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1
Wilmer, S. E. « Cultural Encounters in Modern Productions of Greek Tragedy ». Nordic Theatre Studies 28, no 1 (22 juin 2016) : 15. http://dx.doi.org/10.7146/nts.v28i1.23969.
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The exiled character in need of asylum is a recurrent theme in ancient Greek tragedy. In many of these plays, we see uprooted and homeless persons seeking sanctuary, and for the ancient Greeks, hospitality was an important issue. Many of these plays have been updated to comment on the current social and political conditions of refugees and often reflect on the notion of hospitality, something which both Emmanuel Levinas and Jacques Derrida considered to be fundamental to ethics.
Recently there has been a series of demonstrations and occupations of public spaces by asylum seekers that has gained considerable news coverage. In Austria a group of about sixty refugees (from the Afghanistan-Pakistan border area) occupied the famous Votiv church in the middle of Vienna in 2012 and went on hunger strike. In Germany a large group of asylum seekers marched from various parts of the country to Berlin where they occupied the square at the Brandenburg Gate before being allowed to establish a tent community in Kreuzberg. In Hamburg a group of 80 asylum seekers who came to Germany via Lampedusa found refuge in St Pauli church, and it was there that Nicholas Stemann presented a first reading of Elfriede Jelinkek’s play Die Schutzbefohlenen in September 2013. More recently right-wing groups have mounted weekly marches through Dresden to call for a halt to immigration, and these have been contested by simultaneous counter-demonstrations in favour of immigrants and refugees. In this paper I will consider several adaptations of Greek tragedy that highlight cultural encounters between the local population and those arriving from abroad who are looking for asylum. In particular I will examine Stemann’s production that has been running at the Thalia Theater in Hamburg since September 2014, and features asylum seekers from Lampedusa on stage who beg the audience for the right to remain in Germany.
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Lampe, Eelka. « Disruptions in Representation : Anne Bogart's Creative Encounter with East Asian Performance Traditions ». Theatre Research International 22, no 2 (1997) : 105–10. http://dx.doi.org/10.1017/s0307883300020514.
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The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era, No Plays, No Poetry (1988) on Brecht's theoretical writings, American Vaudeville (1991), and The Medium (1993) on the writings of the Canadian media philosopher Marshall McLuhan. Bogart has been acclaimed for her astute directing of the work by contemporary playwrights, such as Paula Vogel, Charles Mee Jr. and Eduardo Machado.
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Yakushenkov, Serguey N. « When the Naked Body Speaks : Brazilian Theater in the Search of National Identity ». Corpus Mundi 3, no 1 (30 mai 2022) : 31–51. http://dx.doi.org/10.46539/cmj.v3i1.59.
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The naked body is a complex phenomenon, combining a variety of functions. Nudity can be symbols of threat/insecurity, aggression/victim, freedom/slavery. Teatro Oficina, located in the São Paulo suburbs, offers us a unique example of nudity for the construction of national identity. Based on the Brazilian poet Oswald de Andrade's "Anthropophagic Manifesto," the theatre founders made nudity and anthropophagy their theatrical credo. Formed in 1958 the theater has taken a leading place in the cultural life of São Paulo and Brazil. Despite censorship during the military dictatorship, Teatro Oficina consistently defended their right for freedom of expression.
Drawing attention to the first descriptions of the Brazilian natives by the Portuguese, de Andrade declared the importance of two main symbols from these characteristics: anthropophagy and nudity. The anthropophagy is understood by Teatro through the idea of the Brazilians capacity to devour the European achievements. Without rejecting the Western theater, the head of Teatro Jose Celso offers the audience the new corporeality concept. In this regard, not only the possible nudity of the actors, but also the willingness for actors and spectators to break the fragile edge of the customary. In theater there is no conventional theatrical stage, no generally accepted dialogues with the audience, which can also become part of the theatrical action, undressed or conversely dressed in theatrical costumes.
The Teatro Oficina’s phenomenon lies in their ability to construct a new corporeality in Brazil, based on the artificial construct by de Andrade and traditions of Brazilian culture: carnivalesque atmosphere, openness, hybridity.
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Dias, Rodrigo Francisco. « A PRESENÇA DE ANTONIO FAGUNDES NA CENA TEATRAL BRASILEIRA ». Fênix - Revista de História e Estudos Culturais 16, no 1 (30 juin 2019) : 1–10. http://dx.doi.org/10.35355/0000019.
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Laages, Michael. « Das Anthropophagische Theater ». Theater heute 64, no 10 (2023) : 46–48. http://dx.doi.org/10.5771/0040-5507-2023-10-046.
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Abdulmunem Azeez, Rasha. « Paula Vogel And The Modern American Female Playwrights ». Journal of the College of languages, no 44 (1 juin 2021) : 46–71. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0046.
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Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.
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Leiva Filiho, João Oswaldo. « The place ow women in the theatres of São Paulo ». Debats. Revista de cultura, poder i societat 136, no 1 (24 mai 2022) : 49–68. http://dx.doi.org/10.28939/iam.debats-136-1.3.
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The aim of this article was to provide quantitative information about the gender gap in theatre production in the city of São Paulo (Brazil), thereby helping to raise awareness of the inequalities faced by women in the field. The text compares the opportunities available to men and women working in seven different theatre-related occupations and is underpinned by a mapping of 1,466 plays performed in the city throughout 2018. The data were collected from three weekly guides published by the local media and two monthly publications: a theatre guide and a magazine from a cultural institution that ran 20 cultural venues in the city. Any gaps were then filled by directly contacting theatre venues and the producers of the plays. There was a significant imbalance towards men in the two most strategic theatre production jobs: men wrote 77% of the plays and directed 78% of them. Thus, male professionals were a huge majority precisely in the functions responsible for building the discourse that reaches audiences. Compared to women, this left them in a much better position to express their values, ideas, and perspectives. This gap was smaller when considering performers, of which 46% were female. Women were also largely absent in technical occupations given that they were a minority among lighting directors and set designers. However, women represented the majority among costume designers. The most unexpected result was the parity among producers, with 52% being women. All the aforementioned gaps increased when the number of performances were considered. On average, women worked less in plays that provided more working time that were therefore, more likely tohave higher salaries. The study also showed that when women were responsible for writing, directing, or producing a play,the gap was reduced in all the other functions.
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Wiltshire, J. « Review : Jane Austen and the Theatre * Paula Byrne : Jane Austen and the Theatre ». Cambridge Quarterly 32, no 4 (1 décembre 2003) : 367–72. http://dx.doi.org/10.1093/camqtly/32.4.367.
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Goldfeder, André. « Estrelas de Letras. Teatralidades do poema no Brasil pós-1970 ». Elyra, no 17 (2021) : 199–223. http://dx.doi.org/10.21747/2182-8954/ely17a13.
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By analyzing poems by Paulo Leminski, Ana Cristina Cesar and Veronica Stigger, this essay puts forward a notion of the theater of poetry aiming at clarifying a paradoxal and multiple status of the space of the poem, seen through de lenses of Brazilian poetry produced from de 1970s on. For doing so, it approaches a few contemporary modes of reception of a theoretical and practical antitheatrical field inherited from a modern context, where poetry, theater and visual arts hold converge by means of plural mises-en-scène of the specifity problem
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Ferraz, Leidson Malan Monteiro de Castro. « A EXPERIÊNCIA, UM TANTO DIFERENCIADA, DO TEATRO DE ARENA NO RECIFE ». Arteriais - Revista do Programa de Pós-Gradução em Artes 9, no 15 (29 décembre 2023) : 43. http://dx.doi.org/10.18542/arteriais.v9i15.15705.
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ResumoA partir da estreia do formato teatro de arena no Brasil, na Escola de Arte Dramática (EAD), até o surgimento do grupo Teatro de Arena de São Paulo com sua respectiva casa de espetáculos, este artigo procura mapear a chegada do gênero na capital pernambucana, as reverberações que causou até fomentar o estímulo de fazer surgir o Teatro de Arena do Recife, inicialmente liderado pela dupla Alfredo de Oliveira e Hermilo Borba Filho, cuja companhia profissional e sede teatral sobreviveram por quase sete anos, mas com um perfil bem distinto daquele propagado pelo seu congênere paulistano, preferindo atender a um público economicamente privilegiado.AbstractFrom the debut of the arena theater format in Brazil, at the School of Dramatic Art (EAD), until the emergence of the São Paulo's Arena Theater Group with its respective playhouse, this article seeks to map the arrival of the genre in the capital of Pernambuco, the reverberations it caused until it stimulated the emergence of Recife's Arena Theater, initially led by the duo Alfredo de Oliveira and Hermilo Borba Filho, whose professional company and theatrical headquarters survived for almost seven years, but with a very distinct profile from that propagated by its São Paulo counterpart, preferring to cater to an economically privileged public.
11
Sherard, Hamp. « The Thinking of Students : Free Movie Passes ». Mathematics Teaching in the Middle School 6, no 9 (mai 2001) : 534–35. http://dx.doi.org/10.5951/mtms.6.9.0534.
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Ann Sullivan, who teaches at St. Norbert School, Paoli, PA 19301, gave the problem to her sixth-grade Advanced Math class. The students solved the problem immediately, finding how many tickets of each color were under the seats of the theater. She then asked them to find different ways to solve the problem. Their various strategies showed evidence of algebraic thinking, whether they used arithmetic or algebra. In each situation the students reasoned that the tickets had to be distributed in sets of 48 tickets, (3 + 19 + 15 + 11), resulting in 432 ÷ 48, or 9, complete sets of tickets hidden under the seats of the theater.
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Cumura, Ljiljana, Evelina Barbanti et Laura Trevisan. « The Use of Social Theatre along the Mediterranean ». WELFARE E ERGONOMIA, no 2 (février 2022) : 117–32. http://dx.doi.org/10.3280/we2021-002009.
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The challenge of this article is to explore the role of Theatre for Social Change (TfSC). Clearly, it is a very complex field of research. It is not one form of theatre but "a set of interdisciplinary and hybrid practices". It spans the participatory and professional arts sectors and the fields of arts and activism. Unlike other kinds of theatre, TfSC is a performance ensemble to raise awareness about the impact of social issues through the community engagement process. The article seeks to investigate connections between social theatre, social wellbeing and health. Few paragraphs are dedicated to the actual epidemic situation, social distance, mental health, self-care and new relations among people. Besides the work of Paulo Freire (Theatre of Oppressed), Augusto Boal (Forum Theatre), Dorothy Heathcote (Drama in Education), Theatre for Living etc. authors will present several projects and successful stories along Mediterranean, with focus on Italy, Spain and Malta.
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Elliott, Matthew. « Young People as Legislators : Legislative Theatre and Youth Parliament ». Applied Theatre Research 9, no 1 (1 juillet 2021) : 73–86. http://dx.doi.org/10.1386/atr_00049_1.
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Young People as Legislators is the result of a six-month Legislative Theatre project with Collective Encounters Youth Theatre, Youth Focus NW and Youth Parliament UK. The project formed part of a wider scheme of practice as research that explored youth theatre practice as political engagement for young people. Legislative Theatre practice was utilized to work alongside the Youth Parliament’s Make Your Mark scheme, an annual poll for young people to decide on campaigning issues. In this article, I consider three elements: tokenism in youth engagement, differing experiences between artistic process and product, and applied theatre’s inability to develop long-term effects. Employing the critical theories of Paulo Freire, the article regards the practice as a failed attempt to develop critical youth theatre practice. I argue that the Legislative Theatre project led to uncritical engagement and no political change due to partner organizations regarding the theatre practice as a service to satisfy their own targets and requirements.
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Shawyer, Susanne. « A Global Perspective on Theatre for Social Change ». Canadian Theatre Review 140 (septembre 2009) : 87–89. http://dx.doi.org/10.3138/ctr.140.016.
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A mask workshop with incarcerated offenders. An AIDS education play in rural Zimbabwe. An interactive drama about racism and refugees in northern England. What do these performances have in common? All are examples of applied theatre, a vibrant and expanding field that blends theory and practice in efforts to use theatre for social and political change. The Applied Theatre Reader adds a global perspective to the growing library of academic works investigating how theatre workers put into practice the theories of Bertolt Brecht, Augusto Boal and educator Paulo Freire. This anthology of short articles by academics, artists and facilitators presents a wide variety of recent applied theatre projects around the world. The breadth of the book demonstrates the diversity of the field, while at the same time revealing that questions of efficacy and ethics remain crucial issues for any theatre concerned with social transformation.
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Nery Monteiro, Argus Cecil. « Antunes Filho : Formation of the Brazilian System of Theatrical Art ». Observatory of Culture, no 3 (28 juin 2015) : 44–50. http://dx.doi.org/10.25281/2072-3156-2015-0-3-44-50.
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Antunes Filho: Formation of the Brazilian System of Theatrical Art (by Argus Cecil Nery Monteiro) is devoted to the formation and development of the method of Antunes Filho, a reformer of the modern Brazilian theatre. Resting on Stanislavski’s system, he created his own method based on contemporary psychological and philosophical researches. His method is successfully used in training actors at the Centre of theatre researches founded by him in São Paulo.
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Heritage, Paul. « Taking Hostages : Staging Human Rights ». TDR/The Drama Review 48, no 3 (septembre 2004) : 96–106. http://dx.doi.org/10.1162/1054204041667695.
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Halpenny, Francess G. « Paula Sperdakos. Dora Mavor Moore : Pioneer of the Canadian Theatre ». Theatre Research in Canada 17, no 2 (janvier 1996) : 220–23. http://dx.doi.org/10.3138/tric.17.2.220.
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Halpenny, Francess G. « Paula Sperdakos. Dora Mavor Moore : Pioneer of the Canadian Theatre ». Theatre Research in Canada 17, no 2 (janvier 1996) : 220–23. http://dx.doi.org/10.3138/tric.17.2.220.
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Cornago, Óscar. « El teatro como crítica institucional ». Investigación Teatral. Revista de artes escénicas y performatividad 9, no 13 (27 avril 2018) : 132–58. http://dx.doi.org/10.25009/it.v9i13.2559.
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Este artículo discute el sentido de las prácticas teatrales en relación a los contextos institucionales en los que se desarrollan. Para ello, se analiza la dimensión institucional del teatro en relación a las artes visuales. La reacción ante repertorios de formas y usos ya instituidos ha abierto un ámbito de confluencias entre las prácticas performativas y las visuales. Con el fin de trazar diversos recorridos dentro de este panorama, se estudian proyectos de creación de España, Alemania, México, Líbano y Brasil, algunos de ellos pertenecientes a la programación de la iii Mostra Internacional de Teatro de São Paulo del 2017. Estas obras intervienen sobre los marcos ya legitimados de actuación, con el fin de cuestionar la construcción institucional del teatro, abriendo nuevos posibilidades de creación y reflexión en relación al espacio de la representación.Theatre as Institutional CritiqueAbstractThis article discusses the meaning of theatrical practices in relation to the institutional contexts in which they develop. Attention is paid to the institutional dimension of theater in relation to the visual arts. The reaction to established repertoires has opened a confluence between performative and visual practices. In order to trace different routes within this panorama, projects from Spain, Germany, Mexico, Lebanon and Brazil are studied, some of them belonging to the programming of the iii International Theater Festival of São Paulo (2017). These plays intervene in the legitimated frameworks around performance, with the purpose of questioning the institutional construction of theater while opening possibilities of new territories of creation and critique within the spaces of representation.Recibido: 20 de julio de 2017Aceptado: 12 de diciembre de 2017
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Monteiro, George. « George C. White in Brazil : ». Eugene O'Neill Review 36, no 1 (1 mars 2015) : 61–72. http://dx.doi.org/10.5325/eugeoneirevi.36.1.61.
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Abstract In 1988, under the auspices of the United States Information Services, George C. White toured major cities in Brazil to talk about the Eugene O'Neill Memorial Theater Center. In São Paulo he was interviewed by Leo Gilson Ribeiro for the Jornal da Tarde. This newspaper interview appeared on October 1, 1988. It is reprinted here, for the first time in an English translation.
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Coelho, Caco, Fernando Peixoto et Willi Bolle. « Mesa-redonda - A estética do teatro de Brecht ». Pandaemonium Germanicum, no 4 (5 novembre 2000) : 125. http://dx.doi.org/10.11606/1982-8837.pg.2000.64191.
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Drei Erfahrungsberichte über Bertolt Brechts Theater auf brasilianischen Bühnen. Caco Coelho spricht über den Zyklus der Brecht-Lesungen, -Aufführungen und -Vorträge seiner Theatergruppe Os Fodidos Privilegiados 1998 in Rio de Janeiro. Fernando Peixoto vertritt die Ansicht, daß der zentrale Punkt von Brechts Theater darin besteht, Emotionen im zwischenmenschlichen Verhalten und in ihren politisch-historischen Kontexten verstehbar zu machen. Er erzählt unter anderm von einer "Wiederentdeckung" der Brechtschen Theaterästhetik durch eine Laiengruppe in Amazonien und vertritt insgesamt ein undogmatisches, auf die heutigen Verhältnisse ausgerichtetes Lernen mit Brecht. Willi Bolle berichtet von seiner Inszenierung von Brechts Die Hochzeit (1919) mit einer Laien-Theatergruppe in São Paulo 1997-1998, in der die lineare Struktur des Textes durchbrochen wurde durch die Einführung einer neuen Perspektive sowie einer neuen Figur, der Braut, die sich das Hochzeitsfest in der Erinnerung vergegenwärtigt.
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Miñana, Rogelio. « “The Don Quixote of the Streets” : Social Justice Theater in São Paulo, Brazil ». Cervantes : Bulletin of the Cervantes Society of America 31, no 1 (2011) : 159–70. http://dx.doi.org/10.1353/cer.2011.0009.
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Miñana, Rogelio. « “The Don Quixote of the Streets” : Social Justice Theater in São Paulo, Brazil ». Cervantes 31, no 1 (mars 2011) : 159–70. http://dx.doi.org/10.3138/cervantes.31.1.159.
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En São Paulo, la capital financiera y cultural de Brasil, diversas organizaciones humanitarias utilizan adaptaciones de Don Quijote como base cultural y política para su trabajo con niños y jóvenes en situación de riesgo social. Además del “Projeto Quixote,” una ONG fundada en 1996 que a través de un equipo multidisciplinar de más de 140 trabajadores y voluntarios ha colaborado con unos trece mil niños y jóvenes, numerosas organizaciones han escenificado en la última década versiones teatrales (la mayoría escritas para la ocasión) de Don Quijote. Este artículo se centra en los tres grupos (Instituto Religare, Teatro Resurreição y Circo Navegador) que han representado sus respectivos Don Quijote a públicos que alcanzan los varios miles de espectadores a lo largo de múltiples temporadas. A través del análisis de sus primeras escenas, identifico el tema de la transformación personal y social como mensaje principal de estas obras. Dado que Don Quijote se presenta como resultado de un cambio personal, destaco el papel central de Alonso Quijano en el comienzo de estas tres piezas y su posible significado en el contexto de la lucha por la justicia social en São Paulo.
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Starr, G. Gabrielle. « Jane Austen and the Theatre. Paula Byrne.Jane Austen and the Theatre. Penny Gay.Recreating Jane Austen. John Wiltshire. » Wordsworth Circle 33, no 4 (septembre 2002) : 161–62. http://dx.doi.org/10.1086/twc24044214.
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Konstantinova, N. S. « Through Hardship to the Stars ». Cuadernos Iberoamericanos 11, no 2 (19 juillet 2023) : 111–25. http://dx.doi.org/10.46272/2409-3416-2023-11-2-111-125.
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The article is devoted to one of the brightest phenomena of Brazilian culture – theater, which, for a number of objective reasons, is much less known abroad than its other areas. The genesis and main stages of the evolution of the dramaturgy and theatrical art of Brazil over the course of five centuries of its existence are briefly considered. The extremely important role of the Week of Modern Art, held in Sao Paulo in 1922, which marked the birth of Brazilian modernism, which radically influenced the entire subsequent cultural process, is emphasized. Particular attention is paid to the formation and development of the democratic tradition that has dominated the Brazilian theater since its inception to this day. The phenomenon of the «new theater» in various forms of its manifestation is considered. The theatrical theory and practice of one of the charismatic figures of the Brazilian culture of the 20th century, Augusto Boal, is analyzed. Attention is focused on the names of the country’s most famous playwrights, and as an example, some of the most striking theatrical productions that are firmly included in the «golden fund» of national culture are analyzed.
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De Andrade Silva, Bianca Camila, et Luciana Dadico. « Contemporary Black Theater as a Possibility of Intersectional Critical Praxis ». Revista Kaylla, no 2 (13 novembre 2023) : 160–78. http://dx.doi.org/10.18800/kaylla.202301.009.
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Since the Brazilian black theater groups are growing up in cities such as São Paulo and other capitals from Brazil, it becomes necessary to investigate the impact of their productions and organizations in aesthetic, political, and cultural perspectives. In the work of Abdias do Nascimento, black theater used to be proposed as a way to reflect on its identity. This characteristic remains until the present with different demands and prisms. The aim of this paper is to analyze the contemporary play IDA, a work that has the identity as theme for the Brazilian black women, considering identity in its fragmentations and intersections. As a result, it is expected to offer a better understanding of both the political and aesthetic possibilities of contemporary black performing arts, especially in the face of identity disputes as intersectional critical praxis.
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Lacey, Stephen, et Brian Woolland. « Educational Drama and Radical Theatre Practice ». New Theatre Quarterly 8, no 29 (février 1992) : 81–91. http://dx.doi.org/10.1017/s0266464x00006357.
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In the early issues ofNew Theatre Quarterly, David Hornbrook initiated a debate on the role and techniques of drama-in-education to which several other notable practitioners subsequently contributed. Since then, the continuing need to defend the very existence of drama within a curriculum-oriented system has perhaps disinclined drama-in-education workers from a theoretical exploration of their methods and purposes. But the argument that the subject should be concerned with theatre practice has, suggest Stephen Lacey and Brian Woolland, overlooked the reality that drama-in-education, in important and fundamental ways, alreadyreflectsat its own level certain kinds of innovative theatre practice – and they illustrate their arguments from the work of Brecht, Boal, and Paulo Freire, comparing the models they offer with a drama-in-education project as realized by a class of twelve-year-olds in a typical comprehensive. The article concludes with the authors' own analysis of the approaches to character and to dramatic structure employed, and how these reflect a ‘radical theatre practice’ with which practitioners in present-day ‘mainstream’ theatre might profitably engage.
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Woodland, Sarah. « Prison Theatre and an Embodied Aesthetics of Liberation : Exploring the Potentials and Limits ». Humanities 10, no 3 (9 septembre 2021) : 101. http://dx.doi.org/10.3390/h10030101.
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Prison theatre practitioners and scholars often describe the sense of imaginative freedom or “escape” that theatre and drama can facilitate for incarcerated actors, in contrast to the strict regimes of the institution. Despite this, the concept of freedom or liberation is rarely interrogated, being presented instead as a given—a natural by-product of creative practice. Drawing from John Dewey’s (1934) pragmatist aesthetics and the liberatory pedagogies of Bell Hooks (2000) and Paulo Freire (1996), I propose an embodied aesthetics of liberation in prison theatre that adds depth and complexity to claims for freedom through creativity. Reflecting on over twenty years of prison theatre practice and research, I propose that the initial “acts of escape” performed through engaging the imagination are merely the first threshold toward more meaningful forms of freedom. I frame these as the following three intersecting domains: “Acts of unbinding”, which represents the personal liberation afforded by experiences with theatre in prison; “acts of love”, which expresses how the theatre ensemble might represent a “beloved community” (hooks); and “acts of liberation”, which articulates how these experiences of self-and-world creation may ripple out to impact audiences and communities. An aesthetics of liberation in prison theatre can, therefore, be conceived as an embodied movement towards personal and social renewal; an approach that deepens our understanding of its oft-cited humanising potential, and its limits.
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Silwadi, Najwa, et Peter Mayo. « Pedagogy under Siege in Palestine : Insights from Paulo Freire ». Holy Land Studies 13, no 1 (mai 2014) : 71–87. http://dx.doi.org/10.3366/hls.2014.0078.
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This paper analyses the relevance of Paulo Freire's pedagogical and philosophical ideas within the context of occupied Palestine. It specifically focuses on the work in continuing community action and education carried out by a particular centre established at Al-Quds University in Jerusalem, and at the heart of the ‘old city’, for this purpose. The major focus here is on community theatre foregrounding issues related to women in Palestinian society. Major themes broached include the politics of education, social mobilisation, women and the Intifada, the collective dimensions of knowledge, learning and praxis, purging oneself of the ‘oppressor within’ to break the cycle of violence, education for liberation.
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Franzolin, Caio Sérgio de Castro Armada Floret, et Simone Scifoni. « Teatro de grupo como patrimônio imaterial do município de São Paulo ». Revista CPC 18, no 36 (29 décembre 2023) : 272–80. http://dx.doi.org/10.11606/issn.1980-4466.v18i36p272-280.
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Today, in the city of São Paulo, Group Theater stands as a fundamental element of the local culture, an intangible heritage officially recognized through its designation as a Form of Expression in 2014 by the municipal authority. Presently, there are over 200 organized, independent, and inter-connected collectives actively engaged in diverse regions across the city, in order to protect its status as an intangible heritage, a Safeguard Plan has been devised. The plan is rooted in the conceptualization and historical context of these cultural practices, encompassing an extensive survey of activities within the city, the objective is to formulate measures ensuring the continuity of these practices over time. This article presents the reasons that led to the creation of this document, highlighting the methodological approach employed and emphasizing its significance in fortifying public policies dedicated to the preservation of cultural heritage.
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Papier, Sylwia. « Historia mojego ojca : zaraz wam odegram… Czyli jak pamięta drugie pokolenie ? » Politeja 18, no 1(70) (1 février 2021) : 197–208. http://dx.doi.org/10.12797/politeja.18.2021.70.15.
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My Father’s Story: I’ll Play You Right Away… So How Do the Second Generation Remember?
The aim of the article is to discuss the life story of the survivor, Majer Jesion and the joint work of daughter and father on discovering memory and the past, as well as to analyze the result of this work: the spectacle 121 023 J (dir. Ariel Goldmann, Sao Paulo), including the construction of the history and stage spaces with the usage of props to visualize the difficult past. In 2002, Renata Jesion decided to put on stage the traumatic story of her father in which she embodied him on stage. The theater medium serves her in the intergenerational transmission of the memory of the Holocaust. This monodrama will be analyzed in the light of the theory of post-memory (M. Hirsch), testifying through the medium of the theater (G. Niziołek, F. Rokem), and Self-Revelatory Performance (R. Emunah, A. Volkas).
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Levy, Aiala. « Theaters and the Popular-Elite Divide in São Paulo, Brazil, 1895–1922 ». Latin American Theatre Review 52, no 2 (2019) : 37–54. http://dx.doi.org/10.1353/ltr.2019.0002.
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Diba, Denise, et Ana Flavia d'Oliveira. « Community Theater as social support for youth : agents in the promotion of health ». Ciência & ; Saúde Coletiva 20, no 5 (mai 2015) : 1353–62. http://dx.doi.org/10.1590/1413-81232015205.01542014.
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There has been much discussion on promotion of the health of young people in vulnerable situations; but little work has been done analyzing its actual operation - and this is especially true in relation to programs and projects that are outside the health services. This article aims to analyze the relationship of an experience in Community Theater with the promotion of health. It is a qualitative, ethnographic study made at the Pombas Urbanas Institute, in the Cidade Tiradentes district of the municipality of São Paulo, and is coordinated by a theater group with a history that is relevant to the objective of the study. Participatory observation was carried out for one year, with semi-structured interviews with young people, and with actors of the Pombas Urbanas group, and analysis of documents. The theoretical framework that was used is made up of concepts from the fields of collective health, Community Theater, and liberation pedagogy. The results are presented in two interlinked sub-categories which have arisen from the empiric material and from the references adopted: (i) 'True friends', and (ii) 'Dialog'. The analysis clearly shows the importance of this type of theatrical joint experience for the promotion of health by transforming the quality of relationships between people. Concepts of health, culture and education were used in analysis of the results.
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Duşe, Carmen Sonia, et Dan Maniu Duse. « Brief consideration on the use of the theatre of oppressed in anti-bullying activities in schools ». MATEC Web of Conferences 343 (2021) : 11015. http://dx.doi.org/10.1051/matecconf/202134311015.
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The problem of bullying is of great importance in education, due to the severity of its consequences. The paper aims to present some ideas about how theatre, as an art form, can be used in the fight against bullying in education. In this context, the use of the theatre concept of the oppressed as a tool to combat bullying behaviours can be more successful, as the act of denouncing oppression through actions, mimicry and gestures, through the tones of voice, leads to the setting of benchmarks. between the participating students / children and the educational community. Starting from the idea presented by the Brazilian writer and activist Augusto Bool, in turn influenced by the Brazilian pedagogue Paulo Freire, we aim to stop the phenomenon of bullying by introducing different theatre sequences in which children get involved, identify, analyse and explore, so as the spectators ask them to do, and in the end, in this way, it transforms the reality in which they live.
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Friedman, Sharon. « Revisioning the Woman's Part : Paula Vogel's ‘Desdemona’ ». New Theatre Quarterly 15, no 2 (mai 1999) : 131–41. http://dx.doi.org/10.1017/s0266464x00012823.
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In Desdemona, Paula Vogel's revision of Shakespeare's Othello, we have a Desdemona who is Othello's worst nightmare, the transformation of lago's fiction into reality. Why has Paula Vogel created a Desdemona who, though ostensibly inside out, still appears to be Othello's projection? Sharon Friedman argues that although Paula Vogel's raucous Desdemona draws on many of the conventions of feminist revisioning, it marks an important shift in the feminist critical perspective in drama – as characterized by Lynda Hart, ‘from discovering and creating positive images of women … to analyzing and disrupting the ideological codes embedded in the inherited structures of dramatic representation’. In a deconstructive parody, Vogel dislodges the convention of the intimate scene between women in Shakespeare's theatre and expands it into an entire play. Decentering the tragic hero, she foregrounds and enacts the threat of female desire that incites the tragic action, and disrupts the familiar categories of virgin, whore, and faithful handmaiden by forging links with gender ideology and class status. The author, Sharon Friedman, is an Associate Professor in the Gallatin School of New York University, and the author of several articles on American women dramatists, including Susan Glaspell and Lorraine Hansberry.
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Cohen-Cruz, Jan. « Theatre and Empowerment : Community Drama on the World Stage. Edited by Richard Boon and Jane Plastow. Cambridge : University of Cambridge Press, 2004 ; pp. 280. $75 cloth. » Theatre Survey 46, no 2 (25 octobre 2005) : 353–55. http://dx.doi.org/10.1017/s0040557405410200.
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Theatre and Empowerment is a collection of essays about theatre projects worldwide that engage local people in addressing their own concerns. Editors Richard Boon and Jane Plastow explain how they selected the essays: All are written from the perspective of writers' experiences in the field; they embrace diverse communities, issues, and practices; and all are “profoundly subversive of established power,” including the authority of the artist-facilitators themselves, “in favor of more open-ended, democratic and meaningful learning processes” (3–4). Paulo Freire's spirit hovers over the collection, which emphasizes both reflection and action. The editors write that the processes described in the collection require “people to think and to analyze . . . [and] question the root causes of their problems and oppressions” (7).
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Salifu, Musa, et Yunusa Musa. « Theatre for development as a competent vehicle for the eradication of domestic violence against women ». Tropical Journal of Arts and Humanities 5, no 1 (2023) : 66–73. http://dx.doi.org/10.47524/tjah.v5i1.67.
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Apparently, domestic violence is one of the burning social issues of global concern. In many countries of the world, including Nigeria, reports and news of how several women have been abused by their intimate partners have occupied major parts of the mass media in recent times. Often, this ugly trend causes psychological and bodily harm, and even loss of life for the victims who are majorly women and children. In fact, the negative implications of domestic violence on the victims and society in general cannot be over emphasized. Hence, the need to fight against the menace is sacrosanct. However, a number of theatre scholars like Paulo Fiere, Augusto Baol, James Atu Alachi amongst others seem to agree that theatre for development is a viable instrument for social control, behavioural change and socio-political and economic development. This paper, therefore, explores the potency of theatre for development in the fight against the aforementioned social ills. The paper adopts descriptive survey instrument of the qualitative methodology to gather and analyse its data. Among other things, the result reveals that domestic violence has negative effects on its victims and the society in general. The result also shows that theatre for development is one of the veritable tools that can be used to eradicate domestic violence issues in the society. Thus, the paper concludes and suggests that theatre for development should be employed to address the prevailing issues of domestic violence in Nigeria for sustainable national development.
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Fitzpatrick, Lisa. « Breaking Silences : Women, Citizenship and Theatre In Northern Ireland ». ABEI Journal 25, no 2 (29 décembre 2023) : 87–100. http://dx.doi.org/10.11606/issn.2595-8127.v25i2p87-100.
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This essay seeks to weave together an analysis of women’s citizenship and its dependency on certain silences, and the exploration of this tension in two recent productions by Belfast- based Kabosh Theatre Company. Kabosh, and company Artistic Director Paula McFetridge, stage work that examines the realities of the region in the post-conflict era. In constructing the theoretical frame for the analysis, the concept of “silence” and “silencing” draws from Kristie Dotson (2015), and from work on violence such as Gayatri Spivak’s concept of “epistemic violence” and a wide range of sources on the performance of violence in theatre. Chantal Mouffe’s concept of agonistic democracy shapes the discussion of the Northern Irish state, and Wendy Brown and Joane Butler are the key scholars for the consideration of citizenship and nation.
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De Lima, Sonia Albano, Claudio Piccolo et Flavia Albano De Lima. « The Interdisciplinary reading of Opera contexts : an innovative way of teaching arts in educational projects and environments. » Journal on Innovation and Sustainability. RISUS ISSN 2179-3565 2, no 3 (19 octobre 2011) : 34. http://dx.doi.org/10.24212/2179-3565.2011v2i3p34-43.
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The Grupo de Ensino e Pesquisa em Interdisciplinaridade da Pontifícia Universidade Católica de São Paulo - GEPI-PUCSP [Group of Studies and Research in Interdisciplinarity of the Pontifical Catholic University of São Paulo] in the project PENSAR E FAZER ARTE [THINKING AND MAKING ART], among other purposes, aims at analyzing several works of art, in the format of conversation, under an inter-disciplinary perspective. This differentiated reading allows for the socio-cultural updating and re-signification of the work of art, providing education with artistic information linked to the other areas of knowledge, as well as with the possibility of endorsing a kind of cultural production where the subjectivity and the human emotions are present. In general lines, this communication intends to present the research work accomplished with the opera La Traviata, by Giuseppe Verdi. The discussions have integrated researchers who approached questions involving the opera, the novel and the theater play from which it was originated.
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Repertório, Teatro &. Dança. « MELODRAMA ATUAL : MEDIAÇÃO ENTRE TRADICIONAL E MASSIVO [Paulo Merisio] ». REPERTÓRIO, no 15 (7 juillet 2010) : 52. http://dx.doi.org/10.9771/r.v0i15.5212.
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<div>Este artigo resulta da investigação da potencialidade do melodrama – modalidade dramatúrgica emblemática do repertório circense-teatral – como instância mediadora entre a tradição popular e algumas manifestações associadas à indústria cultural e à cultura de massas. Seguindo as pistas de estudos como os de Martin-Barbero (1997), Huppes (2000) e Xavier (2003), pretende-se compreender um pouco mais movimentos recentes de inserção do melodrama em outros meios. Para tanto, é importante perceber em que veículos o melodrama se inseriu e de que forma se dá sua leitura.<br><br /></div><div><div>This paper is the result of an investigation of the potential of melodrama – the emblematic dramaturgical genre of the circus-theater repertoire – as a mediator between tradition and some popular events associated with the culture industry and mass culture. By following the clues from studies such as Martin-Barbero (1997), Huppes (2000) and Xavier (2003), it seeks to understand more recent efforts of insertion of melodrama in other media. In order to do so, it is important to realize how melodrama is interpreted and into what media it has permeated.</div></div>
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Steinberg, Shirley R. « On-the-Ground Literacies : Moderating with Media and Theatre to Embody Critical Pedagogy ». International Journal of Roma Studies 2, no 1 (15 mars 2020) : 28. http://dx.doi.org/10.17583/ijrs.2020.5161.
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My work is based on the work of Paulo Freire, and my current tasks come from the endeavors that Freire, Jesús Gomez, Joe Kincheloe and I did on Radical Love in the early part of the new century. Both Radical Love and Critical Pedagogy create my theoretical framework for critical activist pedagogy.
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Jayo, Martin, et Adriana Tavares Lima. « Toponymic commodification and the neoliberal city ». Domínios de Lingu@gem 15, no 2 (5 mars 2021) : 347–70. http://dx.doi.org/10.14393/dl46-v15n2a2021-4.
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After being practiced for nearly three decades in the city of São Paulo for privately-owned venues such as cinemas, theaters and, more recently, sports stadiums, the sale of naming rights is being applied to state-owned spaces: in April 2020, the Companhia do Metropolitano de São Paulo (Cia. do Metrô) announced a plan to grant to private exploitation the right to name its stations. This article analyzes this plan, its premises and expectations. It concludes that, while a series of conflicts related to the memory of the city and its spatial landmarks have been identified by recent studies on toponymic commodification and suggested by the city’s antecedents on this matter, such conflicts do not seem to be considered in the plan’s agenda.
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Rowen, Bess. « The Theatre of Paula Vogel : Practice, Pedagogy, and Influences by Lee Brewer Jones (review) ». Theatre Topics 34, no 1 (mars 2024) : 107–8. http://dx.doi.org/10.1353/tt.2024.a920486.
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Da Silva, Júlio Cláudio. « Relações Raciais e de Gênero nas Telas do Cinema Brasileiro nas Narrativas Sobre a Atuação de Léa Garcia em Orfeu do Carnaval (1950-1960) ». REVISTA PLURI 1, no 3 (13 août 2020) : 41. http://dx.doi.org/10.26843/rpv132020p41-52.
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O universo das artes cênicas pode ser um lócus privilegiado de observação da presença da variável raça e gênero na sociedade brasileira? A análise, em perspectiva histórica, da trajetória de uma atriz negra de teatro, cinema e televisão, pode iluminar a presença do racismo e do antirracismo na História do Brasil? Essas e outras perguntas podem ser respondidas quando visitamos a trajetória da atriz de teatro, cinema e televisão e ativista do movimento social negro, a partir das narrativas contidas nas entrevistas e periódicos, sobre os primeiros anos de atuação de Léa Lucas Garcia, na década de 1950. Léa Garcia atuou em sete montagens do Teatro Experimental do Negro dirigida por Abdias Nascimento, no Rio de Janeiro e em São Paulo, entre 1952 e 1957. O ano de 1956 marca o início do seu trabalho como atriz profissional no teatro, ao participar da montagem de Orfeu da Conceição, de Vinícius de Moraes. Orfeu do Carnaval (1957), dirigido por Marcel Camus, foi a sua estreia no cinema, graças a sua interpretação nesta obra, foi agraciada com o segundo lugar na premiação de melhor atriz no Festival de Cinema de Cannes.Palavras chave: Léa Garcia; Relações raciais; Orfeu do CarnavalAbstractCan the universe of performing arts be a privileged locus for observing the presence of the variable race and gender in Brazilian society? Can the analysis, in historical perspective, of the trajectory of a black actress in theater, cinema and television, illuminate the presence of racism and anti-racism in the History of Brazil? These and other questions can be answered when we visit the trajectory of the actress of theater, cinema and television and activist of the black social movement, from the narratives contained in the interviews and periodicals, about the first years of Léa Lucas Garcia’s performance, in the decade of 1950. Léa Garcia performed in seven plays at the Teatro Experimental do Negro directed by Abdias Nascimento, in Rio de Janeiro and São Paulo, between 1952 and 1957. The year 1956 marks the beginning of her work as a professional actress in the theater, by participating editing by Orfeu da Conceição, by Vinícius de Moraes. Orpheus of Carnival (1957), directed by Marcel Camus, was his debut in cinem;a, thanks to his interpretation in this work, he was awarded the second place in the award for best actress at the Cannes Film Festival.Keywords: Léa Garcia; Race relations; Orfeu do Carnaval
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Machado, Bernardo Fonseca. « SOCIAL EXPERIENCE AND US MUSICAL THEATRE ON SÃO PAULO’S STAGES ». Sociologia & ; Antropologia 10, no 3 (décembre 2020) : 957–80. http://dx.doi.org/10.1590/2238-38752020v1038.
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Abstract At the turn of the twenty-first century, Broadway musicals began to be produced in many countries outside the United States. In Brazil, particularly the city of São Paulo, new laws, business interests, and the fascination of some artists with US productions converged to enable the creation of a new system of musicals. In this article I examine the social elements I consider fundamental to understanding the proliferation of musicals in recent years. My description focuses especially on how some actors orchestrated multiple procedures and interests to organize a unique and fertile setting that changed the city’s theatrical production. In the process, I explore theatre as an expressive form that acts as a thermometer of social desires and practices.
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Hughes, Eamcnn. « ‘To Define Your Dissent’ : The Plays and Polemics of the Field Day Theatre Company ». Theatre Research International 15, no 1 (1990) : 67–77. http://dx.doi.org/10.1017/s0307883300009536.
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The Field Day Theatre Company was founded in 1980 by Stephen Rea, the actor, and Brian Friel, the playwright, at the former's suggestion. The combination of a playwright and an actor in the founding of a theatre in response to a crisis which is both cultural and political recalls the Irish National Theatre Society and the founders of Field Day were conscious that such parallels would be drawn. For both Friel and Rea, the only available models were the Irish Literary Theatre and the Ulster Literary Theatre. The differences between Field Day and other such ventures are however as instructive as the parallels. The Irish National Theatre Society and the Abbey were always Yeats's project; his plays, his theories on drama and speech, and his cultural politics were the informing elements in the development of the theatre. Field Day's founders, however, quickly took on four other fellow-directors – Seamus Deane, Seamus Heaney, David Hammond and Tom Paulin – for just as the Abbey had had Beltaine, Samhain, and The Arrow so Field Day has had its pamphlets and other non-theatrical projects, although in the case of Field Day, these are once again open to contributors from outside the company. The purpose of the pamphlets has been to re-examine the various pieties of Irish cultural life in this past century. In its short history Field Day has already attracted widespread attention, but the time seems right for a stock-taking since by the end of 1988 the company will have reached a plateau of sorts in its development. Since 1980 it has produced eight plays, twelve pamphlets, and one volume of poetry, not to mention the work its directors have produced outside the confines of the company; this work places Field Day at the centre of Irish cultural debate. 1988 saw the production of a new play by Friel, Making History – his first for Field Day since The Communication Cord (1982) – the publication of another set of pamphlets, which for the first time were by non-Irish critics – Terry Eagleton, Frederic Jameson, and Edward Said – and preparations for its anthology of Irish writing. The completion of these three projects should consolidate the company's position.
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dos Santos, Andreina Vieira. « How to perform Blackness : Creating possibilities through costume design ». Studies in Costume & ; Performance 6, no 2 (1 décembre 2021) : 155–70. http://dx.doi.org/10.1386/scp_00044_1.
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The creation of costumes for a Black body in performances that deal with Blackness always evokes the conflict in presenting complex facets of a socially stigmatized body, in face of a tool (costume) that usually works to categorize bodies onstage. In this article, I initially analyse how the Black body has been represented, for decades, on the stages of Brazilian theatre. I also try to understand how the theatre, in a structurally racist context, has become a place of resistance for the Brazilian Black Movement, as well as a political space to redefine what it means to be Black. Bringing in references from my own artistic research and practice as a costume designer in the performances Unrestricted Contact (Grupo Oito, 2017) and Black Memories on White Bones (Ricardo de Paula, 2019), I conduct this research that deals with the complexity of narrating Blackness through costumes that, together with the body, convey a process of deconstruction and decolonization within the performance.
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Vannucci, Alessandra. « The Italian mission : Stories of a generation of Italian film and theatre directors in Brazil (1946‐69) ». Journal of Italian Cinema & ; Media Studies 10, no 2 (1 mars 2022) : 187–202. http://dx.doi.org/10.1386/jicms_00121_1.
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The journey to Brazil undertaken by a generation of young Italian directors initiated a phase of artistic renewal in São Paulo during the 1950s. This article reveals the connections between the projects and theatre, television and cinema productions of some of the protagonists of that extraordinary adventure by tracing the power plays that marked the period. As they understood, it was a time when one would believe in the possibility of implementing a modern theatre supported by the state and an art cinema, expected to be adored by a public and which still had to be formed. These goals united a generation and motivated its migration to the other side of the Atlantic. It was a ‘mission’ based on the belief that the arts, especially the performing arts, should be tools for the democratic emancipation of the public and not just occasions for its entertainment. Their tasks, illusions, disappointments and legacies are inscribed in plays and films, which I illustrate in this article.
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Furquim Werneck Lima, Evelyn. « Old structures for contemporary theatrical productions : a warehouse, an arena and a thrust stage ». ARJ – Art Research Journal / Revista de Pesquisa em Artes 4, no 1 (13 août 2017) : 76–95. http://dx.doi.org/10.36025/arj.v4i1.10142.
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In this article we seek to understand the role of architecture in the theatrical process and the uses of old structures to house three contemporary productions: Zé Celso staged Os Sertões (The Hinterlands) in 2007 in a huge warehouse near the wharfs of Rio de Janeiro’s Docklands where he arranged the building as if it was his own Oficina Theatre in São Paulo; Miguel Vellinho staged Peer Gynt (2006) at the readapted SESC Copacabana Arena, and the Brazilian performance of Romeo and Juliet directed by Gabriel Villela was staged in 2000 at the reconstructed Globe Theatre not far from the real spot of the Shakespeare’s Globe. This version of the play combines circus acts, music, dance and Brazilian folk culture with the traditional story of the unlucky lovers. The perfect inner space of the playhouse and its architecture are discussed through the analysis of the many possibilities explored by Villela, who reinterpreted the spaces surprising the audience with a car on the stage.
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Vannucci, Alessandra. « A pátria no palco : mobilização política e construção de uma identidade nacional nos clubes recreativos italianos em São Paulo (1870-1920) / Motherland on Stage : Political Mobilization and Construction of a National Identity in Italian Philodramatic” Societies in São Paulo (1870-1920) ». O Eixo e a Roda : Revista de Literatura Brasileira 28, no 3 (3 septembre 2019) : 41. http://dx.doi.org/10.17851/2358-9787.28.3.41-64.
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Resumo: O ensaio analisa a atividade dos clubes recreativos italianos em São Paulo, a partir do final do século XIX, quando a cidade se transforma de vila colonial em metrópole industrial e sofre o impacto das grandes migrações. A fuga dos trabalhadores das plantações para a cidade, onde conseguem articular formas de resistência à exploração através do associacionismo voluntário (jornais, sindicatos e teatro) alimenta um clima de discriminação, culminando em perseguição racial. A emancipação política é conquistada através da arte, principalmente nos palcos. Nas peças deste repertório, os valores patrióticos e nacionalistas do Risorgimento, que haviam alimentado uma primeira fase da literatura emigrante, são paulatinamente substituídos pela utopia internacionalista da sociedade “sem pátria e sem patrões”.Palavras-chave: teatro italiano no Brasil; amadorismo teatral; emigração.Abstract: We analyze some of the Italian recreational clubs activities in São Paulo, from the end of the 19th century, when the city was transformed from a colonial village into an industrial metropolis and suffered the impact of the great migrations. Escaping from plantation to the city, workers manage to articulate forms of resistance to exploitation through voluntary associations (newspapers, trade unions and theatre) which fuels a discrimination atmosphere, culminating in racial persecution. Political emancipation has been pursued through art, especially on stage. The patriotic and nationalist values of the Italian Risorgimento that had fuelled a first phase of emigrant literature are gradually replaced by the internationalist “homeless and boss less” society utopia.Keywords: Italian theatre in Brazil; amateur actors; emigration.