Cine Qua Non #3 (original) (raw)
Related papers
"Writing and Seeing" - Galeria do Palácio, 2003 (post-doc.FCT)
"Writing and Seeing", 2003
This exhibition seeks to advance towards a space of continuity. The authors presented are emblematic, are historical, and they contemplate some of the dimensions of plasticity inscribed into the perspective of Looks and Writings. They do not, however, represent an exhaustive survey of all the important names that stand out in the historiography of Portuguese art, which is why there is a pressing need for future events to complement this first showing. The history of Portuguese art in the 20th century may also be constructed by focusing upon the inter-relationship between the image and writing, a persistent and relevant trend that has involved authors of unquestionable talent, and has accompanied the general development of poetry and literature and the performing arts. At the beginning of that century, the most representative and high-profile case in Portugal (though achieving recognition only belatedly) was Amadeo de Souza-Cardoso, who made use of fragments of writing in his compositions, giving them a privileged place in keeping with the languages of synthetic cubism, futurism and Dadaism, which were at that time emerging (definitively). As was the case with other unquenchable artists, the very act of integrating external elements into his painting led to an expansion into new combinations, revealing an overlapping relatedness peopled by words from his private hoard, chosen for their creative and provocative seductiveness.
The stage or the word, the word of the word, the word of the stage some intonations and dynamics between dramaturgies and brasilian theatrical historiographies (1962-2017), 2023
O presente estudo tem como propósito observar alguns deslocamentos que a historiografia teatral brasileira sobre o século XIX vivenciou, por meio de usos e articulações que fizeram do elemento dramatúrgico. Se, no século XIX, a presença do encenador/diretor emerge como possibilidade de desvinculação entre o fazer cênico e o texto, isto é, texto e espetáculo se distinguem, o que em certa medida resultou em maior autonomia dos elementos da cena, como na história do teatro no Brasil observamos esse cruzamento entre teatro, dramaturgia e historiografia? Este artigo busca entender como alguns usos e articulações atribuídos à dramaturgia no interior da história do teatro podem indiciar sobre continuidades e rupturas do campo, bem como a superação da dicotomia texto/cena nas análises sobre manifestações teatrais oitocentistas. The present study aims to observe some displacements that the Brazilian theatrical historiography about the nineteenth century experienced, through uses and articulations that made the dramaturgical element. If, in the nineteenth century, the presence of the director/director emerges as a possibility of untying between the scenic and the text, that is, text and spectacle are distinguished, which to some extent resulted in greater autonomy of the elements of the scene, how in the history of theater in Brazil we observe this cross between theater, dramaturgy and historiography? This article seeks to understand how some uses and articulations attributed to dramaturgy within the history of theater can indicate about continuities and ruptures of the field, as well as the overcoming of the text/scene dichotomy in the analysis of nineteenth-century theatrical manifestations.