cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.6084/m9.figshare.7516298.v1
title: Truth on Stage, Truth in Life: Boal and Stanislavski

description: Abstract: In light of the concept of scenic truth, this paper discusses the influences of the Stanislavski method in the early experiments of the Arena Theatre of São Paulo, and also shows traces of the Russian master's principles in the Poetics of the Oppressed of Augusto Boal. The primary objective of the article is to encourage the construction of Forum Theatre, which uses physical rigor and Stanislavski's psychological breakdown as points of departure. This work can be developed as the actor's internal logic during the phase that precedes the creative process, before the intervention of audiences, and within professional staging of Forum Theatre with more long lasting results.
DOI: 10.6084/m9.figshare.7508963
title: Composition/Teaching/Learning Processes in Dance

description: Abstract: This article is about contemporary dance solo productions which have been called choreographic installations. It is focused on the relations between humans and non-humans in performance and presents an approach of teaching/learning in dance. It departs from the idea that the choreographic installation responds to a search for experience, which is operated by means of relations to non-humans when these become coauthors of bodies, dance and performance. The solo notion is thus called into question, as we are never alone in it, but rather with, which leads us to emphasize dance composition and learning as a collective experimentation.
DOI: 10.6084/m9.figshare.7508963.v1
title: Composition/Teaching/Learning Processes in Dance

description: Abstract: This article is about contemporary dance solo productions which have been called choreographic installations. It is focused on the relations between humans and non-humans in performance and presents an approach of teaching/learning in dance. It departs from the idea that the choreographic installation responds to a search for experience, which is operated by means of relations to non-humans when these become coauthors of bodies, dance and performance. The solo notion is thus called into question, as we are never alone in it, but rather with, which leads us to emphasize dance composition and learning as a collective experimentation.
DOI: 10.6084/m9.figshare.7511339
title: The Body, the Moving Image and the Puppet: the contemporary scene arising from [in]animated forms

description: Abstract: This article seeks to find possible forms of scenic creations originating from the crossing of technologies considered antagonistic, as is the case of the body on stage, the puppet and the projection mapping. The investigation intends to question historical scenic hierarchies, in such way as to allow the fusion between the three elements above referred through the perspective in which subtracting any of them from the theatrical doing is considered impossible. Such investigation will be developed through the analysis of R.O.O.M (Re-organization Of Material), a piece by the German company Meinhardt Krauss Feigl (Cinematographic Theatre).
DOI: 10.6084/m9.figshare.7511339.v1
title: The Body, the Moving Image and the Puppet: the contemporary scene arising from [in]animated forms

description: Abstract: This article seeks to find possible forms of scenic creations originating from the crossing of technologies considered antagonistic, as is the case of the body on stage, the puppet and the projection mapping. The investigation intends to question historical scenic hierarchies, in such way as to allow the fusion between the three elements above referred through the perspective in which subtracting any of them from the theatrical doing is considered impossible. Such investigation will be developed through the analysis of R.O.O.M (Re-organization Of Material), a piece by the German company Meinhardt Krauss Feigl (Cinematographic Theatre).
DOI: 10.6084/m9.figshare.7511792
title: Throwing in Technical Objects on Contemporary Stages

description: Abstract: This paper deals with the use by the actor of the technical object, asking the following question: does the way it is handled by the actor initiate new playing practices? First, the technical object is defined from a general point of view. Then its statute is characterized in reference to the theatrical context: in what way can it be differentiated from any other object on stage? Playing instrument for the actor, it induces particular playing skills: it is illustrated by the stage work of the Wooster Group. The technical object thus appears as an instrumental extension of the actor's playing body: the paper then turns to some similar artistic experiences.
DOI: 10.6084/m9.figshare.7511792.v1
title: Throwing in Technical Objects on Contemporary Stages

description: Abstract: This paper deals with the use by the actor of the technical object, asking the following question: does the way it is handled by the actor initiate new playing practices? First, the technical object is defined from a general point of view. Then its statute is characterized in reference to the theatrical context: in what way can it be differentiated from any other object on stage? Playing instrument for the actor, it induces particular playing skills: it is illustrated by the stage work of the Wooster Group. The technical object thus appears as an instrumental extension of the actor's playing body: the paper then turns to some similar artistic experiences.
DOI: 10.6084/m9.figshare.7508759
title: Theatricality, between Theories and Practices: a glance at Théâtre du Soleil's approach

description: Abstract: The present article approaches the contemporary problematics around the notion of theatricality; its various definitions, criticisms and approaches concerning performing arts in the West, according to theorists and artists since the beginning of the 20th century. Supported by a historical approach of theatricality, this article revisits its relation to the notions of performance and performativity, providing material to analyze the emergence of theatricality in the creation of Macbeth (2014) at the Théâtre du Soleil.
DOI: 10.6084/m9.figshare.7508759.v1
title: Theatricality, between Theories and Practices: a glance at Théâtre du Soleil's approach

description: Abstract: The present article approaches the contemporary problematics around the notion of theatricality; its various definitions, criticisms and approaches concerning performing arts in the West, according to theorists and artists since the beginning of the 20th century. Supported by a historical approach of theatricality, this article revisits its relation to the notions of performance and performativity, providing material to analyze the emergence of theatricality in the creation of Macbeth (2014) at the Théâtre du Soleil.
DOI: 10.6084/m9.figshare.7517915
title: Motim: laughter's 'relational thinking' as contagion in a process dramaturgy

description: Abstract: This paper discusses the creative process of the street performance Motim (Mutiny) (2015) from the perspective of laughter as a bio-potent performative action. We discuss how the relational thinking emerged within the framework of a process dramaturgy (Kerkhove, 1997), conceptualizing creative thinking as a network (Salles, 2006). The collaborative creative process of Motim started with three ways of approaching the act of laughing: physicality, memory and contagion. By focusing on contagion, we will discuss how relational thinking was installed in the creative process of Motim and was powered by the investigative aspect of laughter as contagion.
DOI: 10.6084/m9.figshare.7517915.v1
title: Motim: laughter's 'relational thinking' as contagion in a process dramaturgy

description: Abstract: This paper discusses the creative process of the street performance Motim (Mutiny) (2015) from the perspective of laughter as a bio-potent performative action. We discuss how the relational thinking emerged within the framework of a process dramaturgy (Kerkhove, 1997), conceptualizing creative thinking as a network (Salles, 2006). The collaborative creative process of Motim started with three ways of approaching the act of laughing: physicality, memory and contagion. By focusing on contagion, we will discuss how relational thinking was installed in the creative process of Motim and was powered by the investigative aspect of laughter as contagion.
DOI: 10.6084/m9.figshare.7510967
title: Black Performance and Body Dramaturgy in the Batuque

description: Abstract: The expansion of what can be considered as a scene, show or performance is a major contribution of Ethnoscenology and Performance Studies to the field of the Performing Arts, breaking borders that are based on the colonialism of knowledge, which radically separated art from grassroots culture, putting creation and tradition in different poles. This shift of paradigm opens the possibility of thinking the body dramaturgy of the African-Brazilian rituals as a construct of the relationship between body and ancestry. It is in this perspective that this paper presents a discussion on the black performance of batuque, more specifically the Suça, from Natividade (TO/Brazil).
DOI: 10.6084/m9.figshare.7510967.v1
title: Black Performance and Body Dramaturgy in the Batuque

description: Abstract: The expansion of what can be considered as a scene, show or performance is a major contribution of Ethnoscenology and Performance Studies to the field of the Performing Arts, breaking borders that are based on the colonialism of knowledge, which radically separated art from grassroots culture, putting creation and tradition in different poles. This shift of paradigm opens the possibility of thinking the body dramaturgy of the African-Brazilian rituals as a construct of the relationship between body and ancestry. It is in this perspective that this paper presents a discussion on the black performance of batuque, more specifically the Suça, from Natividade (TO/Brazil).
DOI: 10.6084/m9.figshare.7517906
title: Body-Crossroads as Performing Experience in the Congado Ritual

description: Abstract: This article discusses the congado ritual as a performing experience based on the notions of body-crossroads. First, it studies the congado universe and its symbolic complexity, perceiving it as a crossroad culture. The congado ritual is the nodal point of this manifestation. The relation between the body and the performance characterizes the ritual. This work is based on theoretical studies and field research carried out with the Catopês of the city of Bocaiúva, in the state of Minas Gerais, Brazil, and aims to be a reference for studies on Brazilian culture, especially on Afro-Brazilian cultural manifestations.
DOI: 10.6084/m9.figshare.7517906.v1
title: Body-Crossroads as Performing Experience in the Congado Ritual

description: Abstract: This article discusses the congado ritual as a performing experience based on the notions of body-crossroads. First, it studies the congado universe and its symbolic complexity, perceiving it as a crossroad culture. The congado ritual is the nodal point of this manifestation. The relation between the body and the performance characterizes the ritual. This work is based on theoretical studies and field research carried out with the Catopês of the city of Bocaiúva, in the state of Minas Gerais, Brazil, and aims to be a reference for studies on Brazilian culture, especially on Afro-Brazilian cultural manifestations.
DOI: 10.6084/m9.figshare.7508201
title: The First Britsh Accounts on Bali: race and civilisation

description: Abstract: This article deals with the first papers of two British historian-administrators on the Malay archipelago: Thomas Stanford Raffles and John Crawfurd. The interest of this article is to present the beginnings of the British ethnological accounts on the “races” of the world, through some works of these two authors, in particular the second one. As John Crawfurd also spread his thoughts on the races to other contexts than that of the Malay archipelago, his writings give us an overview of the geographical scale of the racist theories of the XIXth century. To analyze these accounts, frequently left aside in Brazilian academic circle, is important to broaden the discussion about the notion of human races in different times and contexts.
DOI: 10.6084/m9.figshare.7508201.v1
title: The First Britsh Accounts on Bali: race and civilisation

description: Abstract: This article deals with the first papers of two British historian-administrators on the Malay archipelago: Thomas Stanford Raffles and John Crawfurd. The interest of this article is to present the beginnings of the British ethnological accounts on the “races” of the world, through some works of these two authors, in particular the second one. As John Crawfurd also spread his thoughts on the races to other contexts than that of the Malay archipelago, his writings give us an overview of the geographical scale of the racist theories of the XIXth century. To analyze these accounts, frequently left aside in Brazilian academic circle, is important to broaden the discussion about the notion of human races in different times and contexts.
DOI: 10.6084/m9.figshare.7518095
title: Splinters of the Filmic Sentence: the intermedial dramaturgy of Peter Handke

description: Abstract: This article presents an analysis of the first phase in Peter Handke’s work. It focuses on a theoretical concept developed by Handke to highlight his filmic sentence. Upon analysis of several of his works, it appears that this aesthetic sensibility pervaded his theater, his novels, his debut as a filmmaker and the scripts he wrote in collaboration with Wim Wenders. As an interpretative summary of his work, the paper defends the existence of a link between the practice of ekphrasis and the emergence of an intermedial dramaturgy, in which the writing gesture needs to reinvent itself between languages borders, media, new technologies and materialities.
DOI: 10.6084/m9.figshare.7518095.v1
title: Splinters of the Filmic Sentence: the intermedial dramaturgy of Peter Handke

description: Abstract: This article presents an analysis of the first phase in Peter Handke’s work. It focuses on a theoretical concept developed by Handke to highlight his filmic sentence. Upon analysis of several of his works, it appears that this aesthetic sensibility pervaded his theater, his novels, his debut as a filmmaker and the scripts he wrote in collaboration with Wim Wenders. As an interpretative summary of his work, the paper defends the existence of a link between the practice of ekphrasis and the emergence of an intermedial dramaturgy, in which the writing gesture needs to reinvent itself between languages borders, media, new technologies and materialities.
DOI: 10.6084/m9.figshare.7512938
title: Wearable Flow: investigation of materiality in the production of contemporary body/artist

description: Abstract: This study deals with the body in relation to the costume within the context of the contemporary performing arts. We aim to analyze how the body relates directly to the elements that are part of it. We examine the specificity of the body in the creative process, which components are organized in a procedural and concomitant way. We problematize the costume in its action as co-author in the process. The practice called Wearable Flow is presented, focused on the exploration of the materiality based on the relationship between body, movement, and what is worn in the performing production and development of the artist.
DOI: 10.6084/m9.figshare.7512938.v1
title: Wearable Flow: investigation of materiality in the production of contemporary body/artist

description: Abstract: This study deals with the body in relation to the costume within the context of the contemporary performing arts. We aim to analyze how the body relates directly to the elements that are part of it. We examine the specificity of the body in the creative process, which components are organized in a procedural and concomitant way. We problematize the costume in its action as co-author in the process. The practice called Wearable Flow is presented, focused on the exploration of the materiality based on the relationship between body, movement, and what is worn in the performing production and development of the artist.
DOI: 10.6084/m9.figshare.7519034
title: Presence and Micro-politics of the Sensible: Ouverture Alcina, an example of Postdramatic Composition

description: Abstract: Presence is a widely investigated topic in the Performing Arts. This paper provides an indicative review of the most recent theories, and proposes an approach to presence relying on the epistemologies of the somatic and gestural practices, as well as on the notion of affect (Massumi, 1995; 2015). Subsequently, it focuses on Ouverture Alcina, a solo by the Italian company Teatro delle Albe. Here, presence is the result of a physical, performative and compositional practice, a dispositive affecting the perceptive experience of the viewer as a form of political agency.
DOI: 10.6084/m9.figshare.7519034.v1
title: Presence and Micro-politics of the Sensible: Ouverture Alcina, an example of Postdramatic Composition

description: Abstract: Presence is a widely investigated topic in the Performing Arts. This paper provides an indicative review of the most recent theories, and proposes an approach to presence relying on the epistemologies of the somatic and gestural practices, as well as on the notion of affect (Massumi, 1995; 2015). Subsequently, it focuses on Ouverture Alcina, a solo by the Italian company Teatro delle Albe. Here, presence is the result of a physical, performative and compositional practice, a dispositive affecting the perceptive experience of the viewer as a form of political agency.
DOI: 10.6084/m9.figshare.7519295
title: Diluted Presence in Rouge Mékong: a proposition for the intermedial scene

description: Abstract: In this paper it is described the presence mediated by imaging devices. It is focused on the contemporary intermedial scene, emerging as the highlighted study Rouge Mékong, an immersive spectacle developed by Collectif Lebovitz, a Canadian interdisciplinary collective of artists. This experience will guide us as a systematization of the presence effect concept, developed by Josette Féral, and investigated here as a constituent of the dramaturgy of this spectacle. It is also investigated the presentation of discussions focused on the presence of the actor mediated by virtual image technology and the expectations of perception on the audience raised by Auslander (2008), Féral (2012) and Lehmann (2007) when in relation to the intermedial scene.
DOI: 10.6084/m9.figshare.7519295.v1
title: Diluted Presence in Rouge Mékong: a proposition for the intermedial scene

description: Abstract: In this paper it is described the presence mediated by imaging devices. It is focused on the contemporary intermedial scene, emerging as the highlighted study Rouge Mékong, an immersive spectacle developed by Collectif Lebovitz, a Canadian interdisciplinary collective of artists. This experience will guide us as a systematization of the presence effect concept, developed by Josette Féral, and investigated here as a constituent of the dramaturgy of this spectacle. It is also investigated the presentation of discussions focused on the presence of the actor mediated by virtual image technology and the expectations of perception on the audience raised by Auslander (2008), Féral (2012) and Lehmann (2007) when in relation to the intermedial scene.
DOI: 10.6084/m9.figshare.7516535
title: Effects of Presence: what methods for film-theater?

description: Abstract: This essay assesses the diverse methods adopted by directors who film stage plays in order to produce an effect of presence. Mise-en-scène, the ontology of the filmic image, the many interpretations of presence occurrences, connections between the stage and the screen publics, are some of the elements examined. The analysis closes with a plea in favor of film-theater.
DOI: 10.6084/m9.figshare.7516535.v1
title: Effects of Presence: what methods for film-theater?

description: Abstract: This essay assesses the diverse methods adopted by directors who film stage plays in order to produce an effect of presence. Mise-en-scène, the ontology of the filmic image, the many interpretations of presence occurrences, connections between the stage and the screen publics, are some of the elements examined. The analysis closes with a plea in favor of film-theater.
DOI: 10.6084/m9.figshare.5772540
title: Fossil Time: oil, art and the body in the cosmopolitics of the Anthropocene

description: Abstract: An artistic and theoretical investigation on fossil fuels, industrial agencies in nature and their reflections on social structures and power systems. With the goal of inspecting the operation of the arts in the cosmopolitical battles of the present - especially in the new geological epoch called Anthropocene - the article analyses performance and sculpture as practices that could materialize crossings of temporalities and dimensions, reflecting on the encounter between the scales of the human and the planet. Bruno Latour’s Actor-network theory is a departing point for conceptual speculations, developed with the freedom and experimentation that moves artistic research.
DOI: 10.6084/m9.figshare.5772540.v1
title: Fossil Time: oil, art and the body in the cosmopolitics of the Anthropocene

description: Abstract: An artistic and theoretical investigation on fossil fuels, industrial agencies in nature and their reflections on social structures and power systems. With the goal of inspecting the operation of the arts in the cosmopolitical battles of the present - especially in the new geological epoch called Anthropocene - the article analyses performance and sculpture as practices that could materialize crossings of temporalities and dimensions, reflecting on the encounter between the scales of the human and the planet. Bruno Latour’s Actor-network theory is a departing point for conceptual speculations, developed with the freedom and experimentation that moves artistic research.
DOI: 10.6084/m9.figshare.6125027
title: Disputes for the Representation of the Indigenous Body on Twitter

description: Abstract: The paper aims to analyze the representations of the indigenous body produced during the 14th edition of the Acampamento Terra Livre [Free Land Occupation], which happened between April 24th and 28th, 2017, and that were disseminated and debated by means of images and threads in the social network Twitter from then on. The analyses are situated within the Cultural Studies field and the results point, on one hand, to a representation that considers the generic identity of the indigenous as a strategy to confer visibility to their social and political demands and, on the other, for disputes and clashes around these same representations.
DOI: 10.6084/m9.figshare.6125027.v1
title: Disputes for the Representation of the Indigenous Body on Twitter

description: Abstract: The paper aims to analyze the representations of the indigenous body produced during the 14th edition of the Acampamento Terra Livre [Free Land Occupation], which happened between April 24th and 28th, 2017, and that were disseminated and debated by means of images and threads in the social network Twitter from then on. The analyses are situated within the Cultural Studies field and the results point, on one hand, to a representation that considers the generic identity of the indigenous as a strategy to confer visibility to their social and political demands and, on the other, for disputes and clashes around these same representations.