Theatre of the Real Research Papers (original) (raw)

This thesis aims to investigate the aesthetic and critic potentialities related to the presence of the actors of everyday life in the context of contemporary performing arts, addressing creations produced in Brazil and Europe at the beginning of 21st century. The term includes people who do not necessarily have artistic training and are invited to take part in current creations from a self- referential perspective. We start from the hypothesis that the incorporation of actors of everyday life collaborate to change the “regime of visibility” (RANCIÈRE, 2009) of bodies and subjectivities in the context of performing arts, by broadening the possibilities about who acts in theatre and dance. From the dialogue with the concepts of theatres of the real (SAISON, 1998; FERNANDES, 2010; MARTIN, 2013), expanded theatricality (DIÉGUEZ, 2014; SÁNCHEZ, 2015), and audience theatricality (CORNAGO, 2015), this research focuses on the analysis of the trajectory and of specific works of artists from the contemporary scene who stand out by their work with actors of everyday life, such as French director Jérôme Bel, the Brazilian Cia. Hiato, the Swiss-German collective Rimini Protokoll, and Catalan director Roger Bernat. From this analysis, we outline some some potentialities linked to their works, focusing on the subversion of traditional theatrical codes of representation, the intensification of experience sharing with the spectator, the approach of the performing arts with the fields of reality and everyday life, the questioning of issues relating to otherness, the irruption of a theatricality of the collective, the projection of mirrors with the audience and its participation in the work, and, finally, the dialogue with the context in which the spectacle takes place. That kind of participation reflects a specific way with which theatre and dance have been working their language expansion. And it shows how the presence of everyday actors collaborates to transform the “ways of doing” and the “ways of thinking” (RANCIÈRE, 2009) of the contemporary performing arts.