓRIA ATRAVÉS DOS script, stage, actor and voice to a more diverse in Spanish in 2005. She has translated works of the Arthur Miller Society in the United
PROCESSOS CRIATIVOS DO TEATRO MÁQUINA trend, thus evolving the contemporary. This by Oscar Wilde, Tom Stoppard and Edward States, and a doctoral student in the American
No presente artigo refletimos sobre os processos paper explores contemporary performance, new Albee. She is the author of several reviews and Literature Department at the University of São
criativos em teatro contemporaneamente, estudando trends and forms. Since contemporary theatre is articles and has participated in research projects Paulo. His master’s thesis in American literature
o caso do grupo Teatro Máquina, de Fortaleza, intercultural, it creates a bridge between cultures of connected with different aspects of Samuel drew upon the relationship between Arthur
Ceará. A pergunta que dispara a reflexão teórica é: different nations, especially in terms of techniques Becketts work. Miller and Henrik Ibsen and explored the
o que ainda cabe ao teatro? Para tanto elegem-se and modes which carries the audience along as sociopolitical essence of American theater of
os tópicos história e política como pontos-chave da it now takes place in the fields, museum, church, Science at play in the work of Tom the 1940s and 1950s. His doctoral dissertation
reflexão, amparados pelos estudos de Benjamin 1994, courtyard, the lake and parks. It thus prods the Stoppard and Michael Frayn concerns Miller’s critique of 1980s and 2000s
Arendt 2015, Nancy 2015 e Ranciére 2005. Refletir mind for deeper reflection. This paper focuses Tom Stoppard has more than once turned American culture in the Reagan and Bush Eras.
sobre a prática do grupo é também discutir a estreita on performance as a global market place with aspects related to science into drama, either His central themes of study are Neoliberalism,
relação entre os processos criativos e a consciência particular reference to Wole Soyinka’s Samarkand by applying scientific concepts dramatically Conservatism, Society of the Spectacle and
de que o teatro é produção de história. As práticas in a unifying whole of diverse cultures and Hapgood, 1988 or by presenting characters Imperialism. He teaches American culture and
coletivas do grupo Teatro Máquina são apresentadas ethnicities. The turn of the century has created who are scientists Arcadia, 1993 The Hard literature courses.
e defendidas à medida em que são debatidas as grounds for the emergence of, and introduction Problem, 2015. Michael Frayn employs a different
noções de consciência histórica, topologia política, of traditional dance, religious rites, oral and poetic technique in Copenhagen 1998: he turns real-life Politics, Imperalism and Spectacle:
partilha do sensível e crise da representação. theatre. The conclusion is that the new millennium scientists Niels Bohr and Werner Heisenberg Arthur Millers Transgeographic
has witnessed greater innovations in theatre into characters and places them in very specific Critique of the Bush Era
practice which need support as society continues historical circumstances. In either case, dramatic Historian Sean Willentz argues that the
to find opportunities for its growth through structure brings to the fore the moral dilemmas Reagan Era began with Nixon’s resignation in
performing arts. and the personal dimension which scientific 1974 and ranged until 2008, having George W.
Keywords: Culture, Arts, Space and Ethnicities abstraction seems to disregard. This feature Bush as the last representative of the period.
The Era, characterized by a remarkable Miller’s transgeographic position shows Maria Fernanda Vomero operations are sustained by violent ideological

general panels 41
empowerment of the Right, Conservatism English speaking characters in a Spanish USP procedures that disrupt, dissolve and reinscribe
and Neoliberalism, has caught great attention speaking country who will be actors or mafevomero@gmail.com, mafevomero@usp.br the cultural space of an indigenous society
of American dramatists such as Arthur Miller, spectators in this transhistorical plot. Young 1995, 2003, and are justified by a
Tony Kushner and Paula Vogel. Keywords: Arthur Miller, American Theater, Masters student in the Pedagogy of Theatre certain epistemology that produces discursive
With the end of the Cold War and the Bush, Reagan program at Universidade de São Paulo USP, disputes based on dominant and apparently
triumph of imperial policies 1980s and with a research on theatre, performance and irrefutable narratives. This late colonialism, as
1990s there was a paradoxical scenario of human rights to be completed along 2017. BA a neoliberal project, targets lands and bodies,
victory, individual success and profits on one Igor Silva in Journalism at USP 1997 and specialization in and here it is essential to invoke concepts such
side, and violence, poverty and dictatorship UFPE documentary studies at Escuela Internacional de as bared life Agamben, 2014 and necropower,
on the other. One such play that explores igordealmeida.silva@gmail.com Cine y Televisión de San Antonio de los Baños necropolitics Mbembe, 2011 to understand
the devastating effects of imperialism 2009, Cuba, and at Universitat Autònoma how large that cultural rewriting process can
is ‘Resurrection Blues’, written in 2002, Professor at Theatre Department of the de Barcelona 2011, Spain. Currently work as be. I also consider the hypothesis that similar
by Arthur Miller. Focusing on the violent Federal University of Pernambuco dramaturg for Companhia de Teatro Heliópolis, procedures of symbolic and territorial occupation
consequences of imperial policies outside based in São Paulo, and as pedagogical are reproduced within a society as instruments of
the U.S, this darkly comic satirical allegory, The French Revolution on stage coordinator at the International Theatre Festival domination whose aim is to homogenize identities
written during George W. Bush Era, is a bold The French Revolution is a modern myth. of São Paulo MITsp. In 2016, participated in the always under neoliberal capitalism premises.
play that asserts Miller’s stature as a militant His various scenic rewrites constitute a X Encuentro, promoted by Hemispheric Institute Then, I intend to discuss how and why
of/from the Scenic Arts. new theatrical tradition that connects of Performance and Politics New York University, theatre can challenge those main narratives
This paper will analyze how the form and past and present. Our objective is to carry that took place in Santiago, Chile. In 2015, that naturalize social hierarchies and violent
content of this play function dialectically to out a comparative study of two French traveled to Chiapas, Mexico, in order to join Art, procedures of land and human control. By
provide a clearer view of Miller’s Critique performances: 1789 by Ariane Mnouchkine Migration, and Human Rights course, leaded by analyzing the case of Palestinian theatre in
of the Bush Era. The play, which is a farce, and Ça Ira by Joël Pommerat. scholar Diana Taylor Hemispheric Institute and the context of Israeli occupation, I reveal how
is set in an unidentified country in Latin Keywords: French Revolution, 1789, Ça Ira performer Jesusa Rodriguez. Took part in Odin meaningful can be to put individuals from
America where a self-entitled savior Week Festival, in Holstebro, Denmark, in 2014. marginalized populations on the stage, allowing
promises to free the people who live under A Revolução Francesa em cena Joined the cast of La Bola DOr performance them to create new possible worlds through
a dictatorial regime. Taken as a subversive A Revolução francesa é um mito moderno. Suas 2011, created by the Catalan artistic collective performances, giving them the possibility to
and revolutionary leader, the savior will be várias reescrituras cênicas constituem uma nova named Planeta 15, during the International speak and be heard by an audience. I also
crucified and have his crucifixion televised by tradição teatral que conecta passado e presente. Market for Performing Arts, in Tàrrega, Spain. propose a brief dialogue with the plays of
a twenty-four-hour reality-TV which bought Nosso objetivo é realizar um estudo comparativo Chilean young director Paula Gonzalez Seguel,
the exclusive rights. Oddly enough, on and de duas montagens francesas: 1789, de Ariane Theatre and Human Rights: Ethics and who works with Mapuche themes as well
offstage the moment was equal: the whole Mnouchkine, e Ça Ira, de Joël Pommerat. Aesthetics as a Way of Resistance as Mapuche actors in the scene. In different
world stopped to watch the live broadcast of Palavras-chave: Revolução Francesa, In times of unstable geographies, late-colonial levels, the Palestinian theatrical panorama
CNN and other channels bombarding Iraq. 1789, Ça Ira enterprises – generated at the heart of neoliberal and Gonzalezs documental approach get to
Spectacle and alienation have revealed a dark capitalist system – continue to be put into action mobilize underground memories Pollak, 1989,
dynamic of society and its individuals. causing territorial and symbolic conflicts. Such despised subjectivities and ignored voices,
besides creating liminal spaces for the outbreak permitindo que eles criem novos mundos possíveis por in this cartographic binomial entity, as well to

general panels 43
Re-cartographing the world: towards
of a communitas Turner, 1974, an ephemeral meio das performances, dando-lhes a oportunidade a Brazilian perspective of the Occident x problematize it.
condition of collectivity that reorganizes the de falar e serem ouvidos por uma audiência. Também Orient dichotomy Keywords: Cartography, Orientalism, Orient,
symbolic universe of a social group. proponho um breve diálogo com as obras da jovem During the last six years, in parallel to my Occident, Extreme-Occident,
diretora chilena Paula Gonzalez Seguel, que trabalha Ph.d. research, I asked to some artists and
Teatro e Direitos Humanos: Ética e Estética com temas mapuche tanto quanto com atores researchers of different parts of the world the Re-cartografando o mundo: por uma
como Forma de Resistência mapuche na cena. Em diferentes níveis, o panorama following question : where would you place perspectiva brasileira da dicotomia
Em tempos de geografias instáveis, teatral palestino e a abordagem documental Brazil in a world map divided by an Orient x Ocidente x Oriente
empreendimentos coloniais tardios – gerados de Gonzalez conseguem mobilizar memórias Occident dichotomy? For most of the non- Durante os últimos seis anos, em paralelo a minha
no cerne do sistema capitalista neoliberal – subterrâneas Pollak, 1989, subjetividades desprezadas Brazilian and non-Latin-american, the answer pesquisa doutoral, perguntei a diversos artistas e
continuam a ser colocados em prática provocando e vozes ignoradas, além de criar espaço liminares para was clear: Brazil was not considered as being a pesquisadores de várias partes do mundo a seguinte
conflitos territoriais e simbólicos. Tais operações o surgimento de uma communitas Turner, 1974, uma part of the Occident. Its placed in a geographical questão: Onde você colocaria o Brasil num mapa-
são sustentadas por procedimentos ideológicos condição efêmera de coletividade que reorganiza o nowhere, as the Latin American and African múndi dicotomicamente dividido em Oriente e
violentos que arruínam, dissolvem e reinscrevem universo simbólico de um grupo social. continents are. A minority evoked the fact that Ocidente? Para a maioria dos não-brasileiros e
o espaço cultural de uma sociedade originária some Brazilian cities, as Rio de Janeiro and não-latinoamericanos, a resposta era clara : o
Young 1995, 2003, e são justificadas por uma certa São Paulo, were very occidentalized. Some Brasil não era visto como parte do Ocidente. Ele
epistemologia, que produz disputas discursivas Juliana Coelho de Souza Ladeira hesitated, not knowing what to answer. The se situa num não-lugar geográfico, onde também
baseadas em narrativas dominantes aparentemente Université Paris VIII Brazilian colleagues in these conferences were estão os continentes latino-americano e africano.
irrefutáveis. Esse colonialismo tardio, como projeto juliana.coelho.br@gmail.com always extremely surprised : they were the only Uma minoria mencionou o fato de que algumas
neoliberal, objetiva terras e corpos, e aqui é essencial ones to consider Brazil as being an Occidental de suas cidades, como o Rio de Janeiro e São
invocar conceitos como vida nua Agamben, 2014 Juliana Coelho is an actress, director, teacher country. This subject is deeply related to my Paulo, serem muito ocidentalizadas. Os colegas
e necropoder, necropolítica Mbembe, 2011 a fim and researcher born in Belo Horizonte, Brazil. own experience as an artist and a researcher in brasileiros presentes nessas conferências sempre
de entender quão amplo pode ser esse processo de Since 2004, she develops practical and Bali. As I realized that Asian theatre forms are ficavam extremamente surpresos: eles eram os
reescritura cultural. Também considero a hipótese theoretical studies on the processes of the perceived in Brazil through an Euro-american únicos a pensar o Brasil como um pais ocidental.
que procedimentos similares de ocupação simbólica creation of the actor and the mask. In 2016, she perspective, I began to search the origins of the Esse assunto é profundamente relacionado a minha
e territorial são reproduzidos no interior de uma obtained her Ph.D. degree at University VIII in stereotypes linked to the notion of Orient itself. própria experiência como artista e pesquisadora
mesma sociedade como instrumentos de dominação the field of intercultural approaches to Balinese Orient and Occident are geographical notions em Bali. Quando me dei conta de como as formas
cujo objetivo é homogeneizar identidades sempre performing arts. Between 2014 and 20I5, she that can be analized by multiple and changing teatrais asiáticas eram percebidas no Brasil, através
sob premissas capitalistas neoliberais. taught at University of Rennes 2, in France, perspectives. They are also an eurocentric way de uma perspectiva euroamericana, comecei a
Pretendo, então, discutir como e por que o teatro and in 2006, she was a professor of physical of dividing the world, ideologically defining these pesquisar as origens dos estereótipos relacionados
pode desafiar aquelas narrativas dominantes que training and acting at Minas Gerais Federal territories. The notion of Occident remains still à noção de Oriente. Essas noções geográficas
naturalizam hierarquias sociais e procedimentos University UFMG, in Brazil. She realized two very present in the discourses and mentalities. podem ser analisadas por perspectivas múltiplas.
violentos de controle de terras e indivíduos. Ao analisar study journeys to Bali, in 2008 and 2011, in order However, the Orient one was upseted from Elas são uma maneira eurocêntrica de dividir o
o caso do teatro palestino no contexto da ocupação to study topeng, the gabor and balinese singing. 1970s, thanks to Edward Saids works and the mundo, definindo ideologicamente estes territórios.
israelense, revelo quão significativo pode ser colocar As an actress, she presented her work in Brazil, postcolonial studies field. Finally, we intend A noção de Ocidente continua ainda muito presente
indivíduos de populações marginalizadas no palco, Colombia, France and Germany. interrogate ourselves about the Brazilian place nos discursos e nas mentalidades em geral. Porém,
a partir dos anos 70, a idéia de « Oriente » é specifically Punjab, Rajasthan, and Gujarat Peer reflexive proof of the sanctity of the event that Faridkot is a site unsupported by historical

general panels 45
revisitada, graças aos trabalhos de Edward Said e Teaching Consultant Fellowship, GSAS Teaching is being celebrated. This seemingly inert bundle fact, yet this calendrical event not only exhibits
ao campo de estudos póscoloniais. Dessa maneira, Center, 2015-16 – a doctoral-cohort based annual by its very inertness helps perform the historical a strong narrative energy and social memory
pretendemos nos questionar sobre o lugar brasileiro program to enhance design, implementation, stability and felt sanctity of the larger event that with respect to Baba Farid, but also nests this
dentro desta entidade binomial cartográfica, & assessment of graduate student instruction is being celebrated, as does the sacred book of geographical location within a set of other sites
problematizando-a. American Academy of Religion’s Collaborative the Sikhs that sits at the centre of a Gurudwara that celebrate other Gurus and Sufis. This paper
Palavras-chave: Cartografia, Orientalismo, International Research Grant, 2014 – to research by the same name adjoining the shrine. Patterned will begin to ask questions relating to the nature
Oriente, Ocidente, Extremo-Ocidente, crítica in field and workshop on the topic “Contesting motion is also involved as pilgrimage brings of this space as scenography for a particular
orientalista Untouchability in Islam: the Religious History of throngs of outsiders to Faridkot, replicating the synthesis, i.e., the way in which a collective
Dalit Muslims in India” memory of Farids original travel to this town. As identity Punjabiyat is brought into being through
Wenner-Gren Foundation Grant in 2010 and it happens, this specific pilgrimage to Faridkot is a sharing the poetic renditions of song and story. It
Manpreet Kaur 2012 – to cover research and travel expenses recent post-independence phenomenon. will also pay attention to questions of materiality
Columbia University to present papers at the biennial conference While two small shrines have existed in the of the textual artifacts circulating in this
sepiaverse@gmail.com of EASA European Association of Social town for much longer – a tillā literally, a mound, space, such as pilgrimage manuals, belletristic
Anthropologists usually one on which a Sufi has done penance, pamphlets, personal breviaries, and attend to the
EDUCATION and the godri asthān shrine – the celebration genre-specific and use-specific construction of
Currently pursuing PhD in Religion, Columbia Celebrating the “Day of Arrival”: of an annual “Day of Arrival” festival is a new space through them.
University in the City of New York Commemoration as Testimony in Faridkot addition. My preliminary assessment is that
M.Phil. in Theatre and Performance Studies, This paper presents a preliminary this site fills the lacuna that is left by the
School of Arts and Aesthetics, Jawaharlal Nehru ethnographic study of a festival site associated dissection of Punjab in 1947 that has taken Hae-kyoung Lee
University, New Delhi, 2009 with the figure of the early Chishti Sufi and a Pakpattan Farids resting site, and the location Kookmin University
M.A. in English Literature, School of Language, thirteenth-century poet-saint Baba Farid Sheikh of his urs, i.e., a death-anniversary festival out hkgracelee@gmail.com
Literature and Culture Studies, Jawaharlal Farīd ud dīn Masūd Ganj-e Śakar, d. 1265. Farid is of common reach for eastern/ Indian Punjabis.
Nehru University, New Delhi, 2006 brought to life in Faridkot, Punjab, where an annual The present form of the festival came about Present:
B.A. in English Literature, Lady Shri Ram College festival allows participants and devotees to relive post-1984 when the central government under Professor, Dept. of Theatre Arts, Kookmin
for Women, Delhi University, Delhi, 2004 the historically erroneous fact that Baba Farid Rajiv Gandhi decided to offer state patronage University
FELLOWSHIPS select IRCPL Graduate arrived and settled there, leading to the eventual and broaden the scope of the festival to more Theatre Critic, member of the Association of
Fellowship, Summer and Fall 2016 – to conduct naming of the town after the saint. These actors secular activities such as inter-zonal sport and Korean Theatre Critics
preliminary fieldwork and archival research witness the saints compositions not only through cultural competitions. Not only is this site then Board Member, The Association of Korean
in India, in preparation for the dissertation songs in performance but also as couplets written shared variously, it is a site created by sharing Theatre Research
prospectus Alliance Travel Research Grant for in public spaces of all kinds, from mosque walls to in the wake of trauma and lack. Yet, it is also Board Member, The Association of Korean
the IRCPL/ CERI Shared Sacred Sites Project, commercial banners. Physical objects too serve a site that celebrates, attuning its energies Dramatic Arts Research
2016 – to conduct collaborative fieldwork along as snapshots of the long course of history. For towards remembering the arrival of the Director, Seoul Metropolis Inner City
with a team of graduate students and senior instance, In a small shrine under a tree lies the historical Farid, not the impossibility of access Regeneration Project
scholars for the projects emerging interest bundle of ragged clothes that Farid is said to have to the imagined munificence of the pīr in his 2015-2016: Dean, College of Arts,
in the shared sacred sites within South Asia, brought with him. The bundle godri serves as self- historical resting place, i.e. Pakpattan. Kookmin University
2016: Director, The Storyteller geo-political context. Second, it assesses Ellen Koban Kulturstiftung des Bundes, the federal

general panels 47
Elevating Platform the festival as a collective effort to uphold University of Mainz state, the municipality, by several
2016: Director, Sungbuk Hunminjeongeum ethnic solidarity and to open the gate to a new koban@uni-mainz.de banking houses and private enterprises.
Festival tributary, making their local scene more global. Beside the presented repertoire, the
2014: Director, Saemanguem Tourism Third, it explores the implications of theatre Ellen Koban M.A. is teaching and currently declared festival’s aim is to enhance the
Contents Development performance as reflecting the universal nature finishing a PhD at the Department of Theatre international exchange and a transboundary
2014: Director, Junggu Cultural Health Project of diasporic community and the region’s Studies at Johannes Gutenberg-University collaboration that is paradigmatic for a
2000-2013: Judge, The Korean Musical Awards mission to intercede between two parties of Mainz in Germany. After her studies in Theatre, globalized world as the foreign minister is
2012: Director, Arts Education, The Tumen their divided motherland. Sports and Education in Mainz and Santiago mentioning within his greeting.
River Festival The region of Yanbian, an autonomous de Chile she worked as Assistant Director at In Pierre Bourdieu’s sense, a lot of economic,
2011: Artistic Director, Performing Arts, The prefecture along the river where Tumen belongs, various German theaters. Between 2010 and cultural and social capital is circulating around
Tumen River Festival was founded by migrants crossing the Tumen 2013 she was Lecturer at the Institute of Film and accumulated by this festival. In view of
2010: General Artistic Director, The Tumen River from the Korean peninsula in the 19th and Theatre Studies and Cultural Anthropology my general research on the German theatre
River Festival century. The area has been constrained by a in Mainz. Since 2013, Ellen Koban is a member system I am going to reveal that such festivals
2009-2011: General Artistic Director, The series of ideological struggles and the inevitable of the DFG Research Group 1939 „Un/doing in the framework of cities and their theatres
Sungbuk Wol-Wall Festival sensitivity of the border region to the political Differences. Practices in Human Differentiation“, are rather part of the symbolic capital – due to
climate of its neighbors. The river draws working within the subproject „Theatre between an intended increase of attractiveness of the
international attention as the route of defectors Reproduction and Transgression of body-based city and its cultural institutions – than of the
Performing Diasporic Memories of out of North Korea, and economic aid and Human Differentiation“. She is interested in and cultural capital in the narrower sense.
Crossing the Border: Implications in investment into North Korea. has published on contemporary theatre, theories
Theatre Programs of the Tunen River Yanbian’s theatre is strewn with migrating of the subject and performing gender.
Cultural Festival memories and archaic styles from their Nayara Brito
In 2010, the city of Tumen, a border city forefathers. South Korean artists and staff ¡ADELANTE! – How an Ibero-American UFBA
between China and North Korea, inaugurated volunteered for the festival, attracted by its unique theatre festival is accumulating ‘capital’ nay_brito13@hotmail.com
the Tumen River Cultural Festival to celebrate features. When this area faces clashes among its Bourdieu for a German city and its theatre
the opening of The National Intangible Museum stakeholders, can the power of theatre contribute ¡ADELANTE!, an Ibero-American theatre Temporary teacher at the Theatre School of
of Chinese-Korean Heritage on the waterfront to turn this site of confrontation into conviviality? festival is taking place from February 11th to the Federal University of Bahia.
facing North Korea. I was the general artistic That is the question I discuss in my paper. 18th 2017 at the city theatre of Heidelberg, Phd student of the Federal University of Bahias
director, responsible for establishing the concept Keywords: Tumen, Border, Diaspora, a small city in the south-west of Germany. Performing Arts Post Graduation Program, with
and structure of the festival. Under the slogan, Theatre, Memories Twelve guest performances of ten Ibero- a reaserch around the contemporary dramaturgy
“River of Life and Gate of Hope” the committee American countries are shown and one and the vocal poetics.
set up two pillars of the program: inheriting coproduction of a Chilean company and Master in Performing Arts by the Federal
memory and transcending the border. the Heidelberg ensemble is staged. The University of Rio Grande do Sul, with a dissertation
My paper frames the festival through the festival under the patronage of the German about the Brazilian contemporary dramaturgy.
relationship between territorial history and foreign minister is financially supported by Bacharelor in Social Comunication by the State
cultural legacy. First, it lays out the region’s the German Federal Cultural Foundation University of Paraíba.
oriundos dos respectivos países, têm na guerra e suas interpretation for singers, in the Casa do Choro. relationship of two famous actresses: Fernanda

general panels 49
The silence which speakes and
other ways of acting: a look over consequências sociais seu principal leitmotiv, que se Gustavo has been working since 1989 as an Torres and her mother Fernanda Montenegro
Incendies and Krums caracters revela nas ações das personagens. Pensando na ideia actor, singer, director and producer. Graduated – a television star and symbol of the previous
Lebanon and Israel are border regions at the do subtema proposto “Violências culturais: identidades as an actor in 1995, he holds a Master’s modern theater school.
heart of the Middle East conflict. The dramaturgies e alteridades”, lançamo-nos a uma análise dos textos degree in Theory and Literature and a PhD in The symbolic language loaded with strong
of Wajdi Mouawad and Hanoch Levin, from that dramatúrgicos Incêndios, de Mouawad, e Krum, de Comparative Literature, both from the State images, the almost mute mixture of the Grand-
respective countries, have in war and their social Levin, com base nas noções da Pragmática linguística, University of Rio de Janeiro UERJ – 2011/2015. Guignol with performance art, allowed The
consequences their main leitmotiv, which is entendida como o “estudo da linguagem a partir de In 2014 he held a sandwich appointment at Flash and Crash Days to go beyond the Brazilian
revealed in the actions of the characters. From the uma perspectiva funcional, isto é, que tenta explicar the Sorbonne Nouvelle University Paris III as redemocratization context of the 1980s-1990s and
proposed sub-theme Cultural Violence: Identities as facetas da estrutura linguística por referência a part of his doctoral research on the relations to be included in the emerging international circuit
and Alterations, we turned to an analysis of Levins pressões de causa não-linguística” Levinson, 2007 between the aesthetics and socio-economics of of experimental productions that arose in those
play Krum and Mouawads play Incendies based apud Lins, 2008 ou, nos termos de Katz e Fodor the theater in Rio de Janeiro. In the same year, decades and endures to this day. The analysis of
on the notions of linguistic pragmatics, understood 1963 apud Lins, 2008, a interpretação das formas Gustavo has also directed “Crônicas de Nuestra this performance and its conditions may reveal an
as the study of language from a functional linguísticas “levando em conta o que é acrescentado América”, by Augusto Boal. In 2015 he directed aesthetic and production change in the Brazilian
perspective that tries to explain the facets of the pelo contexto”. Apresentamos, assim, uma análise das the show “Rosa de Ouro - 50 years” and in 2016 theater that is linked to an international context of
linguistic structure by reference to pressures of falas das personagens – mais que isso, do modo como the series “Hermínio Bello de Carvalho at 80”. formation of new global markets, whose artistic
non-linguistic cause Levinson, 2007 apud Lins, agem em suas falas, ou, mesmo, em seus silêncios His articles have been published in prestigious paradigms point to a new role for theater in society.
2008 or, according to Katz and Fodor 1963 apud – refletidas no contexto hostil em que habitam, Brazilian specialized journals such as Sala Preta The return of Brazilian director Gerald Thomas to
Lins, 2008, the interpretation of linguistic forms observando aquilo a que Austin 1990 chama de “atos USP, Urdimento UFSC and Gragoatá UFF. Brazil in the mid-1980s, after a promising early
taking into account what is added by the context. de fala” e o que eles provocam/determinam na vida de career in the New York avant-garde scene, helped
We present, therefore, an analysis of the characters quem os enuncia e de quem os ouve. Transnationality and to trigger a large twist that was related to these
speeches - more than that, the way they act in their Palavras-chave: Pragmática. Dramaturgia Post-drama: The Flash and changes in contemporary theatrical performance.
speeches, or even in their silences - reflected in the contemporânea. Wajdi Mouawad. Hanoch Levin. Crash Days of Brazilian Theater Thomas brought from Europe and the United
hostile context in which they inhabit, observing Based on a Brazilian case study, this paper States a new proposal for the stage, through which
what Austin 1990 calls acts of speech and what comments on the influence that new paradigms the materialization of theatricality moved away
they provoke /determine in the lives of those who Gustavo Guenzburger and global circuits have exerted locally on the from the idea of drama as it shifted from box office
enunciate them and of those who hear them. Unirio relationship between theater aesthetics and receipts to a new mode of production, based
Keywords: Pragmatics. Contemporary gustavo.gruta@gmail.com production. The underlying thesis here is that on sponsorship.
dramaturgy. Wajdi Mouawad. Hanoch Levin. these two spheres, poetic and socioeconomic, are Keywords: theatrical sociology, global circuits,
Gustavo Guenzburger is an artist, researcher inseparable for the understanding of contemporary postdramatic theater
Do silêncio que fala e doutros modos de and professor of Theater and Literature. Since theater, especially in its political aspects.
agir: um olhar sobre as personagens de 2015, he works at the Federal State University The play chosen to explore this thesis was Transnacionalidade e Pós-drama:
Incêndios e Krum of Rio de Janeiro UNIRIO, where he teaches The Flash and Crash Days, staged in 1991 by The Flash and Crash Days do
Líbano e Israel são regiões fronteiriças situadas no and develops postdoctoral research on Theater, Gerald Thomas. This innovative work, which Teatro Brasileiro
coração do conflito que envolve o Oriente Médio. As aesthetics and fostering policies, with FAPERJ could be considered hermetic, achieved A partir do estudo de um caso brasileiro, este
dramaturgias de Wajdi Mouawad e de Hanoch Levin, scholarship since 2016. He also teaches great popularity when it relied on the real-life artigo comenta a influência que novos paradigmas
e circuitos globais têm exercido localmente sobre de drama, enquanto transitava da bilheteria para – antropófago, the modernista movement, and shopping centers. We are especially interested

general panels 51
a relação entre estética e produção de teatro. A um novo modo de produção, baseado no patrocínio. the nationalisms of the tropicália movement – in describing the relation between their aesthetic
tese subjacente aqui é que essas duas esferas, Palavras-chave: sociologia teatral, circuitos as a means of redefining the contact zones of organisations and their respective transgressive
poética e socioeconômica, são inseparáveis globais, teatro pós-dramático “culture.” Neither theorizations nor experiences or reconciliatory efficiency. We discuss their
para a compreensão do teatro contemporâneo, suggest an easy, settled melding as much as an different aesthetic strategies to turn visible
especialmente em seus aspectos políticos. ongoing renegotiation erupting in moments of what is usually meant to stay invisible in urban
A peça escolhida para explorar esta tese foi Glenn Odom violence and artistic insight. These eruptions space, most of all the different modalities of
“The Flash and Crash Days”, encenada em 1991 Roehampton University of intrasubjective interculturalism are readily the socio-economic dispute. We reflect on the
por Gerald Thomas. Este trabalho inovador, que odomga@gmail.com visible in the complex negotiations of Brazilian logic by which the two practices propose what
poderia ser considerado hermético, alcançou grande encenadores auteur-directors. Rancière calls the “distribution of the sensible”,
popularidade ao se basear na relação real de Glenn Odom is a scholar of comparative the perception of the common space and the
duas atrizes famosas: Fernanda Torres e sua mãe world drama, theatre, and performance. He is participation of the public in it by way of collective
Fernanda Montenegro - uma estrela de televisão e the author of Yorùbá Performance, Theatre, and Stephan Baumgartel action. We argue that flashmobs overall reconcile
símbolo da escola de teatro moderna anterior. Politics: Staging Resistance Palgrave, 2015 and A UDESC its participants with the hegemonic status quo
A linguagem simbólica carregada de imagens Guide to World Theatre Theory Routledge, 2017. stephao08@yahoo.com.br and follow what Rancière calls a police logic,
fortes, a mistura quase muda de Grand-Guignol He is currently working on a comparative study whereas the rolezinhos expose the contradictions
com performance art, permitiu que “The Flash and of theories of theatre and performance emerging Stephan Baumgartel got his Masters Degree of Brazilian society and distribute the shared
Crash Days” ultrapassasse o contexto brasileiro from Africa, Asia, and Latin America entitled in 1995 from Ludwig-Maximilians-University/ space according to a political logic.
de redemocratização dos anos 80 e 90 e fosse Theatre, Globalizations, and Intercultural Worlds. Munich and his Doctoral Degree form Federal Keywords: Political and collective body,
incluída no emergente circuito internacional de University of Santa Catarina UFSC in 2005. He aesthetic strategies, urban space, social and
produções experimentais, que surgia nessas décadas Intrasubjective Interculturalism is currently Associate Professor at the State economic dispute
e perdura até hoje. A análise deste espetáculo e and Conflict: Brazilian Theories University of Santa Catarina UDESC, where he
de suas condições pode revelar uma mudança of Cultural Contact carries out research on contemporary Brazilian O flashmob e o rolezinho: considerações
estética e de produção no teatro brasileiro que está In their article “Toward a Topography of dramaturgy, on political theatrical poetics in sobre a construção estética de um
ligada a um contexto internacional de formação Cross-Cultural Theatre Praxis,” Jacqueline Lo Brazil and abroad and on non-mimetic forms of corpo político coletivo num espaço de
de novos mercados globais, cujos paradigmas and Helen Gilbert note that interculturalism producing contemporary texts by an interplay ostentação capitalista no Brasil
artísticos apontam para um novo papel do teatro “entails a process of encounter and negotiation between theatre and installation art. O presente artigo discute o flashmob e o rolezinho
na sociedade. O retorno do diretor brasileiro Gerald between different cultural sensibilities.” What no que diz respeito a suas eficácias transgressivas
Thomas ao Brasil em meados da década de 1980, then is the status of intercultural theatre in a Flashmob and rolezinho: considerations on e/ou conciliatórias. Discutimos suas diferentes
depois de uma promissora carreira inicial na cena situation like Brazil’s, where such encounters the aesthetic construction of a collective estratégias estéticas para tornar visível algo que se
vanguardista de Nova York, ajudou a desencadear occur not just between nations or groups within political body in a space mantém cotidianamente invisível no espaço urbano
uma grande reviravolta relacionada a essas nations, but within individual subjects – in The proposal discusses two cultural sobretudo sob a ótica do litígio socioeconômico.
mudanças no espetáculo teatral contemporâneo. a culture that is, at its most intimate levels, performances, the internationally known flashmob Refletimos sobre as lógicas com quais as duas
Thomas trouxe da Europa e dos Estados Unidos always already defined as cross-cultural and and the local Brazilian rolezinho, which denotes práticas propõem o que Jacques Rancière chama
uma nova proposta para o palco, através da qual a assimilative? This essay looks at three distinct organized cultural performances by members de “partilha do sensível”, a percepção do espaço
materialização da teatralidade se afastava da ideia Brazilian modes of comparative artistic practice of the socially underprivileged classes within comum e, nele, a participação do público por meio
da ação coletiva. Argumentamos que os flashmobs A member of IFTR since 2010. the powers that be in government, the financial

general panels 53
We will look after you: the radical
conciliam os espectadores-participantes com o A member of the working group Performance world and mainstream media. promise of ‘the time after’ Rancière in
status quo e seguem a lógica homogeneizante in public space since 2012. recent theatre involving actors with
ou policial, enquanto os rolezinhos abrem as A student member of the executive committee intellectual disabilities
contradições da sociedade brasileira e reorganizam of IFTR 2013–2015. Tony McCaffrey ‘We will look after you’, the last words of Back
o espaço compartilhado conforme uma lógica University of Canterbury to Back Theatre’s Lady Eats Apple Melbourne,
genuinamente política. Cyberformed dissidence: The rebellious art tony.mccaffrey@ara.ac.nz October 2016 echo in the darkness of spaces
Palavras-chave: Corpo politico coletivo, estratégias of tweets and memes of transposition: the audience on stage, the
estéticas, espaço urbano, litígio socioeconômico Social media has been a vital part of organized Tony McCaffrey has a BA in English from Kings performers in the auditorium. The words are
activism in the later years and has developed College, Cambridge and a Ph D in Theatre and spoken by intellectually disabled characters/
into an ongoing manifestation of all aspects of Film Studies from the University of Canterbury, performers to another who is able but playing
Sigridur Lara Sigurjonsdottir life, including political struggle. Pictures from NZ: “Incapacity and Theatricality: Politics and disabled. Intellectual disability in its social and
University of Iceland war zones have made huge impact on how Aesthetics in Theatre Involving Actors with political context underpins the genesis and
siggla04@gmail.com clearly we see the situation many now live in. I’ll Intellectual Disabilities.” He is a Lecturer in evolution of the company, but in Lady Eats Apple
look at a few examples from Iceland and abroad Creative Industries at ARA Institute of Canterbury it is a subject that is placed to the side, referred
Degrees from the University of Iceland: on how simple photos and reports on Facebook and Artistic Director of Different Light Theatre to obliquely, in favour of a more fundamental
B.A in Comparative Literature in 1997 final thesis have ignited chance in policy both in the public Company, an ensemble of people perceived to have questioning of what it is to see, to hear and to be
on a production of John Fords Tis Pity Shes a and private sector. Just this last year the prime intellectual disabilities. He has given papers at the present in posttheatrical performance, and what
Whore at the National Theatre of Iceland in 1996 minister has resigned, animal cruelty on an conferences of Performance Studies International efficacy such performance might have.
M.A. in Comparative Literature, 2004 final egg farm was outed and 85.000 people signed 2007-16, at IFTR/FIRT 2012-16 in Santiago, Throughout the production face microphones
Thesis on formulas in playwriting a petition demanding improvements in the Barcelona, Hyderabad and Stockholm, at Theatre and individual audience headphones offer at
M.A. in Practical Editorship and Theory of healthcare system. In this paper Im continuing Performance Philosophy, Sorbonne, 2014 and at once the intimacy and alienation of mediatized
Publication. my research on protest signs from last year, but Corps en Scène at Sorbonne Nouvelle, 2015. His presence, the audience’s eyes are subjected to
From 2009: A PhD student at the University of now Im looking at cyber space and how the use thesis and a 2015 paper “A dance that draws you pulsating extremes of brightness and darkness,
Iceland researching performance of dissidence in of meme, Facebook statuses and tweets can and to the edge of your seat: acting and disability faced their sense of space is disoriented as successive
Iceland after the economical collapse in 2008. have proved to have social and political impact. with technology” are due for publication. Recent envelopes of black and white inflatables give way
2014: “Send in the clowns” A paper published Using Christina Papagiannoulis theories performances devised by Different Light include to a final, utterly dislocating, reveal. Dramatic
in Nordic Theatre Studies. and definitions of Political Cyberformance, “The Poor Dears”, the Powerhouse, Sydney, “Still narrative and characterization are deconstructed
Playwriting: Have written five full length plays I´ll also be drawing on theories of Jaques Lives” San Jose, California and the Ludus Festival, in ‘theatricality,’ in Féral’s sense, that wavers
that have been produced and two in collaboration Rancier Emancipated spectator, in particular Leeds, “The Earthquake in Chile” a site specific unstably between theatre’s representation and
with others. Produced by Hugleikur, University of and also look to theories put forth in the book performance collaborating with Free Theatre, “The performance’s presentation.
Iceland Student Theatre, The Theatre Company of Tactical Performance: Serious Play and Social Lonely and the Lovely” at the Concourse in Sydney, After this destabilization of the demarcations
Fljótsdalshérað and Frú Norma. movements by Larry Bogad. The aim is to look at “The Canterbury Tales” a site specific performance of identity and alterity: of performance and
Have also written twelve short plays, all performative structures of the afterlife of news in earthquake-damaged central Christchurch and audience, of ability and disability, of mythos
produced by A member of the Icelandic coverage in social media and how the public now “Three Ecologies of Different Light” at PSi 22, and myth, how are the closing words ‘We will
Dramatists Union since 2001. has the power to change the course set forth by University of Melbourne, 2016. look after you’ to be taken? They constitute a
performative utterance made by people with parts without having a direct link between them. de revista, compuseram um rico cenário cultural. Nadia Saito & Mayra Schatzer

general panels 55
intellectual disabilities to look after those In this format, a skit can be followed by a dance Esses gêneros difundiram uma diversidade de USP
without such disabilities: a complete overturning number, which in turn may be followed by a atrações que deu vida e expressividade a uma nsatie@usp.br, ma.schatzer@gmail.com
of conventional ethicopolitical relationships. juggler or by a sentimental recitation. The circus, teatralidade tipicamente brasileira, baseada nas
They also represent the promise of a radical the pantomime, the music hall, the cabaret, the diversas manifestações culturas existentes no país. Nadia Saito is a PhD candidate on Theory
time after current political crises that threaten opera buffa and the magazine theater follow Os espetáculos de variedades são uma das formas and History of Theater at University of Sao
the eradication of compassion, empathy and the same model. We will use Sergei Eisensteins do teatro popular. Eles podem ser segmentados em Paulo, MBA Cultural Studies and Management
egalitarianism. After Rancière, this time is theory to understand the construction and diferentes partes, sem ter uma ligação direta entre at Fundacao Getulio Vargas, Latu Sensu Art
neither utopian nor catastrophic, but that in assembling of the variety show. For the Russian elas. Nesse formato, um esquete pode ser seguida and Cultural Education at University of Sao
which we take interest in the ‘sensible stuff’, the theorist, this production is collective and de um número de dança, que por sua vez poderá ser Paulo, MSc Social HIstory at University of Sao
‘material events’ against which hope and despair relates different segments. The slight genre seguida por um quadro de malabaristas ou por uma Paulo, and BSc Ed on History at Sao Paulo State
is measured. formed by the numbers of varieties gained declamação sentimental. O circo, a pantomima, University.
popularity at a time when the city underwent o music-hall, o cabaré, a operá buffa e o teatro de Mayra Schatzer is graduated in International
an intense transformation. It was in the middle revista seguem esse mesmo modelo. Utilizaremos Relations at the Federal University of São
Lílian Rocha of the nineteenth century that the expansion a teoria de Sergei Eisenstein para compreender Paulo UNIFESP, I have studied Sociology at
UNESP of Brazilian cities occurred, when they became a construção e montagem do espetáculo de the University of Salamanca during a mobility
lilianrubia@gmail.com typically urban, building heterogeneous spaces variedades. Para o teórico russo, essa produção é period abroad. I was a teacher assistant of a
that brought together people from different coletiva e relaciona distintos segmentos. O gênero joint project of the departments of Economics
Mestranda em Artes Cênicas no Instituto de regions of Brazil and from various parts of the ligeiro formado pelos números de variedades and International Relations on the influence
Artes da UNESP, linha de pesquisa estética e world. The accelerated growth and the constant ganhou popularidade no momento em que a cidade of capitalism in the history of International
poéticas cênicas. urban changes helped to generate this new passava por uma intensa transformação. É em Relations and presented my term paper on
environment of intense cultural production. The meados do século XIX que ocorreu a expansão political economy and international regimes.
The theater of varieties and its relation study of the variety theater that appears in this das cidades brasileiras, momento em que elas se In parallel, I have worked in management and
with Brazilian popular culture city under construction can be promising for the tornaram tipicamente urbanas, construindo espaços cultural production. Currently studying Social
This work aims to reflect on the theatrical performing arts because it has revealed a rich heterogêneos que reuniram pessoas de diferentes Sciences at FFLCH / USP and conducting a
scene produced by the popular shows that were universe of theatrical production. The reflection regiões do Brasil e de várias partes do mundo. O research on public policies for theater in Brazil.
performed at the Santos Variety Theater in the on this production can contribute with debate crescimento acelerado e as constantes mudanças
late nineteenth and early twentieth centuries. around the current theatrical scene. urbanísticas ajudaram a gerar esse novo ambiente Viggiani setting a Stage in Brazil
Variety theater, as well as the circus and the de intensa produção cultural. O estudo do teatro de This paper is part of a larger research that
magazine theater, made up a rich cultural scene. O teatro de variedades e sua relação com a variedades que surge nessa cidade em construção deals with the formation of public policies for
These genres spread a diversity of attractions cultura popular brasileira pode ser promissor para as artes cênicas pois tem theater in the 1930s. Niccolino Viggiani is a great
that gave life and expressiveness to a typically Este trabalho tem como objetivo refletir sobre a revelado um rico universo de produção teatral. A part of the development process of the theater
Brazilian theatricality, based on the diverse cena teatral produzida pelos espetáculos populares reflexão a respeito dessa produção pode contribuir industry. The foreign shows presented by him
manifestations cultures existing in the country. que foram realizados no teatro de variedades de com debate em torno da cena teatral atual. comprised an artistic and cultural tendency that
Variety shows are one of the forms of popular Santos no final do século XIX e início do XX. O prescribed the dynamics of the São Paulo theater
theater. They can be segmented into different teatro de variedades, assim como o circo e o teatro market. Although the proportions of the city
of São Paulo were incomparable to the present Katia Daher to the pedagogic work, which the pivot is the poética do teatro de convenção - para tomá-la como

general panels 57
days, its growth was ecstatic. Correspondent USP conventional scene that takes into consideration meio de manifestação de um temperamento artístico
was the effervescent dispute by the market daherkatia@gmail.com the specialization in a certain type of role - as do ator. Tal procedimento situa o ator na exploração
of the spectacle. The economic dependence in the old emploi system. Yet, the poetics of the da linguagem teatral circense guiando a composição
generated, from the days of the colony, framed Kátia Daher graduated in Performing Arts at theater of convention is suspended in order to da personagem-tipo através da qual o ator, dispondo-
the cultural consumption of the population University of Campinas – UNICAMP 1997-2000. be taken as means of manifestation of an artistic se ao contato direto com o público, deverá operar a
formed immigrants and the different textures of She played under the direction of Marcio Aurelio temperament of the actor. This procedure cena. O desenvolvimento deste processo, pedagógico
identity that the State was trying to pattern up. at Édipo Rei 2000 and Fausto Zero 2001. Since situates the actor in the exploration of the circus e de criação, é abordado na presente pesquisa na
Keywords: Sao Paulo, cultural market, theater 2001 she has been part of the theater company theatrical language guiding the type-character intenção de refletir sobre o modo de operação de uma
formation, Viggiani, public policies Os Fofos Encenam, from São Paulo, where she composition, through which the actor, making poética cênica convencional, revelando a dinâmica
acts in the plays that explore the language of him/herself ready for direct contact with the que a inspira e as estratégias do ator para operá-la,
Viggiani: configuração brazilian drama-circus, directed by Fernando audience, should operate the scene. This study considerando o trabalho da Cia. Os Fofos Encenam
de uma cena no Brasil Neves – A Mulher do Trem, Ferro em Brasa, the approaches the development of this process, em diálogo com a tradição do ator popular.
Esse trabalho é parte de uma investigação maior project Baú da Arethuzza and O deus da cidade pedagogic and of creation, to reflect upon the Palavras-chave: circo-teatro teatro de
que trata da formação políticas públicas voltadas – and in the plays directed by Newton Moreno modus operandi of the poetics of conventional grupo atuação sobrete, ator popular emploi,
para o teatro nos anos 1930. Niccolino Viggiani é – Assombrações do Recife Veho, Memória scene, revealing the dynamics that inspires it and temperamento artístico personagem-tipo.
parte contundente do processo de desenvolvimento da Cana and Terra de Santo. The interest in the actors strategies to operate it, considering
da indústria teatral. Os espetáculos estrangeiros drama-circus tradition and the experience as the work of the theater company Os Fofos
apresentados por ele compunham uma tendência assistant director of Neves in the plays Terra Encenam in dialogue with the tradition of the
artística e cultural que prescreveu a dinâmica do Natal, O Médico e os Monstros, O Mistério Bufo, popular actor. Edelcio Mostaço
mercado teatral paulistano. Embora as proporções the project O Maravihoso Teatro Mambembe Keywords: drama-circus theatre group UDESC
da cidade de São Paulo fosse incomparável da Academia de Palhaços and Chica Boa, acting sobrete popular actor emploi artistic edmost@uol.com.br
aos dias atuais, seu crescimento era extático. encouraged the achievement of the research temperament type-character.
Correspondente era a efervescente disputa conducted under the guidance of Prof.ª Dr.ª Kassandra
pelo mercado do espetáculo ainda parco a Maria Thaís in the University of São Paulo – USP. Sob o olhar da Sobrete: a linguagem Kassandra lives banished from her country in
todos os públicos, e no entanto, muito popular. do circo-teatro brasileiro na Cia. O third rate nightclubs spelling a poor immigrant
A dependência econômica gerada, desde os Under the Sobretes look: the brazilian s Fofos Encenam English. In this performed version she is a
tempos da colônia, emoldurou o consumo cultural drama-circus language at the Company Os A pesquisa é o olhar, de uma atriz-sobrete, sobre a transvestite that narrates about Trojan War
da população que se formava com a leva de Fofos Encenam linguagem teatral desenvolvida desde 2003 na Cia. horror, nothing different nowadays one.
imigrantes, as bordas da escravidão e as diferentes The study is the look of a sobrete actress Os Fofos Encenam a partir do diálogo com a tradição
texturas identitárias que o Estado formatava. about the theatrical language developed since do circo-teatro brasileiro. O ator e diretor Fernando Kassandra
Palavras-chave: Sao Paulo, mercado cultural, 2003 by the company Os Fofos Encenam from Neves conduz o trabalho na Cia. e, ao longo dos anos, Kassandra vive desterrada de seu país natal e
formação teatral, Viggiani, políticas públicas. the dialogue perspective with the brazilian dedicou-se também ao trabalho pedagógico cujo eixo em boates de última categoria falando um inglês
drama-circus tradition. The actor and director é a cena convencional que considera a especialização de imigrante. Nessa versão performada ela é um
Fernando Neves conducts the work of the group em determinado tipo de papel - como no antigo travesti que narra o horror da Guerra de Tróia, nada
and, through the years, also devoted himself sistema de emplois suspendendo, entretanto, a diferente dos dias atuais.
Isa Kopelman de uma dramaturgia radiofônica de Os Sete Contra Butler’s theory of performativity in the assembly

general panels 59
Gwangju as Memory and Invention
isaetel@gmail.com Tebas de Ésquilo em um processo de coautoria. Nessa This paper will discuss my memories related and Lefebvre’s theory of ‘the production of space’.
direção, a recriação da textualidade de Ésquilo é to a Korean city, Gwangju. As Henri Lefebvre Then I will explore the dramaturgy within the
The Seven Against Thebes and the siege of atravessada por uma cartografia, que relaciona a suggested, any space is produced through the present renovation plan of the city to invent a
war - the effectiveness of tragic poetry now densa coralidade épica aos vários espaços musicais, ideological and economic hegemony. This city future culture hub at the crossroads of Asian and
The paper brings up the procedures and míticos, ficcionais e reais da narrativa, bem como illustrates his theory with some specific examples. global art culture. Centering on Gwangju, I hope
performative elements involved in the working pelo intenso jogo agonístico e múltiplos movimentos As a generation who went through university to connect the theatrical and the space.
out of a Aeschylus’ radio drama The Seven entre a cidade e seus moradores sitiados – pelo life in the 1980s, Gwangju is not a neutral city to
Against Thebes in a process of co - authorship. ataque iminente do acampamento inimigo, dos any of us with little personal relationship with it.
Therefore, the rebuilding of Aeschylus guerreiros fortemente armados, culminando no My last visit to Gwangju, two years ago, led to a Tania Brandão
textuality is traversed by cartographies, which extermínio mútuo de Etéocles e Polinices, os irmãos particularly special feeling that I had belonged UNIRIO
relates the dense epic chorality to the various inimigos Nessa dramaturgia as possibilidades da to it for all of those years. This occurred to me tabrasil@uol.com.br
musical mythical, fictional and real spaces cena presencial conectada ao drama radiofônico one evening when I joined an artist’s talk with
of the narrative, as well as by the intense são também consideradas enquanto procedimentos Tsai Ming-liang, a Malaysian Chinese filmmaker Born in Rio de Janeiro 1952. Bachelor’s at History
agonistic game and manifold moves between do jogo dramatúrgico. Para relatar esse processo e and theatre director at the Opening Festival of from Universidade Federal do Rio de Janeiro UFRJ
the city and its inhabitants under siege - the discutir a efetividade da poética e dos temas trágicos the Asian Culture Center. It was so natural for 1973, Bachelor’s at Licenciatura Plena in History
impending attack of the heavily armed warriors, da guerra sobre os desdobramentos da violência no the space to hold such a cultural event especially from Universidade Federal do Rio de Janeiro UFRJ
culminating in the mutual extermination of tempo presente, o ensaio volta-se para as conexões after the performance, The Monk from Tang 1974 and Doctorate at History from Universidade
Etheocles and Polinices, the enemy brothers. entre tragédia antiga e renovadas formas de Dynasty. At that time, I was also fully aware that Federal do Rio de Janeiro UFRJ 1998. Teacher of
In this work, every aspect of the presential percepção, ação e reflexão crítica. I was between the past and the present. I was History and Theory of Brazilian Theatre, especially
performative possibilities related with the radio Palavras-chave: tragédia, rádio drama, in the same room, the former city hall, wherein at Universidade Federal do Estado do Rio de
drama is also considered as a game procedure. dramaturgia/performance, Ésquilo. the last resistance lost their lives at the hands of Janeiro UNIRIO. Work as Theatre Critic since 1982
In order to report this process and to discuss the military soldiers during The May Democratic and as Theatre Researcher since 1977. Publish
the effectiveness of the tragic poetry and the Uprising in 1980. They chose to die rather than theatre critics in the Blog Folias Teatrais: http://
tragic themes of the war on the unfolding of Young Joo Choi surrender, and saved their honor in the face of the foliasteatrais.com.br/
violence at the present time, this essay turns KOREAN NATIONAL RESEARCH CENTER FOR THE ARTS military government who announced that they Experience in Arts Essays and Criticism, acting
to the connections of the old tragedy with the Youngjoo39@hanmail.net were part of the North Korean communists. The on the following subjects: History of Brazilian
renewed forms of perception, action and critical everyday space was made into a historical space Theatre, Modern Brazilian Theatre, Brazilian
reflection in the performative scene. Research professor at Korean National by them first, and was represented later by the Modern Acting and Performing, Brazilian
Keywords: tragedy, radio drama, dramaturgy/ Research Center for the Arts, while teaching cultural works. It was recreated into a third space Actresses Eva Todor, Itália Fausta and Maria Della
performance, Aeschylus theatre aesthetics, experiemental theatre, with an ideal of the future Asian culture hub. Costa. Worked as theatre festival programmer
directors theatre, and dramaturgy at Graduate In my paper, I will argue about Gwangju as ‘the since 1983 FITEI, LITF/NY. Curator of Curitiba
Os Sete Contra Tebas e o cerco da guerra - a School of Korean National University of Arts boundary of history: memory and invention’. First, Festival Theatre 2000-2015. Published the books
efetividade da poesia trágica no presente and Dongguk University. I will compare the historical moment of the city “A máquina de repetir e a fábrica de estrelas:
O artigo apresenta os procedimentos e os Dramaturg and translator, contributing essays hall with theatrical representations such as May Teatro dos Sete” 2002 e “Uma Empresa e seus
elementos performativos envolvidos na elaboração regularly to the theatre journals in Korea. Bride and The Green Days, while discussing Judith segredos: Companhia Maria Della Costa” 2008.
women´s history. After Iglesias death and the Aos 14 anos, casou com o empresário e autor Luiz involves Artistic and Quality Assessment for

general panels 61
Eva Todor and Brazilian
female mischievousness – sunset of the old actor-managers theatre, she Iglesias 1905-1963. Novo mentor de sua carreira, ele Arts Council England, chairing the board of ATC
boundaries and identities took on more daring modern work, and finally levou-a para o teatro de comédia. Da sua maneira and advisory programming for the London Film
There´s a great challenge in writing theatre became a great television star. Todors body of de representar, unindo transgressão ingênua e forte Festival. She writes regularly for the leading film
history: navigating the delicate boundary work requires examining the deep relationship expressividade física, nasceu um gênero teatral local, o magazine Sight & Sound her publications include
between each artists profile and the gears between individual profile and historical process, gênero Eva, de comédias elegantes, ágeis, petulantes, ten co-edited volumes and two monographs.
of history. The theme is inescapable when especially from a sociology of art perspective, and de malícia discreta. O apoio feminino garantiu a She is also co-editor of the Routledge journal
studying the work of Eva Todor Budapest, in particular through the lens of Nathalie Heinichs popularidade de seu teatro, nos anos 1950/1960: ela Contemporary Theatre Review.
1919. Hungarian by birth, she studied ballet studies of the relationship between individuality foi um nome decisivo na história da mulher no Brasil.
in the Hungarian Royal Opera House from and collectivity. Após a morte do primeiro marido e o eclipse total do Cultural capital and agency:
ages four to eight, already displaying signs of Keywords: Eva Todor, Biography and history of velho teatro do primeiro ator, a atriz abraçou propostas Nuria Espert at 80
great talent. By the time nine-year-old Todor theatre, History of theatre historiography, Brazilian modernas mais ousadas e, finalmente, se tornou In 2015 at the age of 79 Nuria Espert played
emigrated to Brazil, she had enough training comedy of manners, Eva genre, Theatre and uma grande estrela da televisão. Sua história artística King Lear at Barcelona’s Teatre Lliure, a
to make amateur performances at the São feminism in Brazil impõe o estudo da relação profunda entre perfil performance that was to influence her friend
Paulo Municipal Theatre. After moving to Rio individual e processo histórico, notadamente a partir Glenda Jackson to take on the title role in her
de Janeiro, she studied under Maria Olenewa. Eva Todor e a malícia feminina brasileira - de abordagens da sociologia da arte, em particular 80th year at London’s Old Vic Theatre. In
Her family´s meagre resources pushed her fronteiras e identidades os estudos de Nathalie Heinich dedicados à relação this paper I provide a brief overview of the 60
towards professional work. The language Um grande desafio percorre a escrita da História do individualidade/coletividade. year career of one of Spain’s most important
barrier stimulated her expressive versatility Teatro: esboçar a fronteira delicada entre o perfil de cada Palavras – chave: Eva Todor, Biografia e História actresses, from her role as a powerful agent for
and charm, which in 1934 opened the doors to artista e a engrenagem histórica. O enfoque é obrigatório do Teatro, Historiografia da História do Teatro, change during the difficult years of the Franco
Recreio Theatre—the great temple of Rios revue para o estudo da obra de Eva Todor Budapeste,1919. Comédia de costumes brasileira, Gênero Eva, Teatro regime to her cultural importance in democratic
scene. In the selection process, she performed Húngara de nascimento, estudou balé na Ópera Real e feminismo no Brasil Spain as actress, director, producer and cultural
Hungarian ballet pieces. She therefore joined da Hungria, dos quatro aos oito anos, revelando grande commentator. Her multiple roles – and indeed
the artists world first as a ballerina. Despite her talento. Ao emigrar para o Brasil, aos nove anos, possuía multiple theatricalities – have offered potent
limited Portuguese, she soon began to take part formação suficiente para apresentações amadoras, Maria Delgado signifiers both for a mode of engagement
in simple drama scenes, to immediate success. iniciadas no Teatro Municipal de São Paulo. Após a University of London with the shifting socio-political landscape of
At 14, she married manager and playwright Luiz mudança para o Rio de Janeiro, o aprendizado continuou maria.delgado@cssd.ac.uk Spain and for a wider understanding of how
Iglesias 1905–1963, who would then mentor com Maria Olenewa. Os escassos recursos da família cultural capital operates across the nascent
her, leading Todor to comedy theatre. A new impulsionaram a profissionalização. As dificuldades com Maria M. Delgado is Professor and Director of democracy of this nation-state. I end with a
local genre was born from her acting style, o idioma estimularam a sua versatilidade expressiva e Research at The Royal Central School of Speech brief consideration of her performance as Lear
which blended naïve transgression with strong a sua simpatia, passaportes para ingressar, em 1934, and Drama, University of London and Honorary reprised in 2016, and its wider resonance in
physical expressiveness: the Eva genre, with no Teatro Recreio, o grande templo do teatro de revista Fellow at the Institute of Modern Languages destablising particular cultural geographies
elegant, agile, petulant comedies, full of subtle carioca. Na seleção, apresentou quadros de balé húngaro. Research at the University of London. She has through a process of reminding audiences of
mischievousness. Female support guaranteed Portanto, entrou no quadro de artistas como bailarina. published extensively in the area of Spanish- why it’s important to create work that argues for
her popularity in the theatre in the 50s and Apesar do português precário, logo começou a participar language performance and film and European the role culture should play in helping shape and
60s she was a decisive name in Brazilian de cenas dramáticas simples, com sucesso imediato. theatre. Her work with the creative industries understand the contemporary world.
Katalin Ágnes Bartha Placed in National-Patriotic Rhetoric. Hungarian of the established actors and Prielle occasionally

general panels 63
Considerations on acting
University of Debrecen Celebrations of Ira Aldridge. Symbolon, 27/2014, lent some of her objects for stage performances. pedagogy in the performing arts: some
bkagnes@yahoo.com 27:37- 52. The set of the imagined saloon, or the saloon- cases of counter-discourse in the
as-life as appearing, for e.g. in the director’s Brazilian theater
Bartha Katalin Ágnes was born in Sf. French well-made plays into Hungarian promptbook of Les Fourchambault Émile Augier Observing the teaching of acting in Brazil,
Gheorghe, Romania, 1978 she earned her PhD in saloons: an actress career in the second included specific elements but it is important this paper recover the contours of the almost
Philology Babeş-Bolyai University, Cluj-Napoca, half of the 19th century to note the entanglement of staging with the unexplored field of brazilian performing arts
Romania. Presently she is a postdoctoral The presentation concentrates on the domestic aspect. pedagogy, an exemplar case of non-european
fellow of the Hungarian Academy of Sciences, relationships between certain roles of Kornélia Keywords: professional acting, 19th countries, commenting on the brief bibliography
at University of Debrecen, Hungary with an Prielle 1826-1906, a famous Hungarian actress, century,Central Europe, staging practice on the subject and contrasting the traditional
individual project entitled The Hungarian her stage directing/–assistance activities space of formal education, traditionally based on
National Theaters from Budapest and Kolozsvár outside the professional theatre and her home the trajectory of the “foreign masters” and to their
in the Last Third of the Nineteenth Century: apartment, especially her saloon designed to Lucia Regina Vieira Romano historical laboratories, to the territory inhabited
Artistic Productions and Space. From 2005 reflect her artistic achievements. She had been Unesp by the Brazilian theater groups, understood
she has been visiting lecturer at Department born half German and half Hungarian, and romanolu2008@gmail.com as unique spaces of teaching and learning in
of Hungarian Literary Studies, Babeş-Bolyai became one of the acclaimed actresses on the dialogue with the local context. The survey
University, and since 2003 she has been Hungarian-speaking stage. She was regarded BA in Theatre Theory at the School of indicates the dominance, in a certain period of our
employed as a researcher at the Szabédi László as the eloquent representative of a perceived Communication and Arts of USP / ECA-USP recent history, of a philosophical line related to
Literary Museum supported by the Hungarian French elegance by performing important roles 1991, Master in Communication and Semiotics Stanislavski’s pedagogy, although different from
Cultural Society from Transylvania, Cluj. in French well-made plays. Such plays, while from the Catholic University of São Paulo / the Russian source, proving that the formation
She has completed several research addressing various social issues, used the saloon PUC-SP in 2002 with guidance of Prof. Dr. on acting in theatrical performance is a field of
fellowships in theatre history/studies at the for their main scenes – the same saloon which Helena Katz and PhD at ECA-USP in 2009, constant aesthetic and ideological disputes.
Hungarian Academy of Sciences, Domus was the quasi-public, representative space of under the guidance of Prof. Dr. Jacob Ginsburg, Keywords: pedagogy of acting, actor training,
Hungarica Scientiarum et Artium, Budapest, the aristocratic and bourgeois homes within the has experience in Performing Arts and Dance, Brazilian theatre history, group theater.
Hungary and participated at several period therefore, the saloon may be conceived as with emphasis on acting, performance,
international conferences. an imaginary space where different subjectivities corporeality, gender performativity, feminist Considerações sobre pedagogia atoral
Her publications include Shakespeare emerge in the context of theatre performances, theater and creative processes. Lecturer nas artes cênicas: alguns casos de
Erdélyben. [Shakespeare in Transylvania. The including those of the audience as well. at Universidade Estadual Paulista Júlio de contra-discurso no teatro brasileiro.
Hungarian reception of Shakespeare’s works In the context of amateur acting of certain Mesquita Filho - Art Institute - DACEFC, Observando o ensino da atuação no Brasil, o
in the 19th century], Argumentum Publishing aristocrats, the staged saloon or the saloon- at the Undergraduate Programs Degree in presente ensaio recupera os contornos do quase
House, Budapest, 2010 The Merchant of as-life was re-created within ‘real’ saloons of Theatre and Bachelor of Performing Arts – inexplorado campo da pedagogia atoral nacional,
Venice in Pest and Cluj Kolozsvár During the noble homes, a directing move assumed by Interpretation, and the Postgraduate Program caso exemplar no contexto dos países não-
Habsburg Neo-Absolutism. In: Keith Gregor Kornélia Prielle and her husband. Ultimately, their in Arts, in the Poetics of the Scene Line. Actress europeus, comentando a sucinta bibliografia sobre
ed.: Shakespeare and Tyranny: Regimes of experiences served to design their own home and founder of Barca de Dionisos and Teatro da o tema e contrapondo o espaço do ensino formal,
Reading in Europe and Beyond. Cambridge its representative space. The domestic saloon had Vertigem groups, works today as an actress and fundamentado tradicionalmente na trajetória
Scholars Publishing, 2014. 77–104 Aldridge a central role in creating the professional identity producer in Cia Livre, in São Paulo. dos “mestres estrangeiros” e seus laboratórios
históricos, ao território habitado pelos grupos student actors as well as by the author herself in A investigação, intitulada “Ator rapsodo: pesquisa

general panels 65
The Chakra system as a basis for
teatrais, entendidos como espaços singulares de the pedagogical and creative experience her own acting practice, and has also resulted in de procedimentos para uma linguagem gestual”
ensino-aprendizado em diálogo com o contexto of the performance scenic events and performances. teve início em 1998, na Universidade Federal do
local. A prospecção indica a dominância, num Conceiving the Theater as a Ritual, the Chakra Keywords: Theater and Spirituality Theatre and Estado do Rio de Janeiro – UNIRIO e, desde 2012,
certo período da nossa história contemporânea, System as a basis for the pedagogical and Ritual Actor pedagogy Rhapsode-actor encontra-se na etapa “Teatro e Espiritualidade”. Tem
de uma linha filosófica relacionada à pedagogia creative experience of the performer has been se realizado com alunos atores e na prática atorial da
de Stanislavski, ainda que diversa da fonte russa, approached in this research through somatic O Sistema de Chakras como fundamento própria pesquisadora e produzido eventos cênicos e
comprovando ser a formação em interpretação exercises, considering actors psychophysicality, para a experiência pedagógica e criadora performances.
teatral um campo de contínuas disputas in connections mainly with elements of Susksma do performer Palavras-Chave: Teatro e Espiritualidade Teatro e
estéticas e ideológicas. Vyayama Yoga asanas, Siddha Yoga chants and Considerando o Teatro com um Ritual, o Sistema Ritual Pedagogia do Ator Ator Rapsodo
Palavras-chave: pedagogia da interpretação, meditation and some aspects of afrobrasilien de Chakras como fundamento para a experiência
treinamento atoral, história do teatro brasileiro, pantheon curimba, dances and incorporation. cênica e pedagógica do performer é abordado
teatro de grupo. Different forms of therapy have inspired the através do exercício somático e psicofísico em Boris Daussà-Pastor
work in question: Sacred Fire, by Monica Oliveira conexão com a Yoga Suksma Vyayama asanas, Institut del Teatre de Barcelona
Sistemic Constellation, by Bert Hellinger Body a Sidda Yoga cantos e meditação e com alguns daussapb@institutdelteatre.cat
Nara Keiserman Reading, by Nereida Fontes Vilela and Return- conteúdos do panteão afrobrasileiro curimba,
Unirio to-source Transmission, by Serafim Vieira, all danças e incorporação. Mesmo que não acionadas Boris Daussà-Pastor is a performer, director,
narakeiserman@yahoo.com.br of which consider the multidimensionality of diretamente, estão presentes no trabalho elementos and theatre scholar from Barcelona. He is
the Being, which is capable of achieving deep de diferentes práticas terapêuticas vivenciadas currently professor and Head of the Theatre
Nara Keiserman is an actress, director and Consciousness levels beyond the Physical Body, pela pesquisadora, como Alinhamento Energético Theory and History Department at Institut del
university professor at Federal State University but always taking the latter as an indispensable ou Fogo Sagrado Monica Oliveira Leitura Corporal Teatre de Barcelona. He earned a Theatre MA
of Rio de Janeiro. Coordinates the research instrument for achieving them. These thinkers Nereida Fontes Vilela Constelação Familiar Bert and MPhil degrees at CUNY New York, and
“Rhapsode-actor: procedure research for a understand that humans are capable of Hellinger Transmissão do Retorno à Fonte Serafim is currently working on a PhD dissertation on
gestural language” , focuses on pedagogical and contacting different Dimensions of the Universe, Vieira. Todas elas consideram o Ser em sua Margolis Method. His areas of interest include
scenic paths for Narrative Theater. She holds and that this paves the way for the process multidimensionalidade, capaz de atingir vários also South Indian performance. He trained
a PhD. from UNIRIO, on “Pedagogical Way for of Channeling. The object of this research e profundos níveis de Consciência para além do in Kathakali and published several articles in
the narrative-actor” and a post doctorate from are performers who, through Channeling, are Corpo Físico, mas sempre considerando-o como academic journals as well as a training guide
Lisbon University on “Portuguese contemporary capable of connecting with their manifold Bodies instrumento indispensável para isto. Pressupõem o for kathakali body-exercise routine. Boris is also
narrative theater”. Her recently theater and humbly present themselves on stage as contato com diferentes Dimensões do Universo, que the Assistant Director of the award-winning
productions as an actress and dramaturg are ministers on a sacred ground. abrem caminhos para um processo de Canalização. Catalan theatre company Dei Furbi. He is an
You can not live without love No se puede vivir The research, named “Rhapsode-actor: Nesta pesquisa, interessa este ator que, através da active member of the international academic
sin amor and How beautiful it was there! Como procedure research for a gestural language”, was Canalização pode se conectar com seus diferentes community, having served as a board member of
era bonito lá!. Has published book chapters and initiated in 1998 at the Federal State University Corpos e, em cena, coloca-se humildemente como the Association for Asian Performance AAP, and
articles in specialized magazines. Her research of Rio de Janeiro – UNIRIO, and has been in um sacerdote ou um pai-de-santo que professa um currently serving at the Executive Committee
interests include movement for actor, somatics development phase Theater and Spirituality from teatro de cura, como habitante ou porta-voz de um of the International Federation for Theatre
and theater conected with spirituality and ritual. 2012 on. It is currently being carried out with universo sagrado. Research FIRT/IFTR.
relationships, the production of voice, etc. in substantiated in Victor Turner, Ileana Dieguéz sociopolíticos e culturais. Tendo como base a ideia

general panels 67
Shifting the Paradigm in Theatre
Training: Margolis Method as an example ways that are viscerally perceived as natural. In Caballero and Jorge Dubatti thoughts. This do liminar como condição ou situação a partir
of training principles for multiple the same way, the artist’s choice of presenting paperwork integrates the master research Rites da qual se vive e se produz arte. Busco valorizar
theatricalities rather than acting something as “non-natural” can be easily of passage: the contemporary approach in the o estado de experiência como transformação,
techniques for specific conventions exercised once the artists clearly knows how actors creative process by Federal University entrecruzamentos no meio em que está inserido
The performative turn expanded the purview things behave according to everyday physics. of Rio Grande do Sul, Brazil. The objective is e as articulações afetivas que o acompanham.
of Theatre Studies into a larger field where Thus, it becomes a training methodology investigate the rites performativity as margin to Compreendo os ritos de passagem como um
all forms of performance can be treated with not geared towards any particular culture or create and scenic expressions in sociopolitical mundo liminar de espaços de diferenças e fronteira,
similar methodological frameworks, whether convention of performance, but towards gaining and cultural dialogues. The base is the liminal de encontros e afetações criativas que permeiam
they come from the western classical tradition basic understanding of how things behave so as condition or situation from where lives and nossa condição de artistas e pesquisadores.
of theatre or not. However, the practice of that the artist can use such principles to their produces the art. I seek to value the experience Palavras-chave: Ritos de passagem Teatro
theatre training has not yet achieved a similar own aesthetic or conventional choices. state as transformation, where it is intertwined Liminaridade Experiência Performatividade.
effort. In most cases, theatre training is either and the affective articulation which following
focused towards the mastery of a particular them. I understand the rites of passage an
theatrical convention for example, Kathakali Suellen Brito liminal of spaces of differences and board Nathalia Catarina Alves Oliveira
or Commedia dell’arte training, or towards the UFRGS world, of meetings and creative affection that USP
achievement of a number of abilities that may be suellen.abrito@gmail.com permeates our artistic and researchers condition. nathcatharina@gmail.com
useful in performance voice training, movement Keywords: Rites of passage theatre experience
training, play analysis, some acting technique, Master´s in progress in Performing Arts from liminality performativity. Director, dancer, teacher, playwright. Master’s
etc. Some theatre artists and scholars such as the Federal University of Rio Grande do Sul, degree in progress at University of São Paulo
Grotowski and Eugenio Barba, looked into the UFRGS, Brasil. Advisor: Inês Alcaraz Marocco. Processos liminares: as experiências ECA-USP since 2015 with a theoretical-practical
possibility of finding common aspects to acting Research related to the rites of passage dos ritos de passagem, transformação research about the dramaturgy of a melancholic
and performance that could be used out of their and performativity in the contemporaneity. e afetação para a criação cênica em body, which included the performance Anatomia
original setting, but hardly ever gave a specific Specialization in Cultural Management from diálogos sociopolíticos e culturais da Melancolia – experiência I, her last solo
methodology to train theatre artists in such the Centro Universitário Senac, SENAC/SP, Este trabalho apresenta alguns caminhos performance. Nathalia is graduated in Performance
principles of performativity. Brasil. Graduation in Theatre from the Federal introdutórios acerca da reflexão teórica sobre Arts Dance, Theatre and Performance programme
Margolis Method is an example of theatre University of Paraíba, UFPB, Brasil. Actress and a liminaridade dos ritos de passagem em at Pontifícia Universidade Católica de São Paulo
training based on principles that could be theater teacher. um contexto urbano, fundamentada pelos Pontificate Catholic University of Sao Paulo
applied to training artists from all cultures of pensamentos de Victor Turner, Ileana Diéguez in 2003. In september 2013, Nathalia was an
performance. Its basic stance is that physics Liminal process: rites of passage Caballero e Jorge Dubatti. Este trabalho integra- artist resident in the International Tanzlabor at
affect all human beings and is perceived as experience, transformation and se a pesquisa de mestrado Ritos de Passagem: Kunstlerhaus Mousonturm in Frankfurt, Germany,
a natural construction of how everything affectation to scenic creation in uma abordagem contemporânea no processo as a solo performer directed by Ivo Dimchev AT/
behaves in the world. Looking and mastering sociopolitical and cultural dialogue criativo do ator pela Universidade Federal do Rio BG. Frágil Fragile, her second dance solo, was
the principles of physics allows us to articulate This paperwork presents some introductory Grande do Sul, Brasil. Em que objetivo investigar supported by the State Secretariat for Culture,
the behavior of everything around us characters, ways regarding to the theory reflection about the a performatividade destes ritos como margem premiering in August 2012 at São Paulo. In 2009,
objects, dramatic or narrative structures, spatial rites of passage liminality in an urban context, para a criação e expressão cênica em diálogos Nathalia toured in the state of Sao Paulo with
Nathpark, her first site-specific solo. This project significance of the melancholy for this research Thaís Caroline Póvoa Balaton method known as participant observation.

general panels 69
began in 2007, based on the monographic study is founded in the possibility that it seems to offer USP The research also intends to use the “Método
Dramaturgia e espaço: ressignificação do lugar- to ponder on the contemporary body, founded thais.povoa@usp.br Matricial” of Jacó Guinsburg, bringing the
comum Dramaturgy and space: re-signifying the in a social structure that produces subjective analytical methodology to the field of theatrical
commonplace, also sponsored by State Secretariat experiences of pauperization. Thaís Caroline Póvoa Balaton studies Master pedagogy, initially proposed for creation
for Culture. Keywords: Body, Dramaturgy, Melancholy Degree in Theater Pedagogy from the University processes in the performing arts.
http://www.nathaliacatharina.com/anatomia- of São Paulo. She holds a degree in Performing Thus, it is expected that the dissertation
da-melancolia A dramaturgia de um Arts (USP) and is graduated from the School can contribute to the discussion in the field
http://buscatextual.cnpq. corpo melancólico of Dramatic Art (São Paulo - Brazil). She has of clown formation in the country, making
br/buscatextual/visualizacv. A presente pesquisa investiga a dramaturgia de experience in the Art’s field, with emphasis in possible the documentation and reflection
do?id=K8534470T0&idiomaExibicao=2 um corpo melancólico que pode ser visto como um Theater. Founder and member of Cia Lona de on a pedagogical practice not yet studied by
reflexo das contradições do estado de exceção da Retalhos (São Paulo - Brazil). recent academic research.
The dramaturgy of a melancholic body experiência social contemporânea. Compreende-
The presenting research ponders the se que este corpo melancólico é um corpo social Formation of the circus and theatrical Formação do artista circense e teatral
dramaturgy of a melancholic body that can em estado de desordem e de suspensão, mas que, artist in the language of the clown, by the na linguagem do palhaço, pelo Programa
be seen as a reflection of the contradictions contraditoriamente, está engajado em uma reflexão Clown Training Program for Young People de Formação de Palhaço para Jovens dos
of the state of exception in our contemporary e criação críticas diante de sua própria falência. of the Doctors of Joy Doutores da Alegria
social experience. It is understood that this Pesquisa-se aqui o diálogo que pode ser The present research is a study aimed at the A presente pesquisa trata-se de um estudo
melancholic body is a social body in state estabelecido entre um corpo performativo e a formation of the circus and theatrical artists in voltado à formação do artista circense e teatral
of disorder and suspension, but which is, subjetividade contemporânea a partir da ação de the language of the clown, with focus on the na linguagem do palhaço, tendo como recorte
contradictorily, engaged in a critical reflection um corpo melancólico. Com o termo “performativo” investigation about the pedagogical practice of a investigação acerca da prática pedagógica
and creation regarding its own failure. pretende-se descrever um corpo em suas the Clown Training Program for Young People do Programa de Formação de Palhaço para
It is researched the dialogue that can be implicações tanto sociais quanto estéticas. of Doutores da Alegria. The research aims Jovens dos Doutores da Alegria. A pesquisa
established between a performative body and É possível buscar em Walter Benjamin aspectos to document the process of formation of this tem como objetivo documentar o processo de
the contemporary subjectivity, starting from da melancolia como um sintoma social do nosso school and its trajectory since 2004, identifying formação desta escola e sua trajetória desde
the action of a melancholic body. The term século, relacionando o desencanto do melancólico possible artistic and pedagogical specificities. 2004, identificando possíveis especificidades
performative intends to describe a body in their ao efeito de uma inadequação ou de uma recusa em Since the eighteenth century, the process of artístico-pedagógicas.
social and aesthetics implications. relação as suas condições sociais. A desvalorização organization of circus artists has undergone Desde o século XVIII, o processo de organização
It is possible to look for in Walter da experiência da vida conduziria ao fatalismo several transformations and since the 1950s dos artistas circenses passou por várias
Benjamin’s ideas, aspects of melancholy as que está na origem da indolência do coração do and 1960s, with the arising of circus schools, transformações e a partir das décadas de 1950 e
a social symptom of our century, relating the melancólico. A importância da melancolia para esta the form of transmission of knowledge, initially 1960, com o surgimento das escolas de circo, a
melancholic disenchants from the effect of an pesquisa se funda na possibilidade que ela parece from a generational and family nature, began to forma de transmissão de conhecimentos, até então
inadequacy or a refusal of their social conditions. oferecer de reflexão sobre o corpo contemporâneo, change. Despite this, the discussion involving the de caráter geracional e familiar, começou a sofrer
The depreciation of the experience of life would fundado em uma estrutura social produtora de study of clown language training is quite recent. alterações. Apesar disso, a discussão envolvendo
lead to the fatalism that is in the origin of the experiências subjetivas de pauperização. The methodological procedure chosen for the o estudo da formação na linguagem do palhaço é
indolence of heart of the melancholic. The Palavras-chave: Corpo, Dramaturgia, Melancolia research is the ethnographic anthropological algo bastante recente.
O procedimento metodológico escolhido para funda o espaço da manifestação performática que

general panels 71
Social rites and performance Trellick Tales: the Thirdspace
a pesquisa é o método antropológico etnográfico, architectures no decurso do tempo histórico se transmuta de of Trellick Tower
conhecido como observação-participante. A Rite and performance are words that relay acordo com o processo assimilativo de objetivação e This article presents the project Trellick
pesquisa pretende se utilizar, também, do “Método deep marks and deep roots and devise artistic, ancoragem, conforme definido por Serge Moscovici Tales, by SPID Theatre, resultant of mapping
Matricial” de Jacó Guinsburg, trazendo para religious, civic and barbaric experiences. 1928-2014. Ritos modernos, ritos de consumo, ritos the lives of the residents through more than
o campo da pedagogia teatral a metodologia Such experiences reveal architectural de posses e protestos, novos ritos religiosos, ritos 40 years of the London Iconic building Trellick
analítica, inicialmente proposta para processos de arrangements of symbolic and edifying types performáticos, cultos da consciência aportados em Tower by Erno Goldfinger. This project, funded
criação em artes cênicas. that shape the space-time of performance. contratos de pertencimento e exclusão tecem a rede amongst others by the 20th Century Society,
Deste modo, espera-se que a dissertação possa Since ancient times, the connection between da inacessibilidade contemporânea. Este trabalho the British Council of Arts and the BBC,
contribuir para a discussão no campo da formação social rite and architecture founds the space procura refletir tais processos e experiências com allowed us to create an inherent layer of the
do palhaço no país, viabilizando a documentação e of the performative expression. In the course exemplos concretos que evidenciam as relações building and its residents through interviews,
reflexão sobre uma prática pedagógica ainda não of historical time, such space has been entre os canais icônicos de reconhecimento e as and principally memories. This project was
estudada por recentes pesquisas acadêmicas. transfigured towards the assimilative process arquiteturas da performance. also adapted for the InTransit Festival in
of objectification and anchoring, as defined London in June 2016, and in February 2017
by Serge Moscovici 1928-2014. Modern rites, the materials were displayed in a temporary
Milton de Andrade Jr. consumer rites, rites of possessions and Maria Jose Martinez Sanchez exhibition at the Victoria and Albert Museum
UDESC protests, new religious rites, performance Birmingham City University called Reimagining Goldfinger.
deandrademilton@hotmail.com rites, consciousness cults brought on maria.martinezsanchez@bcu.ac.uk The creative team – an architect, a performer
contracts of belonging and exclusion devise and a soundscape designer – in collaboration
Milton de Andrade is a full professor of the network of contemporary inaccessibility. María José Martínez Sánchez Ph.D. MA MArch with the directors and the young people of
the Department of Performing Arts and the This paper seeks to define such processes and Architect is a lecturer in Interior Architecture SPID, went through different derives around
Postgraduate Program in Theater of the Arts experiences through concrete concepts and and Design at Birmingham City University the building. These derives were not only based
Center CEART - State University of Santa to expose historic interfaces concerning the United Kingdom . She studied architecture in on the spatial experience, but also on different
Catarina UDESC. He holds a master and a iconic and social recognition channels and the the Universidad Politécnica of Madrid Spain and interviews with the inhabitants of the building
doctorate in performing arts and dance at the performance architectures. graduated with distinction from the MA Advanced that emerged as a Thirdspace. As Edward Soja
University of Bologna Italy and a post-doctorate Theatre Practice at RCSSD in London. In 2012, suggests, this Thirdspace is where “everything
in cultural anthropology at the University of Os ritos sociais e as arquiteturas together with Alba Fernández and Cris R. Sanz comes together ... subjectivity and objectivity,
Palermo Italy. Leader of the research group da performance de Siria, she won with Vacío the INJUVE Prize of the abstract and the concrete, the real and the
directory - CNPq Performativity paths: Rito e performance são palavras que carregam scenic arts of the Spanish Ministry of Culture. She imagined, the knowable and the unimaginable,
Mediterranean, Africa, Americas, he has worked marcas e raízes profundas e que tramam has published several articles in scientific journals the repetitive and the differential, structure
as a visiting professor in the Department of experiências artísticas, religiosas, cívicas e such as Hipo-tesis and Urban. She has worked and agency, mind and body, consciousness
Eurythmy at Alanus University Germany and barbáricas. Tais experiências se manifestam em as a set designer and exhibition designer in UK and the unconscious, the disciplined and the
maintains collaboration with Italian universities arranjos arquitetônicos de cunho simbólico e and Spain, where her work has been seen at Soho transdisciplinary, everyday life and unending
and institutions such as the University of “edificante” e dão forma ao que é reconhecido Theatre, InTransit Festival, London Trinity Laban, story” Soja, E., 1996:57.
Palermo, the University of Florence and the como o espaço-tempo da performance. Desde a Museum of Contemporary Art Reina Sofia, or The objective of this article is to present a new
Academy of Fine Arts in Turin. antiguidade, a relação entre rito social e arquitetura Conde Duque Theatre in Madrid amongst others. layer of information that is located in-between
the architectural space and the everyday taking place in Miami, Florida, echoed Ais Matters in London, and at the New Performance thought. To elaborate on these processes, I will

general panels 73
life of their inhabitants through a series of gesture by dropping a vase that formed part Festival in Turku, among other venues. present some recent discussions on the topic
performative elements, that weave the past, the of Ai’s installation, using the triptych as a http://teronauha.com of the Real and schizophrenic by philosopher
present and the future. backdrop. The event was captured in amateur http://howtodothingswithperformance. Peter Pál Pelbart 2014 and schizoanalyst Ana
Keywords: Trellick Tower, Thirdspace, footage, which circulated widely in the press. wordpress.com/ Carmen in their long practice with the Ueinzz
performance The perpetrator, Maximo Carminero was theatre group from São Paulo. Considering
charged with criminal mischief. At a later press The unstable ‘fictioning’ in performance performance practice as mode of thinking,
conference, Carminero, whom it emerged and philosophy my argument is that it does not fall back
Joel Anderson was also an artist, claimed that his action This presentation asks what is the relationship on a mere representation of the world as
University of London was a protest against unfairness of the art between performance art and philosophy, fiction, but function as processual gestures
joel.anderson@cssd.ac.uk world, its preoccupation with high-status, if they are regarded as gestures of thought. of thought, as fictioning. The artistic practice
high yield international artists, and at the Decision as reflection, analysis and reduction of performance is a generation of thought as
Joel Anderson is a Senior Lecturer at Central gallery’s omission of local and less renowned both in performance and philosophy produces indeterminate fictioning and not mere analysis
School of Speech and Drama, University of artists. His act, apparently prompted by Ai’s the differential base for the world. Decisional or representation of the world.
London. His book, Theatre & Photography, was triptych, raised questions about the business of gestures of thought allocate meaning and
published in 2015, and he has recently presented international art, and around which iconoclasts norms. In these terms, both philosophy and
research in France, China, Korea, and in Britain. are feted or condemned. performance as practice think, but their thinking Annette Arlander
is not parallel or relational, but happen in their University of The Arts Helsinki
A broken urn - performance protests, own terms with a particular kind of consistency. annette.arlander@uniarts.fi
international artists and iconoclasm Tero Nauha From ‘equalizing of thought I will proceed to
Chinese artist Ai Weiwei engages both with University of The Arts Helsinki articulate thought as ‘fictioning, by which I mean Annette Arlander is an artist, researcher
the potential of photography to document and teronauha@gmail.com a particular operation, which has a root in a term and a pedagogue based in Helsinki. She is
with the possibility of creating photographic fictionale, or philofiction, coined by François educated as theatre director, MA philosophy
performances, figuring as photographer and Tero Nauha is an artist and a postdoctoral Laruelle 2013. I will articulate fictioning in terms and DA theatre and drama. She was professor of
as the subject of photographs in his works. His fellow at the Helsinki Collegium for Advanced with fabulation used by Bergson 1935, Deleuze performance art and theory at Theatre Academy,
triptych Dropping a Han Dynasty Urn 1995, a set Studies. He is a member of the Academy of 1997 and film theorist Ilona Hongisto 2015, or Helsinki 2001-2013, head of the Performing
of photographs, sequentially pictures the artist Finland postdoctoral research project ‘How To how Simon O’Sullivan 2017 has written about art Arts Research Centre 2007-2009, professor of
dropping a priceless and unreplaceable urn, Do Things With Performance?’ He defended practice using ‘fiction as method’. Both fictioning artistic research and vice dean for research at
which smashes to pieces. Ai is celebrated as a his doctoral research on schizoanalysis at the and fabulation have a common direction for University of the Arts Helsinki Theatre Academy
dissident in the western art sphere in which his Theatre Academy of the University of the Arts perceiving the actual reality as processual. and visiting professor at Stockholm University of
work circulates, and this work has been received Helsinki in January 2016. In 2015, he published These terms need to be distinguished from the the Arts 2015-2016. At present she is university
as a critique of oppressive discourses of heritage, his first fiction novel Heresy & Provocation for common use of ‘fiction’, as being something researcher at Helsinki Collegium for Advanced
as well as as a consideration of the cultural and the Swedish publishing house Förlaget. His altogether different operation of thought. Studies at Helsinki University, visiting researcher
financial value of artworks. performance art projects have been presented at Both fictioning and fabulation are terms which at Academy of Fine Arts, University of the Arts
On 16 February 2014, a visitor to Ai’s the Frankfurter Kunstverein, Theatrediscounter emphasise the unstable and precarious nature of Helsinki and the PI of the Academy of Finland
retrospective exhibition, According to What?, in Berlin, CSW Kronika in Bytom, Performance reality being a product of decisional gestures of funded research project How to Do Things with
Performance. For artworks and publications, see http://www.av-arkki.fi/teokset/the-tide-in- Torkkel, Jouni Järvenpää, and Maija Reeta Universidad de Chile and PhD in Literature P.

general panels 75
https://annettearlander.com kan-tiang/. For information about the research Raumanni – we explored what remains of Universidad Católica de Chile. Her Spanish
project, see https://www.researchcatalogue.net/ past bodies in photographs, drawings, notes, translations of English, American, and French
How to do things by performing view/281037/281038 and reviews not in an effort to reconstruct a plays, have been produced by leading Chilean
with plants? past practice or re-create an ‘original’ 1913 directors, and have also been published along
Understanding the relationship between choreography but in order to explore the with her various translations of books and
performer and environment from a post- Hanna Järvinen currency of a dance purportedly about the papers on Chilean history, and theater studies.
humanist and new-materialist perspective University of Helsinki future. There is always a gap between the Her longstanding work in practice as research
prompts us to consider how to perform together gekko@iki.fi historical materiality of performance and methodologies was rendered in the book La
with creatures, life forms and phenomena around any contemporary understanding of that investigación de los procesos teatrales. Manual
us, including plants. This paper attempts a Dr Järvinen is the author of Dancing Genius materiality, but performative historiographical de uso Santiago: Frontera Sur / Ediciones
diffractive reading of physicist and queer theorist Palgrave Macmillan 2014 as well as several edited exploration can create an affective link between Apuntes, 2011. In the last years, she has been
Karen Barad’s 2007 2014 notions ‘intra-action’ collections and articles in journals such as The the interrupted legacy of a past performance working on traumatic memory, postmemory, and
and ‘agential cut’ with regard to the environment Senses and Society, Dance Research, AVANT, and the future of the art form. In addition, theater in postconflict societies.
and of philosopher Michael Marder’s 2013 and Dance Research Journal. She is a University a performed history takes these questions
2015 examination of the specificities of vegetal Lecturer at the doctoral programme of the out of the academia into wider circulation, AppRecuerdos: the memory flâneur
being and the challenges it presents us with, Theatre Academy of the University of the Arts evident in how the 2016 choreography was In January 2017, AppRecuerdos Appmemories
in combination with my experiences of a small Helsinki and a Senior Researcher in the Academy received in Finnish media. This brought about was premiered in Santiago, Chile, displaying
one-day performance for camera together with of Finland research project How to Do Things with questions not only about how a performance is the result of a collaborative work that brought
a tree on the seashore in Thailand, The Tide in Performance? 2016-2020, in which she focuses remembered, but by whom and to what purpose. together Rimini-Protokoll and a team of Chilean
Kan Tiang 2016. The performance can be linked on uses of power in the construction of authors Diana Taylor has argued that the power of the artists led by Mauricio Barría playright and
to unstable geographies of rising sea levels and and canons through re-performance and research. repertoire is in challenging the hegemony of the scholar and Verónica Troncoso visual artist.
complications of mass tourism the paper aims historical archive. I argue that performances AppRecuerdos is a downloadable application for
to examine the implications of ‘performing On the Historical Materiality of of reconstructions complicate this dichotomy: mobile phones which allows the user to listen
with’. Could ‘performing with’ be used as a tool Performance, Past and Present any critical understanding of the legacy of past to various testimonies from 1970 to 1990 while
in order to generate experiences of increased In this presentation, I ask how studio work with art works requires challenging the politics of wandering around the historic center of the city.
understanding of life forms unlike us, despite dancers can contribute to our understanding of attribution in and of performance practice. Working on the idea of the everyday expert Stefan
the impossibility of direct communication, historicity of dance practice. In 2016, I worked Kaegi, 79 testimonies were recorded in the same
and could ‘performing with’ help us in shifting as an expert advisor on a contemporary dance places of the city where the events being told
the focus from the effects of performance on piece, Jeux: uudelleen kuviteltu/re-imagined. Milena Grass had happened. This sample recovered individual
the viewer or audience to its impact on the Together with the choreographer Liisa Pentti, PUC/Chile experiences of different subjectivities belonging
performer? This presentation is connected to I devised exercises for re-imagining a dance mgrass@uc.cl to a wide political, social and cultural spectrum.
the Academy of Finland funded research project work no-one alive has any experience of: Along with the testimonies, listeners had access
How to Do Things with Performance and to Jeux, a 1913 choreography by Vaslav Nijinsky Milena Grass Kleiner. Translator and theater to certain documents Salvador Allendes speech,
the artistic research project Performing with for himself, Ludmila Schollar and Tamara scholar, Professor at Pontificia Universidad radio communications, etc. and songs of a time
Plants. For an excerpt of the performance, see Karsavina. With the three performers – Anna Católica de Chile. MA in Latin American Studies that went from the election of Salvador Allende,
first Socialist President of Chile, to the end of of them began years before, more specifically of seeing: Walter Benjamin and the Arcades antitéticos: Palco / Drama e Ator / Espectador

general panels 77
Agusto Pinochet’s Dictatorship. The project thus in 1924, when the actress Asja Lacis made an Project 2002, by Susan Buck-Morss. para encontrar no eixo central a imagem dialética
created a XXI Century flâneur walking the streets effort for them to meet each other. Perhaps, Keywords: Walter Benjamin, Bertolt Brecht, que aqui é denominada de Gestus, elemento
of the political core of Santiago, Chile’s main city, Brecht may have been the artist with more dialectic, Epic Theatre primordial para a definição benjaminiana
while filling the urban space with the testimonies elective affinity in the consolidation of do teatro épico praticado por Brecht. Para
being heard. This papers aims at presenting this Benjamins work, including texts and theories Benjamin leitor de Brecht: o teatro como elaboração das polaridades antitéticas e a
project and reflecting on some of the questions that did not approach specifically the epic uma sala de exposição consequente visualização da imagem dialética foi
is raises about the double dimension of memory theater, even with the repeated negative Walter Benjamin entre os anos de 1930 a utilizado como referencial teórico o livro Dialética
–individual and collective at the same time-, and implications that Gershom Scholem and 1939 escreveu um total de onze textos sobre do olhar: Walter Benjamin e o Projeto das
the way its multiple layers overlap in the urban Theodor Adorno indicated for that friendship Bertolt Brecht, apesar da amizade entre os Passagens 2002, de Susan Buck-Morss.
landscape of today. It also addresses some hot and for the intellectual work of Benjamin. The dois retroceder a 1924 quando a atriz Asja Palavras-Chave: Walter Benjamin, Bertolt
issues like the definition of theatre itself, the present essay- initial result of a larger project Lacis empenhou esforços para que eles se Brecht, teatro épico, dialética
possibility of turning applications designed for that seeks to understand the idea of literature encontrassem. Brecht talvez tenha sido o artista
private use into a gadget whose purpose is to /art as an intervention, an idea defended by de maior afinidade eletiva na consolidação da
reinforce collectiveness instead of fostering Benjamin and Brecht, but not developed in obra benjaminiana, inclusive em textos e teorias Martynas Petrikas
individuality, and consumption. And even, how his texts- seeks to analyze the text “What is que não abordavam especificamente o teatro Vilnius University
much historical context do we need to be able the epic theater?: a study on Brecht” [Was is épico, mesmo com as reiteradas implicações martynas.petrikas@kf.vu.lt
to decipher these individual testimonies in their das epische theater?] 1931, dialoguing with negativas que Gershom Scholem e Theodor
relation to the broader horizon of political events. the analysis made by the philosopher Gerd Adorno indicavam para essa amizade e para o Martynas Petrikas is an associate professor
Bornheim in the book “Brecht: the aesthetics trabalho intelectual de Benjamin. O presente at the Institute of Creative Media, Vilnius
of the theater” 1992. The starting point for the ensaio, resultado inicial de um projeto-maior University Lithuania. His fields of interest among
Cláudio Guilarduci dialogue is the problematization of two ideas que busca entender a ideia de Literatura/Arte others are: social aspects of theatrical practice,
UFSJ presented by Benjamin in his definition of epic como intervenção, ideia defendida por Benjamin history of Lithuanian theatre, and history and
guilarduci@ufsj.edu.br theater: the relation established between i epic e Brecht, mas que não foi desenvolvida em theory of theatre criticism. In recent years he
theater and sport, and ii word and gesture. seus textos, busca analisar o texto Que é o has headed and participated in several research
PhD in Theater, Federal University of the State The methodological procedure was elaborated teatro épico?: um estudo sobre Brecht [Was is projects funded by the Research Council of
of Rio de Janeiro-UNIRIO, professor in the major from the construction of coordinates, where das epische theater?] 1931 dialogando com as Lithuania Bridge Between Cultures: Relations
of Theater, and in the letters Post-Graduation in the extremes were positioned antithetical análises realizadas pelo filósofo Gerd Bornheim Between Lithuanian and Polish Theatre in
program masters degree of the Federal concepts: stage/drama and actor/spectator, no livro Brecht: a estética do teatro 1992. O ponto 20th Century 2012-1014, Popular Performers
University of São João del-Rei-UFSJ to find in the central axis the dialectical image de partida para o diálogo é a problematização de in Interwar Lithuania 2015 among others. He
that here is denominated as Gestus, primordial duas ideias apresentadas por Benjamin em sua has authored academic publications as well as
Benjamin reader of Brecht: the theater as element for the Benjaminian definition of epic definição de teatro épico: a relação estabelecida numerous presentations at scholarly events
an exhibition room theater practiced by Brecht. For the elaboration entre i o teatro épico e o esporte e ii a palavra e in Lithuanian, English and Polish. In 2014 M.
Walter Benjamin in the years of 1930 to 1939 of the antithetical polarities and the consequent o gesto. O caminho metodológico foi elaborado Petrikas published a collective monograph “Post-
wrote a total of eleven texts about Bertold visualization of the dialectical image was used a partir da construção de coordenadas em Soviet Lithuanian Theatre: History, Memory,
Brecht, although the friendship between both as a theoretical reference the book Dialectics que seus extremos se posicionam conceitos Identity” co-author, in Lithuanian.
Chieko Hiranoi also compatible with the original concept of the Hye-Gyong Kwon

general panels 79
How Theatre Makes Us To Remember
In this paper the theatre will be considered Hosei University word kabuku behave cool and unique. Such efforts Dongseo University
as a tool for retrieval of historical events and for chieko@hosei.ac.jp include performances in unexpected places and hkwon@dongseo.ac.kr
channeling them into realm of collective memory. temporary theatres, cooperative kabuki works
To classify the modes of remembering one can Professor in the Faculty of Humanity and with playwrights and directors from modern Hye-Gyong Kwon is Professor at the Dept. of
turn to Friedrich Nietzsche 1874, who speaks Environment, at Hosei University in Japan, theatres and collaborations with artists from English, Dongseo University, Busan, Republic
of an antiquarian, monumental and critical teaching comparative theatre and regional different genres. Nakamura Kanzaburo XVIII of Korea South Korea. She got her Ph.D. from
historiography not only as of attitudes towards theatre in Japan. 1955-2012 was passionate about entertaining Korea University, Seoul, Korea. She is also Vice
the history, but also as of ideologically informed Research interests include British theatre, audiences through innovative ideas and President of the New Korean Association of English
agendas. In my paper, I will focus on critical mode Japanese theatre, regional theatre, theatre challenging projects, while he was also brilliant Language & Literature and Editor of the Journal of
of representing the past on the stage. As Marvin festivals and dramatic works applied to education. in performing a variety of roles covering both Modern British and American Drama published
Carlson notes, the “haunted stage” of the theatre Her most recent publication related to the genders in traditional kabuki performances at the by Modern British & American Drama Society
functions as memory machine, where “ghosts” of presentation are A Shameless Priest Travelling Kabuki-za theatre. In terms of kabuki performing of Korea. Her academic concerns are British and
the past appear in various guises Carlson: 2003, Overseas -The Entertainment of Hokaibo, or venues, his temporary theatre series, Heisei American drama, feminism, film, comparative
revealing one and by the same token – concealing Sumidagawa Gonichi no Omokage-2013 and Nakamura-za has been continued by his sons criticism between Korean and foreign culture and
another side, or image, or aspect of the historical Aida as a Drama: Aida Directed by Olivier Py and performing Shunkan on location in Iwo-jima literature. She has published books and articles
events. Any instance of nation building would and Noda Kabuki Version of Princess Aida2017. island was based on his idea of performing kabuki on Samuel Beckett, Tom Stoppard, Eve Ensler and
include both: forgetfulness and remembrance, She conducted a research on Edinburgh in such a natural setting with a history related James Barrie, as well as on gender politics and
whereas theatre often becomes a stage, that festivals, being associated with the University of to the drama. He had repeatedly cooperated modern consumer culture, and on the political
reveal the dialectical tension between them. This Edinburgh, from April 2016 to March 2017. with modern directors and playwrights, such appropriations in the transformation of western folk
is especially true in case of countries and nations as Kushida Kazuyoshi, Noda Hideki and Kudo tales into fairy tales and animations. In addition to
with difficult if not troublesome past. My case in Uniqueness in Kabuki contributions by Kankuro, each of whom contributed to adding these, she has also directed 17 drama performances
point are two very different productions that deal Nakamura Kanzaburo XVIII modern tastes to the world of kabuki, Kushida as in English with college stdents, such as Our Town,
with history of Lithuania, a country that in the last Most major professional kabuki actors have a modern director, Noda and Kudo as a modern Romeo and Juliet, The Caucasian Chalk Circle, A
century underwent several radical transformations: been born and raised in distinguished kabuki playwright and director. The paper will discuss Doll’s House, Death of a Salesman, etc.
being a province of Russian Empire, an independent families. They must train their physicality in how successful the challenging venues Kanzaburo
republic, then a part of USSR and since 1990 an traditional Japanese dancing as well as stylized chose and his cooperative works with modern Divided Country and Divided Literature: the
independent state again. Despite being different in acting and speech from childhood. They normally directors were in broadening the kabuki world Restoration of the Lost Korean Poet in Lee
their aesthetic conventions both productions could follow their family tradition in acting to pass it and attracting new audiences. [kabuki, Nakamura Yun-Taek’s Play Baek Suks Fables
be regarded as examples of the questioning and on to their descendants with names. As they Kanzaburo XVIII, tradition, innovations] After the Korean War 1950-53, Korea was
wandering mode of remembrance, that refuses to respect tradition basically, kabuki is one of the divided into two, North & South Koreas. Since then,
believe and to internalize the canonical discourse of representative traditional performing arts in two Koreas have developed upon different political
collective memory. modern Japan. On the other hand, some of and economic systems and have confronted with
Keywords: memory, performance, history, the them try hard to invite new audiences through each other with a hostile attitude. Korean art and
Baltic states enlightening or innovative events and shows, literature has been also separated and developed
which is not only useful for preserving kabuki but respectively. In South Korea, all the names of the
poets and novelists who chose North Korea were Hayato Kosuge caused serious nuclear accidents, primarily the Fukushima perspective. Keywords: Fukushima,

general panels 81
not included into the Korean literary history and Keio University the level 7 meltdowns at three reactors in the Butoh, Bishop Yamada, Hijikata Tatsumi
their names were nearly forgotten until 1990s. hayatok@kvj.biglobe.ne.jp, hamlet@keio.jp Fukushima Daiichi Nuclear Power Plant complex,
Lee Yun-Taek, one of the most representative forced the residents within a 20 km radius of the
Korean playwrights, chose Baek Suk 1912-1996, Hayato Kosuge is professor of Foreign plant evacuated. The Fukushima Daiichi Nuclear Chris Collins
a North Korean poet, as a writing material for his Languages and Liberal Arts, Keio University in Power Plant was built and run by “Tokyo” Electric University of Nottingham
play Baek Suk’s Fables 2015. Born in Chungju in Tokyo, and Director of Keio Research Center for Power Company though it existed in Tohoku christopher.collins@nottingham.ac.uk
North Korea, Baek Suk studied in Seoul and Tokyo Liberal Arts. He is Executive Committee member northern rural area of main island of Japan, and
and worked as journalist and teacher. He was very of IFTR since 2013 Organizing Committee its electricity had been used for supporting the Chris Collins is an Assistant Professor of
famous for his lyrical and folksy poems woven member of PSi #21 Fluid States 2015 and service function for urban life around Tokyo not for Drama and Performance at the University
with traditional and beautiful Korean words and representative of its Tohoku cluster. He finished the neighboring area. The atomic power plant has of Nottingham. He has published widely on
expressions. When the war broke out, he stayed doctoral course in 1990 at Keio. He is visiting both ‘universality/urbanity’ and ‘locality/rurality’ collective memory in Irish performance including
in Pyeongyang in North Korea while translating scholar at the University of Cambridge in 1996- as its essence, a coexistence that sometimes a recent co-edited collection of essays (with
Russian novels into Korean. Since then, he has been 98, and Stanford University in 2003. His research confounds its identity as is the same case with Mary P. Caulfield) entitled Ireland, Memory
nearly forgotten from the South Korean society. interests include the Japanese underground the paradox of Butoh dance. Bishop Yamada, after and Performing the Historical Imagination. He
Playwright Lee tries to restore the life and the movement of the 1960s and 1970s, with a focus being well trained by Hijikata Tatsumi in Tokyo, set has published two monographs on the plays
literary world of the forgotten poet Baek Suk. In on Butoh performance. He is involved in the off to the foot of Mt. Haguro in Tsuruoka in rural and performances of Irish playwright, J.M.
the play, Lee introduces the situation which Baek Hijikata Tatsumi Archive in Keio University Art Tohoku and founded Hoppo Butoh-ha Northern Synge. He is also the acting Secretary General
Suk met in North Korea after the war. The poet Centre with project leader of the research group, Butoh School on the site, where Bishop produced (Communications) for IFTR.
wanted to write lyrical poems as he usually did, Portfolio Butoh, and is a research fellow at the Shiokubi Salted Heads—dead heads preserved
however, his works were severely criticized by Research Institute for Digital Media and Content, with salt, 1975 for the opening Hoppo Butoh-ha. Performing Collective Nostalgia: Rural
the North Korean government due to the lack Keio University. He is also interested in English Butoh has since expanded from Tokyo to many Spaces in Urban Places
of communistic ideas and propaganda. He even Tudor drama mainly focusing on Shakespearean other places in the local and global level with This paper offers a performance analysis of the
tried to find an exit from children’s literature dramaturgy, referring to Japanese Shakespeare changing its ideas and fundamental forms and 2013 immersive theatre performance of Farm by
breaking out of the communitarian society. productions and their cultural context. He is editor approaches. The expansion of Butoh reflects its the multi-award winning Irish theatre company,
Despite his effort, in 1962, the North Korean and coauthor of Fuhai to Saisei Corruption and ambivalent combination of urbanity and rurality— WillFredd Theatre. The paper considers how the
government collected and discarded Baek Suk’s Regeneration in 2004, and coauthor of Shintai I on the one hand thermalizing the Northern Hoppo performance used collective memory of rural
poems, and finally sent him to a collective farm Bunka-ron Body, Medicine, and Culture in 2002 area as the Urheimat of Hijikata’s ‘darkness’ and, spaces in an urban place (city-centre Dublin) to
in far Northern district. Restoring the lost poet among his English publications is “Transformed on the other hand, emphasizing a ubiquitous, create feelings of affective, collective nostalgia
Baek Suk in his play, Lee succeeds in enlarging and Mediated Butoh Body: Corpus Moriens in transnational, and nomadic nature detached from that stayed with spectators long after the
and deepening the Korean literature. Hijikata’s Earthen Statue Project” in 2013. any cultural values. Both the atomic power plants performance ended. Much attention has been
Keywords: Lee Yun-Taek, Baek Suk, war, and Butoh have remained amorphous and capable given to the concept of collective memory when
divided country, divided literature, restoration The Urbanity and Locality of Northern of expanding its political and cultural articulation. analysing performance. In this paper I draw on
Butoh School from Fukushima Perspective In this presentation, focusing on Bishop Yamada contemporary psychological and sociological
The tsunami by the Great East Japan and Hoppo Butoh-ha, especially on Shiokubi, the research on nostalgia, as I try to model how
earthquake at 2:46 pm on Friday 11 March 2011 paradoxical nature of Butoh will be considered from collective nostalgia can be created through
performance. The dangers of nostalgia in a Stephens’s Song from Far Away, in which an PUC-Rio de Janeiro where she founded

general panels 83
UTOPIAS, DYSTOPIAS, HETEROTOPIAS. THE
globalised world are well documented, and when Amsterdam expat in New York returns home and directed 2009-2014 the Performing COMMON IN DISPUTE
experienced by a collective it regularly leads for his brother’s funeral, and is confronted with Arts Department. Since 2014, a Professor In the contemporary urban imagination, our
to the rejection of pluralism. However, in Farm, the shallowness of an existence that left behind of Stage Direction at the Communication common future is prefigured more often as a
collective nostalgia was not seen as a negative, every trace of a national identity. Also the first School of the Universidade Federal of Rio de dystopia - life in extreme conditions of oppression,
reductive phenomenon, but rather a productive two parts of Peeping Tom’s trilogy, Father and Janeiro ECO-UFRJ, also teaching Creative vigilance, deprivation - than in the utopian forms
phenomenon; memory was not seen as painful Mother, have as one of their central themes the Processes in the PhD course in Performing that stimulated the modernist imagination.
longing but as a productive facilitator of new dissolution of an identity that is called home. Arts. She has been invited professor in Here, we discuss whether a human act like art,
memories, experiences and communities. This My presentation will be informed by what Marc some GB Universities such as E-15 Acting characterized by its in-usefullness among other
paper asks how, and why that was the case and Augé has called ‘non-places’, not dissimilar to School, Essex and Queen Mary University. human actions as work, may work as a device
what this means for the future of longings for the Foucault’s notion of heterotopias. Remarkably, A distinguished stage director, above more of resistance at this awful perspective. We
past in performance. both Stephens’s plays and Peeping Tom’s theatre than 30 works some as Descoberta das think about artistic gestures that are capable of
productions are often set in or make reference to Américas 2005, Arlecchino all’inferno 2007 challenging our ways of life and modifying them:
transit places such as hotels, museums or airport or Il cattivo selvaggio 2008 were awarded urban interventions, happenings, installations,
Laurens De Vos lobbies, postmodern purgatories that one the in Brazil and Italy the most travelled overall site-specific acts and other aesthetic-political
University of Amsterdam one hand break up boundaries but on the other Latin America and Europe. Some majeures behaviours based on displacement that we
l.e.r.deVos@uva.nl hand also create the illusion of the possibility projects were awarded by the XXXVII designate under the sign of artivism. How can art
Laurens De Vos is assistant professor in of a life without national identity. I will try to Biennale, Venice Arlecchino d’oro, 2007, by displace from its current destiny of commodity
Theatre Studies at the University of Amsterdam. find an answer to the question what home and the Brazilian Ministry for Culture Interações and redeem its utopian and revolutionary
He obtained his PhD in 2006 from the University national identity mean in contemporary plays Estéticas for Laboratorio Madalenas, twice: potential? How such experiences of urban art
of Ghent. and performances and what position they take 2009, 2010, by the British Art & Research may displace the conventional actor-spectator
He is the author of Cruelty and Desire in the towards the concept of homelessness in the Council price for realizing Utopias, part of expectations of in the representational system?
Modern Theater (Dickinson Fairleigh UP, 2011) figurative sense. In addition, how does this stance the Creative Lab with other artists, 2016, How art could stand out as an act of resistance,
and Shakespeare (Lannoo, 2016) and the editor relate to the uncanny or un-heimlich as set out by by FAPERJ Apoio a grupos de Pesquisa for in our societé du spectacle saturated by media
of Sarah Kane in Context (Manchester UP, Freud almost exactly 100 years ago? Do we need Artivismo e utopia, 2014-2015 and Legados writings and images which are normative of our
2010). His most recent research publications to update Freud’s definition in light of a changed do Boal, 2016, by CNPq for Laboratorio de everyday conducts? The reflection is based on
were on David Greig (in latest issues of JCDE interpretation of ‘home’ in the 21st century? Estética e Politica, 2015. As a playwrighter, the empirical work of the my Research Group
and Modern Drama) and the dynamics of the eight of her plays written since 2004 have on Aesthetics and Politics, especially the series
gaze in the theatre. been staged in Europe, by Teatro Cargo of actions we designed as invisibles held in Rio
one been indicated as best text in italian de Janeiro between 2013 and 2015, inspired by
The homely and national identity in Alessandra Vannucci national award Premio Ubu. She is an Le città invisibili of Italo Calvino, among other
contemporary theatre UFRJ activist of Theatre of the Oppressed since lectures such as Hakim Bey, Lefevbre, De Certeau,
The concept of home has been deprived of its alevannucci@gmail.com 1993, writing, founding and realizing Jacques Rancière, Nicholas Bourriaud, Nestor
sense of belonging, it has lost its familiarity that projects on theatre and citizenship in Garcia Canclini, David Harvey, Milton Santos etc.
used to be crucial in building up one’s identity. Italian artist and art researcher, PhD in schools, communities, penitentiaries We have created ten human installations that
This is very well exemplified in e.g. Simon Literature at Pontificia Universidade Católica in Italy and Brazil. works as counter-conduct, resisting to urban
rules and proliferating possibles cities which A arte ainda pode “representar” o mundo? Como Paul Rae boundaries of role, self-identification and even

general panels 85
overlap and contaminate the map of the city. pode destacar-se como ato de resistência, em nossas University of Melbourne physical position that theatrical and scholarly
They are sensory gaps, in which the passer-by metrópoles-espetáculo, saturadas por mídias escritas paulrae@unimelb.edu.au conventions alike tend to reinforce. Anyone with
may enter strange bubbles that embarrass the e imagens normativas das condutas cotidianas? the minimum of relevant competencies can talk
regime of visibility what is given to be seen in Como pode a arte distanciar-se de seu atual destino Paul Rae is Associate Professor of Theatre theatre, regardless of the nature or extent of
the urban panopticon they are concrete tactics de mercadoria e resgatar seu potencial utópico Studies at the University of Melbourne. He is their involvement in a given event.
to seek, as Calvin suggests, what in the midst e revolucionário? author of Theatre & Human Rights and Senior Ultimately, I suggest, careful attention to
of hell, is not hell and open space and make it A reflexão se fundamenta no trabalho empírico Editor of the IFTR-affiliated journal Theatre theatre talk underscores the ways in which
last. Instead of the modern utopian perspective, do Grupo de Pesquisa em Estética e Política GEEP Research International. He has published widely theatre is continuously constituted anew:
implying in its dystopic results, we try to open da PUC-Rio, especialmente da série de ações que on contemporary theatre and performance sometimes on stage, sometimes in speech, but
interstices, to multiply spaces, in the idea of drift. definimos “invisíveis” realizadas na cidade do Rio theory, and his book Real Theatre: Essays in always in combinations of novel and familiar
The installations are the performative equivalent de Janeiro, entre 2013 e 2014, a partir da obra Experience is forthcoming from Cambridge components that partly, but never wholly, overlap
of the heterotopias described by Foucault as Cidades Invisiveis do Italo Calvino. Criamos dez University Press. with other iterations and enactments. It is not
illusory spaces that denounce as any real space “instalações humanas” que se apresentam como a matter of treating theatre talk ‘as’ theatre, if
more illusory and expose its reverse: an aesthetic contra condutas práticas, proliferando possibilidades Theatre Talk the latter term goes unmodified. Rather, it is a
intervention which tries to visibilize the invisible, de cidades que se sobrepõem ao mapa da cidade In this paper, I respond to some of the prompt question of recognizing the mutually constitutive
interfere the urban life and act a resistance in the real e o contaminam. As instalações são bolhas que phrases in the Call for Papers – ‘territories of role they play in the social circulation – and
struggle for our common. embaraçam o regime de visibilidade, no sentido conviviality and confrontation’ ‘memory and occasional cultural crystallization – of those
daquilo que é dado a ver pelo sistema de controle invention’ ‘relations of artistic production’ – by objects, discourses, activities and identities whose
Utopias, distopias, heterotopias. e vigilância exercido pelo panópticon urbano. São stepping back from the events and practices contingent combination we might validly describe
O comum em disputa. frestas sensoriais, em que o transeunte porventura where these issues are most fraught or acutely as theatre.
No imaginário metropolitano contemporâneo, se adentra. São táticas concretas para buscar, como felt, and investigating instead how they inhere
o futuro é prefigurado mais frequentemente como sugere Calvino, “o que no meio do inferno, não é in the apparently mundane activity of having a
uma distopia – em que viver-se-ia em condições de inferno e abrir-lhe espaço e fazer com que dure”. conversation about theatre. While it is tempting Yuko Kurahashi
extrema opressão, vigilância, privação – do que nas Assim, abandonada a perspectiva utópica, to view such an activity as insignificant by Kent State University
formas utópicas que estimulavam a imaginação implicando em seu oposto distópico, buscamos ao comparison with theatrical performances, I ykurahashi@kent.edu
modernista. Aqui, tentamos refletir se uma ação invés disso abrir interstícios, multiplicar espaços. argue rather that casual conversation plays an
humana como a arte, caracterizada por sua Seguindo a ideia situacionista da “deriva”, procuramos important and revealing role in sustaining the Dr. Yuko Kurahashi is an associate professor
inoperosidade entre outras ações humanas alienadas o equivalente performático das “heterotopias” medium of theatre as durable social institution of theatre in the School of Theatre and Dance
como o trabalho, poder funcionar como dispositivo de descritas por Foucault como “espaços ilusórios que and forceful cultural practice. at Kent State University. Her areas of specialty
resistência neste sinistro quadro de futuro. Pensamos denunciam como mais ilusório qualquer espaço real” e Talk allows us to sound out theatrical include multicultural theatre, community-based
em gestos artísticos que sejam capazes de pôr em expõem o seu avesso – uma intervenção estética capaz performance from an appropriately theatre, and intercultural theatre. She is the
disputa nossos modos de vida e de modifica-los: de visibilizar os invisíveis, interferir na vivência urbana e compromised position: one that is distanced, author of Asian American Culture on Stage: The
intervenções urbanas, happenings, instalações, na disputa pela partilha do comum. but, only nominally so. Theatre talk displays History of the East West Players Garland, 1999
cenas site-specific e outros comportamentos estético- Palavras-chave: cena expandida deslocamentos few of the formal hedging strategies of and Multicultural Theatre Kendall/Hunt, 2004 &
políticos que designamos do âmbito do artivismo. novos regimes estéticos, impasses da representação academic analysis. On the contrary, it blurs the 2006. Kurahashi is a writer for PlayShakespeare.
com. Her most recent articles include: “A within the new community. “Beyond Sacred,” ‘New Scholars’ Prize’ and the African Theatre this set population in the ‘Acting for Fun’ project

general panels 87
Performance for Social Justice: The Life and 2016 was commissioned by the LaGuardia Association’s ‘Emerging Scholars’ Prize’. He was is the Guided Imagery performance technique.
Times of Patricia Prewitt” St. Lou Fringe Festival, Performing Arts Center and later toured in a Diversitas Fellow at the Carl Von Ossietzsky Guided Imagery has been described as a form of
San Diego Free Press, February 2017. various cities in the United States. In this work University, Oldenburg Germany in 2013, and a hypnotherapy. It is a gentle but powerful technique
Review of Objectively Reasonable Playwrights five young participants who live in New York City Fulbright Scholar in Drama Therapy and Trauma that focuses and directs the imagination. If properly
Local, Cleveland OH, Continuum originally share their personal experience as “Muslims” in Studies at Kansas State University, Manhattan, constructed, it has the capacity to deliver multiple
published in HowlRound, November 2016, the post-9/11 Islamphobic environment. USA between 2014 and 2015. He is a Playwriting layers of complex, encoded messages by way of
Spring Issue, 2017 upcoming. Both works illustrate lives and feelings of instructor at the Department of Theatre Arts, simple symbols and metaphors.
Review of The Crucible Cleveland Play House, people who resettled in two cities Syracuse University of Ibadan in Nigeria. This paper is a report-based document
Arthur Miller Society Journal, March 2017 and New York City, fleeing from their worn- from the project, with findings which suggests
upcoming. torn countries. The purpose of my presentation The performance of guided that the Guided Imagery performance in
Review of IN THE VA VA VOOM ROOM will be: 1 identifying common messages that imagery: playing with the its essence constitutes a deep and almost
Diversionary Theatre, San Diego, CA, San Diego the participants wish to share with their altered states of consciousness spiritual transformative process akin to the
Free Press, January 2017. audiences 2 placing key incidents as portrayed in the ‘acting for fun’ project Shaman experience in which consciousness is
Review of Objectively Reasonable Playwrights in the pieces that impacted the participants’ The ‘Acting for Fun’ project is a designed manipulated to effect healing.
Local, Cleveland, OH, HowlRound Journal, lives in the historical context 3 evaluating the experimental performance-based intervention
November 2016. role of Chong’s oral history works in society, programme which provides therapeutic
particularly at the time of “division and suffering” intervention that involved drama therapy as Igor Alexander Martins
Voices in Unstable Geographies: to borrow the words of the mayor of Berlin a creative modality to address areas of social USP
Ping Chongs “Cry for Peace” and Michael Müller in January 2017. Through my difficulty and problem behaviours among igoralexandremartins@hotmail.com
“Beyond Sacred” presentation, I would like to explore in what a group of children. The objectives of the
My paper examines two installments of way community-based theatre pieces like these intervention were to offer various drama-based Igor Alexandre Martins is a visual artist
Ping Chong’s oral narrative series Undesirable two would continue to provide a platform to activities and group processes whereby the and set designer, with bachelor’s degree from
Elements “Cry for Peace, Voices from the Congo” initiate dialogue for interracial, interethnic, and children were able to develop and practice UNESP-Institute of Arts, has technical training
and “Beyond Sacred: Voices of Muslim Identity.” intercultural understanding and healing. their social skills and manage their problem in communication and interior design, and
Presented at Syracuse Stage a and LaMaMa in Keywords: Refugees, Ping Chong, Undesirable behaviours with others. The project sought to scenography at the J.C Serroni Cenographic
2012 “Cry for Peace” is a collaboration between Elements, Oral Narrative improve upon social and emotional functioning Space. He has worked for more than eighteen
members of the Congolese community in of the selected children participants while years as a scenographer in different aspects
Syracuse, Syracuse Stage, and Ping Chong reducing stress among them. of scenography, from the project to the
+Company. As Chong asserts, the “Cry for Olusoji Cole The project substantially engaged a participatory, execution process. He works in the following
Peace” provides a tool for “healing, unity and University of Ibadan observatory and exploratory methods of execution. areas: cinema, theater, television, exhibitions
reconciliation within the Congolese community sojicole15us@yahoo.com It has pre-identified some set population of and special effects. In his graduation he
and promote peace and justice in the Congo.” children between the age of four and eight who studied art and madness artistic processes
The work functions as a powerful vehicle to raise Soji Cole is a scholar of Performance, have symptoms of autism, autistic related ailments, with the TCC, “Arthur Bishop of the Rosary
the public awareness of history of the Congo, Social Theatre, Drama Therapy, and Trauma attention deficit syndrome and other mild cognitive and the scenography of the Sacred.” Today he
the Congolese diaspora, and unsolved tensions Studies. He has won the prestigious IFTR’s disabilities. One of the models used in working with develops research projects in scenography and
performance, and studies the process of creation Sami Henrik Haapala this workshop impulse works as a practical tool therefore supposed to promote equality, and

general panels 89
in altered states of consciousness. University of the Arts Helsinki with which the actor starts to grow meaning even more, is supposed, as a « public theatre
sami.haapala@uniarts.fi together with the participant in relation to », to contribute to personal and collective
Performance in the double the environment they are embedded in. The emancipation, it doesn’t avoid gender or
visionary field Sami Henrik Haapala is a Finnish actor FIA, focus is on what kind of technique the actor racial bias.
The research deals with the appropriation of dancer, live art maker, anthropologist and a dj. He uses to sense the meaning emerging from the On the question of sex equality specifically,
contemporary performance-related artists using is also a doctoral candidate in artistic research at participant and what are the skills needed in some progress has been done, in the sense
techniques of ecstasy in their creative process, the Performing Arts Research Centre Tutke of the this re-orientation of an actor’s position. In the that the ministry of culture has acknowledged
whose objective is to bring to the experimental Theatre Academy of the University of the Arts workshop impulse works as a starting point the problem and, pushed by organizations
field, non-ordinary states of consciousness, and Helsinki. In addition to having degrees in both always already in a state of infection into which such as H/F, is progressively building policies
a hybridism between languages, characteristic of acting and dance he also holds a Bachelor of Arts the actor and the participant germinate. Acting aiming at correcting gender inequalities
the dynamics of post- modernity. The research is in Cultural Anthropology. Haapala’s works cut is often regarded as pointedly human activity (budget, executing positions, etc.). The
based on relational aesthetics, and as a parameter through theatre, dance and live art. He is the artistic (Toporkov 2008), but I propose to explore it question of the aesthetic manifestations of
of analysis, the ethnic rite as archaic performance. director of a performing arts production company as a process of impulses continuously moving those inequalities remains way less taken
Keywords: ayahuasca, alteration of The Center for Everything. In his doctoral research between cells of materials in turmoil. By into consideration by activists or public
consciousness, visionary art, rite/performance Haapala focuses on acting in participatory and considering acting technique not as something authorities. Yet, both the problems and their
immersive performances. The title of his doctoral to be seen by the spectator, but as shared possible solutions also lie in the narratives
Performance no duplo research is ‘Creators of Given Worlds’. www. embodied experience, the workshop applies Alva and the discourses on masculinities
campo visionário samihenrik.me Noë’s thoughts on presence as an enactment of and feminities built by texts and shows.
A pesquisa aborda a apropriação de artistas ourselves in achieving the world (Noë 2012). Scrutinizing different works of the past years
contemporâneos relacionados à performance, Impulse as a Seed in Turmoil (for instance Poings - Pauline Peyrade, La
que utilizem de técnicas de êxtase em seu The proposal is a workshop. It looks at acting Lesbienne Invisible - OcéaneRoseMarie,
processo de criação, cujo objetivo é trazer ao in immersive and participatory performances Bérénice Hamidi-Kim Le projet Féministes - Marine Bachelot-
campo experimental, estados não ordinários de through the concept of impulse. It aims to re- Institut Universitaire de France Nguyen, La Famille Royale - La Meute, Le
consciência, e um hibridismo entre linguagens, evaluate acting technique from the point of view berenice_hamidi@hotmail.com Prince de Machiavel – Laurent Gutman), this
característico da dinâmica da pós-modernidade. of participatory and immersive performances presentation will focus on the question of the
A pesquisa se baseia na estética relacional, e by using impulse as a main tool and concept. Senior Lecturer in theatre and performance representation of desire and sexuality of both
como parâmetro de analise, o rito étnico como It posits that impulse is one of the key terms studies at the Institut Universitaire de France/ men and women, confronting “male gaze”
performance arcaica. in both acting and dance. However, it is rarely Université Lyon 2 and “female gaze”. What does it mean for a
Palavras-chave: ayahuasca, alteração de explained, but is understood ”automatically”. text or a show to be sexist or, on the contrary,
consciência, arte visionária, rito/performance I’m particularly referring here to the work of Male gaze vs female gaze: sexism and feminist, as far as the representation of desire
Sanford Meisner (Meisner 1987), Steve Paxton feminism in French theatre today and sexuality are concerned?
(Paxton 2008) and Jerzy Grotowski (Grotowski It is only recently that French theatre
1968). By drawing on practical research, my artists, presenters and officials have realized
own practice I assert that impulse is corporeally that, though the professional sector of
understood knowledge crystallized in praxis. In live arts is funded with public money and
Kim Cavalcante Andrea Caruso Saturnino Contemporary Performance beyond Site-Specific,

general panels 91
Women and Spectros: Dialogues
kimcavalcante1111@gmail.com between gender issues and performance USP is forthcoming from SIU Press. Bertie is a graduate
spectral presences andreacarusosaturnino@gmail.com of Yale University, has a Masters in Performance
Kim Cavalcante is a visual artist, performer, This project takes the field of performance art Studies from NYU, and earned her PhD from The
dancer and art educator, Bachelor of Visual as a privileged place for research. The research PhD student at the University of São Paulo under Graduate Center, CUNY.
Arts from the University of São Paulo. Currently deals with issues that have arisen and are the direction of Dr. Felisberto Sabino da Costa,
studying Masters in Visual Poetry, in the constantly get up in my artistic production. This Andrea Caruso Saturnino is preparing a thesis Artistic Intervention and
same institution. Her artistic research is in the production lies at an intersection between gender on the concept of real shift in the construction of the Other Spectator
field of the performance art, in a confluence and what I identify as spectral presences. On the subjectivity in contemporary theater. Artists’ desire to intervene in the public sphere has
between spiritual, ethnic and gender issues. issue of gender my work finds affinity in feminist run parallel to critical discourse that engages with
Her production launches various media, such discussions to deal with the body, sexuality Transvestism and precarious testimony the role of the spectator, audience reception, modes
as photography, video, drawing, engraving, and representation of women as the spectral Through the works of Mapa Teatro, from of spectatorship, and audience makeup. In response
finding its most relevant production in the field presences, it is a spiritual dimension, ritual and Colombia, and As Travestidas, from Brazil, we to this year’s IFTR on “Unstable Geographies,” this
of performance. imagery present in the work. Nature thus appears face violent aspects of Latin America social and paper will discuss the possibility of various modes of
In 2013 she makes academic exchange in as a privileged place: as space, matter, but also political life. We aim to discuss how artists share audience engagement at unintended destinations,
Mexico. Among her recents works: co-curator as a discussion of its relation to the female body, their experiences - aesthetically, ethically and primarily through the examination of artist duo
of the film and video show Videos on the Street whether in an ancestral spiritualistic perspective of poetically - calling our attention to the power of Faivovich & Goldberg’s El Chaco en Kassel 2012 and
Educator in the Cultural Center of Penha, in the reference of Brazilian Afro-Indigenous practices, or precariousness in transvestism and testimony as director Lola Arias’ Mi Vida Después 2009.
Center of Cultural Training Cid. Tiradentes, in a critique of the construction of patriarchal ideas artistic acts. Both works generated new relations among
the Theater Company of the Apparitions and in of domination. otherwise disconnected audiences. They allowed
the Cultural Association Nego Fugido Assistant This research aims to a deepening of the for spaces of alternative spectator sites, what I
of Restoration of Papers at the Museum of relationship between these elements, since the Bertie Feldman call an off-site spectatorship—and allowed for “an
Contemporary Art of the from São Paulo artwork seem to evidence and claim an intricate City University of New York other” spectator—to inform the work.
Freelancer at the Ipiranga Museum. variety of dialogues. As theoretical references bferdman@bmcc.cuny.edu As part of Documenta 13, Faivovich & Goldberg
Main exhibitions: 2016-2017 Sesc Belenzinho: are presented to the authors Erick Felinto, Phillip planned to transport El Chaco, the 37,000
Im here. Sao Paulo-SP 2016 Red Bull Station: Dubois and Clément Chéroux to assist in the Bertie Ferdman is Assistant Professor at kg meteorite, from its original crash site in
Afrotranscendence. Are Paulo-SP 2015 Gallery: discussion of the spectra Hans Ulrich Gumbrecht BMCC at the City University of New York, where Argentina to Germany. This intercontinental
Performance Show Noise Gesture. Rio Grande for reflection on the presence and materiality and she teaches theater studies courses and public and temporary relocation caused a public media
- RS 2015 AGADU Park: Meeting of New the authors Griselda Pollock, Luana S. Tvardovskas speaking. Her essays have appeared in TDR, PAJ, frenzy and prompted the artists to cancel the
Artists. Montevideo - Uruguay 2015 Gallery and Anna Bernstein for discussions about art Theatre Journal,Theatre Survey, and Performance meteor’s scheduled trip. By embracing the public
Cañizares: V Performance Show - Conflicts and and feminism. The works of artists Maya Deren Research. She was co-editor of a Special Issue debates incited by their initiative, the artists
Convergences. Salvador BA 2015 Ibirapuera and Ana Mendieta are artistic references to the of Yale’s Theater Magazine on Performance changed the context of El Chaco en Kassel and
Park: Mato. Sao Paulo-SP research, during which it is intended to carry out Curating. Her essay from that collection is raised questions about the very “object” of art.
a survey of Brazilian artists whose works hold upcoming in an anthology titled Curating Live The meteor, in its journey as art, became the
discussions with the project. Arts: Global Perspectives, Envisioning Theory object through which a multiplicity of audiences,
and Practice in Performance. Her book, Off Sites: including a city council, emerged.
Mi Vida Después, a play written in reveals the interaction between the significant significativas do teatro e da vida cotidiana. Para o NHL Hogeschool, which aims to develop and

general panels 93
collaboration with its original Argentine cast, all experiences of the theater and everyday life estudo da experiência dos espectadores do teatro monitor interactive social media communication
of whom were born at the height of the military experiences. For the study of spectators’ toma-se como base teórica o estudo de John Dewey strategies of art organizations in Leeuwarden,
dictatorship between 1976 and1983, enabled experience, we take as theoretical basis John Arte como experiência 2010 [1934]. A teoria do the Netherlands. She ’s working on her
the space of theatre to become the site of public Deweys Art as Experience 1934. Our vision espectador é embasada pelo estudo Figurations du PhD thesis ‘Values of theatre attendence in
witnessing. One of the performer’s testimonies about the spectator is based on the study spectateur: une réflexion par limage sur le théâtre et Groningen’ at the University of Groningen
was accepted at trial, impacting Argentine law, Figurations du spectateur: une réflexion par sur sa théorie 2006 da professora francesa Marie- forthcoming 2017 and is also a member of STEP
generating an “off-site” spectatorship concurrent limage sur le théâtre et sur sa théorie 2006 by Madeleine Mervant-Roux. Dessa forma, a partir de Project on European Theatre Systems.
with the one in the theatre. the French teacher Marie-Madeleine Mervant- relatos de espectadores que assistiram ao espetáculo
In what ways did these performances Roux. Thus, from the speech of spectators Go down, Moses Socìetas Raffaello Sanzio - Itália, Spaces for dialogue – developing social
materialize a relationship that united other who have seen the theatrical performance Go demonstra-se como o processo de construção da media communication strategies to
“non-art” spectators? And how might such an down, Moses Socìetas Raffaello Sanzio - Italy, memória e da própria experiência atua de maneira enhance online conversation between
interaction help us approach the porous divide we must show how the construction’s process dinâmica, num trabalho contínuo BOSI, 2012 [1979], theatre companies and audience members
that has always existed between art, on the one of memory and experience acts in a dynamic mesclando a experiência do teatro a vivências We live in a world that is increasingly
hand, and politics, on the other? way, working continuously BOSI, 2012 [1979], cotidianas. Para tal empreitada acompanhou-se influenced by social media. They offer a wide
Mixing the experience of the theater with o percurso da experiência de alguns espectadores, range of possibilities when it comes to sharing
the everyday experiences. For this work, we do momento que eles saem do espetáculo até as and exchanging ideas, opinions, experiences
Leonel Martins Carneiro followed the course of the experience of some ressonâncias verificadas alguns meses depois da peça and conceptions. Not only have technological
Universidade Federal do Acre spectators, from the moment that they leave ser assistida pelo espectador. Para a coleta utilizou-se developments made it possible to share these
leonelmcarneiro@gmail.com the theatre until the resonances verified a few a técnica da entrevista aberta BAUER & GASKELL, opinions, experiences etcetera whenever and
months later. To do this, the technique of the 2007 [2000], analisada qualitativamente com base wherever, they have also expanded its potential
Professor at University of Acre Brazil, Actor open interview is used BAUER & GASKELL, no método de análise de conteúdo BARDIN, 2000 reach. Arts organizations are aware of the
and Director. Currently his research is focused 2007 [2000], and such an approach is [1989]. Como um dos desdobramentos das entrevistas benefits that social media use can bring but they
on the Spectacles reception and in the relation analyzed qualitatively through the content surge a possibilidade de uma vida do teatro, vida esta generally use it as one-way-communication:
between memory, attention and experience. analysis method BARDIN, 2000 [1989]. The que opera em simbiose com a vida do espectador. information is ‘send’ by the organization and
Ph.D. in Theatre at University of São Paulo with interview, thus, becomes a possible trajectory Palavras-chave: Atenção. Emoção. Espectador. merely ‘received’ by the recipient.
collaborative period in Université Sorbonne of a theater’s life, a life that operates in Experiência. Memória. Our research project ‘Spaces for Dialogue’
Nouvelle - Paris 3 .Master´s in Theatre at symbiosis with the life of the spectator. focusses on developing more interactive social
University of São Paulo, Graduate in Theatre Keywords: Attention. Emotion. Experience. media communication strategies and methods,
at State University of Campinas. Member of Memory. Spectator. Antine Zijlstra that can be deployed by professionals within
Editorial Board: aSPAs and Rascunhos. NHL Hogeschool/University of Groningen theatrearts organizations to further develop
A construção da experiência do antine.zijlstra@nhl.nl, azijlstra@xs4all.nl interactive dialogue and relations between the
The construction of the spectator’s espectador: narração, memória e invenção organization and its audience and between
experiences: speech, memory and invention Este trabalho discute como a narração do espectador Antine Zijlstra (1965) is project manager members of the audience. A more effective
This paper aims to discuss how the speech acerca de sua experiência de um espetáculo teatral and leading researcher of the research project interactive communication about the art
of the spectator about a spectacle experience revela o imbricamento entre as experiências ‘Ruimte voor dialoog’ Spaces for dialogue at event can contribute to the way it resonates
within both individual audience members and the thesis „Vokale Performancekunst als the performative practices where to investigate inscription of procedures and aesthetics, and

general panels 95
the audience as a collective, thus enhancing feministische Praxis. Meredith Monk und das those relations, for example by focusing on the even ideas of the past about a present and its
the societal effects of that art event. Since künstlerische Kräftefeld Downtown New York diversity of cultural expressions and references potential generators of communication, are a
professionals are a crucial part of this process, von 1964 bis 1979“, published by transcript of the stage performances, regardless of their way of relating and designing. Dilate and mix
we have chosen an iterative approach to the in 2015, supported by a scholarship of the „autochtone“ or „foreign“ nature. A key point correspondences and translations for an active
research, in which the strategies and methods Mariann Steegmann Foundation as well as by for this investigation is the concept of cultural present, observing us as part of the same story,
that are designed based on literature and good- the DAAD for a research visit to New York City appropriation, understood in the realm of which relates directly to our cultures and ways
practices, are subsequently applied in real-life as visiting scholar at the NYU. Kohl holds a MA glocalisation. This paper will discuss how this of being in the world. It is on this observation
cases by professionals. Based upon these case- in Musicology and Gender Studies from the approach can give further insides into the of Agamben that we understand in the
studies, the implementation of the strategies is Humboldt-Universität zu Berlin, and in Media and relationalities of talent shows’ performances. masking procedures of Ariane Mnouschkine
analyzed and evaluated, adjusted and improved. Communication Studies from the Freie Universität a correspondence to the past, but projected
Methodologies used include network-analysis Berlin. From 2012 till 2015 she was co-director for a future, this because the director, affirmed
and focusgroup interviews with professionals and chief curator of the Berlin-based art space Rudson Marcelo Duarte on the influences of Copeau and Lecoq in its
and audience members. alpha nova-kulturwerkstatt & galerie futura which USP observance of the paper of the body of the
The presentation focusses on the case of promotes the interaction of artistic, theoretical rudson@usp.br actor in the Scene and influenced by Oriental
Tryater. This theatre company is based in and political practices with an explicit gender- theater forms and procedures, recreates and
Leeuwarden, the Netherlands and has applied critical perspective. Her key activities in academia Postgraduate degree in Performing Arts at the processes these processes in seemingly very
one of the interactive social media strategies encompass Gender Studies, Voice and Vocal University of São Paulo. Graduated in Performing classic devices, but in their recreations they
on their theatre performance De wierheid fan Music, Music and Postcolonialism, Performance. Arts from the University of Campinas. Actor gain new contours and textures that project
Wylgeragea that premiered in October 2016. and Theater Director, creator of the Ovo Theater them to this present.
This case will be contextualized by examples About the Violence of Cultural Research center and participant of the O Círculo Keywords: Intercultural Theater,
of social media communication of other Appropriation. Talent Show Hybrid Theatrical Language Research Group. performance, mask.
professional Dutch theatre companies. Performances and the Processes of
Keywords: social media, conversation, theatre Identity and Alterity Building The mask as an intimate geography
professionals, theatre audiences Nigeria’s Got Talent, Arab Idol, X Factor Brasil, at the Théâtre du Soleil. Marcello Amalfi
The Voice of Germany. Major talent show brands According to Agambem, being contemporary Universidade de São Paulo
are increasingly dominating the entertainment is keeping the gaze inTo perceive in the dark of amalfi@usp.br
Marie-Anne Kohl market. They are a phenomenon of the Global the present this light of the centuries that seeks
University of Bayreuth, Germany North exported into the entire world, calling to reach us, from this reading it is observed Conductor, Composer Theater, Television,
marie-anne.kohl@uni-bayreuth.de for inquiring about power relationships, profit that contemporaneity is written in the present, Cinema, Musical Producer, Arranger, Interpreter,
distribution, dissemination of values and marking it first of all the past, and only the Writer and Researcher. website: maestroamalfi.
Member of research staff and Managing cultural identity building. Despite thorough one who perceives in the modern and recent com Doctorate student at University of São Paulo
Director of the Research Institute for Music studies of various aspects of casting shows, the indices and signatures Of the archaic may / Université Paris VIII Doctorate Sandwich, Editor
Theater Studies at the University of Bayreuth little attention has been paid to the actual be contemporary. Agambens reading of the of ASPAS Magazine USP, member of the SPA
since 2015. She finalized her PhD at the performative, theatrical, musical aspects of the needs inscribed in a present, projected by Organizing Committee ECA / USP. Author of the
Hochschule für Musik und Tanz Köln with whole phenomenon. However, I say it is exactly the past, corresponds to observing that the book THE MACRO-HARMONY OF THE MUSIC
OF THEATER 2015. Member of ARTA - Ass. de Du Soleil plays can not be inscribed in one place. indígena, localizando no mapa do espetáculo o and entrusted the work to Vishnudas. Here

general panels 97
Recherche des Traditions de lActeur, Paris, Fr. do Through the most varied instruments, acquired novo mundo no qual a trupe irradia a sua arte. the intertwining of cultures happened between
CIRRAS - Centre International de Réflexion et by the musician in almost forty years of travelling two local cultures Kannada and Marathi and
de Recherche sur les Arts du Spectacle Paris, Fr., around the world, they invariably present a culminated in to a drama and it’s production.
e do IFTR - International Federation for Theatre wealth of rhythmic patterns and musical styles Anandha Krishnan Balakrishna Pillai This interweaving of cultures subjected for a
Research NY, USA Organized and taught a that bring to life a new music, when scales University of Hyderabad political shift during the post independent period
University extension course on SOUND DESIGN and timbres of different cultures and times are ananthu60@gmail.com by the interventions of the state apparatus.
in UNIFESP - Federal University of São Paulo 2014. amalgamated in one Joint creation process It directed to connect to the speculated
Idealizer, pedagogical coord. and manager of with the scenes. In every new play they draw a B. Ananthakrishnan is Professor of Theatre frameworks of Sanskrit theatricality in order
CLM, the first Municipal School of regular Music cartography of the impossible, in which we find Arts at University of Hyderabad and fellow of to create a ‘National’ theatre. It was opposite
education in the city of São Bernardo do Campo, the Sonographic Geography of Lemêtre breaking International Research Centre- Interweaving to the early official discussions on framing a
SP, Brazil 2009-2010. Coordinator of the Theater borders and revealing fantastic lands where Performance Cultures, Freie University, Berlin. strategy for Indian performance cultures in
Scoring Course FUNARTEs CAT 2007. With more the Chinese gong and the Indian raincoat can This paper has been written during his stay at general and modern in particular focused on
than 25 years of experience, has composed for cohabit, locating in the map of the spectacle The International Research Centre- Interweaving the rich and diverse folk performance traditions.
over 60 plays, working with Antonio Abujamra, new world in which the troupe radiates its art. Performance Cultures. The embroiling situation to discover a form
Naum Alves de Souza, Roberto Lage, Ivam Cabral, compelled to locate the other classical forms
Hugo Possolo, Marco Antonio Pâmio, Mario A música de Jean-Jacques Lemêtre para o Interweaving of Performance Cultures to appropriate the idea of classical in modern
Bortolotto, Rodolfo Vasquez, Celso Frateschi, THÉÂTRE du Soleil: geografias instáveis, and its Politics in Modern Indian Theatre time by exploring the forms like Kudiyattam,
Barbara Bruno, Georgete Fadel, among others. múltiplas teatralidades. Diversity in performance cultures has been Kathakali, dance forms and non-narrative martial
For television, he has composed for programs O artigo objetiva demonstrar o porquê das a potential exploratory terrain for modern arts forms. Paper will be drawing attention to
and mini-series, working with TV Cultura and composições de Jean-Jacques Lemêtre para os performance making in India. It dates back to the politics of this crossovers and migrations of
NATGEO And acting as a conductor at MTVs espetáculos do Théâtre Du Soleil não poderem 1795, when the Russian violinist and linguist performance forms in to a new body of modern
2012 VMB. He was awarded the Best National ser inscritas em apenas um lugar. Através dos Lebedeff adapted an English play ‘Disguise’ in to theatrical re presentation in India.
Film Soundtrack Award twice, with Our Life mais variados instrumentos, adquiridos pelo Bengali language and produced it for the Bengali
Does not Fit in an Opal, directed by Reinaldo músico em quase quarenta anos de viagens pelos audience in Calcutta Kolkata. The production
Pinheiro 2009, CINE PE and Hypotheses for Love quatro cantos do planeta, elas invariavelmente epitomized a synthesis of Western and Indian Joseph Nietlong
and Truth directed by Rodolfo García Vázquez, apresentam uma riqueza de padrões rítmicos e cultures in textual and performative levels. It Benue State University
screenplay by Ivam Cabral. 2015, DropsMagazine. estilos musicais que dão vida a uma nova música, continued in a different fashion in the writing jnietlong@gmail.com
“Hipoteheses… soundtrack was also nominated at quando escalas e timbres de diferentes culturas and making of Sitaswayamvar in Marathi by
the Brazilian Academy of Cinema. e épocas são amalgamados em um processo Vishnudas Bhave, which has been considered Joseph Nietlong is scholar and teacher with
de criação conjunta com as cenas. A cada novo as the first modern Indian language play. It was special interest in Philosophy of Mind.
The music of Jean-Jacques Lemêtre for the espetáculo elas desenham uma cartografia do not limited to one culture. The King of Sangli
Théâtre du Solleil: Unstable Geographies, impossível, na qual encontramos a Geografia a small state located in the extreme south Realism and Migration in Chimamanda
Multiples Theatricalities. Sonora de Lemêtre rompendo fronteiras e nos of Maharashtra after seeing a Yakshagana Adichies Americanah
The article aims to demonstrate why Jean- revelando terras fantásticas onde podem coabitar, performance in Kannada language desired to Chimamanda Adichie’s Americanah uses
Jacques Lemêtre’s compositions for the Théâtre por exemplo, o gongo chinês e o pau-de-chuva have a performance like it in Marathi language realism to explore the question of diaspora in
the contemporary context of migration and 2014) and co-edited Multiple Translation ephemera of protest and performance. In expressions and the type of historical plays

general panels 99
globalization. In literature, realism aims at the Communities in Contemporary Japan doing so, it shows how ephemera can support written by new generation of playwrights. It is
reproduction of objective reality with emphasis (Routledge 2015). She is the current editor of other struggles and create dynamic sites of also about how the dislocation of history has
on the portrayal of everyday, quotidian activities IASIL Japan’s Journal of Irish Studies. contemporaneous translation, where knots of affected the arrangement of historical materials
and life, primarily among the middle or lower social unease can continue to be scrutinized and forcing playwrights to amend their thematic
class society, without romantic idealization Performing Manga: translation as a mode reconsidered across a range of media. pre-occupations in their plays. The three plays
or dramatization. This paper examines how of engagement chosen for this study which are written by two
Americanah raises a plurality of themes and Yokkaichi in Mie Prefecture is one of four Nigerian award winning playwrights – Sam
subthemes: studies in Philosophy, psychology, major sites of industrial pollution in Japan. Ngozi Udengwu Ukala’s Iredi War, and Ahmed Yerima’s Attahiru,
Politics, Race, Gender, etc. Globalization When the Yokkaichi petrochemical complex University of Nigeria, Nsukka and Ame Oboni the Great, emerged from the
occasions Migration. Chimamanda’s perspective opened in 1960 it was the largest petrochemical ngozi.udengwu@unn.edu.ng colonial history of Nigeria and have forced the
articulates the experience of Ifemelu, a migrant plant in the Asia respiratory diseases due to playwrights in their thematic expression to
that is a template at once particular and universal. sulphur oxides released into the atmosphere, Ngozi Udengwu is a Senior Lecturer in the re-examine the effect of forced cultural fusion –
Americanah collides the histories of race and and classrooms could not have open windows Department of Theatre and Film Studies, African and European – and also to arrive
colonialism. This paper critiques how this because of the odour. Manga artist Yada Eriko University of Nigeria, Nsukka where she teaches at a more plausible story which will encourage
collusion enriches Anglo-American experiences grew up in Yokkaichi and through most of her life a wide range of courses, as well as supervises a new nationalistic spirit in the new generation
of racial formation and how it can be an invaluable considered the petrochemical complex she saw research projects, at both undergraduate and African audience. The plays represent the
tool for the archeology of race, gender and every day as just part of the landscape and the postgraduate levels. She holds a PhD in Theatre playwrights’ dilemma in representing the
normative performances. In Americanah Adichie pollution it had caused, which she had studied Arts from the University of Ibadan, Nigeria an historical, cultural, and social dislocation as
characterizes the global society as a multi-voiced about at school, as a thing of the past. However, MA in Literature and BA Hons in Dramatic Arts offshoots of unstable geographies, and at the
body, a unity composed of differences. when she met people whose lives continued both from the University of Nigeria, Nsukka. same time embody the dialectic and didactic
Keywords: Migration, Realism, Politics, Race. to be affected by the pollution, she decided A Fellow of the American Council of Learned elements of theatrical performance.
to create Sora no Ito (2016) about Naoko, a Societies, Ngozi Udengwu is currently working Keywords: Historical Drama, Cultural
nine-year-old with acute asthma, the effects of on a book on Women in the Professional Yoruba Fusion, Playwrights, Theatrical Expression,
the environmental pollution on her body, and Travelling Theatre, and has to her name several Literary Commitment.
the resonance of her story. This presentation articles in mainline academic journals, book Joint work with Ahmed Yerima
Beverley Curran discusses a performance project based on Yada’s chapters and she is the author of Contemporary
International Christian University manga that translated the manga into powerful Nigerian Female Playwrights: A Study in Ideology
curran@icu.ac.jp and diverse performances in order to engage and Themes. She is a member of IFTR, AfTA, Stenio Dias Ramos
with the work and as a way of circulating a local SONTA, ANA, ARTerial Network, etc. Universidade de São Paulo
Beverley Curran teaches linguistic, cultural, site-specific story of Yokkaichi environmental steniorais@yahoo.com.br
and media translation in the Department of pollution through media translation and the Unstable Geographies, History, and
Society, Culture and Media at International materiality of pollution through the materiality Theatrical Expressions: A Study of Three Graduated in Languages and Literatures
Christian University in Tokyo. She is the author of the body. In the process, it considers the Nigerian Plays Portuguese and English in 2005 and
of Theatre Translation Theory and Performance circulation of knowledge concerning Yokkaichi In this paper we examine the effect of cultural Intermediate level in Spanish and Italian, with
in Contemporary Japan (2008; Routledge environmental pollution as it appears in the and historical diversities on the theatrical a 3-month specialization in 2008 at Sociante
Dante Alighieri and 6 months of Specialization Rodrigues to insert the theme of football in his de territórios e ao convívio dentro deles. Inicia-se trafficking and the mimetic representations of

general panels 101


in Philosophy - Centro di Studi SantAnselmo - play “A Falecida” The Deceased, highlighting com reflexões e parâmetros usados pelo dramaturgo this in the global sphere. Previous social justice
Rome Italy - not completed a time when the narration and description of Nelson Rodrigues para a inserção do tema do plays shes written include LINES: THE LIVED
Three months of Extension Course in events, as much as the recorded image or even futebol em sua peça A Falecida, destacando EXPERIENCE OF RACE, SEVEN PASSAGES:
Literary Translation Theory - USP - completed the testimonial of the action, came to people uma época em que a narração e a descrição dos THE STORIES OF GAY CHRISTIANS,
in December / 2014 - and 3 months of study in order to give them injections of euphoria or acontecimentos, tanto quanto a imagem gravada GRAINS OF HOPE: REFUGEE EXPERIENCE
for and Extension Course in Literature - USP - depression in these different spaces of collective ou mesmo o testemunhal da ação, chegavam às IN AMERICA, CHECK YOUR PRIVILEGE:
completed in December / 2015 catharsis - the theater and the stadium. Next, pessoas de modo a dá-las injeções de euforia ou WHITENESS IN THE AMERICAN UNIVERSITY,
Contributor for sport websites after an the present work deals with “Chapetuba Futebol depressão nesses diferentes espaços de catarse and STORIES IN BLUE: A PILGRIMAGE TO
Extension Course in Sport Journalism at Centro Clube”, by Brazilian playwright Oduvaldo Vianna coletiva – o teatro e o estádio. Em seguida, tratamos HEAL HUMAN TRAFFICKING
Integrado Rio Branco in 2015 Filho, a play with social and militant concerns, de Chapetuba Futebol Clube, peça do dramaturgo
Since January 2017, student for Master´s “Maracanazo”, by the Mexican playwright brasileiro Oduvaldo Vianna Filho, obra de teatro The Efficacy of Moment: How plays on
Degree in Performing Arts at USP. Ernesto Anaya, which deals with racism and com preocupações sociais e militantes, junto a human trafficking are fighting to be
Translator and proofreader of English and Italian failure after the defeat of the Brazilian team Maracanazo, do dramaturgo mexicano Ernesto heard on the global stage.
for Portuguese for subtitles of DVD releases and to Uruguay in the World Cup in 1950, and “El Anaya, que trata de racismo e fracasso a partir da In the past several years more than fifty
from Spanish to Portuguese for plays read and Ultimo Vuelo del Condór” – The Last Flight derrota do Brasil para o Uruguai na Copa do Mundo new works have been written and/or staged
staged at Teatro da USP in São Paulo of the Condor by the Chilean playwright Ivan de Futebol em 1950, e O Último Vôo do Condor do worldwide that explore the meaning, the origins,
Special Projects Advisor for Secretary of State Ernandez , which recalls a different episode dramaturgo chileno Ivan Ernandez, que relembra and the effects of human trafficking. These plays
for Culture in São Paulo in 2007, giving assistance called Maracanazo understood only by locals. um outro episódio chamado de Maracanazo span the globe, telling the real-life stories of
to NGOs for fund-raising and insertion of cultural The comparative analysis of these works allows chamado assim apenas por conterrâneos. A persons involved in the trade of humans from
programs at the Secretariat budget us to elaborate questions on theatricality análise comparativa dessas obras permite elaborar the pimps of Dubai to the plight of sex workers
and performativity permeating the different questões sobre a teatralidade e a performatividade in New Delhi. My own play STORIES IN BLUE: A
Territories, coexistence and representations of football in dramaturgy. permeando as diferentes representações do PILGRIMAGE TO HEAL HUMAN TRAFFICKING
borders: appreciations on the Keywords: modern and contemporary theatre futebol na dramaturgia. is part of these works and covers the lives of six
representation of football in Latin Latin America dramaturgy football gender issues trafficking survivors from the Northern United
American dramaturgy States. In preparing to write my own play on
The purpose of this paper is to outline Territórios, convívios e fronteiras: Stephanie Sandberg the subject, I spent the past year researching
the representation of football in modern considerações sobre a representação do Washington and Lee University the plays, companies, and playwrights who
and contemporary plays in a comparative futebol na dramaturgia latino-americana sandbergs@wlu.edu were also working on the issue. This paper will
perspective that reveals universal traits inherent O objetivo deste paper é traçar linhas gerais first catalog the variety of plays that have been
to the characterization of this sport, and to da representação do futebol em obras de teatro Dr. Sandberg is a dramaturg, playwright written since 2008s TRAFFICKED which opened
emphasize particular features that singles moderno e contemporâneo em uma perspectiva and director working at Washington and Lee at the Edinburgh Festival and then examine
out this experience from issues related to the comparada que evidencia traços universais, University in Lexington Virginia. Her works the playwriting techniques used in the writing
occupation of territories and the coexistence inerentes às caracterizações desse esporte, e focus on social justice issues of both local and of six of the most representative plays of the
onto them. This thought begins by the ressaltar traços particulares que singularizam essa international importance with a current focus genre TRAFFICKED, SHE HAS A NAME, COLD
parameters used by the playwright Nelson experiência a partir de questões ligadas à ocupação on the dramatization of modern day human PIECE OF WERK, USELESS, THE WALK, and
ROADKILL. As the research on human trafficking qualquer tentativa de sistematização. Neste ensaio, twentieth and twenty-first centuries”. Today, she

general panels 103


Art & life: Auto fictional and
continues to unfold and grow, this paper looks alterbiographical portraits of artists sigo pistas de escrituras que, vistas à distância, is preparing her third book “The New Porteña
at how the theatre is taking on the issues on the Autofiction and alterbiography are ways of permitem fazer perceber o que ocorre quando a Scene. Theater companies in Valparaíso 2000-
global stage, using diverse staging and writing being of fictional writing that respects only one vida do escritor parece se apresentar pelas pontas, 2015”. Since 2011, Larraín works as a theater
techniques, and bringing this most pressing of principle: that there must be some recognition, driblando as possibilidades do princípio e do fim. O director of Cronópolis Theatre Company. In
human issues to our eyes and ears through the a possible identification, between subject of the retrato de um artista quando jovem, de James Joyce, 2011, she debuted with Living Proof, written and
mimesis of drama. In addition, I examine how writing / character and subject that signs the e o Retrato do artista quando velho, de Joseph Heller, directered by herself. In 2012, she debuted with
the plays have received public attention from work or is referred to by the work. In addition to são escrituras emblemáticas porque permitem a a new play Light red on dark red”. Her third play,
the press and media, as well as general audience this principle, both contemporary literary forms apreciação, discussão e crítica das tensões produzidas about women wtriters Gabriela Mistral, Virginia
reception. At the heart of the paper is the disrespect any attempt at systematization. This pela vida que se inicia e pela vida que se conclui no Woolf and Simone De Beauvoir called Tryptic was
question, In what way might the theatre work to essay follows clues scriptures that, viewed at confronto e atravessamento das pulsões da escrita debuted in 2013. She is now preparing her fourth
have any type of efficacy on the stark reality of a distance, make it possible to perceive what e da criação literária. Por sua abrangência, estas play, about novelist Fiodor Dostoievsky.
human trafficking? happens when life of the writer seems to appear escritas buscam formas diferenciadas de incluir outras
by the extremities, dribbling the possibilities vozes na sua elaboração individual, possibilitando The archive as a crack of the real in the
of the principle and the end. James Joyces diálogo com seu tempo. theatre of Guillermo Calderón: A Reading
Ana Maria de Bulhões-Carvalho Portrait of the Artist as Young Man and Portrait of Escuela and Mateluna
UNIRIO/Brazil of the Artist as an Old Man, by Joseph Heller, The Chilean theatre scene of the last fifteen
anamariabulhoes@yahoo.com.br are emblematic writings because they allow Javiera Larrain George years has shown a significant interest in working
appreciation, discussion and criticism of the Pontificia Universidad Católica de Chile with materials that are intrinsically related to
Post-doctorate in Letters Puc-Rj 2008-2009, tensions produced by the life that begins and javiera.larraing@gmail.com the recent historicity of the country, particularly
PhD in Comparative Literature UFRJ, 1997, life that ends in the confrontation and crossing those linked to Augusto Pinochet’s Military-Civic
Associate Professor since 2013 Coordinator of of the drives of writing and literary creation. Javiera Larraín holds a degree on Spanish Dictatorship. With this goal, Chilean playwrights
the discipline Literature in the formation of the Because of their comprehensiveness, these Literature at Pontificia Universidad Católica work from the operational logic between the
reader, for the course of Licenciatura in Pedagogy writings seek differentiated ways of including de Chile and is Master of Arts with a Major in archive and the memory, aiming for the real to
at a distance Consortium CEDERJ-UNIRIO. other voices in their individual elaboration, Theatre Directing at Universidad de Chile. She appear on stage in a way that is both clear and
Founder and general editor of the operevejo allowing dialogue with their time. autofiction – is currently a PhD student in Literature and honest. Playwright Guillermo Calderón gathers
online newspaper, since its paper release, in 1993 alterbiography – portraits of artist - James Joyce now she realized a Phd Internship at the Royal this need for reality in his last two plays: Escuela
until the electronic version,http://www.seer. - Joseph Heller Central School of Speech and Drama, University and Mateluna. The first one is centred on the
unirio.br/index.php/opercevejoonline/issue/ of London. She has participated in numerous paramilitary education received by a group
archive. Researcher of contemporary theater, Arte & vida: Retratos Auto ficcionais e research projects related to theater, and in of opponents of the regime, in a clandestine
with publications on biographical musical alterbiográficos de artistas different international congress. She has also cell. Meanwhile, the second one is based on
theater and themes related to autofiction and A autoficção é um modo de ser da escrita ficcional published articles in national and international the presumably unfair sentence received by
alterbiography in both Theater and Literature. que respeita apenas um princípio: de que deve haver academic journals, book chapters an editing work the former revolutionary Jorge Mateluna three
Leader of the research group of CNPq algum reconhecimento, uma identificação possível, on several theater books highlighting her book years ago. For Calderón, the latter case is of
Dramaturgia, History: genres and languages entre sujeito da escrita/personagem e sujeito que publication Notes of theater direction in Chile: an intimate significance, as Mateluna himself
since 2000. assina a obra. Para além deste princípio, desrespeita 1940-1979 and “Melodrama in the scene of the would collaborate in the job of documenting
and archiving for the previous play, Escuela, in A former RFK Fellow, Kinyon’s current research voice, and with that voice intricacies of African approaching the most different musical styles

general panels 105


his condition of former member of the armed project is supported by a NUIG doctoral grant. American oral cultural history are revealed. and played with several musicians. He has
guerrilla against the Dictatorship. The following [i] Works that recall the history of the African been performing at Barbatuques since 2000, a
presentation aims towards understanding the John Synge, Zora Hurston, and the oral tradition in the Americas by transmitting worldwide reference group in the area of body
mechanisms with which historical memory is Performance of Ethnography to the reader of prose and poetry the quality of percussion, which has been performing at shows
built, as they are exposed through the act of Their Eyes Were Watching God and Zora black speech have been called “speakerly” texts. and giving workshops throughout Brazil and
performing fiction proposed by both plays, with Neale Hurston’s other prose effectively generate In The Signifying Monkey, Henry Louis Gates around the world. He is also musical director,
the archive being the operational logic from the parameters of what a speakerly text is meant defines a speakerly text as one “whose rhetorical sound engineer, musical educator of actors,
which the stage and dramatic devices will work. to do, yet it is her dramas that actually continue strategy is designed to represent an oral literary theatrical educator of musicians and creator of
Calderon, through the archival work, creates a form of the African American oral tradition tradition,” and Gates argues that Hurston’s Their soundtracks. Since 2000, he has been artistically
a crack wherein the real appears on stage to through performed theatrical presentations.[i] Eyes Were Watching God was the first speakerly presenting and regularly ministering in Brazil
capitalize not only the narrative, but also on Hurston’s prose give the impression of being text in the African American tradition (195). and in the world, music, theater and body music
the tangential reality itself. Thus, Calderón orally communicated, but Hurston’s theatre Subsequently, the “illusion of narration,” which percussion workshops.
establishes subterranean relations between makes the most startling and effective use of Hurston uses in Their Eyes Were Watching God,
the archival nature of his texts and the current vernacular speech in order to represent the among other pieces, has become the feature Body music and music games: Barbatuques
Chilean political development, making use of a heritage of creatively rendered oral and aural of Hurston’s writing most consistently drawing in musical education of theater artist
ciphered reconstruction of the facts of memory, forms, representing what can be termed the “oral commented (195). This work proposes an investigation into
in and around the politics of armed civic literary tradition” in African American culture. the possibilities of applying the corporal
resistance during the Dictatorship. And while all the voices of Hurston’s heroes musicalization practices used by the
seem to carry the weight of her main objective Maurício de Oliveira Maas Barbatuques group, a world reference in
as an autoethnographer—which is to provide an Universidade de São Paulo body percussion, in the musical education
Chanté Mouton Kinyon insider’s perspective on the varied literacies of mauriciomaas@gmail.com of the theatrical artist. Therefore, this work
National University of Ireland, Galway African American culture—it is her male heroes is intended to help fill a gap still existing in
chante.mouton@nuigalway.ie that access and capture African American Maurício Maas is actor, musician and music education currently present in various
oral culture in a range of instances, whereas professor of theater and music. theater schools. Theatrical artist must have in
Chanté Mouton Kinyon is currently a PhD Hurston’s female heroes are primarily recognized Graduated in Performing Arts from the his training a minimum of musical knowledge.
candidate at the National University of Ireland, and reflected on in regards to the men in their University of São Paulo and holds a Masters The practical use of the various musical body
Galway and a Lecturer of Theater at Dartmouth lives. This point is especially true as it relates Degree in Theater Pedagogy from the University games contributes to the development and
College. She will receive a PhD in English, June to the oral forms created during the production of São Paulo ECA-USP. Since 1997 he has appropriation of several musical qualities
of 2017, after completing her thesis: Analogous of African American labor, such as the work been developing research on the possibilities and concepts: rhythm, pulse, tuning, motor
States: John Millington Synge, Zora Neale songs that Hurston presents in her productions. of integration between musical and scenic coordination, temporal notion, creativity,
Hurston, and the Performance of Ethnography. In this paper I illustrate how Hurston privileges languages. He was a professor at several sensitivity, expressiveness, listening, attention,
In her thesis, Kinyon establishes Synge and the voices of her males heroes through an schools and universities. He began his theatrical playing, composition and improvisation. The idea
Hurston as autoethnographic researchers who examination of the title character in the play career in 1994, having performed in more than of interdisciplinarity between Theater and Music
use their theatre to present the performative Spunk. In the play, Spunk exerts command thirty shows. As a self-taught musician and is of paramount importance at this time. The
aspects of Irish and African American culture. over the community through the power of his instrumentalist he participated in several bands, artist needs to expand his musical possibilities,
develop his repertoire of possibilities and have noção temporal, criatividade, sensibilidade, Germany, Post PhD 2009 , and PhD 2007 in Arts- transmitted to her PhD student the dancer

general panels 107


tools at his disposal for his artistic doing. It is expressividade, escuta, atenção, estado de jogo, Dance at the University of Campinas UNICAMP Luiza Banov 1985. In the research, it questions
necessary to bring this musical force into the composição e improvisação. -SP Brazil. Graduated in Dance Pedagogy at the how gestures, movements, words, songs
theater classrooms, not only in the traditional A ideia da interdisciplinaridade entre Teatro Hochschule Für Musik und Tanz-Köln / Germany and feelings, archived in the body memories
way that has been brought but opening new e Música é de suma importância neste atual 2003. In Essen /Germany, with a invitation from of the interpreters throughout their lives,
possibilities and new horizons. The purpose momento. O artista precisa expandir suas the dancer and choreographer Susanne Linke, can come out to the surface during the
of this research is to share, study and reflect possibilidades musicais, desenvolver seu repertório Pereira was a guest student at the Folkwang creation processes. In the specific case of
on the use of all this pedagogical knowledge de possibilidades e ter ferramentas à sua disposição Hochschule 1985, at the time Pina Bausch was the transmission of Caminhos 1998, it is
of Barbatuques in the formation of theatrical para o seu fazer artístico. É preciso trazer esta the school Director. In Essen Pereira settled and intended to discuss from the thinkers such
artist. To make this education more complete força musical para dentro das salas de aula de worked as a dancer, choreographer and modern as Brandstetter 2007, Fischer-Lichte 2011,
and cohesive, providing an available, accessible teatro, não apenas do modo tradicional que vem dance teacher during 19 years 1985-2004. She Fernandes 1999-2010, among others, the
and innovative tool. To turn him into a sower and sendo trazido mas abrindo novas possibilidades is also author of different choreographic pieces, relationships established between the original
multiplier of this new language that proposes a e novos horizontes. A proposta desta pesquisa articles, and books. His research transitions author-interpreter and the new interpreter.
return to the origins, to his primary artistic and é poder compartilhar, estudar e refletir sobre o between the creative process of scenic works, with It is possible that the work remains through
sonorous source, using a well-known working uso de todo este conhecimento pedagógico dos contemporary themes, the memories recorded the authors memory, and the video record.
instrument: his own body. Barbatuques na formação do artista teatral. Fazer and inscribed in the body of the interpreter, and the However, how much the work will be changed
Keywords: theater, games, music, body com que esta educação seja mais completa e analysis of gestures, in association with elements or updated when the original one is transmitted
percussion, music education coesa, proporcionando uma ferramenta disponível, worked on the aesthetics of Dance Theater. http:// to another body, who has other history and
acessível e inovadora. Transformá-lo em semeador lapettcia.wordpress.com body memories? How will the other body
Música corporal e jogos musicais: e multiplicador desta nova linguagem que propõe perceive the intentions of movements, of
Barbatuques na educação musical do uma volta às origens, à sua fonte primária artística Transmissibility: updating the past to musicality, of manipulation with the props
artista teatral e sonora, utilizando um conhecido instrumento de meeting new Ways of the work, besides the use of time, and of
Este trabalho propõe uma investigação sobre trabalho: o seu próprio corpo. It is possible to think that the transmission space? Therefore, new updating possibilities
as possibilidades de aplicação das práticas de Palavras-chave: teatro, jogos, música, percussão of a dance piece is comparable to a type of will arise, making sure that the dance piece will
musicalização corporal utilizadas pelo grupo corporal, educação musical oral history, by the fluidity of its apprehension, survive in time.
Barbatuques, referência mundial em percussão for being brought from the past and passed Keywords: transmission, choreography,
corporal, na educação musical do artista teatral. Por to contemporary dancers. The present article updating, memory, time.
conseguinte, este trabalho pretende ajudar a preencher Sayonara Pereira refers to a clipping of the current research
uma lacuna ainda existente no ensino musical presente University of São Paulo being carried out by the research group Transmissibilidade: atualização do
atualmente nas diversas escolas de teatro. sayopessen@gmail.com LAPETT-ECA-USP Laboratory of Research and passado ao encontro de novos Caminhos
O artista teatral precisa ter em sua formação, Studies in Tanz Theatricalities of the School of É possível pensar que a transmissão de uma obra
um mínimo de conhecimento musical. A utilização Professor, researcher, adveiser, editor of Communications and Arts of the University of cênica seja comparável a um tipo de “história oral”,
prática dos diversos jogos musicais corporais Sala Preta magazine, and director of LAPETT São Paulo. Through the process of transmission pela fluidez de sua forma de apreensão, por ser
contribui no desenvolvimento e na apropriação - Laboratory for Research and Studies in Tanz of the dance piece Caminhos [Ways] 1998, trazida do passado e repassada para bailarinos da
de diversas qualidades e conceitos musicais: Theatricalities at the University of São Paulo - ECA which was created and performed by the contemporaneidade. O presente artigo refere-se a
ritmo, pulso, afinação, coordenação motora, / USP. Post PhD 2016 Freie Universität Berlin- choreographer Sayonara Pereira 1960, and um recorte, da pesquisa em andamento que esta
sendo realizada no grupo de pesquisa LAPETT- Maria Lyra approach to explore the poetic voice. 2 com cantos de tradições em sua abordagem

general panels 109


ECA-USP Laboratório de Pesquisa e Estudos em Universidade Federal de Uberlândia The creative process of the play Recusa by terapêutica e pedagógica de experiência da voz
Tanz Theatralidades da Escola de Comunicações mariaclaudialopes9@hotmail.com Cia Balagan de Teatro - Theater Company poética. 2 O processo de criação, sobretudo o
e Artes da Universidade de São Paulo através do from São Paulo, directed by Maria Thaís. trabalho vocal, do espetáculo Recusa, da Cia
processo de transmissão da obra cênica Caminhos Maria Lyra stage name is a Substitute The first field had as specific experience Teatro Balagan – companhia teatral de São
1998, que foi criada e dançada pela coreógrafa Teacher in the area of Interpretation / Voice in the therapeutic scope of vocal practice, and Paulo, dirigida por Maria Thaís. Em ambos me
Sayonara Pereira1960, transmitido à sua orientanda the Theater course of the Federal University of included as voice pedagogy, as a “working propus à aproximação e ao diálogo a partir da
a bailarina Luiza Banov 1985. Na pesquisa Uberlândia. Master of Arts, Subarea Theater, practice on oneself”. The second field of observação direta, a realização de entrevistas, e,
questiona-se de que forma gestos, movimentos, in the research line Practices and Processes study, on the other hand, had as specificity no primeiro, a participação em oficinas e curso de
palavras, canções e sentimentos, arquivados nas of the Graduate Program in Arts of the the affiliation with the scenic art, a context formação. No capítulo conclusivo da dissertação
memórias corporais dos intérpretes ao longo de suas Federal University of Uberlândia. Graduated that involves not only the creation process, e em diálogo com os campos elegidos, elenco
existências, podem vir à tona durante os processos in Theater, 2014 Licenciatura and Literature such as production, placement, preparation elementos/princípios que atravessam os
de criação. No caso específico da transmissão de 2003, by the same university. She has been and meeting with an audience. In both I set contextos e que estariam à interface voz/sagrado.
Caminhos 1998, pretende-se discutir a partir de researching the area of ​​Voice and his poetics, out the approach and dialogue from direct Assim sendo, como resultado da experiência
teóricos como Brandstetter 2007, Fischer-Lichte as a member of the Research Group on observation, interviews, and in the first case, de pesquisa crio algumas categorias para a
2011, Fernandes 1999-2010, entre outros, as Practices and Vocal Poetics CNPQ Directory participation in workshops. In dialogue with formulação de um pensamento sobre a dimensão
relações que se estabelecem entre autor-intérprete since 2009, coordinated by Prof. Dr. Fernando the chosen fields I chose some elements or sagrada da voz.
original e o novo intérprete. É possível que a obra Aleixo. Currently beginning the doctorship at categories to formulate a thought about the Palavras-chave: Voz poética: Presença: Sagrado:
permaneça através da memória do autor e do USP researching voice and singing as a way of sacred dimension of voice. Teatro: Grotowski.
registro em vídeo. Todavia quando a obra original expanding actor´s presence. Keywords: Poetic Voice: Presence: Sacred:
é transmitida para outro corpo, que possui outra Theater: Grotowski.
história e memórias corporais, o quanto esta obra The Voice and the Sacred: Chants on Poetic Valéria Souza
irá se modificar, e se atualizar? Como o outro Voice in two contexts A Voz e o Sagrado: Cantos sobre Poéticas Washington University in Saint Louis
corpo perceberá as intenções dos movimentos, da This chant-research, entitled The Voice da Voz em dois contextos vsouza@wustl.edu
musicalidade, do manuseio com os adereços da and the Sacred: Chants on Poetic Voice in Este canto-pesquisa, intitulado A Voz e o
obra, além, do uso do tempo, e do espaço? Com two contexts consisted in the study of the Sagrado: Cantos sobre Poéticas da Voz em dois Valéria M. Souza is a scholar of Luso-
isso, novas possibilidades de atualização vão surgir, sacred dimension of voice in dialogue with contextos consistiu no estudo de natureza teórica Afro-Brazilian Studies and Theory who
garantindo que a obra persista no tempo. two contexts in field research. These fields sobre a dimensão sagrada da voz. Como parte specializes in sixteenth-century Portuguese
Palavras-chave: transmissão, coreografia, of study are places of support, in which I da metodologia dialoguei com dois contextos literature and nineteenth and twentieth-
atualização, memória, tempo. anchor my reflection about the theme. The de pesquisa em campo. Tais campos de estudo century Brazilian literature and culture.
sacred here is thought from Grotowski´s formaram pontos de apoio, nos quais me ancoro She has published articles on Camões and
perspective, related to enlargement of para pensar o tema. Penso sobre o sagrado a Guimarães Rosa, and is currently working
oneself and the world, divorced from religious partir da perspectiva de Grotowski, relacionada on a study of race and tourist photography
dogma. The chosen fields of study were: ao “alargamento de si e do mundo”, desvinculada in Salvador da Bahia, tentatively entitled
1 Cecilia Valentim´s work with traditional de dogmas religiosos. Os campos de estudo que _Exposures: Photographing Cross-Cultural
chants in a therapeutic and educational elegi foram: 1 O trabalho de Cecília Valentim Tensions in Bahia.
Julia Walker Hollywood and Paris, the play refracts its Afro-

general panels 111


All Dressed in White: The Influence of Ze Celso versus Silvio Santos: The
North and South American ‘Women’s Washington University in St. Louis Brazilian characters through multiple frames of theatralization of urban spaces disputes.
Magazines’ on Nelson Rodrigues’ The jwalker28@wustl.edu interculturalism—combining jazz with samba to Founded in the late 1950s, the group Teatro
Wedding Dress 1943 create bossa nova, and reinterpreting the longing Oficina Uzyna Uzona has developed an extensive
When playwright Nelson Rodrigues’ Julia A. Walker is a scholar of dramatic literature of “saudade” through the existentialist dyad of research and experimentation on actors work,
The Wedding Dress premiered in 1943, it and theatrical modernism, who is an Associate self and other. As I demonstrate in this paper, dramaturgic possibilities and scenic creation,
revolutionized the Brazilian stage, single-handedly Professor at Washington University in St. Louis, Morães deploys this intercultural aesthetic to establishing its place in the history of Brazilian
ushering in a new era of Modernist theater. The where she holds a joint appointment in English unsettle the perspective of the Teatro’s mostly Theater, with a characteristic language and own
groundbreaking technical achievements of the and Drama. She is the author of _Expressionism white audience and thus enlist them in a new poetics of creation.
play were, indisputably, the handiwork of Polish and Modernism in the American Theatre: kind of identification—one that calls upon the During this trajectory, the space occupied by
director Zbigniew Ziembinski, whose European Bodies, Voices, Words_ Cambridge University universalizing power of myth to invite cross-racial the group – their theater – was cultivated as a
cultural and artistic contributions helped breathe Press, 2005, along with several commissioned identification, even as it insists upon the visual territory of intense relationships, dramaturgical
new life into Brazilian drama. Yet there were other essays and journal articles, including the recent logic of racial difference. Staging a dialectic of creations and sacred symbology: the stage of
cross-cultural influences on the development of Comparative Modernist Performance Studies: “tropicalismo” and “negrura” Negritude, Morães the Oficina was created in symbiosis with the
The Wedding Dress, which, up until now, have A Not-So-Modest Proposal, co-authored with hails his audience to self-identify as multi- theater group and with all the other creative
been overlooked by critics. Focusing on two Glenn Odom JDTC 31.1. Walker is currently racial, while affirming the experience and fact of languages that were born there. Today, the
specific aspects of Nelson Rodrigues’ play—its completing her second book, a history of modern blackness within that shared heritage. groups headquarters building is known
staging and its use of invisible props—I argue performance entitled _Modernity & Performance: worldwide by its architecture.
in this paper that interhemispheric dialogues Enacting Change on the Modernizing Stage_, This building, more specifically the empty space
between early twentieth-century American for which she has won research fellowships Isadora Affonso surrounding the building, has also been the set of
“women’s magazines” such as Brides 1934 and from ASTR and the Center for the Humanities at Universidade de São Paulo a space dispute in which, on one end, the Oficina
Jornal das Moças 1913-1965 regarding the subject Washington University in St. Louis. The paper she Isadora925@gmail.com clains the land for a bigger project of occupation
of matrimony played an important role in shaping proposes for this panel draws from research for with a large open theatre and common use and on
both Rodrigues’ written representations and the fifth chapter of this book. Isadora Affonso holds a degree in Performing the other end, a big developer company, headed
Ziembinski’s visual and acoustic arrangements of Arts by the State University of Londrina - UEL, by the Silvio Santos Group, owner of the land, has
“traditional” wedding paraphernalia such as the Tropicalismo e Negrura: Identity where she initiated her studies in scenography maintained the space as a tool of speculation over
white dress, veil, garter, and bouquet during The and Difference in Vinicius de Morães’s and the space of theater. She also holds a degree the years. There is also in this dispute a feature of
Wedding Dress explosive Rio de Janeiro debut. Orfeu da Conceição in Architecture and Urbanism by the Instituto theatralization of real estate relations and urban
Keywords: Nelson Rodrigues, Vestido de After serving as guide and translator to Filadelfia Unifil, in Londrina, Brazil. Currently, she policies that is of great interest to this study.
Noiva, The Wedding Dress, Modernism, Jornal visiting American writer Waldo Frank in the is a student in the Architecture and Urbanism This research proposes to analyze this
das Moças, Zbigniew Ziembinski, matrimony, early 1940s, Brazilian poet-diplomat Vinicius de Master program at the Institute of Architecture territorial dispute and these movements of
marriage, gender. Morães returned to Rio de Janeiro radicalized and Urbanism of São Carlos (University of Sao spatial occupation germinated in the Oficina and
by what he had seen. The play that came out Paulo), where she is researching the relations the relations with the neighborhood and the city.
of that experience—Orfeu da Conceição—was between theater and cities and the theatralization To observe this new genre that is created - which
the first to feature an all-black cast on the of urban policies by analyzing the history of the is theater, it is dramaturgy, but it is also urban
stage of Rio’s Teatro Municipal. Written in Rio, group Teatro Oficina, in the city of Sao Paulo. politics, it is also real estate economy, and it is
also architecture, allows a new angle of vision das relações imobiliárias e das políticas urbanas processes started since then have influenced globalizing world. I will analyse the images of

general panels 113


and a new key of understanding for the city que interessa bastante a este estudo. the political and cultural scene drastically, different identities according to outstanding
and the political and urban relations guided by Esta pesquisa propõe-se a analisar esta disputa including the field of performing arts. My theatre and music examples of last three
artistic and theatrical productions. territorial e estes movimentos de ocupação espacial paper is focused on the processes taken place decades in Estonian theatre in the context of
Keywords: Theatre Oficina, Theater and Urban germinados no Oficina e a relação com o bairro e in Estoania since 1990s. aforementioned post-terms.
Spaces, Jose Celso Martinez Correa. com a cidade. Observar este “novo gênero” que se The variety of post-terms – post-soviet, Keywords: Identity, representation, cultural
cria – que é teatro, é dramaturgia, mas também é post-colonial, postmodern and postdramatic practices, postmodernism, postdramatic theatre,
Zé Celso versus Silvio Santos: política urbana, também é economia imobiliária, – form a complex pattern of concepts, which globalization.
A teatralização da disputa pelo e também é arquitetura, possibilita um novo are used to describe the period since returing
espaço urbano. ângulo de visão e uma nova chave de compreensão to independence of Estonia in 1991. Today,
Fundado no final da década de 50, o grupo Teatro da cidade e das relações político-urbanas in the conditions of vast migration numbers, Dana Blackstone
Oficina Uzyna Uzona desenvolveu um extenso acompanhadas da produção artístico-teatral. the geographically defined and borders of a Royal Central School of Speech and Drama
trabalho de pesquisa e experimentação do trabalho Palavras-chave: Teatro Oficina, Teatro e Espaços nation are contested. I will take a look of how danablackstone@hotmail.com
do ator, das possibilidades dramatúrgicas e da criação Urbanos, Jose Celso Martinez Correa. understanding of nation is still deeply rooted
cênica, firmando seu lugar na história da encenação in the cultures performative practices. In Dana Blackstone MA, is an actor trainer, a
Brasileira com uma linguagem característica e poética Estonia, the most remarkable of the practices researcher and a theatre-maker. She is a recent
de criação própria. Riina Oruaas that manifest national identity, is Song and graduate of the Royal Central School of Speech
Durante esta trajetória, o espaço ocupado pelo University of Tartu Dance Celebration tradition of choir music and Drama’s MA Actor Training and Coaching
grupo – o edifício teatral – foi cultivado como um riina_oruaas@hotmail.com and folk dance. The historical highlight of the course. She teaches acting on the Royal Central
território de relações intensas, criações dramatúrgicas tradition took place in 1987-1988, period known School’s Central Connects evening courses
e simbologia sagrada: o palco do Teatro Oficina se Riina Oruaas is PhD student and Lecturer as Singing Revolution, a non-violent mass as well as serving as an audition panelist and
criou em simbiose com o grupo teatral e com todas in theatre research in the Institute of Cultural movement to gain independence from USSR audition workshop tutor for Central’s BA Acting
as outras linguagens criativas que nasceram ali. Research and Arts, University of Tartu. Her occupation. The idea of the Celebrations is even course. She is currently teaching Stanislavsky
Atualmente, o edifício sede do grupo representa um PhD thesis topic is “Postmodernist aesthetics today to affirm the national unity: in 2017, the and Meyerhold Technique on Rose Bruford’s
marco na arquitetura teatral mundial. in Estonian Theatre”. Her research is focused theme of 12th Youth Celebration is “Here I’ll BA American Theatre Strand. She is currently
Este edifício, mais especificamente o terreno on transforming aesthetic in Estonian theatre stay”, confirming a emotional bound with the directing a limited run children’s West End show
vazio no entorno do prédio, também vem sendo since 1990ies, including dramaturgy, performing, country of Estonia. as well as developing a feminist clowning piece
palco de uma disputa espacial na qual, de um scenography, and new media. Theatre art, on the contrary, has taken for Edinburgh Fringe with her collective, ‘A Blond,
lado, o Teatro Oficina, deseja o espaço para a different positions in the construction work a Brunette, and a Redhead’.
execução de um projeto maior de ocupação do Looking for stability, meeting of the general identity narrative: affirmative,
espaço urbano voltado para as artes e uso comum, global identities: mapping changing revealing, de- and reconstructing, while World War II Era Censorship and Actor
e do outro, uma grande incorporadora comandada representations of identities in a often re-interpreting the traditional music Training Paradigms in the United States
pelo Grupo Silvio Santos, proprietário do terreno, transforming society. repertoire. Contemporary theatre pays and United Kingdom a Cultural and
mantém o espaço como uma ferramenta de Eastern Europe had turbulent times 30 attention to the now-moment and personal Historical Analysis
especulação imobiliária ao longo dos anos. Existe years ago. The fall of Berlin Wall in 1989, life stories in documentary theatre, giving a Actor training programs in the United States
ainda nesta disputa um caráter de teatralização collapse of Soviet Union in 1991. The say to people with different experiences in the and United Kingdom vary significantly. Actor
training in the United Kingdom is overwhelmingly Thomas Riccio Huan Nuo Yuan rituals, the focus of the

general panels 115


Miao Ritual Performance: Space of
delivered through conservatoire and university University of Texas Memory and Identity paper, occur from late November into January
programs that utilize a holistic approach balancing thomas.riccio@utdallas.edu Miao, one of China’s largest ethnic throughout rural and village Miao areas and
voice, physicality and intellectual/emotional minorities, live primarily in the Xiangxi are one of the most frequently enacted. The
technique. Actor training in the United States Thomas Riccio, performance and media artist, Autonomous Prefecture in Hunan. Six family sponsored ritual takes several days to
is mainly delivered through private studios that writer and director, is Professor of Performance hundred years ago, seeking refuge from the prepare and occurs over twenty-four hours,
focus on emotional engagement and intellectual and Aesthetics at the University of Texas at invading Han, they fled to the rugged and and conducted to “fulfill the will of the Nuo,”
analysis voice and physicality are often trained Dallas, previous positions: Professor of Theatre, isolated mountainous region, which has the spirit protectors of the Miao.
separately and secondary, if at all. I contend that University of Alaska Artistic Director, Chicagos served as protection and ultimately, cultural The author documented—interviews,
the lack of holistic training in the US has caused Organic Theater Company Resident Director, preservation. The impoverished and, until video and photographic—several Huan Nuo
an imbalance in its reliance on intellectual and Cleveland Play House Assistant Literary Director, recently, politically marginalized Miao live Yuan rituals in 2015-16 and will present and
emotional engagement, which may contribute to American Repertory Theatre Visiting Professor, between two worlds, modern China, and overview of his findings.
recent casting trends and the rise in representation University of Der es Salaam, University of an ancient agriculturally based subsistence
of more holistically trained British actors in the Pondicherry India, University of Nairobi, and culture. Until recently the Miao were
American film and television industries. the Korean National University for the Arts shamed by the central government, their Angharad Harrop & Ruan De Vargas
In this research I analyze the historical and and Artistic Director, Tuma Theatre, an Alaska cultural practices considered “primitive,” angharad.harrop@hotmail.com
cultural differences that have bred this variance Native performance group. He has directed at “superstitious” and counter to the aspirations rubavargas@hotmail.com
in actor training paradigms in the US and UK. I American regional theatres, including, LaMama and identity of a modern and developed China.
link the effects of World War II and Stalin’s pre- ETC, The New York Theatre Workshop, and the The Miao have carried and sustained their Angharad Harrop is a Lecturer in Dance at
world war artistic constrictions, and subsequent National Theatre of Italy. Riccio works extensively five-thousand-year-old culture into the The University of Chester, UK. She is currently
systematic annihilation of artists, as well the in the area of indigenous performance, ritual, twenty-first century by way of highly complex undertaking research for her PhD study into
rise of Freudian psychoanalysis contributing to and shamanism, developing performances and/ and developed performance traditions. At ‘The use of cultural and social dance within
the spread of Strasburg’s Method as historical or fieldwork in South Africa, Zambia, Kenya, the center of their tradition is the Badai, choreographic process and performance’.
contributors to this variance. I explore and Burkina Faso, Ethiopia, Tanzania, Russia, Alaska, community-based, shaman-like ritualist who Ruan de Vargas is a capoeirista and
compare key concepts within the cultures of Korea, India, Nepal, China, Vietnam, and the serve as healers, performers, and keepers musician from Rio de Janeiro, Brazil.
both countries that may also be instrumental in Republic of Sakha Siberia, which declared him a of Miao culture. Their ritual performances, Together with Angharad Harrop they direct
this variance. “Cultural Hero.” His current research is with the apply a rich array of masks, regalia, Cymru:Brasil a performance company
I argue for increasing the practice of balanced, Miao, an ethnic minority group in China. Riccio dance, poetry, song and music to enable that engages in intercultural dialogue and
holistic actor training in the United States. I has conducted workshops and given lectures the myth to heal. The work of the Badai exchange to create performance.
contend that this will increase the quality of throughout the world. A recent Watermill Center compliments the Xian Niang, female spirit
actor training and acting in the United States, resident artist, he has received numerous grants mediums who often work in collaboration. Perguntas & Atebion: developing a dialogue
making American training and American for his projects. He is the Artistic Director of Dead Both Badai and Xian Niang are nature and for intercultural collaboration
trained actors more competitive in the film and White Zombies, a Dallas-based, post-disciplinary ancestor based practices that interweave Ateb: Verb Welsh – to answer, to reply,
television industries. performance group, www.thomasriccio.com & spirituality, memory, identity, mythology, and to respond.
Keywords: Actor training, History, Culture, www.deadwhitezombies.com performance that have sustained individuals, Perguntas & Atebion is a practice led research
Balance, Contemporary US Casting community, and culture. project that is concerned with notions of identity,
heritage and interculturalism. A series of cultural knowledge of the principles of the research. The installation Transparent Shift #1, that invites here as a “mobile territory”, receiving from

general panels 117


exchange visits between artists in Wales and Brazil improvisatory tasks will allow participants to the audience to view the dance from under a the world as much as generating from the self,
saw the conception of the research. An investigation work within the frame of their own experience plexiglass stage, the conference-performance information in motion. How do we keep contact
of the choreographic processes of intercultural to physically explore concepts of identity and Isabel de Mariani – walking affects and Poetica with self while continuously tuning the moving
dialogue emerged as the collaborators began to alterity, to corporally question the boundaries of de la Relacion. body with “unstable” visual surroundings?
create work that delves into territories of conviviality past and present and to wander into territories Since 2010, Florence has been sharing her How can we map and act on those “sensory
and confrontation, blurs the boundaries of history of conviviality and confrontation. They will be sensory research in national and international geographies”, activating the space in-between?
and seeks to explore notions of identity and alterity. interspersed with extracts of performance that Congresses Montreal, Buenos Aires, Yokohama Intermezzo – words in-between
Guiding the investigation are the following have been created with the same processes. and Vienna, unfolding and questioning the Linking phenomenological approaches with
research questions: It is hoped that through the combination of practice and kinaesthetic knowledge from a socio- James Gibsons work on perception, I will share
* How are performers enabled to engage somatic experience alongside the artistic political perspective as well as the translatability aspects of the embodied knowledge I developed
in a process of discovery and embodiment presentation of research, participants will gain from embodiment into digital media. through choreographic experimentation named
concerning cultural dance forms during an embodied understanding of the methods Florence Figols also collaborates in theatre “Choreo-haptic Encounters” held in Montreal
choreographic creation with particular developed and insights reached from this she worked with directors Barbara Poggemiller, and in San Juan, Puerto Rico. Here I used
attention to the means of communication in intercultural collaboration. Michael Springate, Harry Standjofski and Paula choreography as a research methodology to
the rehearsal process? de Vancocelos. She holds a Master’s degree in pursue sensory investigations stressing the
* Through what processes are questions of Dance from UQAM and has been teaching since haptic perception, the interplay between touch
identity raised for both performer and audience, Florence Figols 1999 in the Contemporary Dance Department of and kinesthesia.
in contemporary performance that draws upon Concordia University her Alma Mater Concordia University. Act#2 – embodying contact
folkloric practices? florence.figols@concordia.ca Suspending sight eyes closed or blindfolded
* How can choreographic processes Embodying In-Betweenness participants will now experiment contact with
make the past visible and urgent in the Researcher and choreographer, it’s after having Prologue partner in order to highlight and intensify the
present of performance? flirted with chemistry that Florence decided to This workshop proposes to activate and haptic perception and the liminal space of the
This proposal is directed towards the thematic pursue in vivo her experiences on the matter expand our perceptions while being in motion in–between. How do we perceive and relate
strand of Embodied Practice. Lead investigators that moves us. Her fields of research encompass with others, shifting spatial relationships from with the other through touch and movement?
Angharad Harrop and Ruan de Vargas would sensory connections, stage presence, micro- distance into contact, shifting our attention from How can we build a world in common in order
lead a workshop within which an embodied politics of the dancing body and the blurring of visual-kinesthetic cues into tactile-kinesthetic to create interconnectedness? How can we
understanding of the project’s objectives would borders. Recipient of many grants, Florence’s awareness. Putting at the forefront of my artistic develop an awareness of being both self and
emerge for those who took part. choreographic works have been presented on research the interplay of the senses, participants the other for the other?
The workshop will invite participants on national and international dance platforms will experience the involvement of the sensory - Intermezzo – lines in-between
a journey through a series of structured Montréal, Québec City, Toronto, London Ontario, kinesthesia, touch, aural and sight - in relation to Participants will document with drawings their
improvisations that are informed by the Guelph, Madrid, New-York, Puerto Rico. others, creating here mobile connections, always embodied experience encountering the other,
underlying principle of ‘Questions & Answers’. Her recent creations include mute / sense in composition. using fine motor skills in order to live a visible
These practical explorations, which have arisen veu / en silence – named Best Choreography Act#1- embodying distance trace of the haptic experience.
from Perguntas & Atebion’s working processes, by Hour Magazine, in-perfections – solo Continuously moving as an ensemble, simply Act #3 – embodying sharing
will allow participants to develop a bodily sans territoire, the choreographic and video walking at different speeds, the body is seen An exchange to feed In-Betweeness, to
question aspects of the investigations, to unfold Cardiff, Maynooth University, and University Andrew Millington

general panels 119


Memory and Forgetting: The Creative
and share in words the embodied experience. of the Arts Helsinki. Ben’s current research University of the West Indies Process, Diasporic Imagination and
Also an invitation to focus on reciprocity and our extends his interdisciplinary methodology for Andrew.Millington@cavehill.uwi.edu Caribbean Cultural Identity
relation with the “Other”, opening up fields that embodied research into postcolonial Jewish This paper explores the creative process
resist translation into writing. studies and has recently been presented at Andrew Millington is an independent behind the making of a feature-length film
Epilogue the Royal Flemish Academy of Belgium, the filmmaker and educator born on the island production “Zora’s Dream” and its use in
Welcoming all ideas to question and pursue Orpheus Institute in Ghent, University of of Barbados. He is currently Senior Lecturer documenting the problem of bridging the
“Choreo-haptic Encouters”. Manchester, and University of Leeds. in Motion Picture Arts at the Errol Barrow historical past to future generations. Using
Keywords: sensory knowledge - Center for the Creative Imagination, University the disease of Alzheimer’s as a metaphor, the
intercorporeality - haptic encounters Embodied Research Roundtable of the West Indies in Barbados. He holds an narrative makes the argument that present
The new IFTR Embodied Research Working undergraduate degree in History and English generations suffer when official histories fail
Group ERWG will hold its inaugural meeting from that institution and graduate degrees in to acknowledge the experiences of ancestors
Benjamin Spatz at the 2017 annual conference in São Paolo. Film and Mass Communication from Howard traumatized by geographical and cultural
University of Huddersfield According to its mission statement, ERWG University in Washington, DC. displacement. The film takes its inspiration from
b.spatz@hud.ac.uk supports individual and collaborative research As an educator, he has taught film production the 1660s exodus of Africans from Barbados
projects in which embodied practice is an and film studies at Emerson College in accompanying their European masters to settle
Ben Spatz is Senior Lecturer in Drama, explicit and essential part of the methodology. Boston and served as Coordinator of Howard the area near Charleston, South Carolina. While
Theatre and Performance at the University It aims to establish an international platform University’s Film School in Washington, DC. His the historical documentation makes references
of Huddersfield Arts & Humanities Research through which to share innovative and research interests include film, digital media to the contribution of the white Planter class
Council Leadership Fellow 2016-2018 author of traditionally informed approaches to embodied and the intersections with culture, creativity little is known about the lives of the Africans
What a Body Can Do: Technique as Knowledge, research and to explore relevant methodological, and education. He is a former founding member and their progeny. The filmmaker creates a
Practice as Research Routledge 2015 convener epistemological, and ontological questions. of The Creative Edge in Maryland USA, an fictional protagonist, Alfred Bowes, a descendant
of the Embodied Research Working Group ERWG pursues its goals along four simultaneous initiative designed to support viable and struggling in an attempt at “rememory” while
within the International Federation for Theatre threads of activity: embodied practice, sustainable creative spaces within communities exploring a non-traditional cinematic narrative
Research and editor of the Journal of Embodied multimedia documentation, interdisciplinary with a specific focus on developing digital form to address this challenge. Guided by family
Research, a new peer-reviewed, video-based connections, and institutional frameworks. media industries. lore and with the help of his granddaughter, he
journal launching in 2017 from Open Library of This roundtable will introduce the new ERWG Andrew is currently producing a documentary fulfills his desire to return to the historical site
the Humanities. Ben’s recent and forthcoming to a broad IFTR audience by putting forward a called Sugar, Spirits and Sovereignty, a historical called the Ashley River, in an attempt to ensure
articles appear in Contemporary Theatre set of questions, proposals, and provocations treatment of the evolution of Barbadian society. this history is not lost to future generations.
Review Performance Philosophy Theatre, regarding the place of embodied methodologies He is the writer, director and editor of the Keywords: History Memory Film
Dance and Performance Training Journal of in theatre and performance research. narrative feature film Guttaperc 2000. Zora’s Diaspora Caribbean
Interdisciplinary Voice Studies and an edited https://www.iftr.org/working-groups/ Dream another feature is scheduled for release
volume on Documenting Performance Methuen embodied-research in 2017 while he is also scheduled to begin
2017. Ben has been invited to speak at the production on a new film entitled John Crow
British Library, the Centre for Performance Paradise in 2018, both through his company
Research, University of Kent, University of Shango Films LLC.
Heike Gehring References: Bhabha, H. K. 1990. Nation and interaction among the races. Though the

general panels 121


Third space as meeting point: beyond first
Rhodes University space/second space dualisms narration. London: Routledge. Soja, E. W. 1996. playwrights wrote pro-Japanese works according
h.gehring@ru.ac.za The proposed paper aims to explain how “third Thirdspace: Journeys to Los Angeles and other to official trends and performed those works in
space” theory can be applied to create theatre real-and-imagined places p. 53. Oxford: Blackwell. ‘the national theatre contest’ held by imperial
Heike Gehring is a senior lecturer at the that is able to reflect on a South African society Japan, the represented contents couldn’t be
Drama Department of Rhodes University, “united in diversity”. Such theatre lends itself the pro-Japanese itself. The utmost anxiety
South Africa, where she teaches both to the open-hearted exploration of difference SEUNGSUK BAIK originated from the processes of cultural
theory and practice. Her teaching and in terms of both form and content. To do so it WHITEPANZA@YU.AC.KR adaptation was filled with the stages overall and
research areas are diverse, but can often employs a generative rather than fixed approach: YEUNGNAM UNIVERSITY, SOUTH KOREA pro-Japanese discourses thrown like a scream
be connected to contemporary concerns in the case of the production Ekspedisies were all obscurity. The theatre showed clearly
related to South African theatre. She is [Expeditions], each version of the play produced Seungsuk Baik is Assistant Professor - how miserable the crossing cultural borders by
interested in contemporary performance as material from which the next production could Department of Korean Language and Literature, violence was to the life of human being. Thus, we
well as gender, postcolonial and intercultural be made, opening a space for exchange as Yeungnam University, South Korea. Ph.D., can presume that the new advent of nationalism
studies. Apart from her role as lecturer, she new versions emerged. The interaction that Korean Literature, Yeungnam University, South would be the sensitive reaction of people’s
fulfils multiple managerial functions, such this allows can in turn be viewed in terms of Korea, 2001. M.A., Korean Literature, Korea anxiety derived from rapid globalization.
as being the director of the Rhodes Theatre the “third space”, understood to be a “meeting University, South Korea, 1991. B.A., English
complex 2008 – 2014. For this role, she point” and “hybrid place” Soja, 1996. Literature, Korea University, South Korea, 1989
has been awarded with a Rhodes University In Homi Bhabha’s 1990 terms, the third Larissa Feres Elias
merit award for outstanding work. She is also space is one in which the cultures of colonisers THEATRE IN VIOLENT MIGRATION: EXPLICIT Universidade Federal do Rio de Janeiro – UFRJ
involved as theatre maker in the capacity and colonised can come together, offering ANXIETY, OBSCURE VISION - FOCUS ON THE larissafereselias@gmail.com
of creator, director and producer. For this opportunities for the formation of new cultural COLONIAL KOREAN THEATRE DURING ASIAN-
she has won several awards, amongst them forms in post-colonial contexts – forms that PACIFIC WAR Performing Arts Adjunct Professor and
the Sanlam Prize for Afrikaans Theatre are neither representative of the one nor the The migration in East Asia in the first half of Researcher at Fine Arts School – EBA – at
SPAT, in the categories Best Director and other. Edward Soja 1996 explains that it is a the 20th century had been deeply connected Federal University of Rio de Janeiro – UFRJ.
Best Production and the Rhodes Women of place “where old connections can be disturbed with imperial wars. Especially Asian-pacific Master and PhD in Theatre at UNIRIO – Federal
the Year Award for her contribution to the and new ones emerge” 56: something vital war by Japan gave the processes of cultural University of State of Rio de Janeiro –, with
performing arts in 2006. Recently 2013 – within a South African context where many violence to the colonial people. During the research on Peter Brook and Anton Chekhov.
2015 she has been a guest lecturer at the connections and relationships are still based period of Asian-pacific war, so many people in Member of ABRACE – Brazilian Association
universities of Stockholm, Vienna, Olomouc on a black/white apartheid mind-set. The colonial Korea forcibly moved to Manchuria, for Research and Post Graduate Studies in
Czech Republic and the University of the Arts search for a third way, then, is an attempt Russia and other abroad areas beyond the Performing Arts. At UFRJ coordinates the
UdK in Berlin. She graduated with a PhD in to cross borders so as to transcend strict borders by Japan’s national migration policy. The LABATOR – Laboratory of Actors Process of
2016 with a thesis entitled: Shifting identities: and well defined oppositions in an attempt experiences of migration were also represented EBA. Currently develops the staging project
An exploration of the possibilities for a to create future possibilities. The manner in in the theatre of colonial Korea. The characters Strindberg - the secrets of the tribe. Provided
syncretic Afrikaans theatre by means of three which this can be done will be explained using had revealed explicit anxiety because their performing workshops for various educational
case studies – Hex 2003, Lady Anne 2007, examples from the various iterations of the visions of the future were extremely obscure. institutions of Rio de Janeiro: UERJ – University
Ekspedisies 2008. production Ekspedisies. The anxiety was amplified by violent cultural of State of Rio de Janeiro Language Centers of
the State Department of Education DEGASE – theoretical texts about the chekhovian work and, desdobramentos que incluem referências textuais, Susana Egea

general panels 123


Socio-educational Actions Department of the especially, texts, tales and letters of Chekhov. fílmicas, musicais e teatrais, como: minha tese de Institut del Teatre de Barcelona
State. Actress, director and producer, member More than references, these sources are the doutorado as versões de “O jardim das cerejeiras” de susana.egea@esmuc.cat
of the theatre group Os Cênicos Cia. de Teatro, dramaturgy framework and present themselves P. Brook e de G. Strehler o poema “Branca-de-neve
since its creation in 1999. As an actress, worked in the scene, which in its genesis proposed despede-se dos sete anões”, de Leopoldo M. Panero Susana Egea Ruiz Barcelona actress, stage
with the theatre group Mergulho no Trágico experiment duplications, mediations, presence o filme “Fanny e Alexander”, de Bergman o desenho director and researcher in performing arts. She
and with the actress and director Silvia Pasello, of second degree, intersections theater-cinema. “Branca-de-neve”, de Walt Disney, o documentário obtained her PhD in Performing Arts at the
member of Fondazione Pontedera Teatro. The purpose of this work is dismantling the “Opening in Moscow”, de D. A. Pennebaker as Autonomous University of Barcelona, with her
Author of the book “The Cherry orchard is on process of creation of the spectacle to reflect on cartas escritas pelas atrizes durante os ensaios thesis: Fundations for the Development of an
sale – Peter Brook via Anton Chekhov”, which questions such as: what is the sense of resuming textos teóricos acerca da obra tchekhoviana Acting Technique for the Operatic Stage. For her
will be released in September 2015. Chekhov and to intervene in his dramaturgy? e, principalmente, textos, contos e cartas de work entitled Actor training in opera: Analysis
Could the intersection of means and sources Tchekhov. Mais do que referências, estas fontes of a specificity she was granted the “Artez Blai
The cherry orchard is on sale – from be a way of searching for “new forms”, new são o arcabouço da dramaturgia e se presentificam International Award for Performing Arts Research”
Chekhov/1904 to Chekhov/2016 theatricalities, for a new expression? We are na encenação, que em sua gênese propunha 2011. She is graduated in Romance Philology at
The stage production “The cherry orchard back to Chekhov. Maiakovsky in his article The experimentar duplicações, mediações, presença the University of Barcelona and received training
is on sale” integrates projects developed from Two Chekhov says: [...] every age brings in a de segundo grau e interseções teatro-cinema. O in music, dance and drama. As an actress she has
2011 to 2016 in the LABATOR – Actor Processes peculiar way the necessity of a new expression. objetivo deste trabalho é desmontar o processo worked with directors such as: Adolfo Marsillach,
Laboratory of the EBA/UFRJ. These projects What connections can be produced between the de criação do espetáculo, visando refletir sobre Calixto Bieito, Ferran Madico, Hansel Cereza,
involved staging proposals that allied Chekhov’s past and the present? questões como: qual o sentido de retomar Tchekhov Antonio Simon, Hasko Weber or Malena Espinosa,
texts and movies-of-theater based on the Keywords: The cherry orchard: Chekhov: e de intervir em sua dramaturgia? A interseção de amongst others. As a stage director, her work
Russian authors works. The spectacle fulfilled theatricalities: cinematic. meios e fontes poderia ser um caminho de busca is mainly interdisciplinar. She is professor at the
season in November/2015 at the Sede das Cias. de “novas formas”, de novas teatralidades, de uma Escola Superior de Música de Catalunya, where
Theatre, RJ, and was realized in partnership with Está à venda o jardim das cerejeiras – de nova expressão? Voltamos a Tchekhov. Maiakóvski she currently teaches Lyric Theatre and Acting
the dramaturge Vanessa Teixeira de Oliveira Tchekhov/1904 a Tchekhov/2016 em seu artigo “Os Dois Tchekhov” diz: “[...] toda Skills for Singers and where she has been in charge
and with the group Os Cênicos Cia. de Teatro. A montagem teatral “Está à venda o jardim época traz de maneira peculiar a necessidade de of the stage direction of the Opera Workshop
The design of “The cherry orchard is on sale” das cerejeiras” integra projetos desenvolvidos uma expressão nova”. Que conexões podem ser since 2009 and she teaches also at the “Institut
is the result of a series of outspreads including de 2011 a 2016 no LABATOR – Laboratório de produzidas entre o passado e o presente? del Teatre de Barcelona”. She is the author of Actor
textual, filmic, musical and theatrical references, Processos do Ator da EBA/UFRJ. Estes projetos Palavras-chave: O jardim das cerejeiras: Tchekhov: training for opera ed. Artez Blai, Bilbao: 2012.
as: my doctoral thesis the versions of “The envolveram encenações que aliavam textos de teatralidades: cinemática.
cherry orchard” of P. Brook and G. Strehler Tchekhov a filmes-de-teatro baseados em obras The legacy of Chaliapin, Stanislavski and
the poem” Blancanieves se despide de los do autor russo. O espetáculo cumpriu temporada Meyerhold. Redifing history and concepts
siete enanos”, of Leopoldo M. Panero the film em novembro/2015 no Teatro Sede das Cias, RJ through their work in opera.
“Fanny and Alexander”, of Bergman the cartoon e foi realizado em parceria com a dramaturga To analyze the theatrical and – as I show,
“White Snow”, of Walt Disney the documentary Vanessa Teixeira de Oliveira e com Os Cênicos here, operatic -innovations developed by Fedor
“Opening in Moscow”, of D. A. Pennebaker the Cia. de Teatro. A concepção de “Está à venda o Chaliapin, Konstantin Stanislavski and Vsevolod
letters written by actresses during rehearsals jardim das cerejeiras” é resultado de uma série de Meyerhold means to approach to an intricate
period of Russian History. A period signified by courses on drama, theater theory and history, Warburg would say of paintings and authors atlas warbuguiano? de obras e autores não vale

general panels 125


the fervent atmosphere of creativity and artistic and coordinates researches on Russian and doesn’t work as simple artistic quotations, but como mera citação artística, mas como uma outra
development which emerged, but also tragic Soviet cinema and theater. She published the as a whole new scenic dimension, based on a dimensão cênica baseada numa rede significante de
and disconcerting by the warlike circumstances book Eisenstein ultrateatral in 2008 Editora significant web of images and symbols. imagens e símbolos.
that finally framed it. To work in this framework Perspectiva, São Paulo. In 2015, she debuted Keywords: Vsévolod Meyerhold, Aby Warburg, Palavras-chave: Vsévolod Meyerhold, Aby
means to meet with a material associated with as a playwright on an adaptation of the Cherry theatre theory, montage, image. Warburg, teoria do teatro, montagem, imagem.
names that, like Chaliapin or Meyerhold, were, Orchard by Anton Chekhov, and is currently
turned off, or erased from part of the history a working on the play The secrets of the tribe, an A cena paralela: um caderno de imagens de
material a priori full of contradictions and missing adaption of Strindberg’s last plays. Meyerhold Denise Alcantara-Hochbaum
links. The analysis of the operatic work of these Em Pinóquio: um livro paralelo, Giorgio denise.hochbaum@gmail.com
artists contributes to a better understanding of The parallel scene: a Meyerholds notebook Manganelli observa que um “livro paralelo” não
the theatrical conceptions of Stanislvaski and In Pinocchio: un libro parallelo, Giorgio significa “um texto escrito ao lado de outro livro já Denise Avivit Hochbaum is an architect with
Meyerhold, both linked to the contributions of Manganelli points out that “a parallel book” existente”, o paralelismo ocorre, de fato, “no interior a Master’s Degree in Performing Arts from
Fedor Chaliapin. And shows as the necessity to doesn’t mean “a book that’s written aside do livro que [o paralelista] persegue”. Esta visão the School of Communications and Arts of
integrate the important technical innovations that another existent book”. Parallelism, for geométrica do livro e das infinitas possibilidades de the University of Sao Paulo and a Doctorate in
were at that time achieved, not yet nowadays not Manganelli, occurs “in the interior of the book jogo no qual todas as palavras e mesmo aspectos Theater Design from the School of Architecture
completely assumed. that is pursued”. This geometrical conception gráficos do livro são pontos de partida para uma and Urban Studies of the University of Sao Paulo.
Keywords: opera, Chaliapin, Stanislavski, of literature, as the infinite possibilities in which nova montagem da obra literária pode também Since the early 90’s, she has researched,
Meyehold, Russia words and even physical aspects of a book ser aplicada às camadas de imagens de faturas taught and designed subjects regarding the
can drive a new montage, can be applied to diversas que constituem a história do teatro e ao history of theatre, contemporary design
O legado de Chaliapin, Stanislavski e understand the several layers of images, from pensamento sobre a cena teatral. Nesse sentido, theater and experimental sets for plays and
Meyerhold. Redefinindo a sua história e different backgrounds, that constitute theater o procedimento do paralelista parece próximo ao operas. Working as an architect and theatre
conceitos através do trabalho na ópera. theory and history. Parallelism can be seen pensamento de uma crítica do continuum histórico director during 15 years at Theatro Municipal
Palavras-chave: Ópera, Chaliapin, Stanislavsky, close to Eisenstein and Benjamin’s procedures, possibilitada por autores que operam por meio da of Sao Paulo, one the most recognized opera
Meyerhold, Rússia in which montage is used to criticize the notion “montagem” Serguei Eisenstein, Walter Benjamin. houses in Latin America, she was able to learn
of an historical continuum. Russian director O encenador Vsévolod Meyerhold no livro Do teatro the needs and the dynamics of the house. In
Vsévolod Meyerhold, in his book On Theater, lista várias referências de artistas visuais para parallel, connected with academic studies, she
Vanessa Texeira de Oliveira lists several visual artists that can help us pensar uma nova cena em contraposição à cena wrote articles for newspapers and specialized
Universidade Federal do Estado thinking a new theatrical scene, confronting naturalista stanislavskiana. O intuito do presente magazines, in addition to teaching graduate
do Rio de Janeiro UNIRIO Stanislavsky’s naturalism. This work aims to trabalho é demonstrar como essa galeria de obras students in art and theatre.
vanessa.t.oliveira@unirio.br expose how these visual references are related se articula com a teoria do teatro meyerholdiana, During the past 9 years, as a permanent
to Meyerhold’s theory and artistic practice e com a sua prática artística vide o caderno de resident in the US, she has contributing to expand
Vanessa Teixeira de Oliveira Fortaleza, vide Meyerhold’s notes concerning The death montagem da peça A morte de Tintagiles, de Brazilian Culture in architecture, art and theatre
Brasil, 1976 teaches at the Theater School of of Tintagiles, a play by Maurice Maeterlinck, Maurice Maeterlinck, na construção de uma cena for scholars and professionals in this field.
the Federal University of the State of Rio de building a parallel scene on tensions between paralela cuja teatralidade é forjada nas tensões Planning lectures and exhibitions in museums,
Janeiro UNIRIO where she is responsible for different art forms. This index or atlas, as Aby entre diferentes práticas artísticas. Esse index ou architectural associations and universities,
she is developing a continuing work that has Cidade” by Bertold Brecht and, in the 80s, and inovadoras para grupos teatrais de vanguarda and an acting diploma at Martins Pena

general panels 127


contributed to a unique approach about the also with scenic performer Caca Rosset in “Ubu durante o período de censura no Brasil. Professional Theater School 2003. Currently,
extraordinary Brazilian cultural legacy to Rei” by Alfred Jarry. All these plays described Neste programa, pretendo me concentrar em sua she is an Associated Professor of the History and
academic groups in Washington, DC and New her deep knowledge of modern dramaturgy and contribuição ao teatro desde seu tempo em Salvador Theory Department at Faculty of Architecture
York City. the compromise between actors and the public, 1960, atuando como diretora do Teatro Castro and Urbanism of UFRJ, where she coordinates a
bringing new view for performing arts in Brazil, Alves, epicentro do Tropicalismo, e trabalhando com research about architecture and scenography. She
Scenography and spaces of subjectivity: especially once that the country was under o dramaturgo Martim Gonçalves e com o cineasta is also a researcher of the Laboratory of Theatrical
art and life dictatorship and her artistic concepts reacted Glauber Rocha de volta a São Paulo, com o diretor Space Studies at UNIRIO. She is the author of The
Lina Bo Bardi: Creative Practice in against the political pressure. José Celso Martinez Correa em O Rei da Vela de Scenography of Santa Rosa – space and modernity
Scenography and Theatrical Architecture We will discuss those examples in this lecture Oswald Andrade, Selva da Cidade de Bertold Brecht RioBooks 2014. She has published a variety of
Since IFTR-2017 is taking place in Sao and strongly suggest that the work group e, nos anos 80, com o encenador Caca Rosset em articles on Arts, with emphasis on architecture.
Paulo, Brazil, it is opportune to bring to the check her democratic spatial interpretation by Ubu Rei de Alfred Jarry. Todas esses espetaculos Focused, mainly, in the subjects: Scenography,
Scenography-Work-Group some theatrical exploring in loco, some theatres and art places revelam seu profundo conhecimento da dramaturgia Theater Architecture, Brazilian Modern
examples designed by Architect Lina Bo Bardi, that obey her conceptual orientation, such moderna e o compromisso com atores e público. Scenography and the history of Rio de Janeiro.
a personality which legacy has been influencing as Theatro-OficinaSP, Sesc-PompeiaSP and Lina trouxe novas indicacoes para as artes cenicas
and inspiring generations due her deep Theatro-Polytheama Jundiai-SP, MASPSP, and no Brasil, especialmente uma vez que o país estava Scenography as a field for architectural
comprehension about the Brazilian culture. Complex Pelourinho Salvador-BA. sob ditadura e seus conceitos artísticos reagiram experimentation - the sets by Diller +
Born in Italy 1914-1992, she arrived in Brazil contra a pressão política. Scofidio and Herzog&De Meuron
in 1947 with Pietro Bardi with a mission to build Cenografia e espaços de subjetividade: Discutiremos esses exemplos nesta conferência Architecture and scenography have been
the art collection for the new Museum of Art of arte e vida e sugerimos ao grupo que verifique sua visão sharing, historically, researches on the concept
Sao Paulo. The brightness of Linas architecture Lina Bo Bardi: Prática criativa em espacial democrática explorando in loco, alguns of space, time dimensions, illusion, and reality.
has been extremely recognized by professionals cenografia e arquitetura teatral teatros e lugares de arte que obedecem à sua Whenever science and technology propose new
in the entire world, however, even scarce, there Uma vez que o IFTR-2017 está acontecendo em orientação conceitual, como Teatro OficinaSP, SESC dimensions, is the Art which is concerned to
is also information regarding her contribution to São Paulo, Brasil, acredito que é oportuno trazer PompéiaSP, Teatro Polytheama Jundiai-SP, MASPSP try them and remind us that space and time are
theater design and cinema. Actually, she created ao Scenography-Work-Group alguns exemplos e Conjunto do Pelourinho Salvador-BA. constructions subject to reinterpretation and
innovative scenographies for vanguard theatrical teatrais desenhados pela arquiteta Lina Bo Bardi, disassembly. In this section, we investigated
groups in both Sao Paulo and Salvador, Bahia, personalidade que tem influenciado e inspirado Diller+Scofidio sets for Moving Target 1996
during the period of censorship in Brazil. gerações de profissionais devido sua profunda Niuxa Drago and EJM 1 and 2 1998, and Zaha Hadid sets for
In this program, I plan to focus on her compreensão sobre a cultura brasileira. Universidade Federal do Rio de Janeiro Metapolis I and II 1999 and 2007, all for Frédéric
contribution to theater since her time in Salvador Nascida na Itália 1914-1992, chegou ao Brasil em niuxadrago@gmail.com Flamand´s choreographies and Herzog&De
60s, serving as director of Teatro Castro Alves, 1946 com Pietro Bardi, sob a missão de construir a Meuron sets for Tristan und Isolde Berlin Opera
epicenter of Tropicalism, and working with the coleção de arte do Museu de Arte de São Paulo. O Niuxa Drago has graduation at Faculty of House, 2006 and Atilla Metropolitan Opera
dramaturge Martim Goncalves and with the brilho da arquitetura de Lina Bo Bardi é a reconhecido Architecture and Urbanism of the Federal House, 2010. Crossing theory’s reflections of
film-maker Glauber Rocha back to Sao Paulo, em todo o mundo, no entanto, mesmo que seja University of Rio de Janeiro UFRJ 2000, MA and art, theater and architecture, as Hal Foster,
with director Jose Celso Martinez Correa in “ escassa, há informações sobre sua contribuição para Ph.D. in Performing Arts at Federal University of Rafael Moneo and RoseLee Goldberg, the
O Rei da Vela” by Oswald Andrade, “Selva da o teatro e cinema. Na realidade, ela criou cenografias the State of Rio de Janeiro UNIRIO 2005/2012, investigation seeks to baste the set design
and architecture projects in the same research 2006 e Atilla Metropolitan Opera House, 2010. and Scenographies: Lina Bo Bardi and the Following the concepts from Aronson, Carlson, De

general panels 129


field claimed by each of the architects. In the Cruzando reflexões de teóricos da arte, do teatro Theatre. Nowadays she is the coordinator of Certeau, Argan and from cultural studies theorists,
work of Diller+Scofidio, stands out the thougth e da arquitetura, como Hal Foster, Rafael Moneo the group of work Spatial Visual and Sound this paper aims to analyze three scenography projects
about real and mediated images and the new e RoseLee Goldberg, a pesquisa procura alinhavar Poetry at the Brazilian Association of Scenic Arts by this artist: the show LeGal [1970] by Gal Costa at
dimensions of space. For Herzog&De Meuron, os projetos de cenografia e arquitetura num Researchers ABRACE. Since 2006 she integrates Rio de Janeiro, the show Gilberto Gil in Concert [1971]
the screen and the texture materials potentiate mesmo campo de investigação reivindicado por the Theatrical Space and Urban Memory Studies by Gilberto Gil in New York and the film project A
the light design, cast questions about volume cada um dos arquitetos. Destaca-se, na obra de Laboratory at Federal University of the State of Cangaceira Eletrônica [1970] by Antonio da Fontoura
and flatness, as well as theatricality and reality. Diller+Scofidio, o pensamento sobre a imagem real Rio de Janeiro UNIRIO. non-realized. These environmental scenographies
For Zaha Hadid, the movement and tensions e mediada e as novas dimensões do espaço. Para may highlight the everyday life materials and the
modify the space, denying the relationship a dupla Herzog&De Meuron, a tela e a textura Hélio Oiticica’s environmental scenography: behavior suggested by the songs and performance
between figure and background, and the material potencializam o desenho de luz, lançando an experience of an image-Brasil from these musicians and their public.
volume decomposition in three dimensions. questões sobre volumetria e bidimensionalidade, Since the tropicália moment, Helio Oiticicas
The works studied reflect in these artistic fields bem como sobre a teatralidade e o real. Para Zaha artwork is related to experimental practices
the contemporary notions of hybridity, virtual Hadid, o movimento e as tensões modificam o from visual arts, cinema, theater and music. In Hadeel Abdelhameed
processing and fold. They show how the nature espaço, negando a relação entre figura e fundo e this process, the Brazilian underdevelopment La Trobe University
of the spectacle has taken the architecture, a decomposição do volume em três dimensões. concept is revised and it turned possible to have hadeel.abdelhameed73@gmail.com
launching it into a research on illusion, space- As obras estudadas permitem identificar como an environmental and performative program
time and movement or, to Tschumi, the se refletem nesses campos artísticos as noções that discusses the image-Brasil that puts its Academic Qualifications
replacement of utilitas or function by the event. contemporâneas de hibridismo, transformação sociocultural condition and culture in a global 03/2015- date PhD
virtual e dobra, e demonstram o quanto a point of view. The revision of Brazilian modern art College of Arts, Social Sciences and Commerce.
A cenografia como campo de natureza do espetáculo tem tomado a arquitetura, movement, anthropophagy concepts, behavior Theatre and Drama Program
experimentação arquitetônica - os cenários lançando-a numa pesquisa sobre a ilusão, o aspects and the inter-relation between art and life La Trobe University, Bundoora Campus
de Diller + Scofidio e Herzog & De Meuron espaço-tempo e o movimento ou, para Tschumi, na has connected many artists from different fields Doctoral Thesis: Imaging Women in War Time: A
Arquitetura e cenografia compartilham, substituição da “utilitas” ou “função” pelo “evento”. of work. The Oiticica’s art environment, Tropicália Comparative Study in Selected Australian and Iraqi
historicamente, investigações sobre o conceito de [1967], became a symbol and a name – Tropicalism War Theatres
espaço, dimensões temporais, ilusão e realidade. - of a movement that transformed Brazilian popular 11 / 2014 Postgraduate Diploma in Education
Sempre que a ciência e a tecnologia propõem Cássia Maria Fernandes Monteiro music in the 1960’s. As many avant-gard artists at School of Education
novas dimensões, é a arte que se ocupa de Universidade Federal do Rio de Janeiro this period Oiticica believed that art should have Majors: English Literature and ESL
experimentá-las e lembrar-nos de que espaço e cassiamariamonteiro@gmail.com no limits imposed by language. From this point Royal Melbourne Institute of Technology,
tempo são construções passíveis de releitura e on scenography became to Oiticica a possible Bundoora Campus.
desmontagem. Nesta primeira etapa, investigamos Scenographer, costume designer and path to be even more connected to these artists 10/2007-05/2010 Master of Art
os cenários de Moving Target 1996 e EJM 1 e 2 researcher, PhD Cássia Maria Fernandes and revolutions in modern culture in the world. College of Languages
1998, de Diller+Scofidio, e de Metapolis I e II 1999 Monteiro is Scenography Professor at the The scenic environments projected by Oiticica Department of English
e 2007, de Zaha Hadid, todos para coreografias Federal University of Rio de Janeiro UFRJ. In announce his perspective about the marginal Major: Contemporary American Literature
de Frédéric Flamand e os cenários de Herzog&De 2012, Cássiapublished with Evelyn Furquim position underground – subterranean in relation to Baghdad University, Baghdad Master Thesis: The
Meuron para Tristan und Isolde Ópera de Berlin, Werneck Lima the book Between Architectures pop-rock musicians and to underground cinema. Image of Women in Edward Albee’s Late Plays
10/1990-07/1995 Bachelor Degree of Arts responsive to human rights dilemmas, it also women who went by boat to Australia. Their Kuwait SIK. The YSC’s performance began with a

general panels 131


College of Languages shows how the problems facing women in case was rejected. This production was based 45-minute, audience participatory introduction to
English Department particular highlight the difficulties of being on a true story and in accordance, Al-Assadi the play and to particular elements of performance,
Baghdad University, Baghdad majors: a refugee. The article points out that the added several details about the Al-Anfal genocide like stage fighting—all accompanied by lively
Linguistics and English Literature identities of the refugee women in each that happened in North of Iraq 1986–1989. In examples—before passing to a highly truncated,
Scholarships and Awards: production are specific to one culture but 2014 Al-Assadi renamed the play into Women but still original language, version of Shakespeare’s
02/2015 – date that the plight of the refugee is a transferable without God and that his protagonists would be play. The production even incorporated some
La Trobe University Postgraduate Research problem across national and ethnic identities Syrian women and he added the dilemma of ISIS young actors and dancers from Kuwait in the roles
Scholarship LTUPRS with each successive production. Further, this empowerment to several places in Syria and Iraq. of extras at Macbeth’s coronation feast.
A sessional academic staff: might be transferable across time as aspects of English-language community theatre has a
1-School of Art and Education, Melbourne Women in War can be compared with Euripides long history in Kuwait. It reaches back to the
Institution of Technology an affiliation with The Trojan Woman. Katherine Hennessey establishment, in 1948, of an amateur troupe
Federation University Three Iraqi women Ameena, Reyhana, and American University of Kuwait by employees of the Kuwait Oil Company, and
2-School of Education, Royal Melbourne Mariam are in a detention centre waiting hennessey818@gmail.com for decades likeminded expats have gravitated
Institution of Technology for a decision that legalizes their residency towards theatre both for entertainment and
3-Victorian School of Languages, as refugees. They are still being interviewed Katherine Hennessey is the author of as a way to make new friends and to feel
North Melbourne area or perhaps interrogated. The three asylum Shakespeare on the Arabian Peninsula New York: they ‘belong’ in their new place of residence.
seekers converse about life or death, Palgrave, 2017, and co-editor, with Margaret Participants in a 2010 documentary celebrating
‘Troubling, Troubled and Troublesome’: admission or deportation. The theme of the Livtin, of the Arab Shakespeares special issue the 60th anniversary of the Kuwait Little Theatre
Geographical Instability and Female Refugees play is about living an in-between zone and of Critical Survey 28.3, Dec 2016. From 2009 describe community theatre as ‘a godsend,’ ‘a
The Iraqi playwright Jawad Al-Assadi decided it depicts the multiple frustrations of the to 2014 she lived in Sana’a, researching the lifeline,’ ‘a family,’ ‘a home away from home.’
to produce his play Women in War in Baghdad characters faced with significant obstacles to history of Yemeni theatre, after which she held While not exclusively an expatriate pursuit,
2003 shortly after the American and coalition residency. The reasons behind their decisions a Global Shakespeare research fellowship at English-language community theatre has not
invasion of Iraq. The play tackles the theme of to flee and the horrendous journey is followed the University of Warwick and Queen Mary attracted a preponderance Kuwaiti citizens to its
Iraqi refugee women under Sadam Hussein’s by the impassivity experienced during the long University of London, and a visiting fellowship stage or its audiences, until quite recently. The
rule. In 2010, the play was produced in North time in detention. at the Moore Institute, NUI Galway. She now artistic director of SIK proudly told me that his
of Iraq in Kurdistan and directed by the Iraqi The background of the first production which serves as an Assistant Professor of English at the organization has succeeded in gradually building
director Kadhum Nassar but this production finally happened in 2005 in Baghdad reflected American University of Kuwait. up a Kuwaiti audience base, which he estimates
featured refugee Kurdistan women. In 2014 the the miserable conditions of Iraq after the now constitutes around half of the spectators in
play was produced with refugee Syrian women. coalition invasion. It proved that there are still ‘Home’ is an Unstable Geography: a given performance.
This article considers how this play about theatre productions in Iraq even under the worst Community Theatre in Kuwait Through a combination of textual research and
women in war and its changing profile of conditions of the aftermath of war. Women in In Kuwait in early February 2017, the UK- personal interviews, this paper will investigate
character identities and geographical instability War was produced again in Tunisia and Algeria based Young Shakespeare Company YSC staged what this demographic shift signifies in terms
convey the human cost of recent political in 2005. In 2010 Al- Assadi decided to take the Macbeth on the beautiful stage of the American of the elements of community theatrical
events, war and upheaval of the region. While concept further by changing the ethnicity of United School in a production organized by a practice. Questions to be investigated touch
the play suggests how theatre can be fully the three protagonists into three Kurdish Iraqi local community theatre group called Staged in on issues of self- or unofficial censorship, and
the power dynamics that govern Kuwaiti vs. Hakim. Given the play’s originality, multi-layered negative criticisms of leading members of the Theatre, as part of iShed’s Theatre Sandbox

general panels 133


expat participation. Above all, the paper will ask perspective, and spectacular staging, the tour cultural elite? What made some members of the scheme Watershed’s Open City programme for
whether the shifting dynamics of community promises to be a unique encounter with Palestinian audience walkout of the theatre during the first European City of Culture, Guimarães, Portugal
theatre in Kuwait broaden participants’ cultural politics on the one hand and an invigorating act and during intermission? What makes the Bristol’s Enterprise Zone, as one of the Temple
delineations of the geography of ‘home.’ dramatic presentation of three generations of play so controversial? Quarter commissions Rotterdamse Shouwburg,
Palestinians, Israelis, and Brits. In this paper, I will discuss the controversy, as part of De Keuze Festival, in collaboration with
Upon the initial opening of Roses and Jasmine but I will also identify a ventriloquism that is Rotterdam’s New Institute Hiet Nieuwe Instituut,
Samer Al-Saber in June of 2015, controversy and vibrant debate common in performances of orientalism: the which supports architecture, design and e-culture.
Florida State University overtook the constituency of Jerusalem’s colonizer’s dialog in the mouth of the colonized! In October 2016 a version that speculated on
Palestinian National Theatre (PNT). Not since The power of Jasmine and Roses primarily future universities was produced for University of
Samer Al-Saber works as assistant professor of El-Hakawati’s 1985 production of the Story of stems from the reversal of the orientalist Bristol, and also Give Me Back was performed 9 –
theatre at Florida State University. Most recently, the Eye and the Tooth and Al-Kasaba’s 1995 ventriloquism: the colonizers, for once, speak 11 November at Deptford Lounge, commissioned
he held a position as a Mellon postdoctoral fellow co-production with the Jewish-Israeli Khan the dialog of the colonized. by Lewisham Council and the Albany Deptford.
at Davidson College. He has a PhD in Theatre Theatre, Romeo and Juliet, has an original
History, Theory, and Criticism from the University theatrical creation stirred such contrarianism, Critical Utopian and Dystopian
of Washington, an MFA in Directing from the complex public discourse, and opposing Paul Clarke Thinking: Uninvited Guests’ Give
University of Calgary, and a B.A. from the University viewpoints in the Palestinian performing arts. University of Bristol Me Back My Broken Night
of Ottawa. As a director and creative artist, he The PNT has not only garnered the attention p.clarke@bristol.ac.uk Give Me Back takes the form of a theatrical
worked in Canada, Australia, and the Middle East. of audiences at the sold out box office, but also guided tour, not of the historic past, but of the
His first monograph will bear the title Permission to the harsh criticism of some members of the Dr Paul Clarke is a Senior Lecturer in future of a place, and uses location-sensitive
Perform: Palestinian Theatre in Jerusalem (1967-1993). discerning local community of vocal artists. Performance Studies at University of Bristol. He mobile devices. Groups of participants are
His scholarly interests include Middle Eastern Commenting on the spirited atmosphere in is the director of theatre company Uninvited told site-specific science fiction stories,
theatre, politics, and Culture, the Euro-American Palestine’s first fully dedicated and highly Guests, whose work has toured nationally both utopian and dystopian, and have the
theatre from the Greeks to the present, and the equipped modern theatre, Al-Nuzha/Hakawati and internationally, and is a member of the opportunity to collaboratively imagine their
performance of news. Theatre, a longtime technician stated after the art collective Performance Re-enactment ideal future architecture, seeing it drawn real-
opening night performance: “the spirit of the Society PRS. From 2008-2010 he was Research time and in situ, using micro projectors and a
Roses and Jasmine: Palestinians Perform production and the audience remind me of the Fellow on Performing the Archive: the Future networked drawing app. The event concludes
Jewish Characters On the European Stage 1980s.” Although the glorious past of Palestinian of the Past, hosted by University of Bristol’s with a fictional planning meeting, which brings
From January to March 2017, Roses and Jasmine, theatre in Jerusalem during the eighties may Theatre Collection and Arnolfini archive. He is together local inhabitants or users of the area,
as a co-production between the Palestinian not return or be replicated, the sentiment an investigator on the AHRC-funded project councillors, architects, planners and developers
National Theatre (PNT) and the Parisian Theatre reflected the energetic, multifaceted, and Performing Documents and is currently co- for debate around the groups’ proposals and
D’Ivry, will be presented in Paris and on tour at vigorous debates following the PNT’s offering. editing the book Artists in the Archive, to be plans. Give Me Back tends to be commissioned
La Comédie de Génève and Théâtre National de But why has the discursively complex and published by Routledge. for places undergoing gentrification, where
Strasbourg. This extraordinary play marks the third technically sophisticated spectacle generated Place-specific versions of Give Me Back there are disputed developments or a crisis
co-production between the PNT and the Parisian polar opposite reactions in the audience’s My Broken Night by Uninvited Guests and around the availability of affordable housing.
theatre under the leadership of director Adel standing ovation and, inversely, the adamant Circumstance have been developed for: Soho Whilst the concluding meeting is convivial, it
also opens a space for listening to antagonistic Gigi Argyropoulou economic crisis 2010–2016 in Athens and Cláudia Tatinge Nascimento

general panels 135


positions and conflicting interests. 01crash@gmail.com challenged dominant practices of spatial and Wesleyan University
In line with Jaap Bakema’s ideal of an open cultural production. During this period of cnascimento@wesleyan.edu
society, Give Me Back stages a participatory and Gigi Argyropoulou is a researcher, theorist, upheaval and impoverishment, while social
democratized approach to urban design and director and curator working in the fields of frameworks were collapsing, cultural workers Cláudia Tatinge Nascimento holds an Acting
planning consultation. People take the place of performance and cultural practice based in questioned the limits of their praxes as they Conservatory Degree from Casa das Artes de
architects and planners, collaboratively imagining Athens and London. Gigi has initiated and sought to respond to the changing landscape Laranjeiras and a Ph.D. in Theatre and Drama
the future of their built environment. Despite organised festivals, conferences, performances, of crisis, and a diversity of self-instituted forms from the University of Wisconsin-Madison.
our bottom up mode of design and idealized actions and cultural collaboration projects both emerged such as occupations, interventions, An actor, director, and scholar, she began a
consultation being framed as science fiction, inside and outside institutions. She is a founding acts of institutional critique, emergent DIY professional stage career while living in Rio de
this theatre work can be applied as a model member of Green Park, Mavili Collective, performance praxes, and collective platforms. Janeiro, Brazil. In the United States, Tatinge
for engaging publics in participatory planning Institute for Live Arts Research, and Mkultra. These performative mobilizations, emerging in Nascimento joined Cleveland’s New World
processes, to enable critical conversations between As a member of Mavili and other collectives a country not usually considered an important Performance Laboratory NWPL. With this
municipalities and local people. The use of theatre Gigi co-initiated/co-organised theatre and site for avant-garde artistic production, acted company, she participated in Jerzy Grotowski’s
as a tool enables playful, improvisatory and cultural occupations, interventions, programmes as counterpoints to larger social movements final Objective Drama Session at the UC-Irvine,
collaborative approaches to generating proposals and cultural critique actions during the crisis. within Greece and globally and marked a and performed in Europe, North and South
for remaking places, fictional versions that can feed Gigi received the Routledge Prize for PSi 18 paradigm shift in the modes of practicing and America. In 2007, she received a Consulate
into real urban design and public consultancy. and her work is published in journals, books taking part in politics and culture. Questioning General of Brazil in New York Arts Grant to
The process of researching Give Me Back and magazines. She delivers regularly talks in the ongoing recuperation of “participation” direct Pornographic Angel, her published
partly involves looking back to look forward, conferences and universities. She has taught and the potential of the “political turn” in the adaptation of Brazilian playwright Nelson
a form of archaeological imagining. Our at Universities and drama schools in UK and arts in conditions of precarity in this paper I Rodrigues’ short stories. She is the author of
located, site-specific science fictions draw Greece. Gigi was Associate Researcher for will seek to rethink the role of performance Crossing Cultural Borders Through the Actor’s
both on research around the past and local Performance Matters, Associate Research practice in the political field and vice versa Work: Foreign Bodies of Knowledge Routledge,
people’s hopeful or dystopian imaginings of Fellow at Birkbeck College, UK and invited writer while aiming to contest distinctions between 2008. Her articles appear in journals such as
possible futures for their place. I am reminded for L’internationale Platform. She co-initiated the cultural and the political. Exploring diverse TDR, Theatre Research International, Biblioteca
of Jose Muñoz describing his approach to the Performance Biennial Athens, 2016 and forms of performance practice this paper Teatrale, Didaskalia, A[l]berto, and Folhetim.
critical utopianism as a backward glance that co-curated its first edition. Gigi is the editor will work from within specific conditions In recent years, Tatinge Nascimento was a
enacts a future vision, although Uninvited with Hypatia Vourloumis of the special issue of in order to offer wider considerations on scholar with the Workcenter of Jerzy Grotowski
Guests also applied critical dystopianism. Performance Research Journal “On Institutions”. imaginative destituent strategies that bear and Thomas Richards, and a fellow at Freie
Drawing on Ernst Blochs The Principle of Hope https://gigiargyropoulou.wordpress.com/diary/ the potential to criticality devise ephemeral Universität-Berlin’s “Interweaving Performance
and Muñoz’ Cruising Utopia, Give Me Back forms of instituting otherwise. This paper Cultures” International Research Center and
considers whether visualising and speaking of Destituent Spaces: Performance and problematises the relation between art Trinity College Dublin’s Long Room Hub.
utopian futures might “fuel [the] critical and Activism in times of crisis and activism, resistance and incorporation, Her current scholarly project examines the
potentially transformative political imagination This paper examines critical manifestations performance and politics in order to theorise performances of the Brazilian post-dictatorship
of a community. of activism and performance that emerged potential positions we might seek to institute generation. She is a Professor of Theater at
in unexpected forms during the years of in the coming years. Wesleyan University.
to privileging the canon in a cycle that is self- Samipendra Banerjee ‘company theatre’ took over the reins of today’s

general panels 137


Chain Reaction on a Sleepy Territory:
theater conservatories, universities, and justifying and self-replicating, and propose University of Gour Banga Bengali theatre from the erstwhile ‘group
the professional métier at the disservice that reclaiming the theatrical in experimental samipendra@yahoo.com theatre’. This paper takes off from Bratya’s
of contemporary theater productions may illuminate the presence of a observation and attempts to situate it in the
Some of the most innovative contemporary second wave avant-garde. Dr Samipendra Banerjee is an assistant context of contemporary Bengali theatre. I
productions are generally viewed as “performance” professor at the department of English, argue that the suggested shift, apparently in
rather than “theater”—already in the late 1970s, University of Gour Banga, India. He represents terms of organizational principles that predate
RoseLee Goldberg re-categorized avant-garde Carlos Vargas-Salgado Malda, an economically backward district of the performance is actually a conceptual
theatrical pieces from Futurism, Dada, and Whitman College, Washington West Bengal in India. He has done his Ph.D paradigm shift across several levels in terms
Surrealism, as “performance” and thus brought vargasca@whitman.edu from Visva-Bharati, Santiniketan, a reputed of spaces of performance and registers
them under the umbrella of her field of study, the central government institution established by of globalization that has the possibility of
fine arts. In this paper, I focus on the contemporary Carlos Vargas-Salgado is Assistant Professor Rabindranath Tagore. The title of his thesis transforming conditions of performance.
antipathy for the theater because the prejudice that of Spanish at Whitman College in Washington. was “Historiography, Politics and Indian Drama The emerging company theatre in Bengal is a
it meets with today does not do justice to its history He has published on performance studies in English: Interrogating the Nation in Select practice that lays emphasis on the materiality
as a key subject in philosophical debates or as an applied to Latin American culture, Andean Plays of Asif Currimbhoy and Mahesh Dattani”. of performance and learns from history and
art form that has incited riots at so many opening literatures,and human rights/memory studies in His areas of interest include modern Indian memory. The shifting patterns of theatre practice
nights. I look at a few of the forces at play in the the Spanish-speaking world. His work has been theatre, feminist theatre, theatre historiography, in Bengal today emerges from a discontent that
grooming of a theater that is tame and derivative, published in Latin American Theatre Review, globalization and gender and sexuality studies. seeks to balance an increasingly global system
and thus justifies the contemporary anti-theatrical Hispanic Issues Online, Revista de Crítica Literaria He is currently engaged in exploring critical of production and the aesthetic demands of the
prejudice: 1. the insistence of the commercial Latinoamericana, and various other scholarly historiciziations of contemporary Bengali theatre stage. An important aspect of this transformation
métier and conservatories in replicating past journals in Peru, Chile, Brazil, and Spain. vis-à-vis its institutions and performative spaces. is the emergence of the new unbound actor who
theatrical forms with a twist in particular Realism, He contributes articles/chapters in edited is committed to the theatre but not to a particular
but also other twentieth-century avant-garde The multiple theatricality systems in Peru books and journals on drama and theatre and has group. This paper also cites the performance of
movements without regard for the fact that in their Peru shows a stunning cultural diversity, participated in several conferences and seminars Mumbai Nights, a recent adaptation of Twelfth
historical contexts they represented rupture; 2. the and it is clearly reflected into the theatrical in India on theatre and drama. One of his articles Night as an effort in mapping global registers
establishment of Theater academic departments production. Exploring Peruvian Theatre has been published by the De Gruyter journal, on Bengali theatre. Finally, this paper seeks
and conservatory programs, which in many cases from Performance Studies and Sociology Berlin. Dr Banerjee also regularly writes and to ask if such new inroads in the theatre are
have suffocated theatrical innovation and robbed approaches, this communication seek to directs plays performed by his students. governed by positions of power that could
this ephemeral art form of its sense of urgency and demonstrate that Peruvian theatricalities are mediate conditions of performance through
3. the subsequent rise of the term “performance” to organized in concentric systems, isolated Shifting Spaces Global Registers: The institutional and spatial control.
describe so many contemporary theatrical works and mostly disconnected. This paper focuses Contemporary History of Bengali Theatre Keywords: Historiography, Globalization
as a way to evade association with the stream of especially in the presence of Professional and In a recent pamphlet in Bengali, a crucial and Theatre, Bengali Theatre, Modern Indian
uninteresting works. I am particularly interested Independent/Popular theatre as well as the intervention amidst the historiographical Theatre, Memory
in examining how a chain reaction connecting Andean Theatricality through the presence of dearth on contemporary Bengali theatre, Bratya
main stream theater, academic departments, and Performative artifacts allocated in Religious/ Basu, a major Bengali playwright and theatre
conservatory programs effectively contributes Traditional festivities and rituals. practitioner has suggested that it is time that
Ksenija Markovic Bozovic towards a model in which the market should and Apparatuses, this study researches the Keywords: public city theaters, cultural

general panels 139


ksenijamarkovicart@yahoo.com represent the main determinant of cultural possibility of overcoming the above described policy, market, artistic excellence, the culture
production. Due to the theatrical organizations’ crisis – using Belgrade’s public theaters system of innovation
Ksenija Markovic hold Bachelor in decreased capacity for financing as well as the as an example. Belgrade’s public theaters Joint work with Vesna Djukic
contemporary and costume design 2005, altered understanding of the value of theaters’ are faced with all of the above stated global
Faculty of applied arts, Belgrade and Master social role as such, the systematic and structural problems as well as with problems particular
of applied arts 2010. Faculty of applied arts, changes in theatrical systems Molar, 2000: for this region in connection with the turbulent Elizabeth Omoruyi
Belgrade. Currently, she is PhD candidate in 21 Dragicevic Sesic, Stojkovic, 2011: 126-127, circumstances Dragicevic Sesic, Dragojevic, & Rantimi Julius-Adeoye
management culture, the Faculty of Dramatic Djukic, 2012: 321-332 are directly provoked. 2005 regarding systematic and structural social University of Leiden, Netherlands
Arts in Belgrade expected 2017. Ksenija is Public repertory theaters are particularly changes. The study questions to which extent elizomoruyi@gmail.com
employed at the Faculty of Dramatic Arts as the affected by the uncertainty of artistic and are public city theaters able to apply strategies julius.rantimi@gmail.com
Art Research and Development Coordinator economic sustainability under the conditions which would enable further development,
and the Research Associate. Her scientific of altered patterns for using external sources of without compromising basic values to which Elizabeth A. Omoruyi studied at the University
researches, in domain of management culture financing. With a large number of employees they aspire to audience development, repertory of Ibadan, Nigeria where she obtained a BA and
and cultural policy are specially focused on and an intensive production these theaters are innovations, , application of new technologies, MA in English Literature. Shes currently a PhD
theatre management and theatre policy, creative very expensive for running especially having in education, the development of partnerships and researcher in the Department of Literary and
entrepreneurship, the transformation of the mind the following: the continuously growing cooperation and internationalization and others. Film Studies, Leiden University. Her research
public sector and public-private partnerships difference between profits and expenditures An important part of the research questions is on women writing in Nigeria with emphasis
in culture. She participated in various scientific McCarthy, 2001: 79 the malady of prices in the deals with the relation between “the state model on Zulu Sofola, Buchi Emecheta and Bunmi
and professional meetings and her papers field of performing arts Baumol, Bowen, 1966 the of cultural policy” and the position of subsidized Oyeyemi Julius-Adeoye.
were published in diverse scientific journals. continual growth of expenses imposed by the arts with emphasis on decentralization and
During last five years she has been engaged on modified approach to attracting an audience ‘the reduction of political influence on decision Recent publications:
developing and organizing diverse educational cultural omnivores’ Peterson, 1992 the technical making in public theaters established by the Julius-Adeoye, R.J., & Omoruyi, E.A. “Narrative
conferences and for aplied artists and has been and technological development, the human city government. So, the subject of this research Techniques in Femi Osofisan’s Midnight Hotel
engaged on the TEMPUS project Scen-Tec as resources development the expected growth is economics of theater policy in turbulent and Who’s Afraid of Solarin.” In Parnassus:
a researcher and the trainer in the field of the of the role of theaters in local communities circumstances. Empirical research will be based University of Uyo Journal of Cultural Research,
theatre organizational structure. She participated continuous work on enriching the expression of on case study method and interviews carried Vol 12. Sept 2016
in various exhibitions and did numerous costume cultural diversity. On the other hand, the idea of out with the theatrical management, theatrical Julius-Adeoye R.J., & Omoruyi, E.A. “Narrative
and set designs. public theaters ‘entering the market’ potentially emissaries and representatives of cultural policy of Homosexuality in Nigerian Film: A Study of
threatens them carrying out their basic social on the city level, with aim to understand how Kunle Afolayan’s October 1st. In Utoh-Ezeajugh,
Public city theatres between market roles: engaging in artistic experiments and far have these theaters as well as the state T., Asigbo, A.C. Eds. Theatre, Culture and Change
success and artistic excellence: case study discovering new forms education and talent apparatus moved towards excepting ‘cultural Management in Nigeria. Awka: Sonta, 2016.
of Belgrade theatrical system development and mediation in creating innovations’ Hasan Bakshi, David Throsby Rantimi Jays Julius-Adeoye is a Senior Lecturer
The pressure to which subsidized arts are responsive citizens and initiating public debates. which would lead towards establishing a flexible in the Department of Theatre and Film Studies,
exposed to is particularly eminent in theatrical Referring to one of the conference themes: and adaptable functioning model within new Redeemer’s University RUN, Nigeria. He studied
arts, as a result of recession and a transition Relations or Artistic Production: Institutions imposed challenges and requirements. for his Bachelor of Arts and Master of Arts in
Theatre Arts at University of Ibadan, Nigeria, text which link space, time and action in order scenic lighting, analysis of the scene theater and Valerie Kaneko-Lucas

general panels 141


and obtained his PhD from Leiden University, to make relevant the place of theatre in the culture of African-descent. Regents University London
Netherlands. Prior to joining RUN, he was a discussion of both individual and collective lucasv@regents.ac.uk
Lecturer in film at Lagos State University School of cultural memory. The paper will also be making The Afro-Brazilian culture and the means
Communication LASUSOC, Lagos, Nigeria. He is a a bold discussion on the 50th anniversary of of production in the political scene. Dr. Valerie Kaneko-Lucas is Course Leader of
2017 LeidenASA visiting fellow at African Studies Nigeria-Biafra war and the relevance of theatre in The current communication, which came from a the BA Acting and World Theatre at Regents
Centre, University of Leiden, The Netherlands. the narrative of history and in the representation case study, aims to seize a possible idea about the University London. Her research focuses
Julius-Adeoye has received a number of of horror in order to guard against reoccurrence appropriation of Afro-Brazilian culture, deemed upon representations of race, gender and
travel grants and awards to attend some major if necessary. as popular, and its relationship with the manners hybridity in post-Empire Britain. Published
conferences Europe, Asia and Africa. He is well Keywords: Theatre, Theatricality, Nigeria- of production of the stage direction and scenic work has appeared in Alternatives Within the
published in refereed journals and edited books Biafra War, History, Cultural Memory dramaturgy in the context of the 21st century, Mainstream: Black British and British Asian
and has enjoyed a level of popularity with some seeking to ponder about the relation between the Theatre and Reconstructing Hybridity. As a
of his publication. construction of the staging, the dramaturgy and theatre-maker, Dr. Kaneko-Lucas works as a
Carina Maria Guimarães Moreira the uses and appropriations of the Afro-Brazilian director and scenographer in Britain and abroad.
Theatre and Theatricality Universidade Federal de São João del Rei culture in its political dimension.
of the Nigeria-Biafra war: Analysis carinaguimaraes@ufsj.edu.br Keywords: Manners of production of the scene Look back in anger: Performing the
of John Iwuh’s Birthright Afro-brazilian culture Popular culture Stage racialized body.
July 6, 2017 marks the 50th anniversary of the Vice Coordinator of the implementation of the direction. At the height of European colonial power,
Nigeria-Biafra war that historians argue claimed Graduate Program in Ates Arts School of the ethnographic exhibitions featured ‘natives’
between 1.5 to 3 million lives. For 30 months Federal University of São João del Rei - UFSJ. A cultura afro-brasileira e os meios de from exotic locales such as Africa, India, and
1967-1970, the Eastern region of Nigeria that had Professor of direction, lighting Scenic and plastic produção na cena política. the Far East offered to the public gaze. These
seceded and proclaimed itself Republic of Biafra elements of the scene in the Undergraduate A presente comunicação, a partir de um estudo served as popular culture, but the type and
became a theatre of war. In fact, some writers Course in Theater School of the Federal de caso, busca apreender um possível pensamento mode of representation propagated colonialist
have declared that the war was genocide against University of São João Del Rei - UFSJ. Phd in sobre a apropriação da cultura afro-brasileira, discourses of racialized bodies. As Coco Fusco
the Ibos. Although, the Nigeria-Biafra war has Theater by the Graduate Program in Performing entendida como popular, e sua relação com os notes: Black women’s “entry into the symbolic
been the subject of both fictional and non- Arts at the Universidade Federal do Estado do modos de produção da direção e da dramaturgia order of the Western culture hinged on the theft
fictional narratives from Nigeria, dramatic texts Rio de Janeiro - UNIRIO. Masters degree in cênica no contexto do século XXI, procurando of their bodies” Fusco 2001 and subsequent
on the war is almost non-existent. Nevertheless, Theater by the Graduate Program in Performing pensar a relação entre a construção da encenação, objectification. Such exhibitions often sought to
one can mention Wole Soyinka’s Madmen and Arts at the Universidade Federal do Estado do da dramaturgia e dos usos e apropriações da cultura justify and promote colonial domination.
the Specialists 1971, James Ene Henshaw’s Rio de Janeiro - UNIRIO 2009. A bachelors afro-brasileira em sua dimensão política. Through their work, postmodern playwrights
Enough is Enough 1976 and John Iwuh’s degree in Theater Direction with a degree in Palavras-chave: Modos de produção of colour revisit the ethnographic exhibition
Birthright 2016 as some of the very few dramatic dramatic arts at the Federal University of Ouro da cena Cultura afro-brasileira Cultura popular in order to write a counter-narrative, to ‘look
texts through which the war finds expression on Preto - UFOP 2006. He has experience in the Direção cênica. Black in anger.’ This presentation will consider
theatre stage in Nigeria. area of arts, with an emphasis on theatrical Suzan-Lori Parks’ Venus 1996, Guillermo
The paper seeks to analyze Iwuh’s Birthright direction. It operates mainly on the following Gomez-Pena’s The Temple of Confessions 1996
not only as an historical drama, but also as a themes: direction theater, theater and politics and Third World Bunfight’s Exhibit B 2014.
Parks’ work, based upon the real-life story Goran Petrovic Lotina exercise their democratic rights through

general panels 143


Person with False Identity -
of Saartjie Baartman, the Venus Hottentot, The Future of Theater as a Method Ghent University, Belgium the state-institutions. The consequence is
examines the objectification of the female body of Social Intervention goran.petrovic@ugent.be growing populism which aims at bringing
in the service of European science. Gomez- We live in turbulent times in which we share back rights to the people and retaking power
Pena’s work positions the racialised male body a common transitional misfortune, trying in Goran Petrovic Lotina is a researcher, over the state-institutions. The goal is to
through confronting the spectators’ with living vain to emancipate ourselves from the past, curator and theorist in visual and performing displace neoliberalism which brought about
representations of Mexican stereotypes. Third and find our way in the present. Every day is arts and film, since 2000. He holds Master global economic and migration crisis and
World Bunfight’s controversial installation exhausting, placing ourselves hundreds of Degrees in Art History from the University post-democracy. On the one hand, there is a
piece recreates the ethnographic exhibition’s questions without answers, and every day of Belgrade Serbia and Art and Politics from far-right populism which mobilises sentiments
disquieting images of the subjection and we enter the silent dialogue with ourselves Sciences Po Paris: Institute of Political Studies against the immigrants on behalf of the
enslavement of the racialized body. The and others. Our faces have been shown in TV France. Currently, he is a PhD candidate at return to a purely nationalistic politics. On the
presentation will be accompanied by images series, on newspaper covers, and we share Ghent University Belgium. Petrovic’s research other hand, there is a grouping of left-wing
from the performances. an uncertain destiny of the migrant crisis combines art theory with political philosophy movements which mobilises passions towards
and become transitional heroes. There is a to examine the political dimension of art. His the pluralistic democracy. Consequently, both
character from Radovan III a famous Serbian main point of interest is to explore how art, forms of populism bring forth the question
Gordana Maric play by Dusan Kovacevic - a tragicomical story and contemporary dance in particular, contests about the construction of subjectivities, of
Faculty of Dramatic Arts Belgrade, Serbia of newcomers as the victims of the big city. dominant politics and invigorates democracy. citizenship. While, the right-wing populists
gocamaric@yahoo.com This is a story of yesterdays peasants crammed As a curator and researcher, Petrovic’ has endeavour to construct citizenship in terms
in the small cage of housing projects, on the published on contemporary art McMillan, of national identities, the left wing parties
Gordana Maric, a longtime actress at Atelier twelfth floor of a skyscraper in New Belgrade. Performance Research, Researcher in Theeatre attempt to construct citizenship either in
212 Theatre, is a regular acting professor Our hero is a typical homo duplex - whose body and Performance, Academia Press, etc. and terms of the workers identity, or in terms of
at the Faculty of Dramatic Arts in Belgrade. and soul never reconciled. His social status and collaborated with numerous institutions MoCA relational identifications.
Besides a number of roles in theater, film and mental state are impossible to express in the Belgrade, CAC Adelaide, Kaaitheater Brussels, Performance theory is also concerned with the
television, she is also the writer and director of rounded form of a classical character. Dusan CCA Sarajevo, Kunstahelle Wien, Moscow ways of contesting neoliberalism and far-right
her monodrama The Elusive System of Acting Kovacevic brilliantly creates a picturesque Biennial, Kran Film Copenhagen, South Florida populism. Some performance scholars Lepecki,
and The Elusive system of acting 2. She is a identity from details of reality. This project Art Centre, AIR-Krems Austria and Fogo Island Marchart, Massumi took on the role to explore
visiting professor at Brandeis University, Boston, aims to investigate these phenomena through Arts Canada and Omen Theatre Belgrade, etc. how choreographers, performance practices and
USA, Escuela Nacional Ricardo Palma, Lima, a known dramatic piece, and explore these institutions may contribute to the construction
Peru, and she followed her students at various rituals of unsuccessful imitation, European and Relational citizenship and of alternative democratic citizenship. For
international workshops: ITI UNESCO meetings international identity, human rights, nationality, performances the construction of instance, Bojana Kunst envisages artists as
in Tampico - Mexico, Sinaia - Romania, Test - class and the unfinished personal development. subjectivities beyond class, race and political subjects in class terms. Accordingly,
Zagreb, Skomrahi - Skopje. She holds an MA on gender in the migrating societies only the unity of subjects in workers identity may
Development and application of methods in Lee At the time of post-democracy neoliberalism bring the political change Artist at Work, 2016.
Strasberg Method Acting. and a member of the dominates: political decision are taken by My aim is to suggest another view on artists
Michael Chekhov Association. the corporations instead by the states thus, as political subjects in post-decmocracy not in
people are deprived from the possibility to terms of essentialist conceptions of citizenship
— class, race or gender, but in terms of relational entre o privado e o público MOUFFE 2013 CVEJIC,

general panels 145


Can performance art assemble, recreate BIBLIOGRAPHY
identifications. I will claim that this approach and participate in the public sphere? BOGAD, L. M. 2016. Tactical Performance. The Bojana e VUJANOVIC 2012.
may allow us to envisage the subjectivities In this paper, I would like to present PROJECTO Theory and Practice of Serious Play. Londres e Desde a Primavera Árabe até aos movimentos
and citizenship in terms of the contest of neo- P! a curatorial and critical thinking programme Nova Iorque: Routlege. Occupy que aconteceram internacionalmente
liberalism and in accord to the multinational and that includes an edited volume, an international BUTLER, Judith. 2015. Notes Toward a e, mais recentemente, os protestos no Brasil e
migrating society. conference and a performance festival. With Performativie Theory of Assembly. Cambridge e nos Estados Unidos o impeachment de Dilma
the centenary of Portuguese artist Almada Londres: Harvard University Press. Rousseff e a eleição de Donald Trump, vários
Negreiros’s Futurist conference April 14th 2017 CVEJIC, Bojana e VUJANOVIC, Ana. 2012. autores procuraram entender as formas através
Ana Pais serving as the first reference point in a possible Public Sphere by Performance. Berlim e Paris: das quais a performance como acção política e as
Universidade de Lisboa / McGill University genealogy of Portuguese performance art, this b_books e Les Laboratoires d’Aubervilliers. manifestações como performance são relevantes
anapais2011@gmail.com project examines the crucial moments 10s, MOUFFE, Chantal. 2013. Agonistics. Thinking no mundo actual BOGAD 2016 BUTLER 2015
60s/70s and 90s/2000s and the different arts the World Politically. Nova Iorque e Londres. SCHNEIDER 2010. Gostaria de contribuir para este
Ana Pais holds a PhD in theatre studies entitled poetry, music, visual arts, performing arts in SCHNEIDER, Rebecca. 2010. “Protest Now debate partilhando os resultados do PROJECTO P!,
Commotion: affective rhythms in the theatrical which performance emerged in Portugal through and Again.” TDR/The Drama Review 54 2: 7–11. que terá lugar em Abril de 2017, nomeadamente,
event, an MA on contemporary dramaturgies the lens of its participation in the public sphere. doi:10.1162/dram.2010.54.2.7. considerando as condições materiais e curatoriais
and a degree in literature all from the University By public sphere I mean a discursive space Keywords: performance, affect, participation, da sua organização, o impacto social que poderá
of Lisbon. She has worked as theatre critic in where ideological, affective, political and ethical public sphere ter e o output intelectual que, espero, venha a ter.
the most distinguished Portuguese newspapers forces flow in and mediate the relation between Palavras-chave: performance, afecto,
Público, Expresso and Sol as well as collaborating private and public MOUFFE 2013 CVEJIC, Bojana A arte de performance pode reunir, recriar participação, esfera pública
as a dramaturge and assist-director in both e VUJANOVIC 2012. e participar da esfera pública?
theatre and dance projects in Portugal. She Since the Arab Spring, to Occupy movements Nesta comunicação, gostaria de apresentar
published a study on dramaturgy entitled world wide and more recently the protests in o PROJECTO P!, um programa de reflexão Peter W. Marx
Discourse of Complicité. Contemporary Brazil and the US DIlma Rousseff’s impeachment e curadoria que inclui uma publicação, uma University of Cologne
Dramaturgies Colibri, 2004 and several articles and the election of Donald Trump, many authors conferência internacional e um festival de marxp@uni-koeln.de
in national and international journals. From 2005 have been assessing the ways performance performance. Tendo o centenário da conferência
to 2010, she was assistant professor at Escola as political action and protest as performance futurista do artista modernista Português Prof. Dr. Peter W. Marx holds the Chair for
Superior de Teatro e Cinema and, in 2009, she are relevant today BOGAD 2016 BUTLER 2015 Almada Negreiros 14 Abril de 2017 como ponto Media and Theatre Studies at the University
was guest assistant professor at the University SCHNEIDER 2010. I would like to contribute to de referência para uma possível genealogia da of Cologne. He is also director of the
of Évora. Since 2003, she has been curating this debate sharing the results of PROJECTO performance arte portuguesa, este projecto analisa Theaterwissenschaftliche Sammlung Cologne.
discursive practices talks, residencies and events P! that will take place in April 2017, namely, os momentos cruciais anos 10, 60/70 e 90/2000 He received his PhD from Mainz University
in theatres and cultural institutions in Portugal. by considering the curatorial and material e as diferentes artes poesia, música, artes visuais e in 2000 for a dissertation on “Theatre and
Presently, she is a postdoc fellow at CET – Centro conditions of organizing it, the social impact artes performativas em que a performance emergiu Cultural Memory”, dealing with works of
de Estudos de Teatro da Universidade de Lisboa it might have and the intellectual output it will em Portugal na perspectiva da sua participação na George Tabori, Tadeusz Kantor and Rina
/ McGill University undertaking the research hopefully provide. esfera pública. Por esfera pública entendo o espaço Yerushalmi published in 2003. Following his
project “practices of feeling”. discursivo atravessado por forças ideológicas, dissertation, Marx has worked on theatre
afectivas, políticas e éticas que medeiam a relação history, with a special focus on German-Jewish
artists in the late 19th, early 20th century. Two The paper is fueled by the assumption that This tendency can be observed in technological Keywords: tactility, biofeedback,

general panels 147


books stem from this interest: Max Reinhardt we need a new historiography that puts these art, cinema, theatrical performances and large proprioception, participatory art, intermedia
2006 and Ein theatralisches Zeitalter 2008. phenomena of ‘disorder’: residues, simultaneities, visual attractions. I aim to demonstrate that performance, interactive art, corporeal-
His latest publications are a a handbook on anachronisms, people, ideas, techniques in transit due to technical developments and new tools, physiological feedback
the theory and history of Drama 2012 and a a central place. It is with full intention that some of the possibilities now exist for new aesthetic
handbook on Hamlet. His current work deals these historical examples might sound unerringly experiences in which the body’s position and
with Shakespeare in performance Hamlet’s topical for the 21st century. its biological reactions are decisive. This leads Nicholas Wood
Voyage to Germany as well as with questions to the question of how the critical or theoretical Royal Central School of Speech and Drama
of metropolitan culture. point of view of an artwork changes when the n.wood@cssd.ac.uk
Raivo Kelomees spectator’s reactions to it are documented
Micro-History: The Challenges of Estonian Academy of Arts and quantified in real time and are changed After Oxford University, Nick first worked
Simultaneity, Anachronisms, and the offline@online.ee into source material for the next stages of the as Playground Leader with Ed Berman in
concept of transit. artwork. Does this constitute the next step North Kensington, and as Assistant Director
This paper discusses the historiographic Raivo Kelomees, PhD art history, artist, critic in the research of interactive artworks which with Lindsay Anderson at the Royal Court.
concept of micro-history for a single theatre- and new media researcher. Presently working were based on the subjective analysis of the Writing credits include Hampstead Theatre,
biotope: Looking at Cologne in the Early as senior researcher at the Estonian Academy participant’s reactions? Does it allow us to Orange Tree, Kings Head, BAC and radio and
Modern period c. 1500-1650, the city – which of Arts, Tallinn. He studied psychology, art rewrite art analytical analyses, which were based television. He was a Founder Member of the
was one of the largest European metropoles history, and design at Tartu University and the on the subjective analysis of the researchers? Equality Group ICA. Directing credits include a
in the Middle Ages – notes on various Academy of Arts in Tallinn. He has published The main emphasis of this presentation is the UK tour with the improvisation group ‘Theatre
geographies: It still is one of the centers of articles in the main Estonian cultural and art proprioceptive experience in art. I will start with Machine’. Appointed Lecturer in Dramaturgy
Catholic pilgrimages, it is one of the first magazines and newspapers since 1985. His an analysis of earlier inventions and analogous at the Central School of Speech and Drama in
printing places in Europe, it is simultaneously works include the book “Surrealism” Kunst practices which introduce corporeal artistic 1994, he was a Convenor of Dramaturgy: A
a stronghold of the ‘Old Faith’ and yet also Publishers, 1993 and an article collection experience. I then investigate whether we can User’s Guide Conference 1999, Edward Gordon
gives shelter to Protestant refuges from the “Screen as a Membrane” Tartu Art College talk about the ‘proprioceptive image’ in the same Craig Colloquium 2002 and founder of the
Netherlands. Its vernacular is situated between proceedings, 2007, “Social Games in Art way that we can speak about the artistic, musical Dramaturgy Forum 2000. Papers and workshops
German and Flemish, and its city is populated Space” EAA, 2013. His Doctoral thesis was or literary image. This analysis is influenced by include: Scenography and Performance
by a genuinely diverse population. “Postmateriality in Art. Indeterministic Art a media archaeological approach, in particular Symposium Loughborough University, 2004
And theatre and theatrical practices are Practices and Non-Material Art” Dissertationes Erkki Huhtamos interpretation in which his How to Act Conference Central School of
integrally connected with all these processes: Academiae Artium Estoniae 3, 2009. approach is termed “media archaeology as topos Speech and Drama, 2007 Improvisation
From liturgical processions, through Carnival study”. I aim to demonstrate how this “topoi” - Continuums University of Glamorgan, 2007
and political pageants, up to performances Spatiality, Tactility and Proprioception in haptic and corporeal experience in audiovisual Writing Continuums York St.John University,
of touring troupes from England, Italy, France Performative and Participatory Art performances and visual art - changes 2008, Theatre Applications Central School
etc. – the different layers of identities, religious In this presentation I analyse performances, and transfigures those examples in which of Speech and Drama, 2010, and FIRT/IFTR
frameworks and political perspectives are artworks and installations in audiovisual, the corporeal experience is translated into Conference Barcelona, 2013. He has recently led
negotiated in plain sight and with genuinely performative and contemporary art which digital data and subsequently used for a number of walks, culminating in A Short Walk
theatrical and performative means. emphasise tactile and corporeal experiences. manipulations of the artwork. in the National Gallery - considering how space
and our understanding of perspective might lead the movement of visitors from all corners of Communities of the Nordic Summer University. performances is not only to «embody» the space,

general panels 149


to the generation of a new performance work - the world, this paper will seek to unearth fresh Currently she is developing a research project at but also to translate it into a performative language.
including his latest play Flatness and Depth – the insights into the peripatetic approach, and the historical site Teufelsberg in Berlin. For that reason, I have been focusing on the
Play Reading, Embassy Theatre, 2014 suggest reasons for its particular resonance at the idea of training the body as a «translator».
present time. Body Mapping or how to embody spaces Doing this, I am not only looking at the ability
A Short Walk in the National Gallery Since I have started to think and act as a of the body to observe, listen and adapt to an
Since A Short Walk in the Country – St. John’s «performer» and later as a pedagogue, I have environment. More than this, I am intrigued by
College Oxford to Benson 2010 - my work has Nathalie Suck been interested in exploring the body. Although, I what happens «in-between», in the situations
often been predicated on movement or a journey. Nordic Summer University didn’t know the adequate terminology to describe and moments often intangible that trigger the
In each case, the pathway towards the work has info@atelierobraviva.org what I am doing until recently, the notion of body to behave and act in a different way. In
been a physical one, while the work which has «embodied research» has always been present in other words: it is about the attempt to dissolve
emerged has been contingent on the activity, Nathalie Fari b. 1975 in São Paulo is an my practice. Not just in my performance practice, the borders between the subjectivity of the body
often in surprising or unexpected ways. With A independent performer, researcher and where I have been pursuing the development of and the environment by redefining its way to
Short Walk in a City at the Edinburgh Festival teacher based in Berlin. She holds a degree in new formats and ways of how to engage with the interpret the world. My main questions are: How
2010 this accidental quality was brought to the Art Education from the Fundação Armando body. Furthermore, I have been combining this can the body exercise and perform its skills to
fore as the audience attempted to negotiate Alvares Penteado University, the TUCA theatre practice with my long-term experience in postural relate to an environment? Which methodologies
straight lines through Edinburgh’s complex school of the Pontifícia Universidade Católica yoga, not just as a practitioner, but also as a and techniques are available to facilitate other
historical topography while A Short Walk in de São Paulo, and the renowned Centro de teacher. However, it hasn’t been an easy task to forms of communication, especially when the
the National Gallery 2013 focussed on the idea Pesquisa Teatral Institute under the direction perpetuate these demanding practices, especially body is seen as a translator? What role plays
that a repeated progression through the rooms of Antunes Filho. In 2009 she received a MA at the same level. At the same time, they gave performativity in such an embodied practice and
containing the paintings of the Quattrocento, in Space Strategies - Exploratory Art in Public me the opportunity to work on their fusion by how can it be applicable to all types of bodies?
might influence or stimulate the writer into Contexts at the Kunsthochschule Weißensee exploring another form of «embodied technique». With these questions in mind, I would
imagining a play. Using photographs of all of these Berlin. Since 1997, she has been performing So far, this technique has been shaped by a like to propose and share a practice session
walks or immersions, as well as extracts from the mostly in collaboration with other artists in concept called Body Mapping under which I during the conference. For me, this session
work which they generate, this paper will seek to Brazil and Europe at the most various contexts: have been designing workshops and labs since doesn’t only mean the possibility to deepen
reflect on this process of displacement, of using art- exhibitions, performance-art, performing- 2010 mostly in the public space. At the core of my own research which I have been carrying
one form of activity as a springboard or container arts and multimedia festivals, theater-, opera-, this concept, lies the relationship between the out in a self sustained way. It also means the
for another. As an example of this approach, this and film productions, architecture-, design-, and body and space, especially how the space might chance, to take part in a broader discourse
reflection will itself be predicated on a journey – fashion events and as well at the public space. In condition the body, and the body the space. about the understanding and relevance of
created for the purpose of eliciting fresh insights addition, she has been promoting the concept of In addition, this concept serves as an artistic, «embodied research» today. In this regard, the
for this conference – amongst the swirling Body Mapping since 2010, designing workshops pedagogical and therapeutical tool, to create ERWG seems to be an indispensable research
crowds in the National Gallery, only pausing for and labs with the focus on the relation between different cartographies, maps or structures either community for me especially because I haven’t
momentary reflection and writing on the benches body and space. From 2011-15, Nathalie was from places and social contexts or from personal yet found a PHD program that suits
conveniently provided for that purpose. Taking also a co-organiser of the independent Platform histories. In my workshops, I have also been using my approaches.
as chapter headings or provocations a selection Month of Performance Art Berlin and since this mapping process to elaborate site specific and Keywords: site specificity, performativity,
of recorded moments there, viewed alongside 2016 she is part of the Study Circle Practicing collaborative performances. The main goal of these embodiment, translation
Pilvi Porkola space, and idiosyncratic space. In addition, I in studying authors such as Brad Haseman, art here is extended to the everyday, to the

general panels 151


pilvi.porkola@uniarts.fi draw from Doreen Massey’s notion of space as Barbara Bolt, Vida Migdelow, Robin Nelson among aesthetic dimension of any creative act of man
always under construction, always in a process others. I have special interest in articulating as proposed by Joseph Beuys. The chosen
Pilvi Porkola is an artist and postdoctoral to explore how space signifies in performance. the performance research with expanded field methodology was the Somatic Performative
research fellow in the Academy of Finland Library Essays is the first part of my artistic themes, multidisciplinary, interdisciplinary and Approach, a modality of performance as
research project ‘How to Do Things with research project “Performance and Institutions” transdiscplinary capabilities with psychology, research elaborated by Ciane Fernandes in the
Performance?’ at the University of Arts Helsinki. in which I explore how the performative turn meditation, philosophy and deep ecology. interface between performance, dance-theater,
Her performances have been presented for can be understood in the context of public Laban / Bartenieff Analysis of Movement,
example in Sweden, Norway, Denmark, Germany institutions a library, an elementary school, and Authentic Movement and Care: an Authentic Movement and somatic education.
and New Zealand. She is an editor of Esitys an art museum. I am interested in what kind of expanded field proposal for performance Keywords: Authentic Movement, Care,
magazine and ICE HOLE – Live Art Journal and performing, performances, and actions these This is an ongoing research on how care Performative Somatic Approach.
the author of Esitys tutkimuksena Performance institutions produce how institutions can be can be experienced somatically through the
as Research, 2014. understood as experiential places and what practice of authentic movement. The concept Movimento Autêntico e Cuidado:
performance art can do in that context. of care was composed of three aspects: care uma proposta de campo expandido
Library Essays - From representations of with oneself, with the relationships and with the para performance
space to performative space. world present in the deep ecology of Guatarri In Esta é uma pesquisa em andamento sobre como o
This presentation focuses on questions Ludimila Mota Nunes the Heiddegerian way of understanding care as cuidado pode experienciado somaticamente através
about public and liminal spaces through my UFBA constitutive of the human being, as well as the da prática do movimento autêntico. O conceito de
project ‘Library Essays #1: Elephants are always ludimila.nunes@hotmail.com being of the human And the concept of creative cuidado foi composto a partir de três vertentes: do
drawn smaller than life, which was an audio adjustment of Gestalt-therapy Which emphasizes cuidado consigo, com as relações e com o mundo
performance at the Maunula Library, Helsinki, I’m a dancer, performer and Gestalt-therapist. creativity as an important aspect of caring. presentes na ecologia profunda de Guatarri da
2016-2017. The public could listen to the audio I started my artistic career with classical ballet, According to Stromsted and Haze in the maneira heiddegeriana de compreender o cuidado
essay at an empty library building after the passing through contemporary dance, contact experience of the Authentic Movement the como constitutivo do ser humano, aliás como o ser
library had already moved to a new location. In improvisation, arriving at the Authentic Movement, relationship mover and witness triggers a do humano e do conceito de ajustamento criativo
the text of the essay, I mixed quotations from performance and somatic education that are quality of relation that approaches the relation da Gestalt-terapia, o qual enfatiza a criatividade
fiction e.g. Carlos Maria Dominiquez, Georges my current interests. As a researcher I took a mother and son, therapist and client, that are como aspecto importante do cuidar . De acordo com
Perec, historical perspectives on penmanship masters degree in psychology at the University relations of care. The problematic of this work Stromsted e Haze na experiência no movimento
Noel Yuval Harari, and my personal memories Lumière Lyon 2 - France with an interdisciplinary then seeks to understand how the experience autêntico a relação movedor e testemunha aciona
of my father, who once danced in an empty proposal. I am currently doing a doctorate in with the Authentic Movement can invite the uma qualidade de relação que se aproxima da relação
library. Following Henri Lefebvre’s conceptual the graduate program in Performing Arts of the subject to make an embodied reflection on the mãe e filho, terapeuta e cliente, que são relações de
triad - space as representational space, Federal University of Bahia. For three years I have dichotomized and rigid ways of taking care cuidado. A problemática deste trabalho então busca
representations of space and spatial space - I participated in the performance laboratories of the actuality as Foucault shows us about compreender como a vivência com o Movimento
ask what kind of spaces the art project Library conducted by Ciane Fernandes based on the caring for oneself. The proposal is to build Autêntico pode convidar o sujeito a fazer uma
Essays makes visible. I continue Lefebvre’s Performative Somatic Approach, and the A-feto a laboratory based on these principles that reflexão incorporada sobre os modos dicotomizados
theory in the context of performance and explore collective, in which we present performances invites participants to recognize / transform e rígidos de cuidar da atualidade como nos mostra
a few more dimensions: liminal space, conjured resulting from our research processes. Im engaging / create their poetics of caring. The sense of Foucault sobre o cuidado de si. A proposta é construir
um laboratório baseado nestes princípios que convide theatricality, created to be presented in public processo de mudança nas formas teatrais Carlos Alberto Ferreira

general panels 153


os participantes a reconhecerem/transformarem/ spaces. With the construction of the theatre em Minas Gerais. Até então as práticas Universidade Federal da Bahia
criarem a sua poética de cuidar. O sentido de arte building a new practice was established. representacionais mineiras estavam vinculadas às Carlosferreira1202@gmail.com
aqui é ampliado para o cotidiano, para a dimensão It would be necessary the structuration of festividades religiosas e cívicas, onde havia uma
estética de qualquer ato criativo do homem conforme a little theatre market in the city, capital teatralidade híbrida, criada para ser apresentada Director, performer, actor, theatre producer.
propõe Joseph Beuys. A metodologia eleita foi a accumulated not only for the construction em espaços públicos. Com a construção do prédio Between 2014 and 2016 was a teacher for
abordagem somático performativa, uma modalidade but also for the maintenance of the building teatral uma nova prática era estabelecida, já que determined time at the Theatre School of Federal
de performance as research elabora por Ciane and its seasons, the hiring of local and foreign seria necessária a estruturação de um pequeno University of Bahia. Currently, PhD student at
Fernandes na interface entre performance, dança- companies, just as musicians and orchestras mercado teatral na cidade, capital acumulado não Performing Arts by UFBA, Master by Performing
teatro, Análise Laban/Bartenieff de Movimento, for representations and for repertory choices. só para a construção, como também manutenção Arts Graduation Program-UFBA (2012-2014).
Movimento Autêntico e educação somática. This changing process was based on the model do prédio e de suas temporadas, a contratação Graduated in Performing Arts Degree and
Palavras-chave: Movimento Autêntico, Cuidado, of public theatres in Portugal and Italy. Just de companhias locais e estrangeiras, assim como Bachelor with emphasis in Theatre Direction and
Abordagem Somático performativa as in Vila Rica, others brazilian cities built de músicos e orquestras para representações e a Interpretation, Federal University of Ouro Preto -
their own theatre buildings, mainly from the escolha de repertório. Esse processo de mudança UFOP (2006-2011).
second half of the 18th century. The work that foi baseado no modelo de teatro público em
Mariana França Soutto Mayor will be presented investigates the premises Portugal e na Itália. Assim como em Vila Rica, Blind City and the impacts of the scene
USP for the construction of the ´Casa de Ópera´ outras cidades coloniais brasileiras construíram about the concept of city
marianasoutto@gmail.com of Vila Rica, made by the contractor João de seus próprios prédios teatrais, principalmente From the urban development due to the high
Sousa Lisboa, and analyses its first season, a partir da segunda metade do século XVIII. rates of transformation that occur at the big
Mariana França Soutto Mayor, brasilian, is in which has occured with the presentation of O trabalho a ser apresentado investiga os cities due to improvements for the people, there
the second year of studies to get the PHD in the the opera São Bernardo, by the poet Claudio pressupostos para a construção da Casa de Ópera was an increase in agility for the road system
Pos-Graduation Program in Scenics Arts/ USP Manuel da Costa. Somehow, the look for the de Vila Rica, feita pelo contratador João de Sousa and the expansion of the real estate sector. It
(Theoric and practice of theatre). theatre forms practiced in this period, which Lisboa, e analisa sua primeira temporada, com a was perceived that the city has become a space
was outlined the “bourgeoise theatre”, can help apresentação da ópera São Bernardo, do poeta idealized by politicians, architects, engineers,
The Opera House of Vila Rica (1769-1770): us to make historical connexions and so, think Cláudio Manuel da Costa. De alguma maneira, among other subjects that seek to optimize a life
notes on its construction and first season. the modes of production ans structures of the o olhar para as formas teatrais praticadas nesse quality to the inhabitants. However, in practice,
In 1769 began the construction of the second contemporary brazilian theatre. período, em que se esboçava o chamado «teatro such actions generate social, cultural and identity
´Casa de Ópera´ - the name given to the colonial burguês», podem nos ajudar a fazer conexões segregation among people. The city within the
brazilian theatres´, today considered the A Casa de Ópera de Vila Rica (1769-1770): históricas e assim, pensar os modos de produção e scope of its urban development was idealized for
oldest ´Casa de Ópera´ in latin america. apontamentos sobre sua construção e estruturas do teatro brasileiro contemporâneo. those who see, because it is a dynamic space,
The construction, and following opening and primeira temporada. where the informative and the advertisements
maintenance of seasons, meant a changing Em 1769 iniciou-se a construção da segunda creates a semiotics interference in the landscapes,
process in the theatrical forms in Minas Gerais. Casa de Ópera de Vila Rica –hoje considerada a whose signs are deciphered by those who owns
Till then, the representational practices in Casa de Ópera mais antiga da América Latina. vision. For this reason, moved by the desire to rub
Minas Gerais were associated with the religious A construção, e conseguinte inauguração e these impasses still current at the visual culture,
and civical festivities, where it had a hybrid manutenção de temporadas, significou um we sought through the performance spectacle
Blind City “Cidade Cega”, to intervene at the dentre outros sujeitos que buscam otimizar uma Charles Roberto Silva Berilo Luigi Deiró Nosella

general panels 155


urban space, with approximately 40 blind people qualidade de vida aos habitantes. No entanto, na USP Universidade Federal de São João del Rei
in scene at the town of Salvador - Bahia. The prática, tais ações geram uma segregação social, charles.silva@usp.br berilonosella@ufsj.edu.br
intention was to awake in public the presence cultural e identitária entre as pessoas. A cidade no
of blindness existing in many of those who can âmbito do seu desenvolvimento urbano é pensada PhD student at PPGAC-ECA-USP. PDSE / Professor of scenic lighting and theatrical
see, in activities of built or simply walk at the city. para aqueles que enxergam, pois é um espaço CAPES scholarship holder at Université Paris direction, acting in the area of theory,
Thus, through the metaphor of blindness, one dinâmico, onde os informativos e as propagandas Ouest. Master of Arts from ECA-USP. It develops analysis and history and historiography
notices how much people do not see other people criam uma semiótica nas paisagens, cujo os signos research focused on the history of Brazilian of the text and the theatrical scene, the
or the structural and cultural problems that living são decifrados por quem possui visão. Por este motivo, theater in the nineteenth century, State and Theater of the Department of Letters, Arts
in big towns offers as daily challenges to ordinary movido pelo desejo de friccionar esses impasses fomentation of Culture and theatrical Legislation. and Culture of the Federal University of São
people and most of all, to blind people. It is known ainda tão recorrentes pela cultura do olhar, buscou- João del Rei - UFSJ. Collaborating Professor
that each city has a geography, but, unfortunately, se através do espetáculo performático Cidade Cega, The Revue des Deux Mondes in the Graduate Program in Performing
geographically the city is idealized to few. By this intervir no espaço urbano com aproximadamente 40 and the Brazilian theater Arts: Academic Masters Degree from the
bias, during the development of the spectacle, cegos em cena, em Salvador – Bahia. O intuito era This essay analyzes the writings related to Institute of Philosophy, Arts and Culture
questions emerged linked to the right to the despertar no público a presença da cegueira existente the performing arts published by the Revue des at the Universidade Federal de Ouro Preto
city, thinking about accessibility and mobility em muitos daqueles que constroem ou que flanam Deux Mondes and the contribution that these -UFOP, course who coordinated both the
conditions for people with disabilities; as well as pela cidade com os olhos. Assim, através da metáfora texts brought to the debates about the Brazilian drafting and approval of the project as its
the reading of some projects of urbanization of da cegueira, percebe-se o quanto as pessoas não theater in the Nineteenth Century. Organized in implementation at the institution 2012-2014.
the city of Salvador, in relation to accessibility. enxergam as outras pessoas, os problemas estruturais Paris from 1829 onward, that publication became He has experience in the area of Artes-
The artistic interventions developed by blind e culturais que a cidade representa. Sabe-se que very prestigious in Brazil. Teatro, with emphasis in theory and Theater
and its repercussions questioned the work of cada cidade possui uma geografia, mas, infelizmente, History, analysis of text and theatrical scene
architects and engineers through art. Thus, from geograficamente a urbe é pensada para poucos. Por A Revue des Deux Mondes and visual elements of the show, acting on
the Blind City, it was realized the importance este viés, durante o desenvolvimento do espetáculo e o teatro brasileiro the following subjects: Theory and History
of the involvement of the urbanistic creators to surgiram questões atreladas ao direito à cidade, A proposta deste ensaio será analisar os escritos of theater, modern dramaturgy, Dramaturgy
participate of the spectacle and rethink the idea of pensando sobre acessibilidade e as condições de relacionados às artes cênicas publicados pela Revue Modern Brazilian History, and formation of the
the city by the sensory bias, and not the visual. mobilidade para as pessoas com deficiência; bem des Deux Mondes e a contribuição que tais textos Brazilian theater, Lighting Scenic and theatrics.
como a leitura de alguns projetos de urbanização ofereceram aos debates sobre o teatro brasileiro, no
Cidade Cega e os impactos da cena sobre a da cidade de Salvador, em relação à acessibilidade. século XIX. Organizada em Paris, a partir de 1829, a The ways to make the scene in
noção de cidade As intervenções artísticas desenvolvidas pelos cegos publicação foi bastante prestigiada no Brasil. modernisation.
A partir do desenvolvimento urbanístico decorrente e suas repercussões questionaram o trabalho de This communication presents the partial
dos altos índices de transformações que ocorrem nas arquitetos e engenheiros através da arte. Assim, a results of the educational research Dias
grandes cidades do mundo, em função de melhorias partir do Cidade Cega, percebeu-se a importância Gomes e Jorge Andrade em Cena: análises
para as pessoas, houve o aumento da agilidade para do envolvimento dos criadores urbanísticos ao dos processos históricos de modernização da
o sistema viário e a ampliação do setor imobiliário. participarem do espetáculo e repensar a ideia sobre à cena brasileira Dias Gomes and Jorge Andrade
Percebe-se que a cidade se tornou um espaço cidade pelo viés sensorial, e não visual. in Scene: Analysis of Historical Processes of
idealizado por políticos, arquitetos, engenheiros, Modernization of the Brazilian Scene CNPq
and FAPEMIG proposing an analysis of the Silvia Patricia Fagundes interlinks dramaturgy and staging, both Processos e poéticas da cena contemporânea.

general panels 157


production modes of the Brazilian modern scene patfag26@hotmail.com generated in a collaborative process where He was an actor in the following projects of
from the staging plays of the playwrights Dias the very concept of a single authorship Extension and Research: NÃO LUGARES:
Gomes and Jorge Andrade by director Flávio Patricia Fagundes is a theatre director, producer, is challenged, working with the idea of a Tentativa de compreender as relações de forças
Rangel, creating a dialog and confrontation teacher and researcher. Professor of theatre dramaturgical composition made in a de- entre sujeito e cultura a partir da estruturação de
context between the dramaturgical production directing at Federal University of Rio Grande do hierarchical process. Movement, words, body, duas encenações Grupo Mambembe: Música e
and national modern scene. We will present Sul UFRGS- Porto Alegre – Brazil. Phd in Science thinking, individual, collective, aesthetical, Teatro Itinerante.
an analysis of some of the practices regarding of Spectacle by Universidad Carlos III Madrid, ethical and politics are connected in the He has worked in the area of cultural
the performance of the theater director Flávio with the thesis The Ethics of Festivity in Theatre artisanal and festive experience of making production, contributing to the organization
Rangel ahead of the artistic direction of the BCT Creative Process. Master in Theatre Directing theatre in the XXI century in South Brazil. From of festivals and discussion forums Festival de
in the years 1960 and 1961 during the staging by Middlesex Universtiy London. Researches a very practical approach, this paper intends Inverno de Ouro Preto e Mariana Encontro
of O Pagador de Promessas, de Dias Gomes, e performing arts creative process, political to share a set of tools to devise plays and Nacional do Ensino Superior das Artes Semana
Gimba, de Gianfrancesco Guarnieri. aspects of contemporary theatre, contemporary create dramaturgy in the rehearsal process, in a de Artes da UFOP Fórum das Letras.
Keywords: Brazilian Modern Theater Brazilian Shakespeare, methodologies of rehearsal, urban collaborative, anthropophagic and festive way, He is currently a student of the Masters
Modern Dramaturgy Scene Production Modes. intervention, art as social encounter. understanding dramaturgy and directing as a Degree in Theater History of the Postgraduate
physical, practical activity. Program in Performing Arts at the School
Os modos de fazer da cena em Dramaturgical anthropophagic practices: Keywords: dramaturgy: theatre process: of Communication and Arts of the University
modernização periférica. experiences of a theatre director as a directing: anthropophagy of São Paulo.
A presente comunicação apresenta resultados dramaturg in South Brazil
parciais da pesquisa docente “Dia Gomes e Jorge Contemporary theatre comprehends multiple Theater, society and modernity: some
Andrade em Cena: análises dos processos históricos dramaturgical models and multiple ways of Phelippe Celestino questions about the Brazilian case
de modernização da cena brasileira” CNPq e making dramaturgy. This paper exposes and USP According to the great majority of the
FAPEMIG propondo uma análise dos modos de analyses some procedures and practices of phelippe.celestino@gmail.com researchers of theatrical practice in Brazil, the
produção da cena moderna brasileira a partir de creating dramaturgy during the rehearsal Brazilian theater’s modernization would have
encenações de peças dos dramaturgos Dias Gomes process, considering my experience as both Bachelor of Performing Arts with an only occurred in 1943. However, in the first three
e Jorge Andrade, gerando um contexto de diálogo director and dramaturg in productions made emphasis in Theatre Direction by Federal decades of the 20th century other attempts
e embate entre a produção dramatúrgica e da cena between 2010 and 2015, at Cia Rustica, a University of Ouro Preto UFOP in 2015. to modernize Brazilian theater take place. The
moderna nacional. Apresentaremos uma análise theatre company based in Porto Alegre south Develops researches with focus on history, symbolist dramaturgy of Roberto Gomes and the
de algumas práticas relativas à atuação do diretor Brazil, and other settings. Following a usual dramaturgy and staging. He is the author of proposals of staging of Renato Viana are some
teatral Flávio Rangel à frente da direção artística do practice in contemporary theatre, performance articles on theatre contemporary: dramaturgy examples. These practices were mainly inspired
TBC nos anos de 1960 e 1961 durante a encenação and text are created simultaneously, through and staging. On graduation he participated by the achievements of French playwrights and
de O Pagador de Promessas, de Dias Gomes, e an experimental methodology that cannibalizes Scientific Initiation projects ESCRITA EM RISCO: directors such as Maurice Maeterlinck, André
Gimba, de Gianfrancesco Guarnieri. material from many sources: theatre exercises, desterritorializações da função dramaturgo no Antoine, Jacques Copeau and Lugné-Poe.
Palavras-chave: Teatro Brasileiro Moderno personal memories, movements, space, the teatro contemporâneo ESCRITÚDIO: Ateliê On the other hand, it is important to
Dramaturgia Moderna Brasileira Modos de news, existing texts, songs, internet random de escrita teatral TEXTURAS: Laboratório emphasize the participation of bourgeoisie class
Produção da Cena. material, etc. This kind of strategy inextricably de Textualidades Cênicas Contemporâneas in modernization of French’s theatrical practice
GAY, 2009. The French bourgeoisie is a literate Maurice Maeterlinck, André Antoine, Jacques 2002-12 and Artistic Director of Drottningholms recently, global cultural practices. The stories told

general panels 159


and semi-cult class, with a remarkable desire for Copeau e Lugné-Poe. Slottsteater 2007-13. He is particularly interested on the opera stage are formed by librettists, but
social legitimacy through the symbolic goods Porém, ressalta-se a importância da participação in questions of opera performance practice, and interpreted by composers, free to gloss the words,
that make up the arts and culture of a country. da classe burguesa na modernização da prática how the so-called early repertoire, in particular enduing them with affective potential, and by
In the Brazilian case, due to structural issues teatral francesa GAY, 2009. Classe letrada e the late 18th century, can be presented today. performers, charged with regaling the often socially
of political, social and economic scope, this semiculta, com um notável desejo de legitimação This has led to experimental work in gesture and advantaged spectators. The operatic event, viewed
emerging bourgeois class did not present itself in social através dos bens simbólicos que compõem as declamation Rousseaus melodrama Pygmalion at in the light of this geographical and performative
a similar way. Thus, we note the precariousness artes e a cultura de um país. Český Krumlov, Czech Republic, 2015, orchestral fluidity, is therefore much better considered as a
of one of the main elements necessary to the No caso brasileiro, devido a questões estruturais seating and performance leadership Morandis mound’ than a monument’, to use anthropologist
process of theatrical modernization in the de âmbito político, social e econômico, essa classe azione teatrale Comala at Vadstena, Sweden, Tim Ingold’s terminology Making, 2013. In the first
European parameters. Later, in the 1940s, burguesa emergente não se apresentava de forma 2016 and to a long-term project on affective part of this paper I will tell the eighteenth-century
the participation of this social class will be semelhante. Assim sendo, nota-se a precariedade de communication Haydns dramatic cantata story of Josef Haydns dramatic cantata ‘Arianna’
fundamental to the Brazilian case. um dos elementos principais necessário ao processo de Arianna. While at Drottningholm he conducted to exemplify the process of operatic journeying
Therefore, our argument is oriented towards modernização teatral nos parâmetros europeus. Mais Swedens first Monteverdi cycle, as well as operas in 1790s Europe. Sung by both men and women,
discussing these imbalances in social, political tarde, na década de 1940, a participação dessa classe by Cavalli, Handel, Haydn, Mozart, and Martín y amateurs as well as professionals, orchestrated,
and artistic Brazilians conjuncture, still social será fundamental para o caso brasileiro. Soler. Originally trained as a musicologist/music appropriated and given a new text by the
strongly rooted in colonial and aristocratic’s Portanto, nossa discussão se orienta no sentido de analyst at the universities of Cambridge and Catholic church in Venice, and published
culture of the 19th century, in relation to the discutir esses descompassos da conjuntura social, London, Mark Tatlow has for many years taught throughout the European continent, ‘Arianna’
strong adhesion of ideals and the principles of política e artística brasileira, dotada ainda com musical analysis to specialist music students. was a resounding success. I will then move
Frenchs high culture by the intellectuals and fortes raízes na cultura colonial e aristocrática do Other involvements include the development of on to discuss how the natural mounding of a
the ruling class. século XIX, em relação à forte adesão dos ideais e choral singing as a force for social integration and staged work in its geographical and temporal
Keywords: History of Theatre Dramaturgy dos princípios da alta cultura francesa por parte dos the design of contemporary spaces for musical journeying conflicts with parallel processes of
Brazilian Theatre Modern Theatre. intelectuais e da classe dominante vigente. and dramatic performance. musico-archeological monumentalisation, which
tend to restrict rather than release the works
Teatro, sociedade e modernidade: algumas Hitting the road once more: freeing emotional power and appeal. I will conclude by
questões sobre o caso brasileiro Mark Tatlow the affective potential of 18th century suggesting that the original affective potential of
Segundo a grande maioria dos pesquisadores University of Stockholm musical drama. a work like ‘Arianna’ can only be experienced in a
da prática teatral no Brasil, a modernização do mark.tatlow@gmail.com Opera travels. Since its emergence around contemporary re-mounding’, as it travels to the
teatro brasileiro teria ocorrido apenas em 1943. 1600 opera has been a powerful focus of cultural Venices of today and meets the challenges of new
Entretanto, nas três primeiras décadas do século The British-Swedish musician, educator and interchange, bringing thinkers, practitioners, socio-theatrical contexts.
XX ocorreram outras tentativas de modernização researcher Mark Tatlow is currently based at makers and managers together to create and Keywords: opera, performance,
do teatro brasileiro. A dramaturgia simbolista the University of Stockholm and is a member set in motion operatic events. The musical and Haydn, Arianna, eighteenth-century,
de Roberto Gomes e as propostas de encenação of Performing Premodernity, a theatre research dramatic variety of this multidisciplinary art-form, transnational, affective
de Renato Viana são alguns exemplos. Essas project hosted by the Department of Culture and its linguistic plurality and the almost insatiable
práticas se inspiravam, sobretudo, nas realizações Aesthetics. He was Professor of Musical Studies public appetite for attending performances, have
de dramaturgos e encenadores franceses como at the University College of Opera, Stockholm ensured its central place in transnational and, more
Rina Tanaka the musical boom and criticism against these Michael Eigtved “somebody” is “going somewhere”? (Escaping

general panels 161


Meiji University “Anglo-Saxon” musicals in the past decades in University of Copenhagen around the corner from the police whistle in
rina.h.tanaka@gmail.com Vienna, “Elisabeth” was designed as an “Austrian eigtved@hum.ku.dk West Side Story, or joining in with the marching
musical”, that is, a musical with locality to masses on “Do You Hear the People Sing”
Rina TANAKA is a PhD candidate in Graduate extend the narrative beyond the conventional Absent Geographies: Transportation and heading for the revolutionary barricades
School of Global Japanese Studies at Meiji frame of musicals in concurrence with the global Utopia in musicals in Les Miserables).
University. Her primary research interest is entertaining standards. It enables each type of The paper will explore how the presence Finally the paper will be making concluding
the interactive cultures on musicals, especially audience to interpret “Elisabeth”, depending on and presentation in popular musical theatre of points about the character of the audience
between the German-speaking countries and the contexts each audience has. means of transportation in music and sound as experience regarding the element of
Japan. She published “Beyond the Oedipus And this strategy was strengthened in the well as visual or physical, may be seen as a way transportation and movement, and how this
Complex: The Viennese Musical Project first export in 1996. In Japan, two adaptations of meta-exposing distant locations and their may be discussed according to ideas presented
Freudiana 1990 and its ‘Flop’” Journal of “Elizabēto: Ai to Shi no Rondo” Takarazuka Revue potentials. by Jill Dolan in Utopia in Performance, Univ. of
Global Japanese Studies 5, September 2016. In Company, 1996- and “Elizabēto” Tōhō, 2000- The conceptual ship in Anything Goes or the Michigan Press 2005.
September 2016, she also had a presentation were drastically altered from the original through train in Oklahoma, the swirling helicopter in Miss
“Post-Globalization in the Genre Musical? -A interactions between the original team the Saigon and the metaphorical boat in Phantom
Case of ‘Ever-Growing’ Musicals from Vienna author and the composer and the regional team of the Opera, all becomes vehicles representing Maria Helena Werneck
via Japan-” in the international conference of the the director, the costume designer, etc. in order the possible move of the characters towards UNIRIO
Cultural Typhoon in Europe University of Vienna. to meet the Japanese contexts. The considerable new locations. Locations in “absent geographies” malewerneck@uol.com.br
success of these adaptations impacted the other dialectically representing possibilities and
The Cosmopolitics or the Re-reign of the regional versions including the Viennese one. In obstacles, presented in music or sound, and Maria Helena Werneck is Full Professor at the
Habsburg Musical Elisabeth? other words, “Elisabeth” has been re-written in through physical representation by the vehicles, Federal University of the State of Rio de Janeiro,
Today, besides musicals from Broadway the local contexts of each importing country, and establishes a meta-space filled with positive where she teaches Theatre History, Brazilian
and the West End, a new style of musical therefore it grows with collective experiences of potential, but also often with risk, danger or Theatre and Literature. From 2008 to 2010 she
productions comes from non-English-speaking different local narratives. fateful moments. This exposition of vehicles may was coordinator of a binational research project
countries in order to pursue their own narratives Is that a new strategy in the post-global era, be the defining connection between destination which includes universities in Brazil UNIRIO and
with the regional contexts. Above all, Austrian or the revival of “Felix Austria Happy Austria”? and destiny in a musical. USP and in Portugal University of Lisbon. She
musicals have been gradually developed through How musicals can be identified with the contexts The paper will, following this assumption, published a book about Machado de Assis’s
interactions between Vienna and importing in non-English or importing regions? These proceed to investigate whether the claimed biographies The man in print. EdUERJ, 2008,
countries e.g. Japan since the 1990s. This topics will be questioned in this presentation. utopian element in musicals perhaps some works about Brazilian history on stage, in
presentation gives a focus on the interactive actually derives from this element of decades of 1930, 1940 and 1950 in Rio. With
practices between Austria and Japan through metaphorical transportation, movement and Maria João Brilhante has organized a book
the first successful Austrian musical “Elisabeth” re-location. And what is then the nature of about Text and Image in the Theatre Editora
1992 and its adaptations in Japan 1996-. the connection between the principles and 7Letras, 2009 with Angela Reis has published a
“Elisabeth”, a musical about the Empress means of transportation and other comparable book about Theatrical Routes between Portugal
Elisabeth in Austria, started being performed by dramaturgical elements, for instance the and Brazil Editora 7 Letras, 2012 that includes
Vereinigte Bühnen Wien in 1992. Considering typical Act 1 Finale, where in many musicals papers of Brazilian and Portuguese researchers.
Recently is studing the different ways of which not only blocked more radical aesthetic around the world creating new public

general panels 163


Notas sobre a estratégia empresarial das
transforming archives of present or of the past changes, but also ensured a certain mundane trait spheres. The transatlantic routes tours turnês transatlânticas da atriz portuguesa
in contemporary performances and dramaturgy. in the public sphere. In parallel with the idea of drive the mercantile expansion of theatre Beatriz Costa ao Brasil durante os anos 1924
Since 2011has been partner of Global Theatre continuity of theatre aesthetics, shared authorship by establishing transnational networks that e 1950
Histories Project, in LMU Munich. between the metropolis and the former colony mobilize entrepreneurs, artists, and companies, A partir de meados do século XIX, o teatro europeu
and also associations between actors were redefining and modernizing the creation, enquanto empreendimento comercial expande-se
Theatrescapes and post-colonial expected to take place. These post-colonial forms production and distribution of theatre as a global pelo mundo criando novas esferas públicas. As rotas
geographies: João do Rio’s visits to of interaction might possibly support the utopia phenomenon. In Brazil, in the first half of the transatlânticas turnês impulsionam a expansão
theatres in Portugal of stable temporalities between the irreconcilable 20th century, many of the entrepreneurs who mercantil do teatro estabelecendo redes transnacionais
During a trip to Portugal in 1908, before the geographies of Europe and the Americas. The move the international entertainment industry que mobilizam empresários, artistas e companhias,
end of monarchy, the Brazilian writer João do proposal is part of historiographic studies that invest in a product of great commercial appeal: redefinindo e modernizando a criação, produção e
Rio recorded his impressions in chronicles. take into account perspectives opened by the the Portuguese revue theatre, whose main distribuição do teatro enquanto fenômeno global.
Such impressions were published years ago in Global Theatre Histories. destination is Brazils urban centers, such as the No Brasil, da primeira metade do século XX, muitos
the book Portugal Now, after his second time Keywords: Post-colonial geographies, city of Rio de Janeiro. dos empresários que movimentam a indústria de
in Portugal, in 1910, in the new context of the Portuguese and Brazilian theatre, João do Rio The commercial observations of the theatre entretenimento internacional investem em um produto
proclamation of the republic. From the book tours as well as the commercial aspects of the de grande apelo comercial: o teatro de revista português,
we highlight his various notes about Lisbon’s artistic productions discussed in this abstract cujas turnês têm como principal destino grandes centros
theatrical scene. Regular attendee of shows by Christine J. L. de Medeiros synthesize some of the economic changes and urbanos brasileiros, como a cidade do Rio de Janeiro.
foreign companies in Rio de Janeiro, on which UNIRIO transformations of the theatre of the period. As observações mercantis das turnês teatrais assim
he wrote numerous reviews, João do Rio found chrisjunqueira@gmail.com These references seek to emphasize the relevant como os aspectos comerciais das produções artísticas
quite an incipient modernization in Lisbon, which role of the theatre entrepreneur, a character apontadas neste resumo sintetizam algumas das mudanças
bore little resemblance to the cosmopolitan Christine J. L. de Medeiros is a Brazilian who only recentlyhas been studied by theatre e transformações econômicas do teatro no período.
ideals expressed by urban reforms in his Brazilian journalist and a postdoctoral researcher, with historiography. Essas referências buscam enfatizar o papel relevante
home town. On the one hand, he observed the a Doctorate degree in Theatre from UNIRIO In this sense, this paper aims to draw a do empresário teatral, personagem que vem sendo
presence of conservative forces within arts Federal University of the State of Rio deJaneiro. comparative picture of the business activities of gradativamente investigado pela historiografia do teatro.
and culture on the other hand, he came across She has published several articles and essays two artistic seasons of the Portuguese actress Neste sentido, esta comunicação tem como
human types that became poetic drawings of related to Brazilian theatre history, in particular Beatriz Costa in Rio de Janeiro. The season of objetivo traçar um quadro comparativo das atividades
life in the streets of Lisbon. The timid renovation on Brazilian theatre reviews, Brazilian revue 1924, which stands out as the first international empresariais de duas temporadas artísticas da atriz
of theatrical aesthetics contrasted not only with theatre and Portuguese revue theatre. tour of the actress, under the contract of portuguesa Beatriz Costa no Rio de Janeiro. A temporada
the permanence of happy theatres and thriving entrepreneurs José Loureiro and Antonio de do ano de 1924, que se destaca por ser a primeira turnê
entrepreneurship but also with the concrete Notes on the business strategy of the Macedo, and the 1950 season, Beatriz Costas internacional da atriz, sob o contrato dos empresários
results of the professional organization of the fun transatlantic tours of the Portuguese last tour to Brazil, managed by entrepreneur José Loureiro e Antonio de Macedo, e a temporada de
factory. According to the writer, when Lisbon’s actress Beatriz Costa to Brazil during the Chianca de Garcia. 1950, ultima turnê de Beatriz Costa ao Brasil, gerenciada
and Rio de Janeiro’s theatres were compared, years 1924 and 1950 Keywords: Beatriz Costa entrepreneur peloempresário Chianca de Garcia.
a model of transnational cultural matrixes From the mid-nineteenth century, European Portuguese revue theatre tour. Palavras-chave: Beatriz Costa empresário teatro de
was created, embodying the idea of efficiency, theatre as a commercial enterprise expands revista português turnê.
Valmir Aleixo Ferreira construction in the theatre site in Rio de Janeiro estratégias de elaboração e construção da esfera • Currently working on a thesis titled Samba

general panels 165


UNIRIO and its relation with the transnational route of the pública na praça teatral do Rio de Janeiro e sua relação Showgirls: Cross cultural performance in
valmiraleixo@gmail.com French tours by the first half of the twenty century, com a rota transnacional de turnês francesas no final Australian popular dance entertainment in the
which together contributed to a wide arena of da primeira metade do século XX, que conjuntamente, Theatre and Performance Studies Department at
Valmir Aleixo is a theater historian, graduated debate and discussion about theatrical practices contribuíram para uma ampla arena de debate e Sydney University.
from the Institute of Philosophy and Social and its spectators. The main idea of this work is discussão sobre a prática teatral e seus espectadores. • Previously completed Bachelor of Arts
Sciences at UFRJ - Federal University of Rio de considering the ambiguity of character that the A ideia principal deste trabalho é considerar o caráter majoring in Sociology and Performance Studies
Janeiro. Student from the Doctoral Program in tour of Louis Jouvet had, between 1941 and 1944, de ambiguidade que teve a turnê de Louis Jouvet, at Sydney University 2012-2014
Performing Arts at UNIRIO - Federal University which went through several South American passando por diversas cidades e vários países da • French language studies at Langue et
of Rio de Janeiro State, researching Transnational cities and countries and its association with the América do Sul e sua associação com mecanismos de Communication Rennes, France Levels B1
Theatre, relationship of Brazil and France in media engines sites, by the journalist Brício de mídia local, por meio do jornalista Brício de Abreu. No and B2 2011.
the history of the theater by the first half of the Abreu. However, our focus will be its standing entanto, nosso foco é sua permanência no Rio de Janeiro Dance:
twentieth century: Brício de Abreu between in Rio de Janeiro for almost two years, between por aproximadamente dois anos, entre 1941 e 1942, fato 2016 Aluminus Dance and Studios Burlesque,
legacy and materiality. Master in Comparative 1941 and 1942, a fact that registered at the scope que pautou no âmbito da cultura teatral carioca um Salsa, Samba, JFH
History, PPGHC-UFRJ, with the study The Rio theatrical culture an intense process of intenso processo de acirramento e disputa a respeito 2014-15 La Fiesta Dance Factory Samba, Salsa,
invention of view: a comparative analysis of intensification and dispute about the role played do papel desempenhado pelo teatro em um momento Axe, Lambada
the discursive practices between ancient and by the theatre in a particularly critical moment especialmente crítico enfrentado pelo teatro francês em 2011 Lecole Elizabeth Allen Rennes France
modern critics in the setting of Rio theatrical confronted by the French theatre in times of meio à ocupação nazista. Quando membros do grupo Contemporary, jazz
criticism in the 40s and 50s. Develops reflection occupation. When De Gallists group’s members, De Gaulista, adeptos do Gaullismo, radicados no Rio 2009 Royal Academy of Dance-Intermediate
about reception and audience in the theater Gaullism followers, war’s exiled rooted in Rio de de Janeiro, exilados de guerra, organizaram um comitê Distinction SABA Young Ballet
from the study of the cultural press and the Janeiro organized a French Resistance Committee da resistência francesa e desenvolveram um plano 00-08 Royal Academy of Dance-Grades 1-8
discussion of theater field studies from the and had developed a plan to obstruct the opening para impedir a estreia de Jouvet no Rio, temos então, Distinction The Dance Centre
historical archives. Researches in the archive night of Jouvet in Rio, it resolved to a social uma ação teatral que resultou da diferenciação entre Currently performs for various dance and
field the conceptualization of the artistic mode action that resulted in the differentiating between audiência e esfera pública. performance groups in Sydney, Australia
of production through theatrical public sphere audience and public sphere. Palavras-chave: esfera pública teatral história do at a variety of festivals and events. See full
notions and transnational theater. Keywords: theatrical public sphere history theater teatro rota transnacional Brasil França. performance C.V at: https://www.starnow.com.
route transnational relationship Brazil France au/lillianjean
Theatrical Routes and Transnational
Public Spheres: Louis Jouvet and De Rotas teatrais e esfera pública Lillian Jean Shaddick Samba Down Under: Cross-cultural
Gaullists face off in the theatrical arena transnacional: Louis Jouvet Sydney University performance in Australian popular
of Rio de Janeiro e De Gaulistas se enfrentam na arena lsha3300@uni.sydney.edu.au dance entertainment
With the advancement of the studies on the teatral do Rio de Janeiro Consumption of the exotic has long held
definition of theatrical public sphere concept Com o avanço dos estudos a respeito da definição Lillian Jean Shaddick- Dancer and Higher a place in Australian popular dance and
we have a new perspective of the analyses on do conceito de esfera pública teatral temos uma Degree Research Student entertainment. Here I focus on ‘samba’,
historical processes of the Brazilian theatre. So, nova perspectiva de análise dos processos históricos 13/10/1992 New Zealander, based in an increasingly popular music and dance
it’s possible to point strategies of public sphere relativos ao teatro brasileiro. Assim, é possível apontar Sydney Australia genre from Brazil, that has gained worldwide
exposure predominantly from the lavish Amit Roushan always in the forefront of Indian theatre. The Folk in the Theatre and Education area. Her research

general panels 167


carnival parade in Rio de Janeiro. This paper University of Hyderabad and ritual forms of Bihar were always found to be is based on intersection between Theatre and
looks at the way samba dance performance is amitroushan.1@gmail.com special by the art critiques. Still we are reluctant to Anthropology areas, with emphasis on the
appropriated by individuals and the broader pronounce the term Bihar Theatre as it was always following themes: Actor / Performer, creative
entertainment industry across Australia, Amit Raushan is an emerging young talent in been clustered under “Hindi Theatre “. There are process and performing practices, pedagogy of
investigating the ways in which performers and contemporary Indian theatre. He started his theatre plenty of of renowned names in the history of actor, theater and education, cultural identity,
choreographers deal with claims of cultural career as a theatre organizer at the beginning of bihar theatre like Bhikhari Thakur , Satish Anand, alterity and memory.
and dance authenticities. Particular focus is 21st century. He is the festival director of renowned and Prof. Ram Gopal Bajaj who had contributed
made on the way in which both practising Ashirwad Rang Mahotsav from past five years. He significantly for the development of theatre in the Identity in Performance: a possible
and commercialising samba in Australia worked as an actor and designer with prominent state but could not make a long lasting impact equation between theatre-society-culture
has formed a hybrid dance style that I call theatre personas like Prof. B. Anantha Krishnan, which could make a shift in Bihar’s Theatre This paper has the aim to reflect on the
‘Samba Showgirls’. Samba is combined with Prof. Mohan Maharshi, Prof. Ramgopal Bajaj, Prof. History. As researcher its a quite challenging task intersection between scenic arts and socio-cultural
western dance aesthetic forming a cross- A.K. Ramanujam,Dr. Sathyabrata Rout, Abhilash to find a way to clusterise the styles and methods realities, adopting an anthropological-cultural
cultural spectacle that resembles ‘showgirl’ Pillai, Dr. Rajeev Velichetti, Noushad Mohammed developed in the theatre culture of Bihar. The perspective. The reflection takes as reference
performance, a practice that hails from Paris kunju, Sreejith Ramanan and Dr. N.J. Bhikshu. He is History of Bihar Theatre is fairly an unknown factor points the processes of identity elaboration from
but is equally associated with entertainment the recipient of Bhikhari Thakur yuva puraskar 2014 to the Academicians and researchers in the area a group of descendants of immigrants located
in Las Vegas. As a professional samba by department of art and culture Govt. of Bihar and of theatre. The main reasons behind this can be in south Brazil using the analysis of some festive
dancer working in dance and entertainment Junior Fellowship of Ministry of Culture Govt. of India the lack of written material available depicting the manifestations of the own group. On the specifics,
in Sydney Australia I am engaged in action His directorial debut ‘White Hands‘ clarifies quality of works originated in state, and the term we propose a reflection on the possible micro-
research, however most of the field work his versatile performance language and urge Bihar theatre is never been pronounced by the processes of the actors MELDOLESI, 1986 and,
has been conducted through qualitative to respond to the society in his own way. theatre people. Its important to shed light on the more broadly, we refer to the equation that is
research techniques, interviewing performers White Hands the multilingual production was earlier happenings or roots of Bihar Theatre and the established between theater-society-culture. Such
and observing the performances and online innovative response to the atrocities against governance of Hindi language. a reflection rests in the field of the scenic arts on
presence of other groups around Australia. This the women happened in Delhi. White hands references such as Jerzy Grotowskis post-theater
paper explores the embodiment of a dance had its participation at different national theatre and Richard Baumans approaches to anthropology
tradition in a culture and context far from its festivals across the country, like 4th Ashirwad Marcia Chiamulera of performance. Based on the assumption of
origin. I aim to explore how these performances Rangmahotsav, Begusarai, Bihar, 1st Janabheri Universidade Federal da Paraíba an existence consonance between theater and
and their participants engage with and effect National Theatre Festival, Thrissur, Kerala, MAJMA marciachiamu@gmail.com life, either the Paratheatrical bias, also called the
broader discussions around performing in National Theatre Festival, Patna, Bihar.Presently He Active Culture founded by Grotowski in the 1970s,
cross-cultural contexts. is the Research Scholar of S.N School of Arts and Márcia Chiamulera PhD in Cinema, Music and or “the poetics of the public market” BAUMAN,
Keywords: Cross-cultural, hybrid, dance, Communication, University of Hyderabad. Theatre at Alma Mater University of Bologna, 2009 back us up in the elaboration of a thinking
samba, entertainment, Australia Italy 2014, she has a Master Degree in Social about the reverberation processes of the equation
Historiography of Bihar Theatre Sciences 2010 and has a Bachelor Degree theater-society-culture. It is from this framework
It’s always strange when we go through the Bihar in Performing Arts 2008 both at the Federal we developed the perspective of Identity in
theatre history that we will find a huge amount University of Santa Maria/Brazil. Currently she is Performance as micro-processes articulated by the
of acclaimed works and practitioners who were Professor at Federal University of Paraíba UFPB social actors of a given group, which, strategically,
place them in a position of identification or pensamento acerca dos processos de reverberação recover and deepen into his literary production He is the Head of the Playwriting MFA and

general panels 169


differentiation, affirmation or denial of an identity da equação teatro-sociedade-cultura. Blanco, 2004, Poblete, recovering different PhD programs at Southern Illinois University,
and/or a space, either concrete or symbolic. É a partir deste quadro que desenvolvemos aspects that delve into his extensive literary where he is Associate Professor of Dramatic
Anyhow, this approach allows us to indicate the a perspectiva de “Identidade em Performance” production. Meanwhile, a critical recovery of his Literature, Criticism, and Playwriting, as well
festive manifestation as a space of identity-alterity enquanto micro-processos articulados pelos artistic-plastic, social and political work has been as the Department of Theater’s Director of
that can bring closer the Paratheatrical proposal atores sociais de um determinado grupo que, raised, that Lemebel along with Francisco Casas, Graduate Studies. His current book project
and the performative poetics. estrategicamente, os colocam em posição de created as a part of the collective Las Yeguas del expands his geographic scope to examine
Keywords: Identity in Performance, identificação ou diferenciação, afirmação ou Apocalipsis Blanco, 2004, Carvajal, 2011. This artistic resistance to the genocidal discourse
Paratheatre, Theatre, Society, Culture negação de uma identidade e/ou de um espaço, presentation intends to address the provocative of the Nazi and Soviet regimes, particularly
seja este concreto ou simbólico. De outro idea that Fernando Blanco articulates: “The body examining the theatre of Polish auteur Tadeusz
Identidade em Performance: uma possível modo, esta abordagem nos permite indicar founds the letter, not the letter that founds the Kantor. Jacob’s scholarship and playwriting
equação entre teatro-sociedade-cultura a manifestação festiva como um espaço de body” in Lemebel. In this way, the presentation have been supported by the Fulbright Program,
A presente comunicação visa refletir acerca identidade-alteridade, a qual pode se aproximar da seeks to rescue the particular artistic, political Krakow’s International Cultural Center, the
do espaço de intersecção entre artes cênicas proposta Parateatral e da poética performativa. and ethical insurgency that the voice of Pedro Illinois Arts Council, SIU’s Seed Grant, and
e as realidades socioculturais, adotando uma Palavras-chave: Identidade em Performance, Lemebel expels, with the purpose of opening Chicago’s Department of Cultural Affairs and
perspectiva antropológico-cultural. A reflexão Parateatro, Teatro, Sociedade, Cultura another field of research around his work. Special Events. His plays have been produced
toma como pontos de referência os processos For this, I will turn to his particular way of or workshopped Off-Broadway, in Chicago,
de elaboração identitária de um grupo de remembering, inserted in some of his chronicles, Los Angeles, Austin, Washington, DC, and
descendentes de imigrantes situados ao sul Andres Grumann-Sölter performances and, particularly, audiovisual across the U.S. and Europe. More info at www.
do Brasil, partindo da análise de algumas PUC Chile records, with the intention of articulating a trail jacobjuntunen.com, and short plays atwww.
manifestações festivas do próprio grupo. No agrumann@uc.cl of what I call the insurgency expelled by the ripostetotheworld.blogspot.com.
específico, propomos uma reflexão acerca voice of Lemebel.
dos possíveis micro-processos dos atores Doctor in Theatre Studies, Freie Universität Émigré versus Survivance Art: Witold
MELDOLESI, 1986 e, de modo mais amplo, Berlin with Erika Fischer-Lichte Gombrowicz in Argentina and Tadeusz
nos reportamos à equação que se estabelece BA in Philodophie at the Pontificia Universidad Jacob Juntunen Kantor in Poland
entre teatro-sociedade-cultura. Tal reflexão Católica de Chile jjuntunen@yahoo.com This paper tells the story of two Polish men,
se apoia, no âmbito das artes cênicas, em Professor for Theatre Studies at the Art Witold Gombrowicz and Tadeusz Kantor, both
referências tais como o post-teatro de Jerzy Faculty, School of Theatre at the Pontificia Jacob Juntunen is a playwright and theatre of whom survived WWII both of whom created
Grotowski e nas abordagens da antropologia da Universidad Católica de Chile. scholar whose work focuses on theatre’s role theatre and both of whom broke from Poland’s
performance, de Richard Bauman. Professor at the Universidad de Chile in forming imagined communities, paying 19th century Romantic traditions. But while
Partindo do pressuposto de existência de uma Aesthetics and Theorie and History of the Arts particular attention to marginality. He is the Gombrowicz did so as an émigré in Argentina,
consonância entre teatro e vida, tanto o viés author of Mainstream AIDS Theatre, the Kantor did so under Communist oppression in
Parateatral ou também chamado de Cultura Ativa, Vocal insurgencies. The voice expelled in Media, and Gay Civil Rights: Making the Radical Poland. This paper argues structural differences
inaugurado por Grotowski na década de 1970, Pedro Lemebel Palatable Routledge 2016, and his plays are for in the two men’s writing can be attributed
quanto “A poética do mercado público” BAUMAN, The approaches to the wide and prolific work those “who want to leave the theatre changed to this geographical context. Gombrowicz’s
2009, nos auxiliam na elaboração de um of Chilean performer Pedro Lemebel, tend to and moved,” as one Chicago critic described. émigré society in Argentina was similar to
his lost Poland, whereas Kantor inhabited a scholarship 2015-2016 with supervision The negligible detail, the ruins of each city vaga-lumes incendeia o imaginário de Pippo, que

general panels 171


colonized country. Thus, Gombrowicz’s plays of Marco De Marinis. Published the book: visited, of each unusual dream that takes como um “bambino”, persegue os rastros luminosos,
were parodies of Polish Romantic structures, “Pirandello um teatro para Marta Abba” Ed. place by chance, these are the bridges charted traçando uma constelação de sonhos e coisas
while Kantor’s were complete breaks from Perspectiva, São Paulo, 2010 by Pippo to reach the other, finding himself. impalpáveis, e por isso tão reais, decantadas em seu
previous traditions, acts of “survivance”—a These are the threads of a fabric build on teatro. O detalhe irrisório, as ruínas de cada cidade
portmanteau of “survival + endurance” or Sublime bodies: Pippo Delbono’s theatre- contempt, and it helps us to find out outside que visita, de cada encontro inusitado, ocorrido por
“survival + resistance.” I demonstrate this by party: Il vangelo della teatralità us, with his aid, in the other, someone that is acaso, são pontes que Pippo traça para alcançar
comparing Gombrowicz’s linear _Operetta_ to Within the narratives of his journeys, Pippo completely intimate to us. o outro, encontrando-se. São os fios de um tecido
the spiral structure of Kantor’s _Dead Class_. Delbono reveals to us a state of real and Keywords: Pippo Delbono, Sublime bodies, construído em derrisão, que nos ajuda a descobrir,
Overall, the paper points to a larger theory profound experience with the world around Theatre-party junto com ele, naquele outro, fora de nós, alguém
elucidated by examining the diaries Gombrowicz him. His eyes turn indeed towards the world, que nos é completamente íntimo.
kept in Argentina: émigré groups may maintain not to conform this seen and observed world Corpos sublimes: o teatro-festa de Pippo Palavras-chave: Pippo Delbono, Corpos sublimes,
a cultural version of their lost imagined in information, since these are not narratives Delbono: Il vangelo della teatralità Teatro-festa
community, while a colonized society can only of information. His narrative transports us to Pippo Delbono, em suas narrativas de viagem,
make elegies. his internal world, without embellishments. nos revela um estado de real e profunda experiência
There is in Pippo a strong state of connection com o mundo que o toca. Seus olhos realmente Ahn Chul-Sang
with the world, but not in the acute sense se viram para o mundo, mas não para conformar Hankook University of Foreign Studies
Martha de Mello Ribeiro of it. On the contrary, his interests concern esse mundo, visto e olhado, em informação, não bomnara55@gmail.com
Universidade Federal Fluminense that which is most trivial in the world, those são absolutamente narrativas de informação. Sua
melloribeiro.uff@gmail.com very small things that we do not usually narrativa nos transporta para seu mundo interior, Graduate student at Hankook University of
pay attention to because we are too much sem pudores. Há em Pippo um estado de forte Foreign Studies
Theatre director and associate Professor inebriated with the imposing feeling of the ligação com o mundo, mas não no aspecto agudo
at Universidade Federal Fluminense in the beautiful or with the sensation of power that do mundo, ao contrário, seu interesse se volta para From Ritual to Comedy: Tracing
Arts department and the Post-graduation in emanates from the big things or with what is o que há de mais anódino no mundo, para as coisas Degradation in the Comic Play of Giving
Contemporary Art Studies. Coordinating the convenient, that which is sanitary. The life that muito pequenas, para o que normalmente não Birth to a Baby in a Traditional Korean
Contemporary Performance Production and Pippo seems to search for is one of silence, prestamos atenção, por estarmos demasiadamente Funeral Ritual, Dashiraegi
Investigation Laboratory with the following of dilated time, of waiting, of darkness, to inebriados com o sentimento imponente do belo The study traces degradation in comic
research projects: “Contemporary Pirandello” convert, at last, all this silence in screams: ou com a sensação do poder que emana das plays in folk theatre in Korea. Degradation in
and “Studies in Performative Theatre: mute, libertarian, painful, joyful and inhuman coisas grandes, ou do que é conveniente, do que carnivalisque spaces plays a crucial role of
landscape and portrait as contemporary screams, finally encountering that which is é higiênico. A vida que Pippo parece buscar é not only making humor, but also showing the
performance theatre devices”, resulting from most human, most sublime. It is from this aquela do silêncio, do tempo dilatado, da espera, cosmology of folk culture, especially rebirth,
articles published in specialized journals place that an explosion of fireflies fires Pippo’s da escuridão, para depois converter todo esse what Bakhtin called ‘grotesque realism’.
and plays staged. Performed at Università di imagination. He then follows the luminous silêncio em gritos: gritos mudos, gritos libertários, Traditional funeral rituals in East Asia include
Bologna, as Post-doctoral activity the research tracks like a “bambino”, tracing a constellation gritos de dor, gritos de alegria, gritos desumanos, carnivalisque spaces, that is, music and dancing
“The enticing realism in the contemporary of dreams and immaterial things that are so para enfim encontrar o que há de mais humano, de to please the dead. Guests at a traditional Korean
performance theatre” with a CAPES-Brasil much more real and decanted in his theatre. mais sublime. É deste lugar que uma explosão de funeral ritual, for example, still enjoy drinking
alcohol, eating food and rice cakes, playing games interests include: comedy, clowning and festive have critiqued the essentialization of the ‘local’ Fernanda Oliveira

general panels 173


and telling jokes. Further, in the course of folk performance Latin American culture, politics and the reliance on dualisms of alternative vs. Universidade Federal do Maranhão
death rituals in Korea even a comic play of a monk and performance environmental, outdoor and conventional e.g. Holloway et al. 2007, which nandaareias1@gmail.com
and woman giving birth to a baby has performed site-specific performance and performance as elide a more complex food systems ecology. The
over a thousand years and therein degradation a means of fostering alternative models of food question of whether such progressive projects can Fernanda Areias de Oliveira - a contemporary
has been transmitted as a folk theatre in southern production and consumption. engender structural change or whether they tend, artist that works with video mapping projection
islands of Korea until recently. This means that His most recent publications include the conversely, to reinforce cultural and social divides, in performances and creative process in an online
traditional funeral rituals in East Asia were not research monograph Clowning as Social remains a focal point of scholarly attention. environment. As a professor, teachers arts at
simply sad and silent spaces, but carnivalisque Performance in Colombia: Ridicule and Resistance In conservative rural West Lancashire UK a the Federal University of Maranhão UFMA. Her
spaces for communities. Nevertheless, Bloomsbury Methuen, 2017, which explores the partnership between Burscough Community Farm research area is associated with the formation
carnivalisque spaces of folk death rituals in political and social significance of the proliferation BCF and Edge Hill University EHU offers evidence of the artist and the use of new technologies.She
East Asia would be treated as the tradition of of clown performance in Latin America since of the challenges of changing the way people relate finished a Ph.D. in computer science in education
vulgar and savage. Why does such negative the 1980s. Previous publications include Acts of to the food they eat. In addition to growing organic and coordinated the laboratory research group
misunderstanding on carnivalisque spaces have Violence: Resistance and Relief in the Colombian food using permaculture methods, BCF aims to LAbTecDrama seeking the use of technology for
occurred? To answer to this question, the study War Zone in TDR Spring 2008 and “Clown cultivate a reconnection between communities drama. Her actual research focuses on drama
mainly focuses on a Korean comic play of death Encounters with History: Mimetics to Kinetics in and the land they often no longer understand pedagogy and technologies, with special attention
ritual, Dashiraegi by asking three questions in Practice-as-Research” in Theatre Topics 2013. or come into contact with. In collaboration with in video projections.
cross cultural context as follows; first, what is the He completed his MA in Theatre Studies in activist scholars from EHU they have developed Drama Teacher in the Art Department, in
cultural identity of carnivalisque spaces of death 1999 at Leeds University and subsequently CULTIVATE, a research project using the arts as Federal University of Maranhão Brazil http://
rituals in East Asia? Second, how perceptional worked as a director and facilitator of theatre a medium for engaging local communities and www.teatro.ufma.br
changes between burial systems in Korea have for young audiences in the UK. He is a regular ultimately facilitating the kinds of transformations Teaches the subject: Interpretation,
appeared? Lastly, how does degradation have solo performer and director, and is co-founder they seek. Through a programme of performances, Dramaturgie and Art and technology
been performed in a comic play, Dashiraegi, as of the Clownencuentro an annual international installations and workshops, bringing together
a folk theatre? This study would help better conference and festival of clowning in Colombia. students, local communities and professional Drama Teachers and Intermedial Scene: A
understand about which theater history dialogue artists, the research team is working closely with Technical Mentality in development
with current manifestations. Growing Differently: ‘cultivating’ the directors of the farm to understand how AFIs The appropriation of a technical mentality
the links between art and alternative might mobilise art to enable change. for artists whose works are based on technical
food networks This paper will document the collaboration apparatus that starts to be discussed in art
Barnaby King Alternative Food Initiatives AFIs and their thus far, focusing on a community performance research. In drama education an interdisciplinary
Edge Hill University potential to realise radical goals of transforming at BCF in April 2017. It will present initial trajectory began, focused in an ontological
kingbar@edgehill.ac.uk economies of food production and consumption, findings, assessing the possibility that cultural idea of Gilbert Simondon about the creativity
have been the topic of robust critical debate. practice reflecting a minority politics of alterity process that englobes human being, machines
Dr Barnaby King completed his PhD in While some have lauded Community-Supported can have an impact on a broader community. and education. The objective of this panel
Performance Studies at Northwestern University Agriculture CSA, hailing the ‘emergence of new Keywords: food, permaculture, agriculture, presentation shares the process of the research
in 2013 and is currently a Senior Lecturer at local food systems’ that challenge the hegemony performance, community, ecology, alterity developed in the past five years. An emphatic
Edge Hill University in the UK. His research of agri-business Brown and Miller 2008, others perspective was amplified in the formation of
drama teachers in Brazil, very associated with é dividir os resultados da pesquisa desenvolvida nos do Espetáculo” da Faculdade Cásper Líbero. Yazbek. Participou de trabalhos teórico-práticos em

general panels 175


the contemporary scene. Can the intermedial últimos cinco anos. Uma perspectiva enfática foi Também integra o “Grupo de Estudos em atuação e direção com o diretor italiano Eugenio
performance be taught in our schools? Our amplificada sobre a formação de professores de teatro Estética Contemporânea” da Faculdade de Barba, o diretor cubano Carlos Céldran e a diretora
drama educators are being prepared for this no Brasil, muito associada a cena contemporânea. A Filosofia, Letras e Ciências Humanas (FFLCH) espanhola Marta Galán.
content? Equipments and methodologies must performance intermedial pode ser ensinada em nossas / USP. Cursou pós-graduação Lato-Sensu em Dirigiu e escreveu Estudo sobre o masculino:
be rethought for this project. A new perspective escolas? Nossos professores de teatro estão preparados Fundamentos da Cultura e das Artes (UNESP). primeiro movimento, em 2016, espetáculo que
was started: a pedagogical theater attached para esse conteúdo? Equipamentos e metodologias, Possui formação como ator pela Escola de atores resultou de sua residência artística no Teatro da
with an intermedial scene and new ways for precisam ser repensados para esse projeto.Um novo do TUCA PUC/SP (2003). Vertigem; dirigiu e escreveu “Piegas?”, em 2016,
creation in drama or performance. Our research percurso foi iniciado: uma pedagogia do teatro ligada No campo das artes é ator, diretor e apresentada no projeto Quinta em Cena no teatro
had an intervention characteristic, passing by a uma cena intermedial e novas formas de criar no dramaturgista. Professor convidado na Escola Cemitério de Automóveis; dividiu a encenação,
a study of the techniques and methodologies teatro ou na performance. Nossa pesquisa tem a Superior de Artes Célia Helena (ESCH) no em 2011, do espetáculo TELMAH realizado com
applied by the Canadian artist Shary Boyle and característica de intervenção, passando por um estudo curso de pós-graduação em interpretação os alunos da Escola de Atores do TUCA, e dirigiu,
the collective artists from Quebec as Collectif das técnicas e metodologias aplicadas pela artista da disciplina “ESTUDOS SOBRE ESTÉTICA E em 2008, o espetáculo A Humanidade da Gente
Lebovitiz. An experimental course for preparation canadense Shary Boyle e o coletivos de artistas de ATUAÇÃO EM PROCESSOS DE CRIAÇÃO com o Núcleo de Pesquisa Teatral do TUCA, o qual
of drama teachers was developed in two Brazilian Quebéc, Collectif Lebovitz. Um curso experimental CONTEMPORÂNEOS”, e também lecionou coordenou desde 2006.
universities based on an adaptation of the focado na formação de professores de teatro foi a disciplina “Ética - Estética” no curso de Integrou, durante dois anos, os núcleos de
technique and ways of organization designed desenvolvido em duas universidade brasileiras, graduação da mesma instituição. Artista estudo em dramaturgia e teatro contemporâneo,
by the group of intermedial artists investigated baseado na adaptação das técnicas e formas de convidado da SP Escola de Teatro como com ênfase em crítica teatral, na E.L.T. (Escola
in the process of this research. As results of this organização elaboradas pelo grupos de artistas orientador de experimentos cênicos e Livre de Teatro de Santo André) Como roteirista
qualitative perspective, we developed a course for intermediais investigados durante esta pesquisa. formador convidado do curso de Iluminação, e dramaturgo escreveu cena curta “Piegas?”, seu
drama teachers lined up with a creative process Como resultado desta perspectiva qualitativa, nos responsável pelo componente Orientação texto “Aurora e Alice” foi encenado na Mostra E.L.T.
shared by machines and collectives. desenvolvemos um curso para professores de teatro Teórica para os Experimentos. (Escola Livre de Teatro) em dezembro de 2007 e
Keywords: Drama education, technical associado a um processo criativo partilhado por Participou como dramaturgista e assessor participou como um dos roteiristas do texto “Natália,
mentality and intermedial scene máquinas e coletivos. teórico nos últimos projetos de criação do Nathália”, no projeto final de conclusão da disciplina
Palavras-chave: pedagogia do teatro, mentalidade Teatro da Vertigem. (O Filho-2015; Patronato Direção III (CAC/ECA), em 2005.
Professores de Teatro e Cena técnica e cena intermedial. 999 metros-2015, Chile; Dire ce qu’on ne pense Participou do grupo de estudos em crítica
Intermedial: Uma mentalidade técnica pas dans des langues qu’on ne parle pas- teatral “Arte Crítica”.
em desenvolvimento 2013/2014, Bruxelas e Festival de Avignon; Bom
A apropriação de uma mentalidade técnica Antonio Luiz Gonçalves Junior Retiro 958 metros - 2012/2013, Ópera Orfeo Dramaturgy in its critical dimension in
por artistas cujo as obras são baseadas no uso da USP ed Eurídice-2012, Projeto de residência artística the process of scenic creation: the social
materialidade técnica, começa a ser discutida nas aluiz6@osite.com.br Vrac/L’escaut-2012, Bruxelas; Projeto Cidade context as creative material.
pesquisas em arte. Na pedagogia do teatro uma Submersa-2011, peça Cartas de Despejo-2011). O dramaturgismo em sua dimensão crítica
trajetória interdisciplinar se inicia focada no viés Doutorando em Artes Cênicas pela ECA/USP, Atuou, entre outras, nas peças Horácios e no processo de criação cênica: o contexto
ontológico proposto por Gilbert Simondon, sobre mestre em Comunicação Social pela Faculdade Curiácios, com direção de Francesco Zigrino, social como material de criação.
o processo criativo que engloba o ser humano, as Cásper Líbero (FCSCL) e pesquisador do Tchekhov e a Humanidade com direção de Antonio Este projeto tem como foco investigar a prática
máquinas e a educação. O objetivo desta apresentação Grupo de Pesquisa “Comunicação e Sociedade Abujamra e O Fingidor com direção de Samir do dramaturgista no propósito de problematizar
sobre sua atividade crítica, enquanto participante Emer O’Toole Gregory, somewhat ironically, has been written extensively with practitioners and students in

general panels 177


do processo criativo de uma obra cênica. Desse Royal Holloway University of London out of the narrative of Irish theatre that she Scandinavia, Central Europe, Central and South
modo, este projeto de investigação dirigi-se às emer.ot@gmail.com herself engendered. America to foment rich cultural correspondences
ações e aos modos de efetivação do dramaturgismo This paper uses personal performative analysis and ongoing international links. In 1995, Ellie
enquanto instância crítica. Em termos gerais, tal Emer O’Toole, PhD (2012), Royal Holloway and archival research to ask whether I – as a co-founded The La Mancha School of Image
dimensão crítica, por ora considerado, abrange University of London, is Assistant Professor theatremaker, scholar and pedagogue who and Gesture Chile, the first of its kind in South
atividades ligadas ao projeto conceitual almejado of Irish Performance at Concordia University, has been familiar with Gregory’s work since America. With a strong emphasis on devising
pelo trabalho artístico, no qual o dramaturgista Montreal. Her book Girls Will Be Girls (2015) is an my teens – am part of the process of canonical highly visual performance around themes of
age como uma espécie de observador interno, accessible introduction to gender performativity. marginalization. Using Judith Butler’s theory of political and social significance, both institutions
estabelecendo, em parceria com diretores, Her research spans interculturalism, ethics, performativity and Pierre Bourdieu’s concept of have made a profound and long-lasting impact
encenadores e coreógrafos, relações de sentido performativity and activism. the habitus, I consider the social conditions and on the arts in Chile see her chapter in the
entre os elementos que compõem a obra à medida the academic systems of value that led me to recently published Routledge Companion to
em que vão se instaurando. Por meio dessa prática, The Lady Vanishes: A Scholarly Experiment study Yeats and Synge over Gregory. Interweaving Jacques Lecoq. Ellie is currently in discussions
o dramaturgista ajuda a fornecer subsídios para in Writing In and Writing Out this narrative with the new intimacy I acquired with the Museum of Memory and Human
a tomada de consciência dos significados que se In 2016, Ireland’s National Theatre, The Abbey, with Gregory’s drama in the NUI archives serves Rights Museo de la Memoria y los Derechos
ordenam durante o processo de criação. Portanto, planned to commemorate the centenary of a two-fold purpose: first, at this crucial feminist Humanos, Santiago, Chile, to develop a research
trata-se de uma atividade crítica-analítica dirigida the 1916 Rising with a programme of almost moment in Irish theatre history it adds clarity to project titled The Poetics of Absence 2018.
às relações entre forma e conteúdo. exclusively male playwrights. This sparked a the processes whereby women get written out, This project will explore her ‘embodied poetics’
Propõe-se, em vista disso, um levantamento movement called Waking the Feminists, aimed at and, second, it begins to redress this exclusion. within the field of trans-national contemporary
e um estudo sobre as práticas do dramaturgista achieving gender equality in the Irish arts. While performance-making and address themes of
(dramaturg), assim como uma discussão it is tempting to point fingers at artistic directors ‘Global Uncertainties’ and ‘Identities and Beliefs’.
sobre sua atividade, a fim de averiguar outras for producing a situation whereby women’s work Ellie Nixon
perspectivas possíveis de como se concebe, e is not considered to be of national importance in Bath Spa University Embodied Poetics: The Poetics of the
como se dá, sua ação crítica em processos de Ireland, theatre scholars are responsible too. This e.nixon@bathspa.ac.uk Imagination in Devising Practices.
criação cênica que engendram um percurso paper explores the scope of that responsibility. Taking as its focus the ‘actor-creator’s’ process
de pesquisa, teórica e prática, e se relacionam In April 2017, I spent a month at NUI Galway Dr Ellie Nixon, subject leader for BA Acting at in devising practices, this research explores
de uma maneira mais próxima com ambientes delving into what is meant by “writing out.” Bath Spa University. the notion of the ‘poetic body’ developed by
concretos da vida social. Em especial, o espaço What actions and choices, or lack thereof, Building on her PhD in Performance Practice French theatre pedagogue Jacques Lecoq 1921
urbano. Logo, para a análise nesse contexto, marginalize someone within the canon? It is a from the University of Exeter, Ellie’s research - 1999 and the writings of French philosopher
entende-se que o exercício da observação crítica truism in Irish theatre studies that, compared pioneers an innovative embodied devising Gaston Bachelard 1884 - 1962 on the ‘poetics of
necessita ser problematizado e priorizado. to the work of her Abbey contemporaries, model, offering new understandings in the fields imagination.’ The overarching aim is to originate
the plays of Lady Augusta Gregory are under- of contemporary theatre making, performer a new ‘embodied poetics’ whereby the sensate,
examined. While Gregory’s one act works are training and interdisciplinary practices. On feeling body actively explores correspondences
often anthologized, and while there exists a graduating from the Lecoq Theatre School with the ‘material elements’ of earth, air, fire and
wealth of biographical work on her as co-founder in 1989, she co-founded the La Mancha water. These are experienced as ‘poeticising
of The Abbey, dramatic analysis remains sparse. International Theatre Company, collaborating substances’ – catalysts and conductors for an
embodied imagination. More specifically, my Christopher Balme knowledge-based experts who advise policy Gautam Chakrabarti

general panels 179


paper asks the following question: LMU Munich makers and governments, usually on questions Ludwig-Maximilians-Universität München
What new understandings can a relational balme@lmu.de of scientific and technical complexity Haas 1992. gchakrabarti@zedat.fu-berlin.de
encounter between Lecoq’s pedagogy and They manifest a high degree of international
Bachelard’s ‘poetic imagining’ reveal about Christopher Balme currently holds the chair organization in the form of professional Gautam Chakrabarti is a Postdoctoral
the ’poetic body’ and how might these new in theatre studies at LMU Munich and is past- associations, conferences, expositions, and Researcher with the Sub-Project “Learning
understandings originate a devising process? president of the International Federation for learned publications that seldom remain ‘the Moscow Rules’: Theatre Artists from
An exploration of our powers to generate new Theatre Research. He was born and educated restricted to a single country. Postcolonial India in the Eastern Bloc, 1950-
performance, considered from a theoretical in New Zealand worked in Germany since The ‘prehistory’ of the postwar theatrical 80,” in the ERC-Project Developing Theatre,
perspective offers a fresh reading of Lecoq’s 1985 with positions at the universities of epistemic community may be located in Centre for Global Theatre History, Ludwig-
notion of the ‘poetic body’. Equally, in applying Würzburg, Munich and Mainz. From 2004 internationally distributed theatrical periodicals Maximilians-Universität München. He is also an
Bachelard’s ‘poetic imagining’ to the devising to 2006 he held the chair in theatre studies such as The Mask edited by Edward Gordon Assistant Lecturer in South Asian Studies at the
process, I seek to revivify and reposition his at the University of Amsterdam. Publications Craig or in the international theatre expositions Humboldt-Universität zu Berlin. He has taught
philosophical standpoint from a contemporary include Decolonizing the Stage: Theatrical of the 1920s Vienna, Paris, New York, Rome English and Comparative Literature and Berlin
perspective within the field of interdisciplinary syncretism and postcolonial drama, Oxford where common artistic values were displayed and German Studies at the Freie Universität
practices. An embodied exploration of 1999, Pacific Performances: Theatricality and and discussed. They may also be found in new Berlin FUB, where he was a Dahlem Research
Bachelard’s ‘poetic imagining’ process through Cross-Cultural Encounter in the South Seas international organizations such as the Société School HONORS Postdoctoral Fellow 2014-15
my own practice proposes a new ‘embodied Palgrave Macmillan, 2007, The Cambridge Universelle du Théâtre founded in 1926, or in the with the project “Non-Committal Involvements:
poetics’ for devising, based on the body’s active Introduction to Theatre Studies Cambridge amateur realm, La Comité International pour les Literary Detectives and Cold Warriors across
participation with the world and a recognition 2008 and The theatrical public sphere 2014. Théâtres Populaires and the British Drama League Eurasia. He was, in 2016, a Global Humanities
that the poeticising ‘I’ is intimately entwined with His current research interests focus on the which had by 1950 branches in dozens of English- Junior Research and Teaching Fellow Outgoing,
the material elemental substances that comprise legacy of modernism in the globalization of the speaking countries. Permanent institutional representing the DAAD-funded Thematic
it. In considering the ‘material elements’ arts theatre and the public sphere institutional form emerges in 1947 with the founding of the Network Principles of Cultural Dynamics
as originating substances for an imagining aesthetics. He is director of the Centre for International Theatre Institute ITI see topic area FUB at The Hebrew University of Jerusalem,
body, their dialectic qualities provoke infinite Global Theatre History and is principal C, the International Association of Theatre Critics Israel. He has also finished, at the FUB, his
possibilities for a permanent renewal, expansion investigator of the ERC Advanced Grant IATC in 1956, and the International Federation for PhD on Familiarising the Exotic: Introducing
and transformation of practice, in essence, to the Developing Theatre: Building Expert Networks Theatre Research IFTR in 1957, all of which initially European Drama in Early Modern India 2011-
discovery of our own poetic body. for Theatre in Emerging Countries after 1945. had close ties through affiliation with UNESCO. 14 the dissertation is currently in preparation
This research aligns with the interdisciplinary An important feature of these organizations as a book manuscript. He has studied English
connections strand of the conference. The Theatrical modernism for the world: is that they emphatically sought to bridge the Literature and Culture Studies in Calcutta and
practice-led aspects of the research can also Theatrical Epistemic Communities 1920-1960 East-West divide. Delhi, India, and has taught in various colleges
be explored through a workshop. I am keen to This paper argues that the globalization of Keywords: epistemic communities, of the University of Delhi 2003-10. He was a
participate in both. modernist, art-focused theatre in emerging international organisations, Cold War, Visiting Lecturer in English language, literature
Keywords: Embodied Poetics, Devising, countries after 1945 was driven by the theatrical modernism and culture and Hindi in two universities and
Jacques Lecoq, Gaston Bachelard. emergence of a theatrical epistemic community. institutes in St Petersburg, Russia 2008-9.
Epistemic communities refer to networks of
chief among them were the building of training Histories LMU Munich since 2013 she is variety of endeavours to create order from the

general panels 181


“The Red Bear has Awoken!”: Soviet
Engagement with Indian Theatre programmes for Indian theatre-professionals Principal Investigator of the DH project devastating chaos of war.
Artists in the Cold War and guidance regarding Brechtian and other Theatrescapes, http://www.theatrescapes. Among the first activities people and
One of the less researched aspects of post- ‘progressive’ dramaturgical techniques. While theaterwissenschaft.uni-muenchen.de/index.html provisional administrations undertake literally
Independence India’s ‘progressive’ theatre is its the Soviets focussed on training young theatre- & http://theatrescapes.gwi.uni-muenchen.de/ a few days after the end of WWII is the
Soviet connection. Starting already in the 1950s artists, the GDR offered Brechtian expertise In 2015 and 2016 she was visiting professor re-opening of theatres actors and theatre
and consolidating in the ’60s, the USSR followed, through members of the Berliner Ensemble for Inter Artes at the University of Cologne. directors gather for putting plays on stage,
almost as proxies, by the GDR and other Eastern and charismatic directors like Fritz Bennewitz. Since October 2016 Nic is associate director stage academies open their classrooms
Bloc States had invested time, money and The proposed paper seeks to analyse this and senior researcher of the ERC funded again – no matter how ruined the venues,
organisational energy in building up ‘committed’ involvement through a critical consideration of project “Developing Theatre” PI: Ch, Balme, fragmentary the props, and unstable the
networks amongst playwrights, directors, actors the prisms of “minor transnationalism” Lionnet LMU Munich. She is currently finalizing her cultural geographies of the time...
and other theatre-personnel in various Indian & Shih 2005, “decoloniality” Mignolo 2011 and third monograph on Transatlantic Theatrical Only a few years later, theatre and drama
cities. The Soviet approach was characterised “mixed pedagogies” Balme 2016, through a few Entrepreneurship: Circuits, Agencies and Brokers education play a dominant role, too, in the context
by a willingness—born, partially, out of need—to case-studies from Calcutta and Bombay. at the Turn of the 20th Century. of internationalization of and through culture.
cut through the pre-existing networks of cultural Keywords: Cold War, USSR, Indian Theatre, Monographs: More than any other art form theatre is employed
exchange between Anglophone and Europhone Cultural Politics Piktoral-Dramaturgie. Visuelle Kultur und and promoted as a crucial medium for cultural
socio-political constellations and frameworks Theater im 19. Jahrhundert 1869-1899 2007 development, particularly on the agenda of
amongst India’s elites. The Homo Sovieticus, Durch Blicke im Bild. Stereoskopie im 19. und influential corporate philanthropic entities such
an ideational and even aspirational template Nic Leonhardt frühen 20. Jahrhundert 2016 as the Ford or Rockefeller Foundation who aimed
that found resonance and acceptance—ranging LMU Munich Editor of The Routledge Companion to Digital at “assisting the highest forms of education for
from cautious to eager—throughout left- n.leonhardt@lmu.de Humanities in Theatre and Performance in enlarging the boundaries of human knowledge“,
leaning cultural circles in postcolonial India, was preparation to be published in fall 2017 or organizations such as the International Theatre
celebrated within the framework of the rise of Nic Leonhardt is a theatre and media Co-Editor of The Journal of Global Institute ITI, formed in 1947.
a new form of transactional sociality as defined historian as well as a writer based in Munich. Theatre History In my paper I am going to approximate
in Westlund 2003, even a new humanity. Soviet Her scholarly activities are characterized by online journal: https://gthj.ub.lmu.de/index. the discursive ‘multiple theatricalities’ in
cultural policies sought vigorously to encourage a strong interdisciplinary approach and focus php/gthj/ the years after WWII understood here as
this trend and facilitate its links with parallel on global theatre, media and popular cultures Web: Nicleonhardt.wordpress.com a meaningful plethora of functions and
trajectories throughout Africa and Asia. at the turn of the 20th century as well on attributes given to theatrical arts and artists
Despite India’s steadfast—even during the contemporary visual and urban cultures and “…Enlarging the Boundaries of Human in the service of stabilizing local, national
Indira-Gandhi-years, during which the USSR Digital Humanities. She studied art history, Knowledge“ – by Means of Theatre: Multiple and international cultural geographies.
became India’s biggest military backer— theatre and audiovisual media, German Theatricalities and the Philanthropic I shall do so by offering a close reading
commitment to the ideal of non-alignment, there philology and musicology and received a Dr. Agenda of Stabilizing Cultural and discourse analysis of primary sources
can be little doubt that Soviet and Eastern Bloc phil. in Performance and Media Studies from Geographies after 1945 published by the Rockefeller foundation in
engagement in cultural and, especially, theatrical the University of Mainz 2006. From 2010 to The time period after the Second World the 1940s and 1950s such as press releases,
activities in India was substantial Wishon 2015Nic was the associate director of the War, as is well known, is marked by political mission statements, funding contracts,
2013. This involvement took various forms, but international research project Global Theatre reorientation, reeducation programmes, and a correspondence, files, visual records, etc.
Keywords: Philanthropy, cultural geographies, and thus reveal multiple cultural instabilities and Keywords: Pussy Riot, performance of practices from this period, we can reconstruct

general panels 183


Cold War, development disruptions. The controversial Russian collective resistance, nationalistic discourse, nation, ideas from the era regarding families, kinship,
Pussy Riot has repeatedly raised questions identity, space “huachos” a pejorative way of referring to
about the problematic nature of nationalism children born out of wedlock, and race.
Julia Listengarten and national belonging in today’s Russia and This analysis will resort to plays by Aurelio
University of Central Florida challenged the country’s unifying nationalist Andres Kalawski Díaz Meza, René Hurtado Borne, Carlos Cariola,
julia.listengarten@ucf.edu discourse. Their politically motivated street PUC Chile Germán Luco Cruchaga, Vicente Huidobro,
performances on Red Square or in Moscow’s andres.kalawski@gmail.com Antonio Acevedo Hernández, and Armando
Julia Listengarten is Professor of Theatre, Cathedral of Christ the Savior effectively fostered Moock, among others, observing how the ideas of
Artistic Director, and Director of Graduate Studies dialogue around issues of identity, ideology, Andrés Kalawski. Associate professor at kinship, affection, parenthood, race and home are
at University of Central Florida. She has written and community in Putin’s Russia. Recently the Pontificia Universidad Católica de Chile’s Faculty represented in these works that were successful
on avant-garde and contemporary theatre, group extended its political stance beyond of Arts. His research areas include Chilean theatre in their time, since these factors come into play
scenographic practices, and performances of the denunciation of the Russian authoritarian history and playwriting. Recent publications are when it comes to building a concept of family.
national identity. Her translation of Vvedensky’s state toward the criticism of contemporary the Chilean entries from the The Cambridge Theatre enables privileged access to the
Christmas at the Ivanovs premiered Off- global capitalism and reemerging nationalistic Encyclopedia of Stage Actors and Acting, written social mindset of the era by representing
Broadway at Classic Stage Company. She is tendencies in other parts of the world. In her with Milena Grass and «Acción, verdad y sentido: both material and ideological conditions.
the author of Russian Tragifarce: Its Cultural prison correspondence with Slavoj Žižek, Pussy potencia y límite de la performance en el ejercicio This analysis has a two-fold purpose. On the
and Political Roots 2000, co-author of Modern Riot performer Nadya Tolokonnikova argued historiográfico.» Atenea Concepción, no. 513. He one hand, it allows a better understanding
American Playwriting: 2000-2009 with Cindy for the necessity to create performative acts of is also a staged and published playwright and the of the changing ideologies regarding Chilean
Rosenthal, 2017, and co-editor of Theater of resistance on a global scale, proclaiming: “We are artistic director of his university’s professional families, while on the other hand, a focus
the Avant-Garde, 1950-2000 2011 and Playing the rebels asking for the storm, and believing that theatre Teatro UC. centered on the history of families can help to
with Theory in Theatre Practice 2012. She has truth is only to be found in an endless search.” understand the theatre of the era in new ways,
contributed to many theatre publications and is Pussy Riot’s recent global performances “De qué sirve ser bueno” what’s revealing the ideology of entertainment, the
currently editing Decades of Modern American of resistance include a provocative video the use of being good, families in Chilean little use of being a good person.
Playwriting: 1930-2009 with Brenda Murphy. clip “Make America Great Again,” in which theatre throughout the first half of
She is co-editor of Stanislavski Studies: Practice, Trumps stormtroopers relentlessly engage the 20th Century
Legacy and Contemporary Theater, a UK-based in acts of torture, and an art installation Throughout the first half of the 20th Century, Viviana Iacob
peer-reviewed journal. featuring an electric chair positioned in front highly popular theatre for the middle class New Europe College, Bucharest
of Trump’s campaign slogan. Overlayering the developed in Chile and was even able to vivianaiacob80@gmail.com
Performances of Resistance: Pussy Riot and iconographies of the Soviet regime and Nazi compete with radio and US cinema. It was during
Global Activism Germany with the current political narrative in this period that Chile gradually lowered its very Viviana Iacob is currently a member of the
Drawing on the concepts of “imagined the US, Pussy Riot’s performance activism offers high infant mortality rate. Marriage rates were project Turning Global: Socialist Experts during
geographies” and “imagined communities,” this the kind of re-visioning of history and ideology extraordinarily low at that time, but gradually the Cold War 1960s 1980s affiliated with
paper explores the way political performances that prompts global communities to reexamine increased. These changes lead us to think about the New Europe College in Bucharesthttps://
may trouble the notions of nation and identity the relationship between identity and space as transformations affecting what families in Chile globalsocialistexperts.wordpress.com/. She
in relation to specific space or geographic locale complex, dialogic, and unstable. were and ought to be. Analyzing plays and stage defended her PhD thesis entitled Shakespeare
Performances: A Study of Socialist Realism in but by 1962 the play was performed by theatre Pattepu Sailu all people irrespective of gender, caste, class,

general panels 185


Romanian Theatre 1946-1964 at the University troupes and companies in Finland, Belgium, Italy, University of Hyderabad community, language and religion. Besides living
of Bucharest /Doctoral School of Literary and Switzerland, Argentina, Peru, Uruguay and Japan. saipattepu@gmail.com together they safeguard their identity and culture,
Cultural Studies 2015. She has a BA in Art The performance at the Bugeiza theatre they dont condemn others cultures because they
History and Theory from the Art History and in Tokyo is in fact the end point of a theatre Pattepu Sailu is a JRF scholar at Department born in a unique Indian culture and festivals. One
Theory Department, National University of Arts diplomacy project that started in the early of Theatre Arts, S. N. School of Arts and of the several festivals, Moharram Peerla Panduga
Bucharest and an MA in Theater History from 1950s and entailed translating the play in 15 Communication, University of Hyderabad and is the important festival in the Telugu region
Illinois State University 2005 – 2007. She is the languages and staging it in 12 countries. It worked with distinguished theatre exponents especially in Telangana it is celebrated mainly
recipient of a Junior Fulbright Scholarship and represents an ideal case for studying how a like Prof. Neelu Kamaluddin, Abhilash Pillai, by the Muslim community. Though it is Muslim
of two consecutive research grants awarded by socialist production of a Romanian classic Duglus O’ Connel. He has participated in community-based ritual performance, people
the Romanian state between 2011 and 2015. She became a crucial internationalizing medium for several national and international conferences participate irrespective of cast and religion.
has published articles on the role of theater in a socialist country Cold War cultural diplomacy. and projects including IBSEN festival, UKIERI This paper focuses how the festivals like
Romania and Eastern Europe in the transnational The production history of this play beyond thematic partnership project on “Scenography Moharram safeguard cultures from cultural
entanglements and cultural diplomacy East- national borders shows a network of people that in Digital Age” and IFTR 2015. He has presented violence? How the affirmative processes of
West during the Cold War. Most recently: strived for cross-cultural communication even a paper on Padyanatakam Identity of Telugu identity and alterity happen without violence?
“Shakespeare as Détente: Cultural Diplomacy when there were no official diplomatic ties to region from glorious days to decline in the IFTR Would violence be, inevitably, a contemporary
during the Cold War 1955-1966”, Revista speak of. It reveals the difficulties entailed by the 2015. He had participated in many workshops cultural element? How Muharram has been
istorică, vol. XXVI, no. 3-4 2016 “Richard III: Cold process of exporting a socialist cultural product lead by eminent theatre personalities from India laying the path to unity and harmony between
War Entanglements” in Mădălina Nicolaescu and by extension of a different understanding of and abroad. He has conducted workshops in cultures, how does it create a multi or intercultural
et al., Shakespeare 400 in Romania București: theatricality to dissimilar cultural milieus. different areas of Hyderabad for the children and environment and how one can get cultural
Editura Universității Bucureşti, 2016. The paper will focus on the internationalizing presently associated with CAMS Theatre Group, intelligence through this ritual performance?
language that allowed for the translation of a Hyderabad as a practitioner. Keywords: Culture, Violence, Unity, Ritual,
Exporting Socialist Theatre to the World: nationally encoded production to audiences Performance, Cultural Intelligence.
A Romanian Case Study abroad. It focuses on the routes and connections The Intercultural Legacy of Moharram
In 1961 The Lost Letter, a play by Romanian found by Romanian cultural officials into Peerla Panduga: A Ritual Performance
classic Ion Luca Caragiale opened in Tokyo. different cultural contexts and the instruments of Telangana Sindhe Ramesh
This was the height of Cold War, thus making they used in order to promote the idea of a In this globalization era because of cultural Potti Sriramulu Telugu University
connections between a socialist country and socialist theatre as the expression of a socialist violence, the world is looking for intercultural surabhirameshs@gmail.com
Imperial Japan an interesting case in trans- culture worldwide. activities and to develop cultural quotient in
ideological spatiality and performance. The event Keywords: Cold War, cultural exchanges, people. The Indian society has been multi-cultural, Sindhe Ramesh is a well established
was not an isolated one. This play held a center internationalism, state socialism religious, racial, ethnic and multi-linguistic from theatre artist born into the famous SURABHI
role in the Romanian socialist cultural policy ancient times, in spite of having different cultures THEATRES. He has to his credit a PhD degree
program which internationalized itself through they have been living together as one family. in theatre arts from the POTTI SRIRAMULU
theatre. Its production history outside the Iron Greatest part and one of the beauties of India TELUGU UNIVERSITY and is an awardee
Curtain begins with Romania’s participation at is unity in diversity and the Indian constitution of the golden Nandi award from the state
the International Theatre Festival in Paris in 1956 allocates equal rights, privileges, and duties to government. Founder member of the Forever
Fantastic Theatres2FT and currently he is the of performances in the SURABHI THEATRES 2009, Traditional India Theatre New Delhi, Mariana da Silveira Schmitz

general panels 187


General Secretary. He is an adept artist who has and how the existing resources could be 2006, Atumn WaysSahitya Akademi, New Université Lumière Lyon 2
participated and performed in several national enhanced for better productivity. Delhi, 2010, Indian Theatre 2000 edited New mbresil.doc@gmail.com
and international seminars on theatre Arts as Keywords: Culture, Institution, family, Delhi, 2011, In Other Worlds :Poems 1976-
well as in theatre festivals. profession, inheritance, Apparatus. 2000 Poetrywallah,Mumbai 2014, Everyday Licenciatura em Artes Cênicas - UDESC -
YogiHarper Collins,New Delhi 2014 Brasil – 2006
The uniqueness of the Surabhi Master en Etudes Théâtrales - La Sorbonne
Theatre: Cohesiveness in Professional H. S. Shivaprakash Staging Cultural Violence Through The Nouvelle Paris III - France – 2010
life and Real life. JNU New Delhi Myth of Karna Doctorat en Sciences de lEducation -
SURABHI THEATRES is a family devoted to shivalingaguru@outlook.com Theaters response to Cultural Violence Université Lumière Lyon 2 – 2016
theatres from 131 years where in generations Great epics like the Ramayana and the
after generations are engaged in theatre Professor, Theatre and Performance Studies, Mahabharta are celebrated as symbols of cultural Contributions of Theater-education to
productions and performances standing the JNU, New Delhi . unity. However, this view is questionable for two French Sign Language acquisition and Deaf
tests of time and market pressures to create Author of 9 books of poems, 15 plays and reasons: there are multiple versions of such epics. identity construction.
a cultural institution. Social and economic 3 critical works in Kannada, which are widely Every version, while emphasizing certain voices, Legislation on the use of french sign language
upward journey in society certainly suffer a discussed, performed and translated into several suppresses the others. Some of the key episodes has developed since the 1970s, however, deaf
setback as theatre alone is the only profession Indian languages and into English, French, Italian in the epics demonstrate such biases, for example, children and their families are still struggling
by default and design but the commitment and German. Winner of several best book prizes the episode of Karna in the Mahabharta is the to access bilingual education. The linguistic
towards theatre gains precedence as the from Krnataka Literary Akademi for books of point in case. Though born in the Royal Kshatriya and cultural minority status of the french deaf
members are related by blood and art .The poems, translations and plays. Academic areas caste, he came to be identified with a low caste community still battles to be accepted in the
cohesive element of relatedness from Birth of interest include theatre/literary history, Indian who raised in after being abandoned by his upper school context and this constitutes a clear
to death in each performing artist makes it a theatre, Medival Studies, Comparative Literature, caste mother. In order to be trained in archery, barrier to the development of policies and
force to reckon with which wins the ravages of translation and folklore. Winner of the prestigious he approaches the great Guru Dronacharya. But learning practices for deaf children education.
geography and civilization and stands strong to Rajyotsava Award from Karnataka State2006 and very soon the master discovers Karna’s real caste With this framework in mind we wish to extend
contribute to theatre. Sangeet Natak Akademi Award from National and curses him to according to which his skill of the discussion on the essential role played by
This paper discuses The cohesiveness Theatre Akademi 1997 and Sahitya Akademi2012 archery will abandon him when he needs it most. sign language, not only as a communication
in SURABHI THEATRES since 131 years , Participated in International Writing Program in In the Mahabharta war, Karna is unwittingly pitted tool in deaf education, but as the primary
The role of the institution of marriage in School of Letters, University of Iowa, USA 2000. against his own brother Arjuna. Though Karna is source of language skills acquisition and of the
retaining a talented performer into the Former Editor, Indian Literature, the journal of a more powerful archer than his brother, he loses constitution of deaf communities and the Deaf
SURABHI THEATRE, The uniqueness of the National Akademi of Letters. Former Dean, the battle and is killed as a result of the Guru’s identity. The goal of the present research is to
SURABHI THEATRES which is unparalleled SAA, JNU.Former Director, The Tagore Centre, curse, which was an act of cultural violence against show how theater-education can participate
in Indian theatre scenario, The neglect faced Berlin, Germany Karna’s alleged low caste origin. My presentation in this construction. From a bio-psycho-social
by SURABHI THEATRES by its younger Has travelled, lectured and read poetry in will look at how several retellings of Karna’s story perspective on deafness, we turned to one
generation who are in lured into the fast various countries in Europe, Asia and Americas. in modern Indian theatre have responded to such example of theater-education practice destined
moving technological changing world and its Important English publications in English acts of cultural violence. to deaf children in deaf schools. The first
fast growth, The strengths and weaknesses include I Keep Vigil of Rudra Penguin Classics, hypothesis we propose is that theater-education
facilitates sign language learning by encouraging Zoe Zontou addiction is the result of prolonged feelings Jiaoyin Mei

general panels 189


the exercise of common semiogenetic Liverpool Hope University of dislocation and unworthiness. By taking Roma Tre university
processes to gesture in theater and to sign zontouz@hope.ac.uk into consideration the above argument, I am meijiaoyin@hotmail.com
language structure. As a second hypothesis posing the following question: how can the
we established that theater-education can be Zoe Zontou is a Senior Lecturer in Drama and investigation of theatre projects with people in Mei Jiaoyin, PhD student in “Research and Theory
used as an additional space of socialization in Theatre studies at Liverpool Hope University. Her recovery from addiction, as the cultural symbols Educational” and Master in Art Therapy in University
sign language for deaf children as well as an principal research interests lie in the field of socially of dislocation, supplement our understanding of Roma Tre, graduated in Dance Education in
experience of discourse creation about deafness engaged theatre with people in recovery from of the possibilities of applied theatre with other Academy of Dance in Italy. She teaches the creativity
and Deafhood from the deaf childs perspective. alcohol and drug dependency. Her research covers social groups affected by crisis? dance and designs intercultural project in primary
To investigate this hypothesis we chose the case a wide range of topics, including autobiography in This presentation examines the connections education schools in Italy.
study as our data-collection protocol. The data performance, addiction studies and cultural policy, between applied theatre, dislocation and
presented in this research was obtained first which are examined through their relationship belonging. In doing so, it explores the work of The training of the performer in education
through observation, participation, interviews with socially engaged theatre. She has worked Fallen Angels Performance Group henceforth This research aims to enquire into the gaps
and experiment in one theater-education class as a practitioner and researcher in a number of Fallen Angels. Fallen Angels is a peer-led dance existing between theoretical considerations and
for two groups of deaf children, ages 9 to 11. This organisations, and has published in the area of theatre group of adults in recovery from addiction. practical applications of performative education.
case study shows that this learning experience socially engaged theatre research and practice. Their recent performance Adrift Together Particularly, the objective is to describe the
constitutes a potential exercise of peculiar levels reflects through movement and drama on their process of the training of the performer and
of sign language learning, and more specifically Applied Theatre, Dislocation And recovery journey. Vicky Bell’s 1999 concept of the explore the connection between this practice
the essential iconic structures of sign languages. Belonging: Adrift Together ‘performativity of belonging’ will be considered, and the performative education, throughout the
We also advance the idea that learning The concept of emotional dislocation is a alongside Victor Turner’s 1969 theories on liminal epistemology of Transactional Constructivism.
theater-education enables dead children to phenomenon that has become relevant in performances, in order to formulate a case for The practice of the performer training on which
explore the symbolic inversion of social rules our contemporary ‘liquid’ society in which the implementation of applied theatre as a mean this article focuses, is the one of Jerzy Grotowski,
regarding deafness and Deafhood, contributing globalization, individualization and a ‘boneless’ by which marginalised people might find a way which is based on the relationship between
to the construction of their Deaf identities.The way of living has led us to experience feelings to reconfigure their personal past experiences. stimulus-impulse-response. This process of
collected data and qualitative analyses has of loneliness, insecurity and uncertainty I argue that their performing body on stage artistic experience has a deep connection with
enable us to determine in which ways theater- Bauman 2011,2015. Yet, the economic crisis appears in a precarious position of embodied the concept of education spearheaded by John
education can contribute to the exploration of has led to an alarming increase in mental crisis. However, the very fact that this crisis is Dewey, based on “learning by experience”, where
artistic creative levels in sign language learning health, homelessness, drug addiction, manifested through the performers’ shared sense ’experience’ refers to the transaction of human
and deaf identity construction. and suicides Martin-Carrasco et al., 2016. of vulnerability turns these bodies from “wasted”, beings with their environment.
Keywords: Sign language, deafness, Deafhood, Problem drug users, the ‘addicts’, have been “destroyed” or a “refused matter” Dehl 2015: 15 to The article enquires into Dewey’s Transactional
Deaf education, Deaf culture, Theater-education. historically depicted as a symbol of the crisis symbols of survival. Constructivism in order to understand the
of consumption and dislocation, a symbol of a Keywords: applied theatre, addiction, connection between theory and practice of
fragmented society Brodie and Redfield, 2002 dislocation, belonging performative education. In fact, this epistemology,
Milhet, et. al, 2011. In his renowned book, The implies that a stimulus is always a change in the
globalisation of addiction: A study in poverty of environment which is connected with a change
the spirit, Bruce Alexander 2008 argues that in activity of the organism, and as stimulus
and response are not external to the act, but network, revealing artistic and business Resuming part of the study of theatrical coleções fotográficas de companhias teatrais, como

general panels 191


are always inside a coordination, perceptions strategies reflected on these methods of scene iconography developed in my Ph.D research, my as de Walter Pinto, por exemplo.
are constructed in the transaction between production at the Teatro de Revista genre. interest now is in comparing the cinematographic Retomando parte do estudo de iconografia teatral
organism and environment. Federal employee since 1985, worked as a and theatrical medium, and what this observation desenvolvido em meu doutorado, meu interesse
This research offers an innovative contribution researcher at the Centro de Documentação e can add to the historiographic studies based on agora está em comparar o meio cinematográfico
from a practical and theoretical point of view, on Informação da Fundação Nacional de Artes/ theatrical iconography. e o meio teatral e o que essa observação nos faz
the benefits of the application of a professional Information and Documentation Center of To look and to see are different processes. I avançar nos estudos historiográficos baseados na
training to a universal performative education. the National Arts Foundation of the Culture have long looked at these images and movies, iconografia teatral.
Keywords: Transactional Constructivism, Ministry of Brazil, with activities focused but to speak of what I see is to bring the act Olhar e ver são processos diferentes, há
performer training, performative education on the research and technical treatment of of subjectivity, of the experience that can be muito tempo olho essas imagens e filmes. Falar
historical collections of artists/businessmen shared, but that will never be the same for each do que vejo é trazer o ato da subjetividade,
of the brazilian theater. Is currently the one. After looking at these images by borrowing da experiência que pode ser partilhada, mas
Filomena Chiaradia manager editor responsible for the book the lenses of so many theorists and scholars, que jamais será igual para cada um. Depois
UNIRIO publishing at Funarte. I must see them now with my own lens, my de olhar essas imagens tomando emprestado
filomenachiaradia@gmail.com framing, my light, finally, to define my choice and as lentes de tantos teóricos e estudiosos, cabe
Theatre at the movies: making trigger the shutter. vê-las agora com a minha própria lente, o meu
Ph.D. in Performing Arts from UNIRIO, have of a long relationship enquadramento, a minha luz, enfim, definir a
published the Master and PhD researches: According to Vanoye 1994 the film constitutes Teatro no cinema: o making of de uma minha escolha e acionar o obturador.
Iconografia teatral: os arquivos fotográficos a point of view on this or that aspect of the longa relação
de Walter Pinto e Eugénio Salvador/Theater world that is contemporary to it. It is interesting De acordo com Vanoye 1994 o filme constitui
Iconography: the photographic archives to observe how the Brazilian film genre called um ponto de vista sobre este ou aquele aspecto Jorge Louraço Figueira
of Walter Pinto and Eugénio Salvador RJ, Chanchadas, which had great production in the do mundo que lhe é contemporâneo. Interessa- ESMAE, Porto
Funarte, 2011 and A Companhia do Teatro 1950s, operated this point of view in relation to nos observar como as chanchadas, gênero jorgelouraco@gmail.com
São José: a menina-dos-olhos de Paschoal the teatro de revista genre. To perceive how much cinematográfico brasileiro que teve grande produção
Segreto/The São José Theaters Company: these cinematographic productions reflected the na década de 1950, operaram esse ponto de vista Jorge Louraço studied playwriting with
Paschoal Segretos apple of the eye SP, teatro de revista stage or not, trying to highlight em relação ao teatro de revista. Perceber o quanto Antonio Mercado, Enda Walsh, John Tiffany
Hucitec, 2012. The Ph.D. investigation, by some passages that evidence this approximation. essas produções cinematográficas refletiam o and Sanchis Sinisterra. A PhD candidate
analyzing the photographic collections of This exercise certainly reveals similar structural palco revisteiro carioca ou não, buscando destacar at Universidade de Coimbra, with a FCT
two coeval theater companies incorporated forms between the cinematographic and alguns trechos que evidenciam essa aproximação. scholarship, he teaches at Escola Superior
the discipline Theatre Iconography into the theatrical genres, but highlighting the way this Esse exercício certamente revela também de Música e Artes do Espetáculo (ESMAE,
study of Performing Arts. The investigations theater was seen and reproduced in the Brazilian formas estruturais semelhantes entre o gênero Porto). He was a theatre critic at the several
on the theater historiography field work with cinematographic context through moving images cinematográfico e o teatral, mas destacar a maneira publications, namely Léxico de Pedagogia do
the notion of theater production methods certainly provides us with tools for the analysis que esse teatro era visto e reproduzido no contexto Teatro, Sinais de Cena, Hemisférica and Adágio.
at both the dramaturgy and visual analysis. of still images belonging to the photographic cinematográfico brasileiro, por meio das imagens em In Brazil, he has worked with directors Marco
The photography of scene inserts theater collections of theater companies, such as those of movimento, certamente nos fornece instrumentos Antonio Rodrigues, Cibele Forjaz and Marcelo
in an image production and circulation Walter Pinto, for example. para a análise das ‘imagens paradas’ pertencentes às Lazzarato and published Verás Que Tudo É
Verdade, the history of theatre group Folias, belonging to the collective game of the Lusofonia lado, de um teatro do Outro, uma cena pública e director of the Núcleo de Radiodramaturgia

general panels 193


from São Paulo. imagined community? espectacular (hoje estendida ao audiovisual) onde EBC. She has worked with directors such as
It seems that the differences inside the old as ambivalências e mimetismos do processo colonial Marco André Nunes, Gilberto Gawronski, Sílvia
Images of the Empire in the Portuguese colonial society needed drama and narrative, and encontram forma e expressão. Paselo, Alexandre Mello, Moacyr Goés, Denise
Language Theater (Portugal and Brazil, recongnizable figures, to support themselves. Poderão as figuras emblemáticas do escravo Saraceni, among others. Professor of acting and
1990-2015) And drama and narrative needed those negro, do índio selvagem, do colonizador theatrical direction at Universidade Federal do
Dramaturgy from Portugal and from Brazil differences in turn. If that’s true, then maybe sanguinário, do padeiro português ou do travesti Rio de Janeiro UFRJ, Centro de Estudo Artístico
saves a special place for foreign characters, if dramatic fiction has something of an end of brasileiro passar de meras personagens-tipo de Experimental CEAE, Sesc-Tijuca, 2000-2010,
they are citizens of the old Portuguese colonial empires inventory to it; and the end of empires folhetim ou melodrama a verdadeiros arquétipos, Universidade do Estado do Rio de Janeiro UERJ,
empire and speaker of the same language. as something of fictional to it. presentes no jogo coletivo da comunidade Faculdade Cândido Mendes and at the Grupo
Authors and plays relevant to a canon of imaginada da lusofonia? de Teatro da Pediatria Brasileira, a project for
Portuguese language theatre didn’t refrain form Imagens do Império no Teatro de Língua É neste ponto que o assunto se torna interessante: children from 7 to 12 years old 2008-2017.
touching the subject. Portuguesa (Portugal e Brasil, 1990-2015) — parece que as diferenças da sociedade ex-colonial
In Brazil, Portuguese are colones or immigrant As várias dramaturgias de Portugal e do Brasil precisam do drama e da narrativa, e de figuras Elements of the genesis of the actor`s
traders (nobles, militaries, slave-dealers, reservam um lugar especial para personagens reconhecíveis, para se sustentarem; — e o drama e a work in the staging of “Estamira - edge of
or sellers, merchants, proprietaries) or else estrangeiras que sejam cidadãs do antigo império narrativa precisam das diferenças para se sustentar. the world”: the outside of the theater and
theatre actors. In Portugal, Brazilians are colonial português e falantes da mesma língua. Será? Nesse caso, a ficção dramática teria um non-theatrical supports
returned emigrants who made fortune (miners, Autores e peças relevantes para um cânone do quê de inventário do fim dos impérios, e o fim dos This communication focuses on the genesis
proprietaries), or newly-arrived immigrants, teatro de língua portuguesa não deixaram de impérios teria um quê de ficção. of the staging of “Estamira - edge of the world”,
who are also distinguished by profession tocar no assunto. directed by Beatriz Sayad, in particular on the
(football players, prostitutes), according to No Brasil, os portugueses são colonos ou work of the actress Dani Barros. The background
the usual clichés. Connected with these labor comerciantes imigrados (nobres, militares, negreiros Marília Martins of this theatrical production lays outside the
classifications there are, in turn, ethnical and ou caixeiros, comerciantes, proprietários) ou UNIRIO theater and relates to non-theatrical supports: the
linguistic characterisations. ainda atores de teatro. Em Portugal, os brasileiros mariliamartins8@gmail.com film moving sound and image and the photo static
This triple typification (class, ethnical são emigrantes retornados que fizeram fortuna image. Dani Barros found the character Estamira
group, idiom) is associated with demographic (mineiros, proprietários), ou imigrantes recém- Marília Martins is currently enrolled in on the screen, in a documentary film “Estamira”,
movements and laboral migrations between chegados, que também se distinguem pela sua the Programa de Pós-Graduação em Artes which in turn is the unfolding of a photographic
both countries. It is part of a theatre of profissão (jogadores de futebol, prostituto/as), Cênicas - UNIRIO for her Doctorate’s Degree. essay “Jardim Gramacho”, both directed by
the Other, a public and spectacular scene dentro dos clichés habituais. Ligadas a estas She holds a Masters Degree in Performing Arts Marcos Prado. And indeed, Estamira herself - a
(nowadays extended to audiovisual pieces) classificações laborais surgem, por sua vez, from Universidade Federal do Estado do Rio character built by the film and rebuilt by the play
where the ambivalence of the colonial process caracterizações étnicas e linguísticas. de Janeiro UNIRIO. Actress graduated from - was also the place of several voices, insofar as
finds form and expression. Esta tipificação tripla (classe, etnia, língua) Faculdade da Cidade and Theater Director her speech was the speech of a woman who dealt
Can the emblematic figures of the black slave, está associada aos movimentos demográficos e graduated from UNIRIO. For 15 years she was with the oscillations of schizophrenia. In addition,
the savage native, the bloody coloniser, the às migrações laborais entre os dois países, por part of the Companhia Teatral do Movimento, the actress also included autobiographical talks
Portuguese baker or the Brazilian travesti turn sua vez relacionada com o contexto sócio-político directed by Ana Kfouri, and she is the founder of in the play`s dramaturgy about her experience
from stock-characters into true archetypes, ao longo dos tempos. Ela faz parte, por outro Os Cênicos Cia de Teatro. She was the artistic with her own mother, who also suffered from
mental illness. I will approach - from the stageplay fato, a própria Estamira – personagem construída / France. Post-Doctorate at Scuola Paolo Grassi Rondonia state and the group of artists of the

general panels 195


and through the stageplay - the actors work as a pelo filme e reconstruída pela peça – também era Milan / Italy - Contemporary staging: processes Theater Company Balagan.
possible place of passage and metamorphosis, as lugar de várias vozes, na medida em que sua fala era of transmission in the poetry of Anatoli Vassiliev. The experience between the two collectives
a coming and going between different instances, a fala de uma mulher que lidava com as oscilações PhD 2002 and Master 1994 of the Postgraduate was anchored in the elaboration of a common -
voices, temporalities, images and textualities. da esquizofrenia. Além disso, a atriz também incluiu Program in Arts at ECA / University of Sao Paulo but not similar - conceptual framework in which
I borrow the expression place of passage and na dramaturgia da peça falas autobiográficas de sua with researches: V.E Meierhold - The Pedagogue the translation emerged as the main exchange
metamorphosis - which is used by Jean-Pierre vivência com a própria mãe, que também sofria de Conductor DE and Interpretation in Brazil: the operator. Even if we defined each term, their
Sarrazac to think about the modern character - to doença mental. Abordarei – a partir da peça e por body language and the new theater procedures - formulation in “Paiter-Suruí” was always a
analyze the actor, not the character, his place and meio dela – o trabalho do ator como um possível 1970/1971 ME. response, highlighting in this process not what
his doing in the scene. In a sense, the formulation “lugar de passagem e de metamorfose”, como um Director and founder of the Theater Company is said in their language but rather what the
place of passage and metamorphosis can be ir e vir entre instâncias, vozes, temporalidades, Balagan intangible heritage of Sao Paulo, that “Paiter-Surui” call it by. Our reflection wants
associated with the notion of movement, leading imagens e textualidades distintas. Tomo emprestada performed the shows Cabras - flying heads, rolling to name and to name is to give an existence to
us to think about the following questions: what a expressão “lugar de passagem e de metamorfose” heads, Refuse, Prometheus - the tragedy of fire, a project that is found interrupted is an effort
displacements are said to relate to the actor in - que é utilizada por Jean-Pierre Sarrazac para among others, which has received several awards. to make public what is projected as becoming
the current scene? To what extent, would it be pensar a personagem moderna - para analisar, In Germany and Italy, staged and produced - a spectacle created by the Gapgir Village
possible to capture the actor as a place of a partir dela, não a personagem, mas o ator, seu the shows Water Eyes by Ismael Ivo Company Community so that, we all non-Indians can hear/
passage and metamorphosis of voices, images lugar e seu “fazer” na cena. De certa maneira, a / Haus der Kulturen der Welt and Doroteia, see what they call theater.
and textualities? formulação “lugar de passagem e de metamorfose” a study by Nelson Rodrigues at the Intercity Keywords: Gapgir Village Community, Balagan
Keywords: actor`s work: acting and non- pode ser associada à noção de movimento e, Festival in Firenze / Sesto Fiorentino, Italy. Made Theater Company, Ameridian Art, Performing
theatrical supports: acting and textualities. de determinado modo, de efemeridade, e nos a collaboration to the Scholl of Dramatic Art Arts, Translation.
leva a refletir sobre as seguintes questões: que Moscow Theater / Russia in the creation of the
Elementos da gênese do trabalho deslocalizações dizem respeito ao ator na cena show Iliad, directed by Anatoli Vassiliev with O que vocês chamam teatro ou como se diz
do ator na encenação de “Estamira – beira atual? Em que medida, seria possível capturar o ator Varasanta Company Bogota / Colombia in the teatro em sua língua?
do mundo”: o fora do teatro e suportes como um “lugar de passagem e de metamorfose” process of creating the show “Aribanto. Indagar sobre a extensão da linguagem cênica
não teatrais de vozes, imagens e textualidades? Palavras-chave: Author of the book In the Scene of Dr. a partir do intercâmbio, entendido como troca
Esta comunicação centra-se na gênese da peça trabalho do ator: atuação e suportes não-teatrais: Dapertutto: Poetics and Pedagogy in V.E. artística, entre a comunidade da Aldeia Gãpgir –
teatral “Estamira – beira do mundo”, dirigida atuação e textualidades. Meierhold and organizer of the book Balagan – linha 14, Terra Indígena Sete de Setembro - dos
por Beatriz Sayad, em específico, no trabalho da Theater Company”. Paiter-Suruí, de Rondônia e o grupo de artistas
atriz Dani Barros. Os antecedentes da montagem da Cia Teatro Balagan[1]. A experiência entre
estão fora do teatro e se relacionam com suportes Maria Thais Lima Santos What do you call theater or how do you os dois coletivos foi ancorada na elaboração
diversos: o filme som e imagem em movimento USP say theater in your language? de um arcabouço conceitual comum - mas
e a foto imagem estática. Dani Barros achou a contato@ciateatrobalagan.com.br To ask about the extension of the language of não semelhante – em que a tradução surgiu
personagem Estamira na tela do cinema, em um the theater from the exchange, understood as como principal operador de troca. Ainda que
filme-documentário “Estamira”, que por sua vez é Professor - PhD of the Department of artistic exchange, between the community of definíssemos cada termo, a formulação dos
o desdobramento de um ensaio fotográfico “Jardim Performing Arts of ECA - University of Sao Paulo. the Gãpgir Village - line 14, September Seventh mesmos em paiter-suruí era sempre uma
Gramacho”, ambos dirigidos por Marcos Prado. E de Visiting Professor 2014 of the University Paris 8 Indigenous Land - of the “Paiter-Surui”, from resposta, destacando-se nesse processo não o
como é dito em sua língua mas sim, o que os they transform my work. In this way, I analyze Palavras-chave: ritual de iniciação, teatralidades, LABORARTE CNPq FE-UNICAMP. Director

general panels 197


Paiter-Surui chamam de. Nossa reflexão quer the theatricality contained in the ritual of female máscaras, liminaridade. of the Interdisciplinary Group of Research,
nomear e nomear é dar existência a um projeto initiation The Festa da Moça Nova of the Ticuna Extension and Arts on Amerindian Popular
que se encontra interrompido é um esforço de Indians located in the Brazilian Amazon region. Culture, MANDIO with students, artists, rural
tornar público o que se projeta como devir – um For that, I intend to investigate the different Carla Avila and indigenous communities.
“espetáculo” criado pela comunidade da Aldeia concepts of the Ticuna universe creating spaces USP
Gapgir para que nós, não indígenas, possamos for these concepts within my artistic and casapavila@yahoo.com.br Ancestralities and Theatricalities in the
ouvir/ver o que eles chamam de teatro. pedagogical research, seeking to dialogue with Processes of Creation in Afro-Amerindian
Palavras-chave: Aldeia Gapgir, Cia Teatro their modes of knowledge. PhD student at PPGAC - ECA - University Brazilian Dance Theater Reexistence poetic,
Balagan, arte ameríndia, artes cênicas, tradução. Keywords - ritual of initiation, theatricalities, of São Paulo, orientation Profa. Dr. Sayonara ethics and aesthetic in the Mandio Group
masks, liminarity Sousa Pereira. PhD student at FE-UNICAMP, This research proposes to think the body and
orientation Profa. Dr. Márcia Strazzacappa. ancestry and theatricalities related to Afro-
Vanessa Bordin Arte e Vida - Teatralidades Ticuna Graduated in Dance Bachelor and Licenciatura Amerindian peoples as a possibility of building
USP Trago aqui, para serem abordadas, algumas by the State University of Campinas an intercultural network for the process of
vavabb@hotmail.com questões relacionadas a pesquisa de doutorado em UNICAMP1995, Master of Arts, UNICAMP, artistic, ethical, aesthetic and poetic creation
Artes Cênicas iniciada em março de 2016 na Escola 2007. Researcher in art education served as of a Contemporary Theatrical Dance that deal
Vanessa Benites Bordin is an actress, assistant de Comunicação e Artes da Universidade de São a dancer-researcher at Caleidos Dança e Cia with the Brazilian territory, its cultures Origins
professor of the Theater Course at the State Paulo. Trata-se de uma pesquisa teórico-prática, 1997-2001 and studied Multiple Intelligences and their unfolding in contemporaneity. The
University of Amazonas UEA. Student of tendo como metodologia a pesquisa etnográfica, with Project Zero Classroom 2003 HARVARD- study through ethnography therefore considers
Doctorate in Performing Arts at ECA - USP Brazil. também conhecida como trabalho de campo. Boston USA. She was a professor at the the cultural and corpographic powers to create
Desta maneira, a prática de vivência em campo, Department of Arts and Humanities , Federal a complex warp, a living mesh of aesthetic,
Art and Life - Theatricalities Ticuna com a comunidade indígena que trabalho, está em University of Viçosa UFV, in the Graduate ethical and corporal experiences, through
In this work I will discuss some issues related constante diálogo com as teorias que embasam as Course in Dance, 2005 until 2009. She is rituals, myths, songs, dances, theatricalities,
to my doctorate research in Performing Arts hipóteses levantadas até o momento. A pesquisa currently a professor at the Federal University bibliographies and cosmologies.
started in 2016 at the School of Communication se une a minha prática pedagógica como docente of Grande Dourados MS Brazil UFGD, where To apply such ideals we work with the
and Arts of the University of São Paulo. It is do curso de Teatro da Universidade do Estado do she coordinated the Undergraduate Program MANDIO Group - Group of Research, Art
a theoretical-practical research, having as Amazonas, assim, busco um diálogo com os saberes in Performing Arts Bachelor and Graduation, and Extension on Amerindian Culture, with
methodology the ethnographic research, also ameríndios e de que forma eles transformam FACALE. Since 2011, she has been a faculty the Guarani Kaiowá peoples in Mato Grosso
known as field work. In this way, the practice of meu trabalho. Deste modo, analiso a teatralidade member at FAIND - Indigenous Intercultural do Sul 2010-2017 on the border of Brazil
living in the field, with the indigenous community contida no ritual de iniciação feminina “A Festa Faculty, where she collaborates with the Arts with Paraguay. The artistic productions of
that I work, is in constant dialogue with the da Moça Nova” dos índios Ticuna localizados na and Languages Department, and teaches this group are related to the possibility of
theories that support the hypotheses raised região amazônica brasileira. Para tanto, pretendo courses in the Indigenous Graduation course. dialogues in territories of conflict and by
up to now. The research joins my pedagogical investigar os diferentes conceitos do universo Ticuna Member of the Researchs Groups Rituals and ethical, aesthetic and poetic sensitization
practice as a lecturer in the Theater course of criando espaços para esses conceitos dentro de Languages: the aesthetic elaboration CNPq through a Brazilian theatrical dance.
the State University of Amazonas, thus, I seek a minha pesquisa artística e pedagógica, buscando IA-UNICAMP, LAPETT- Tanztheater Research Keywords Creation processus, Amerincian
dialogue with Amerindian knowledge and how dialogar com seus modos de saberes. and Studies Laboratory CNPqECA-USP, Culture, DanceTheatrical
Alba Vieira & Vivian Barbosa Vivian Barbosa: Dance professor at Arts and improvisation principles that allow us to

general panels 199


Ancestralidades e Teatralidades nos
Processos de Criação em Dança Teatral Universidade Federal de Viçosa, UFBA e Institute in Federal University of Uberlândia make explicit and articulate tacit knowledge.
Brasileira Afro-Ameríndia Re existência Universidade Federal de Uberlândia UFU, Brazil. PhD candidate in Performing Arts Transa privileges body knowledge and not
Poética, Ética e Estética no Grupo Mandio apvieira@ufv.br at Federal University of Bahia UFBA, Brazil. only intellectual knowledge, as we understand
Esta pesquisa propõe pensar o corpo e vivieirap@gmail.com Masters degree in Contemporary Studies of that it is in the flow of the multiple forms of
ancestralidade e teatralidades relacionadas aos Arts at Federal Fluminense University UFF, cognition that the embodied practices are
povos Afro-Ameríndios como possibilidade de Alba Pedreira Vieira is a dancer, performer Brazil, with a scholarship from the Coordination enriched. Therefore, insights and different states
construção de uma rede intercultural para o and artistic director of the Dance Group of Improvement of Higher Education - CAPES/ of consciousness arise and are welcomed by
processo de criação artístico, ético, estético e ‘Mosaico’. She holds a Ph.D. in Dance from Brazil. Dance bachelor at Federal University us, and at the same time, we stay open and
poético de uma Dança Teatral contemporânea Temple University USA, 2007, and since 1997 of Rio de Janeiro UFRJ, with Artistic and flexible to connect to our individual inner world
que versem sobre o território brasileiro, suas she has been an Associate Professor at the Cultutral Initiation scholarship. Vivian has and to that of our artistic partner. We face
culturas originárias e seus desdobramentos Department of Arts and Humanities of the been dedicated to investigate Rudolf Labans unpredictable challenges and new opportunities
na contemporaneidade. O estudo por meio da Federal University of Vicosa, MG, Brazil. Her propositions, researching his principles and for interaction and connection with resilience,
etnografia considera, portanto as potências work has been presented in several venues concepts in philosophical, pedagogical and at the flux of our corporeal, breath and sensory
culturais e corpográficas para criar uma urdidura including NDEO, WDA, daCi, CORD, and PSI artistic interlocutions. She is interested in the exchanges. At IFRT we will share Transa along
complexa, malha viva de experiências estéticas, conferences, and published in journals including relationship between artistic and meditative with an audio presentation of aspects of the
éticas e corporais, por meio de: rituais, mitos, Dance Therapy, Moringa, Dance Current practices, especially those experienced in yoga, embodied practices related to the knowledge
cantos, danças, teatralidades, bibliografias e Selected Research, Possible Dialogues and for the investigation of different bodily states in arising from our artistic practice. The public may
cosmologias. A aplicabilidade do tema se dá na Journal Scene. Since 2012, she has served as a dance and performance. leave their impressions, traces and syntheses
produção artística e social dos grupos Grupo National Representative for Dance and the Child about the performance in different formats
MANDI´O – Grupo de Pesquisa, Arte e extensão International/DaCi. In 2013 she joined the Board Transa: performing bodily knowledge e.g. drawings, sounds, written or oral words
sobre a cultura ameríndia, com os povos Guarani of Directors of the World Dance Alliance/WDA- construction making with us a moment of encounter in which
Kaiowá em Mato Grosso do Sul 2010- 2017 na Americas. She is the author of book chapters Embodied practices dialogue with diverse the exchanges favor new articulations and
fronteira do Brazil com o Paraguay. As produções and papers published in Brazil and abroad, the fields of knowledge in performing arts research. knowledge through the introduction of a new
artísticas deste grupo, versam pela possibilidade organizer of the digital book “Education for the Based on neuroscience and phenomenology, performative procedure.
de diálogos em territórios de conflito e pela Arts” 2010, and editor of the book “Arts and researchers propose embodiment as a specific Keywords: Performance Embodiment Tacit
sensibilização ética, estética e poética por meio Violence” 2017. She has experience in Arts, with mode of practical elaboration, a less automatic knowledges Sharing procedures.
de uma dança teatral brasileira. an emphasis on Dance, developing research and more imaginative way of being in the
on creative processes in dance, performance, world. Tacit knowledge related to intuition Transa: construção performativa de
improvisation and somatic education. She and motor responses performed at creational conhecimentos corporais
is the co-writer of the Dance Report and moments - laboratories, improvisations and Práticas incorporadas, corporificadas,
Recommendations by the “Experts on Art presentations - are highlighted and valued as encarnadas têm dialogado com áreas diversas de
Education in Latin America and the Caribbean – ways of knowledge. The Transa performance, conhecimento nas pesquisas em artes cênicas. A
Unesco”. Contact: apvieira@ufv.br>. made and presented by us 2016, is then taken partir da neurociência e da fenomenologia, artistas e
Webpages: albavieira.com.br> andhttps://ufv. as an embodied practice, which dialogues with pesquisadores têm proposto a noção de embodiment
academia.edu/AVieira> meditative and creative states based on yoga como modo específico de elaboração prática, um modo
menos automático e mais imaginativo de estar no Marcos Francisco Nery Ferreira D’abord, la comunication a le but de présenter Dans ce contexte, la discussion autour

general panels 201


mundo. Conhecimentos tácitos relacionados à intuição Université du Québec à Montréal grosso modo le concept de corps-acrobate, du corps dans cette recherche présente
e às respostas motoras realizadas nos momentos marcosfrancisconery@gmail.com une sorte de corps scénique qui émerge dans une problématique qui transforme la propre
de criação, como em laboratórios, improvisações e la scène contemporaine à travers une pratique compréhension de corps comme
apresentações, têm sido destacados e valorizados Marcos Nery est né à la ville de Salvador au interartistique. Le corps-acrobate est issu de un instrument primordial lors de la création
como formas de conhecimento. A performance Transa, Brésil. Il est performer, enseignant et chercheur. la notion de corps acrobatique Goudard, 2010 d’un langage scénique. Un grand défi de la
criada e realizada por nós em 2016, é tomada então Actuellement, il est au programme de doctorat et il fait appel à la notion d’interdisciplinarité recherche est celui d’être entre, autrement
como embodied practice, na medida em que dialoga d’études et pratiques des arts à l’Université dans le terrain de la théâtralité et de dit, d’être dans le champ de l’inter: entre
com estados meditativos e criativos baseados em du Québec à Montréal où il développe une l’orchésalité . Le préfixe inter, inclus dans ma les langages du cirque, du théâtre et de la
princípios de yoga e improvisação que nos fazem recherche-création sur le corps-acrobate dans compréhension du corps-acrobate, permet de danse entre l’analyse théorique du corps-
explicitar e articular conhecimentos tácitos. Transa une pratique scénique interrtistique. Son doctorat rendre visible les tensions entre les champs acrobate et de la pratique artistique entre
privilegia os saberes do corpo e não somente o saber est réalisé en cotutelle avec l’Université de Sao artistiques quiinteragissent dans la formation les cultures amérindiennes et théâtrales
intelectual, pois nós entendemos que é no fluxo das Paulo au Brésil. Marcos Nery a un baccalauréat interdisciplinaire de l’interprète. Le corps-acrobate entre le Canada et le Brésil. La thèse-
múltiplas formas de cognição que se enriquecem en jeu théâtral et une maitrise en arts de la scène. est l’expression d’un monde possible au champ création offre donc la possibilité de la
as embodied practices. Assim, insights e diferentes Il est aussi praticien, en plus il a travaillé dans de l’interartistique et il s’articule avec la notion de « cohabitation et la superposition de
estados de consciência surgem e são acolhidos por plusieurs spectacles théâtraux au Brésil et dans corporétié dansante chez Michel Bernard 2001 et différents mondes qui ne s’excluent pas
nós, ao mesmo tempo em que estamos abertas e performances et Festivals de cirque au Canada du principe expressif znak otkaz en russe : signe mutuellement » Lagrou, 2009.
flexíveis para nos conectar ao nosso mundo interno et en Amérique du Sud. Il est enseignant des de refus, un principe expressif systématisé dans D’ailleurs, le champ pratique suggère de
individual e ao da parceira artística. Enfrentamos techniques aériennes à la Caserne 18-30. les études biomécaniques du metteur en scène et questions sur le comportement artistique
desafios imprevisíveis e novas oportunidades de pédagogue Vsevelod Meyerhold. adopté au sujet de la tradition. Je crois que,
interação e conexão com resiliência, no fluxo de nossas Être entre pratiques et cultures: un lieu À la suite de ce court exposer du concept de comme affirme l’anthropologue Viveiros
trocas corpóreas, respiratórias, sensórias. Pretendemos poétique pour le corps-acrobate. corps-acrobate, cet article a l’objectif de dévoiler de Castro 2002, le défi principal de cette
compartilhar a performance Transa através de Cette proposition d’article fait partie de ma certains aspects de ma collecte de données lors du recherche-création est d’établir la pratique
sua realização concomitante a apresentação de thèse-création au programme de doctorat spectacle Mythe-jeux de refus 2016. Ce spectacle artistique comme l’une des façons de «
áudio discutindo aspectos da embodied practices en études et pratiques des arts à l’Université permet de me rapprocher de la notion de corps- déterminer les problèmes révélés de chaque
relacionados aos conhecimentos surgidos de nossa du Québec à Montréal en cotutelle avec acrobate lors du jeu scénique et cela sera, plus culture, et ne pas trouver de solutions pour
prática artística. O público poderá deixar suas l’Universidade de Sao Paulo au Brésil. tard, analyser en profondeur durant la rédaction de les problèmes révélés par la nôtre ». Les
impressões, rastros e sínteses sobre a performance em Ma thèse a pour objectif d’analyser et de la thèse. Les deux interprètes de cette création, cultures amérindiennes sont vivantes puis
diferentes formatos através de desenhos, sons, palavras contextualiser les principes et les procédés Ivanie Aubin-Malo et moi, incarnent différents leur complexité et leur multiplicité sont un
escritas ou orais realizando conosco um momento scéniques de ce que je nomme corps- points de vue qui se croisent à partir des jeux ensemble d’inspiration, à partir d’où je peux
de encontro no qual as trocas favoreçam novas acrobate. Dans ce contexte, la recherche de dualité et d’altérité où sont mis en relation concevoir, concrètement, un lieu poétique
articulações e conhecimentos através da instauração mentionnée utilise l’approche heuristique et le monde des esprits, les animaux, les êtres pour le corps-acrobate. Les cultures des
de um novo procedimento performático. autopoïétique, tous les deux se caractérisent et les choses. Mythe-jeux de refus propose peuples autochtones se présentent comme
Palavras-chave: Performance Embodiment par l’aller et retour entre expérimentation une approche interartistique où les appareils une ouverture à la présence de quelqu’un ou de
Conhecimentos tácitos Procedimentos de partilha. et comprehension qui est vécu par l’artiste aériens circassiens font la connexion entre la quelque chose que nous pouvons expérimenter
durant sa pratique. terre et le ciel. à travers le corps.
corpo-acrobata no momento do jogo cênico que apresentam-se como uma abertura à presença de Federation for Theatre Research, 2015. He has

general panels 203


Estar entre práticas e culturas: um lugar
poético para o corpo-acrobata será analisado profundamente posteriormente algo, alguém ou alguma coisa que nós podemos participated in various festivals, and workshops in
Esta proposta de artigo é parte integrante da minha na redação da tese. Os dois intérpretes desta experimentar por meio do corpo. India and abroad.
tese-criação no programa de doutorado em estudo e criação, eu e Ivanie Aubin-Malo, incarnam Palavras-chave: Corpo-acrobata corporeidade
prática das artes na Université du Québec à Montréal diferentes pontos de vista que se cruzam a partir interartístico V. Meierhold culturas ameríndias Technology, Illusion and Performance:
em cotutela com a Universidade de Sao Paulo ao Brasil. de jogos de dualidade e de alteridade onde estão Performativity from election campaigns.
Minha tese tem por objetivo analisar e contextualizar os em relação o mundo dos espíritos, dos animais e In this paper, I would be looking at the
princípios e procedimentos do que eu nomeio de corpo- das coisas. Mythe-jeux de refus propõe o campo Abheesh Sasidharan conceptual changes in design in contemporary
acrobata. Neste contexto, a pesquisa mencionada utiliza interartístico onde os aparelhos aéreos do circo University of Hyderabad Indian election campaign. Following neo-
o e o autopoiético, ambos caracterizam-se pelas idas fazem a conexão entre a terra e o céu. abheeshsasidharan@gmail.com liberalizing policies in India, performance designs
e vindas entre compreensão e experimentação vividas Neste contexto, a discussão sobre o corpo have shifted to digital/holographic modes from
pelo artista durante sua prática. nesta pesquisa apresenta uma problemática que Abheesh Sasidharan, UGC-SRF doctoral formerly ‘ritualistic’/‘perspectival’/‘interpretative’/
Em um primeiro momento, o artigo visa transforma a própria compreensão de corpo como um student at the University of Hyderabad, where ‘materialistic’/‘real’ approaches. Institutional
apresentar de maneira geral o conceito de corpo- instrumento primordial e privilegiado na construção his focus lies on contemporary performance manifestations, including political parties, have
acrobata, um tipo de corpo cênico que emerge da linguagem cênica. O grande desafio desta design. Currently he is a doctoral candidate at widely used digital mediations to connect with the
da cena contemporânea por meio de uma prática pesquisa é o estar entre, isto é, o de estar no domínio International Research Center, Interweaving individual icon presented by them to the masses.
interartística. O corpo-acrobata possui suas origens do inter: entre as linguagens do circo, do teatro e Performance Cultures, Freie Universität Berlin, The new aesthetics of this digital/holographic
na ideia de corpo acrobático Goudard, 2010 e da dança entre a análise teórica do corpo-acrobata Germany. He has received his Masters from designing process affects the structures of
vincula-se às noções de teatralidade e orchésalité e da prática artística entre as culturas ameríndias the National School of Drama, New Delhi, and performance and the conventional cultural concept
. O prefixo inter, incluso na minha compreensão e teatrais entre o Canadá e o Brasil. A tese-criação a Bachelor of Theatre Arts from the School of of materiality in Indian performance design. Based
do corpo-acrobata, revela as tensões entre os oferece portanto a possibilidade de “coexistência Drama & Fine Arts, University of Calicut. He on science Dr. John Henry Pepper’s invented
campos artísticos que interagem na formação e sobreposição de diferentes mundos que não se was a team member of the UK-India Education ‘Pepper Ghost performance’ on 1862 at Royal
interdisciplinar do intérprete. O corpo-acrobata é excluem mutuamente” Lagrou, 2009. and Research Initiative UKIERI project on Polytechnic Institute London. In 1860s the notion
a expressão de um mundo possível no domínio É neste sentido que o campo prático sugere scenography between Wimbledon College of scientific bodes are given strong understanding
interartístico e ele se articula com o conceito de questões sobre a atitude artística adotada diante of Arts and the Department of Theatre Arts / ‘revelation’ to ‘anti-spiritual’ ideas at Polytechnic,
corporéité dansante do francês: corporeidade da tradição. Eu acredito que, como afirma o at the University of Hyderabad. Abheesh has London. But in India after 2000 using same
da dança de Michel Bernard 2001 e do princípio antropólogo Viveiros de Castro 2002, o desafio been working in theatre for the last 13 years as technologies advance digital form and simulation
expressivo znak otkaz do russo: sinal de recusa, principal da pesquisa-criação é de tornar o designer, director, dramaturge and researcher. for election campaigns .It is interesting to see
um princípio expressivo sistematizado nos fazer artístico uma das formas de “determinar He has presented papers at several national how scientific modes contested the religious
estudos biomecânicos do encenador e pedagogo os problemas postos por cada cultura, não a de and international conferences, including on superstitions are used for reverse purpose in 21st
Vsévelod Meierhold. achar soluções para os problemas postos pela “Technological forces in traditional theatre: A century. In this paper I would argue that these new
Após esta breve exposição do conceito de nossa”. As culturas ameríndias estão vivas e a sua study based on Kutiyattam performance” at X manifestations of performance mediation using
corpo-acrobata, este artigo desvendará alguns complexidade bem como a sua multiplicidade são International Conference of the Indian Society the framework of performance as an inclusive
aspectos da minha coleta de dados durante um conjunto de inspiração, a partir de onde pode-se for Theatre Research, 2014 and “Is it theatre or phenomenon, and it affects the structures of
o espetáculo Mythe-jeux de refus 2016. Este conceber, concretamente, um lugar poético para o other? Looking at an interactive performance” performance and the concept of materiality in
espetáculo permite a aproximação do conceito de corpo-acrobático. As culturas dos povos autóctones at the annual conference of the International performance design.
JOSÉ BATISTA (ZEBBA) DAL FARRA MARTINS composição de seu profético poema de 1947. Mais

general panels 205


Freiheit und Democracy. On the last Staging A Tempest: The Parallel Myth of
USP Bertolt Brecht and Hanns Eisler’s tarde, Eisler completará o trabalho, uma síntese Hierarchy in Postcolonial India
dalfarra@usp.br partnership da colaboração desses dois grandes artistas, I am talking about millions of men in whom
“Brecht repeatedly asked right up until just como podemos atestar ouvindo a interpretação fear has been cunningly instilled, who have been
Director, musician, professor and researcher before he died: ‘Please at long last set ‘Freedom do cantor Ernst Busch. O artigo busca refletir taught to have an inferiority complex, to tremble,
in the Departamento de Artes Cênicas and Democracy’ to music for me!’ I really must sobre interrupções do fluxo musical, associadas kneel, despair, and behave like flunkeys.
Department of Performing Arts, at the get down to it. It was his most cherish wish! com conceitos de Brecht, como distanciamento This phrase belongs to Aim Fernand David
Universidade de São Paulo, Brazil, in the field It would be so important now. The piece is e Gestus, atentando para a extrema atualidade Césaire (1913-2008), a Martinican poet,
Body, voice and actuation. His theatrical only half finished, and I really should complete política das questões colocadas por Brecht. playwright, and politician and one of the most
training is based on the experience with it because he never stopped asking for it.” influential authors from the French-speaking
many directors, actors and musicians in In an interview to Hans Bunge, Hanns Eisler Caribbean region. It struck me, however, that the
Brazil and Europe, including Augusto Boal, expresses like this his sorrow for Brecht had Nilu Kamaluddin phrase also reflects typical social relationships in
Flávio Império and Myrian Muniz. In 2011, never listened the composition on his prophetic University of Oslo postcolonial India, characterized by hierarchy and
he developed the post-doctoral research 1947 poem. Afterwards, Eisler will complete the nilu.kamaluddin@ibsen.uio.no separation, and it made me curious to explore his
Language, experience, memory: the narrators work, which is a syntheses of the collaboration polemic and surrealistic text A Tempest (1969).
and singers voice poetic as subjects of the between these two great artists, as we can hear Kamaluddin Nilu is a theatre director and My presentation will be based on the story
actor, at the Universitat de Barcelona, under on the singer Ernst Busch’s interpretation. The independent researcher. He is a visiting about the staging of A Tempest with Theatre
the supervision of the philosopher Jorge article essays to make reflections on music flux researcher at the Centre for Ibsen Studies, Department, University of Hyderabad in 2014.
Larrosa. His musical training was constructed interruptions, associated with Brecht’s concepts, University of Oslo where he also has been It was a challenging and multifarious task
in several courses - with Nelson Aires, Paulo like distancing and Gestus, paying attention to member of the project Ibsen between to adapt A Tempest to Indian conditions in
Belinati and Hans Joachim Koellreuter, among the extreme political actuality of the questions Cultures funded by Norwegian Research terms of crossing borders, and negotiating and
others - and in acting as a musician, singer posed by Brecht. Council. He has been Chair Professor of intervening towards encountering cultures. A
and musical director, in Brazil and abroad. Keywords: Eisler, Brecht, Busch, Gestus, Theatre Department, S.N. School, Hyderabad major task was to explore the relevance and
In 1975, he graduated in Civil Engineering Freiheit und Democracy Central University, India. Kamaluddin Nilu has meaning of ‘black subjectivity’ in India, and how
and Mathematics. In 1999, he developed further been Associate Professor of Dramatic it is connected to the socio-cultural fabric within
his doctorate at the Polytechnic School of Freiheit und Democracy. Sobre a última Arts, Department of Fine Arts, University of the contemporary political topography of the
the University of São Paulo, with the thesis parceria de Bertolt Brecht e Hanns Eisler. Chittagong, Bangladesh. He was the founding country. ‘Transculturation’ was the theoretical
Lightweight Structures. Connections with the “Brecht repetidas vezes me pedia até antes Secretary General of Centre for Asian Theatre roadmap of the process. My intention was
Theatrical Space. Design of a Mobile, Multiple de morrer: ‘Por favor, musique ‘Freiheit und CAT and CAT’s Artistic Director during the thus to recodify the hegemonic position of the
and Transformable Theatre TMMT. Nowadays, Democracy’ para mim!’ Eu realmente deveria me period 1994-2006. postcolonial Caribbean text and to reconvene
he is the director of the Ausgang de Teatro, chatear com isso. Era seu mais terno desejo! Seria Recently, Kamaluddin Nilu was offered a it to the contemporary socio-political-cultural
which makes a work on intersections and tão importante agora. A peça está pela metade, fellowship for the project No Local is anymore topography of India in a non-canonical way. I
contaminations between music and theatre. e eu preciso mesmo completá-la, pois ele nunca Local: A Transcultural Adaptation of Henrik interpret this topographical condition as internal
parou de pedir por isso.” Em uma entrevista a Ibsen’s Peer Gynt by the International Research colonialism, locked in ‘the difference within’. This
Hans Bunge, Hanns Eisler expressa dessa forma Center “Interweaving Performance Culture”, internal colonialism has been possible due to the
sua tristeza por Brecht nunca ter escutado a Freie University, Berlin. complex political anatomy characterizing Indian
society, with a strictly hierarchical caste system • Carried out a choreographic work of a The antiquity and the classical status is also tours with singer Gloria Estefan, commercials

general panels 207


based on conceptions of pure and impure as well Dance Theatre production, ‘ Roshni’ for an NGO judged and graded basing on the usage of these and films. In addition, Torres produces the IFE-
as heterogeneous compositions along ethnic, working on mental illness. gestures. The memory of the past traditions ILE Afro-Cuban Dance Festival every summer
racial, religious, and lingual lines. • Entrusted with a directorial assignment provided by both text and performance go in Miami, FL, since its creation in 1998, which
under the project “Ibsen between Tradition and hand in hand in the continuum of the present attracts national and international participants
Contemporaneity” of department of Theatre practices. However, the textual and contextual and scholars to the workshops and discussions
Aruna Bhikshu Arts funded by Norwegian embassy, New Delhi influence of the changing culture and impact related to the dances of the African-Diaspora.
University of Hyderabad in collaboration with Oslo University, Norway. of the time and space of performance will lead In 2013, Nerireceived the State of Florida Folk
natyaaruna@gmail.com She has presented papers in various international to an adaptation of the past existent to suit the Heritage Award for significant contributions to
conferences and published articles on dance. present exigency. Florida’s cultural heritage through outstanding
Projects: • Presented a paper in the International The present paper is an attempt to bring achievements as a performer, teacher and
• Collaborator- Arts collaboration Project, India Federation for Theatre Research, Stockholm forth such exercising practices in the field of advocate of Afro-Cuban traditional dance.
Foundation for Arts, Banglore. University, Sweden, June 2016. Indian Dance with an analytical and empirical Neri is the head of the dance department and
• Member, ‘Social Change and Popular She envisages interest in inter-disciplinary and perspective. chair of the Caribbean International Dance
Performance’ project carried out by Glasgow cross-cultural studies. Keywords: Classical Indian Dance, Conference, which she created 2014, at the
University and University of Hyderabad Treatises, Abhinaya, Hasta, Kuchipudi, Errol Barrow Center of Creative Imagination at
• Choreographed “Rudrama Kalapa”, the The Purport Of Hand Gesture In Indian memomry, past, performance, tradition, the University of the West Indies in Barbados,
first Kalapaon Veera rasa, 2nd World Telugu Classical Dance – A Reflection Of The practice, expression, creative. where she currently teaches.
Federation Meet,1996. Memory Of The Past And The Present Devoir.
• Choreographed “Parikatha- The Story of The nature of the Indian Classical Dances is
the Past”, a dance-drama on the history and essentially story telling. Abhinaya, the mode Neri Torres Dance-sin, Dance scene, No-Dancing: Social
development of Kuchipudi dance, Funded by the of expression is the foundation to the entire The University of the West Indies, Cavehill dance decline in the 21st Century
Economic and social Research Council, Great process. It is of four folds – Angika/ Bodily, Neri.Torres@cavehill.uwi.edu In the history of Western society, dance as a
Britain, 20002. Vacika/Verbal, Aharya/ Appearance, Sattvika/ form of expression of the human being suffered
• Choreographed “ Andha Yugam”, a musical Cognitive. The Verbal or Literary input of the text Born in Havana, Cuba, Neri is a severe prohibitions and vetoes that reduced its
play on Kurukshetra war directed by Padma Sri is given a visual transcription through Angika choreographer, performer, researcher, artistic integral value. Echoing this tradition, the role
Ram Gopal Bajaj, Bharateeya Ranga Manch, New filled with an emotionally cognitive precept. director and arts administrator. She holds an of dance as a vehicle for social interaction has
Delhi, 2002. The Angikabhinaya or the bodily expression MFA in dance with a minor in film from the changed considerably within the new spaces
• Was assigned with choreographic work includes various postures, gestures, movements University of Colorado at Boulder and studies of globalization and free market. The drastic
of Dance Drama Triology, Tirumala Tirupati which involves every major and minor limb at the Instituto Superior de Artes in Havana, changes in the form of socialization derived
Devasthanam,Tirupati Utsavas. of the human body. However, the symbolic Cuba. She is the founder and artistic director from the technology and even the consumption
• Kodandapani – a musical theatre funded representation of the text through the hand of IFE-ILE Afro-Cuban Dance Company, of alcohol and drugs have deeply impacted, in
by MHRD gestures plays a unique role in the narration. The based in Miami, which repertoire combines turn, popular dances. The emphasis has been
• Jayalakshmi Kataksham, a dance drama multitudinal gestures enumerated by the various traditional and contemporary fusions dance shifted from participants to observers to shape
performed for Ganapathi Sacchidananda treatises of dance and dramaturgy supply the pieces. The company founded in 1996 has a market product creating what Marx defined
Swamy Ashram. gestural grammar. performed extensively worldwide including as commodity fetishism. However, the dancing
bodies of the African Diaspora, inheritors of the audiences. It could range from a simple pose working group, and was lead editor of the

general panels 209


Gesture and the body’s unstable geography
ritual as the original root of dance, are presented in the context of the Commedia dell’Arte to a complicated ‘lazzo’ where the actor’s body Cambridge Companion to Theatre History.
as an inexhaustible creative source of movement ‘Chi intende bene la sua parte, et che abbia movement became the focus of attention and,
in the cities around the world in which they have ingegno, trova anco movimenti e gesti assai if ably executed, earned him/her popularity GESTURE AND RHETORIC
been displaced as they continue to reinvigorate appropriati da farla apparire come cosa and fame. The Commedia dell’Arte became a What is a ‘gesture’? In Anglophone theatre
these forms in a constant reminder of healthier vera’ [He who understands his part well, point of reference for theatre research at the discourse, the category has largely been
spaces and ways of life. and has talent, finds the most appropriate turn of the nineteenth century, when action displaced by ‘movement’. While ‘text-based
movements and gestures to make it appear and gesture were broken down to be analysed theatre’ is widely disparaged in theatre academia
true] . This is how Leone de Sommi, writing and recomposed. This paper proposes to because it smacks of literature, ‘movement’
Vicki Ann Cremona in the sixteenth century, described the examine gesture within the commedia allows an alternative set of aesthetic values to
University of Malta actor’s art, where action is at the core of dell’arte as a constitutive element of the be articulated. Yet people cannot speak without
vicki.cremona@um.edu.mt the performance. Gesture helps determine body’s geography. It will seek to understand its gesture. We can think of gesture today either as
the line of action through which the actor’s complexities through the meagre descriptions a universal, hardwired aspect of being human, or
Vicki Ann Cremona is Chair of the School of energy is transmitted. It is one of the factors provided by sixteenth, seventeenth and alternatively as a socially constructed semiotic
Performing Arts at the University of Malta, and composing the action, and helps to transmit eighteenth-century actors, practitioners and system, a function of geographical and social
Associate Professor within the Theatre Studies the non-verbal message a person wants to theorists as well as through the lens of the boundaries. I will argue for the usefulness of
Department. She was appointed Ambassador communicate, or a parallel message which study of theatre anthropology today. the old rhetorical category of gestus or gesture,
of Malta to France between 2005-2009, and underlines or contradicts what is being Keywords: body, gesture, energy, artificial, because it entails a reassessment of the
to Tunisia between 2009-2013. A former verbally stated. Moreover, the actor stepping theatre anthropology. relationship of language to body, and obliges
member of the National UNESCO Commission out on the boards adds a ‘consciousness’ - as us to take ‘speech’ as the key category for
and the National Folklore Commission, Dr. Craig put it – to the gesture that renders it at discussing dramatic performance rather than
Cremona was member of and rapporteur for once ‘natural and highly artificial’, producing DAVID WILES ‘words’, ‘text’ etc., allowing us to think of speech
the EU Evaluation Committee for the Valletta thereby a quality of presence that determines UNIVERSITY OF EXETER as a mode of ‘physical’ theatre. I shall reflect in
Capital of Culture 2018. She has contributed the actor’s effectiveness on stage. Gesture in D.WILES@EXETER.AC.UK my paper upon the way early modern preachers
to the National Cultural Policy that was the Commedia dell’Arte was part and parcel dealt with gesture, and suggest how their
published in February 2010. of the actor’s secret art. The kind and quality David Wiles is Professor of Drama at the historical differences of opinion point us to some
Dr. Cremona is particularly interested in of the actors’ gestures contributed to the University of Exeter. He is currently working residual and invisible geographical boundaries
the relations between power and society as ‘multiple theatricalities’ developed by the on the history of the classical tradition of that continue to divide a continental European
expressed through theatre and theatrical nomadic actors of the Commedia dell’Arte in acting from the Renaissance to the Romantics. from a Protestant British way of thinking
events. She co-edited and co-authored order to communicate with their spectators His major fields of research have been Greek about the performing body. To understand the
various books including Theatrical Events. in the cirumstances in which they played. theatre and English early modern theatre, but mechanisms of rhetoric is increasingly urgent in
Borders, Dynamics, Frames 2004 Playing Often it was linked to mime – given that in he is also interested in broader questions of the present political environment.
Culture. Conventions and Extensions of Italy itself, the different dialects used by the historiography. He gave a keynote address
Performance 2014, On Culture. Mapping actors were not always understood by persons at IFTR 2016 in relation to The Theatre of
Valletta 2018 2016. from other regions, and that gesture was the Drottningholm 2014, co-authored with Willmar
best means of communication with foreign Sauter. He is a member of the Theatre Histories
Murali Basa with mashal, petromax lights, and with Diyas in Direction from University Hyderabad, he has with the present’, that is also in turn exceptionally

general panels 211


University of Hyderabad some traditional forms like Kudiyattam. directed five plays so far, Marimankanni, The associated with the reality. This is made possible
muralibasa@gmail.com Light has established his relationship with Lover Inside, Yamadoothu: After the Death by creating a materialistic scenic language
the space, the advanced developed techniques of Othello, Malayalam adaptation of William through deconstructing the text. Thus the site
Murali Basa is a UGC-JRF pursuing Ph. D in creating visuals have adapted to the stage Shakespeare’s Othello and No.14 Walkthrough specific performances, created out of the multiple
at Department of Theatre Arts, S. N. School, afte the Appia and Craig. Like any other field, A site-specific performance based on Gabriel interpretations, break the conventional space and
University of Hyderabad. He is working as Performances are also influenced and developed Garcia Marquez’s short story, ‘Trail of Your actions in theatre and catch the undivided attention
freelance Lighting Designer. His works like with the developed technology. The use of stage Blood in the Snow, His latest directorial of the spectator.
Jaatakamala, Metro, Metro, A straight Proposal, lighting added a meaning to the performances. venture is Maroon – a multimedia performance Creating a site-specific performance, ‘No.14
Baaki Itihas, Gang of Girls have remarkable The stage lighting serves as symbols, and based on Marquez’s short story. Marimankanni Walkthrough’ in a two-storied house in Kerala,
place in Delhi Theatre. He designed lights more used to communicate differnet meanings to and Yamadoothu, had been selected for the was a transforming experience in terms of the
than 70 plays and 30 Choreographies directed the inner lives of the character through the Bharat Rang Mahotsav in 2012 and 2013. of the performance language of theatre. The
by eminent directors. He presented papers at intensity. The subjective light emphassies the Yamadoothu: After the Death of Othello had its performance cleaved out 14 images from the
National and international conferences. He semotic of the performances. performances at International Theatre Festival Marquez’s short story ‘Trail of Your Blood in
visited UAL, London as part of a thematic project The present paper aims to elabarate different of Kerala ITFOK-2013, and National Theatre the Snow,’ by making use of each and every
on Digital Media. At present he is working as a lighting works to investigate the emancipated Festival Of Kerala PRD other than BRM. He is architectural aspect of the building.
freelance designer and teaching IB and IGCSE role in some performances. It talks about the also the Director of Janabheri National Theatre These performances that make use of the five
syllabus at Schools in DELHI. texture, colour, angle and mood in the post Festival, a national level theatre festival senses in the right spirit provides a novelty to
modernistic performance by taking examples of dedicated exclusively for directors below the the dramaturgy and along with a conspicuous
Emancipated role in the context of post current praxis in Indian Theatre. It talks about age of 40 years. Presently he is the research sensory impact. Shouldnt we replace the obvious
modernistic performances : Stage Lighting the stage lightig design implicaation of the scholar of University of Hyderabad Theatre rhetoric political method with a mode of ‘politics
The Stage Lighting has its own role of visual performances and how conveying meaning of Arts with the Junior Research Fellowship of in aesthetics’ in contemporary performance?
language. It doesn’t relate with race and region the performance to the spectator. University Grants Commission. In conclusion, these performances postulate
or any other socio, political elements. But light the growth of theatre from the act of viewing or
has formed a visual language through the Non-proscenium performances – hearing performance to the act of experiencing.
cognative journey. It elabarates the psychological Abhimanyu Vinayakumar Challenging the visualization of absence
journey of the spctator through which the the University of Hyderabad The non-proscenium performances, generally
visuals gives a certain meaning to understand abhimanyuvinayakumar@gmail.com suggests the need for moving in a very different Areum Jeong
the performance. dimension rather than a mere realistic approach. UC Santa Barbara
In the history of lighting, the primary function Abhimanyu Vinayakumar is an emerging By the process of creating a varied spectacle, areumjeong@ucla.edu
of lighting is visibility. And later on The colour young Director made his debut into theatre these performances deny the contemporary tiring
of light signifies the time, the intensity of the when he was eight years old, through the method of the visualization of the absence. On Areum Jeong teaches Graduate Forum for
light varies with the mood, the angle of the children’s plays of Rangachethana, Thrissur. the other hand, these performances generate a Ph.D. students in the Department of Theater. She
light enhances the artistic approach towrds the Later he went to get training in Kathakali method that can strongly influence the spectators received her Ph.D. in Theater and Performance
performance. Intially the stageshows used to from Kerala Kalamandalam. After completing by means of a scenographic method which make Studies from the UCLA School of Theater, Film
happen in the open lawns, and the street corners his Post Graduation in Theatre Design & use of the currently available ‘space’ or by ‘going and Television in June 2015. She received an
M.A. in performance studies from New York to today, divers are still searching for bodies in there has been ongoing worldwide effort. In April that uses social media as a tool for movement.

general panels 213


University and a B.A. in English Literature from the sunken ship and only when the last has been 2015, a memorial was held in 24 cities outside While challenging scopic regimes and creating
Ewha W. University in Seoul, Korea. Her work found can a salvage operation begin. In spite of Korea, such as Berlin, London, New York, Paris, new modes of looking and seeing is never an
takes a transnational approach to 20th and the international outrage, there has not yet been and Tokyo. However, since September 2014, easy task, cultural texts hold the agency and
21st-century Asian and Asian American cinema, a comprehensive investigation on what caused the government began cracking down to silence power to illuminate issues and call into question
theater and performance. the Sewol to sink, why the passengers were not the people. For example, the government hired dominant ideological frameworks within fraught
Jeong’s dissertation, “Performing Colonial promptly rescued, and why the sunken ship has police to use excessive violence at peaceful or indifferent political environments. Performing
Imagi-nation,” examines representations of still not been salvaged. rallies. In April 2015, 8000 citizens gathered Documentative Imagination aims to look at how
national identity in live performance in Korea and Since the days immediately after the disaster, in Seoul for the one-year memorial. They were such performances reflect critically on historical
the United States from early 20th century to the there has been widespread political reaction attacked by 13,700 police officers with 500 liters and post-traumatic events and how those earlier
present. Her work focuses on how local cultural within South Korean and diasporic communities, of pepper spray and water cannons. 477 police moments of contact, or historical flashpoints,
and political motifs are deployed as part of Korean criticizing the actions of the South Korean buses blocked the roads. 100 protesters were may be reconfigured or represented differently
national identity using intermedial performance government and media for their ineffectual arrested including 21 families of victims. On April under the pressures in the present age of
strategies — performances that incorporate responses and attempts to downplay the 17, 2015, Amnesty International announced: “The neoliberal globalization. The project will bring a
pre-filmed elements, often by projecting film or government’s culpability. When examining from unnecessary use of force by South Korean police diverse set of works, including film, photography,
images into the background of a performance. a broader frame of neoliberalism, this incident is against families of the Sewol ferry tragedy is an performance, and new media, from South Korea
at the intersection between the neoliberal state insult to the victims and a violation of the rights and diasporic communities, in order to consider
Performing Documentative Imagination: that reneged on its responsibility to safeguard to freedom of expression and peaceful assembly. the relationship between performance and
Transnational Acts of Activism in South people’s lives and the private corporations that The clampdown against an overwhelming visuality within the framework of the politics
Korea and Diasporic Communities sacrificed people’s safety for increased profit. peaceful protest is totally unjustified, of human rights, memory, scopic regimes, and
On the evening of April 15, 2014, the Sewol The victims’ families have demanded that unnecessary and an insult to both the victims of violence. My research aims to contribute on
set sail its overnight journey from Incheon the ship be recovered in order to thoroughly the Sewol ferry tragedy and their families.” how strategies for depicting and embodying
to the Jeju Island. There were 476 people on investigate the accident. South Korean Through a close reading of the recent Sewol different forms of experience and knowledge are
board—443 passengers, including 325 students President Geun-hye Park vaguely promised an Ferry protests in South Korea and diasporic negotiated through a variety of practices that all
and their teachers from Danwon High School. investigation and salvage “as soon as possible,” communities, Performing Documentative place the question of visuality as central to their
On the morning of April 16, 2014, the ship however, up to today, whether the ship will Imagination examines how local activists and intervention, and moreover, address the role of
turned, lost control, began drifting sideways, be raised and an investigation will be held artists construct spaces in which the people visual regimes in the refashioning of identity, in
and quickly began to capsize. The captain and remains to be seen. The victims’ families have can both recover and remember through acts of creation of meaning, in organizing the political,
crew in command were first to abandon the ship, transformed their grief into a powerful basis performance and protest against government long before the awareness that the social is
after repeatedly telling the passengers to stay for political community: they have shaved censorship. How have such performances increasingly being reconstructed in visual terms.
put. A total of 172 passengers and crew were their heads to demand political action, hunger made interventions in public discourse that Performing Documentative Imagination is
rescued, but many more were trapped inside as strikes, organized protests in public spaces, contributed toward social change? Throughout at the intersections of communication and
the ship sank beneath the waves. In total, 294 and walks to the Blue House to raise awareness this project, I argue for the Sewol activists social change with a focus on performance and
passengers were killed, including 245 students and demand justice. They have engaged in and artists’ use of performance as a signifying social media, and furthermore, looks at the
from Danwon High School. Still missing are 9 continued legislative and media activism with practice in that the act