Academic literature on the topic 'Periférico de Objetos (Theater group)'

En la década de 1990, el campo teatral argentino se encuentra determinado por la aparición de una heterogeneidad de formas agrupadas por la crítica bajo el título “Nuevo teatro argentino”. Estas formas evidencian la tensión entre una concepción idealista de la escena que había dominado el teatro independiente hasta la década de 1980 y una perspectiva materialista que se había ido desarrollando subrepticiamente en tensión con los modos en que la primera planteaba las relaciones de la escena con la historia, de los sujetos con los objetos, de las palabras con las cosas y, como correlato, en tensión con el modo en el que el teatro se pensaba a sí mismo como dispositivo de memoria.En ese contexto surge y se fortalece el Periférico de Objetos. Analizaré aquí la producción de este grupo entendiendo que entre las innovaciones que propone se encuentra la exploración, a partir del procedimiento de la manipulación, de objetos y cuerpos como dispositivos de memoria involuntaria. Con el objetivo de señalar que la productividad de la relación manipulación/memoria no se limita al teatro de objetos sino que se expande también a la producción dramatúrgica, analizo dos obras dramáticas que Daniel Veronese escribe en esa misma década, en paralelo a su actividad como integrante de este grupo. In the 1990s, Argentine theater field is determined by the emergence of a heterogeneity of forms grouped by critics under the title “New Argentine Theater.” These forms put in evidence the tension between an idealistic conception of the scene that had dominated independent theater until the 1980s and a materialist perspective that had developed surreptitiously in clear tension with the ways in which idealism conceive the relations between scene and history, subjects and objects, words and things but also in tension with the ways in which theater had thought itself as a memory device.In this context, El Periférico de Objetos arises and become stronger. I will analyze the production of this group, understanding that among the innovations it proposes from the manipulation procedure, is the exploration of objects and bodies as involuntary memory devices. With the aim of demonstrating that the productivity of the relationship between manipulation and memory is not limited to object theatre but also expands to dramaturgical production, I analyze two dramatic works that Daniel Veronese wrote in that same decade, in parallel to his activity as member of this group.

Tadeusz Kantor was a Polish artist and theater director who directly influenced the conceptual understanding of theater, especially in Argentina following two visits to Buenos Aires with his troupe Cricot 2 in the 1980s. He exerted a particularly strong influence on the Periférico de Objetos [The Periphery of Objects], a troupe founded in Buenos Aires in 1989 by Daniel Veronese, Ana Alvarado and Emilio García Wehbi, labelled by critics as “the Argentine theatre of the image”. Despite radically different socio-cultural contexts, elements arising from Kantor’s theater practices (especially his idea of the “poor object” and his concept of “reality of the lowest rank”) acquired distinctly different meanings in Latin America from those coined by Kantor. A nuanced examination of the Periférico de Objetos indicates that Kantor’s concepts, which in their original context resisted politicization, played an important role in the creation of a socially and politically engaged theatre. His concepts, adapted to local realities by the Periférico de Objetos, were reflected in debates surrounding the recent Argentinian past, most notably, the post-dictatorship period.

Resultado da Mesa Redonda “Perspectivas sobre o drama moderno no Brasil”, realizada no IX Congresso da ABRACE em 2016, o presente artigo apresenta uma síntese das ideias em torno do drama moderno no Brasil que embasam os projetos docentes de pesquisadores de três instituições diversas (UNICAMP, UFMG e UFSJ), aglutinados em torno do Grupo Estudos em Dramaturgia Letra e Ato. Tal artigo apresenta, portanto, três visadas sobre o drama moderno no Brasil que, sem precisarem constituir uma unidade, dialogam profundamente no contexto das pesquisas com o intuito de revisão teórica e historiográfica sobre o tema. Neste sentido, compartilhando de conceitos, teóricos, metodologias e objetos, as pesquisas, as individualidades investigativas vêm constituindo, num histórico, resultados coletivos de pesquisa sobre o tema que, conjuntamente, os pesquisadores vêm procurando organizar e divulgar em diferentes frentes e meios. ABSTRACT This paper has its origin in the round table “Perspectives about the modern Brazilian drama”, that took place in the IX ABRACE Congress in 2016. It presents a synthesis of some ideas about the modern drama in Brazil that lay their foundation in the research project of professors of three universities (UNICAMP, UFMG e UFSJ), connected by the research group: Group of Studies in Playwriting Letter and Act. This paper presents, therefore, three viewpoints about modern drama in Brazil that, without the purpose of forming a unique view, start a dialogue with the canonic history of Brazilian theater, in order to propose a theoretical review. In this sense, sharing concepts, theories, methodologies and objects, the individual researches have been composing collective results about the same thematic, that the three author are organizing in order to publish. KEYWORDS Teatro brasileiro moderno; dramaturgia moderna; cena moderna.

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O grupo Sobrevento é um dos grandes expoentes do Teatro de Animação brasileiro e, em 2016, completou 30 anos de história conduzido por uma ideologia particular que preconiza a busca pelo constante desafio artístico. Por mais de duas décadas, o coletivo dedicou-se ao estudo de diferentes técnicas de manipulação de bonecos, com o intuito de reinventar seu teatro a cada espetáculo, e se tornou referência na arte da animação. Contudo, após 25 anos, passou a se dedicar ao Teatro de Objetos, vertente que utiliza o objeto puro, abandonando o boneco e o intuito de conferir-lhe vida. O presente trabalho propõe uma investigação da trajetória do grupo Sobrevento com o objetivo de evidenciar as motivações estéticas e ideológicas que causaram a transição do Teatro de Bonecos ao Teatro de Objetos. Para tanto, analisa a primeira década da companhia, abordando os principais aspectos que influenciaram sua formação e suas escolhas estéticas. Examina as técnicas utilizadas no decorrer da carreira do grupo, destacando o estudo da Manipulação Direta, inspirada no Bunraku, bem como as experiências realizadas com o Boneco de Luva Chinês e com o Mamulengo. A discussão sobre o abandono da animação na história da companhia ocorre por meio do estudo dos espetáculos São Manuel Bueno, Mártir (2013), Sala de Estar (2015) e Só (2016). À luz da trajetória do objeto no teatro moderno e contemporâneo, pretendemos revelar fatores expressivos da cena do Sobrevento decorrentes de uma maneira própria de utilizar o objeto em seus espetáculos, enquanto reflexo da busca pela originalidade poética, característica do grupo desde sua criação.
Sobrevento theater group is one of the great exponents of the Brazilian Puppet Theater. In 2016, it has completed 30 years of history driven by a particular ideology that advocates the search for constant artistic challenge. For more than two decades, this group has dedicated itself to the study of different puppet manipulation techniques. Its intention has always been the reinvention of its own theater in each play, and it has become an important reference in the art of puppetry. However, after 25 years, the group began to explore the Theater of Objects, which uses the pure object, abandoning the puppet and the purpose of giving life to it. The present work proposes an investigation about the trajectory of Sobrevento group in order to highlight the aesthetic and ideological motivations that caused the transition from Puppet Theater to Theater of Objects. Therefore, it analyzes the first decade of the company, addressing the main aspects that influenced its formation and its aesthetic choices. All techniques handled during the group's career are considered, but there is further explanation about the study of Direct Manipulation, inspired by Bunraku, as well as the experiments with Chinese Glove-Puppet and Mamulengo. The discussion about the abandonment of puppetry in the company's history happens through the study of three plays, Saint Manuel Bueno, Martyr (2013), Living Room (2015) and Alone (2016). In the light of object trajectory in modern and contemporary theater, we intend to reveal scenic expressive factors of Sobrevento, as they result from a particular way of using the object in its plays. Therefore, it demonstrates the search for poetic originality that has characterized the group since its creation.