Teatro e intermidialidade: um estudo do espetáculo “Quando eu morrer vou contar tudo a Deus”
Carregando...
Tipo
Artigo
Classficação
Nível teórico
Data
2021
Autores
Título do Períodico
Travessias
ISSN
1982-5935
Página(s)/e-location
84-92
Idioma(s)
pt
Fonte
Fonte
Cascavel, PR
15
2
maio/ago.
15
2
maio/ago.
Coleções
Resumo
O Teatro ocidental nasce por meio da intermidialidade. Partindo das estruturas literárias para se desenvolver enquanto linguagem, por muitos séculos o teatro é entendido como enunciador do texto dramático. Ademais, em sua evolução, o teatro irá abraçar, desde cedo, outras linguagens artísticas. No entanto, todas essas possibilidades de entrelaçamentos serão articuladas intencionalmente e irão explodir nas experimentações do teatro contemporâneo, diminuindo os limites e criando problemáticas e novas conceituações sobre campos da arte até então inexplorados. Assim, analisaremos a proposta de construção do espetáculo ‘Quando eu morrer vou contar tudo a Deus’ (2019), do coletivo ‘O Bonde’, que costura o trabalho dos atores com música, contação de histórias, dança e propõe uma visualidade singular por meio de vários elementos cenográficos. Além disso, a dramaturgia do espetáculo é concebida a partir de notícias de jornal e histórias reais, que tencionam a relação entre o real e o ficcional, trazendo novos dimensionamentos ao espectador. Sendo assim, o espetáculo propõe uma narrativa híbrida, que se atualiza por meio da interação entre estas diversas mídias e suportes no diálogo com os espectadores no tempo efêmero da cena teatral. Nosso objetivo é, portanto, investigar questões acerca do espetáculo e respectivas subjetividades na delimitação de um viés intermidiático para a construção da cena. Para delimitação do escopo de análise são utilizadas como base teórica as conceituações de Patrice Pavis, Chiel Kattenbelt e Silvia Fernandes.
Occidental theater is born through intermediality. Starting from literary structures to develop itself as a language, for many centuries the theater has been understood as an enunciator of the dramatic text. Furthermore, in its evolution, theater will embrace, from an early age, other artistic languages. However, all these possibilities of entanglement will be intentionally articulated and will expand in the experiments of contemporary theater, reducing the limits and creating problematic and new concepts about art fields, unexplored until then. That being said, we will analyze the construction proposal of the spectacle 'When I die, I'll tell God everything' (2019), by the collective 'O Bonde', which links the work of the actors with music, storytelling, dance and proposes a unique visuality through several scenic elements. In addition, the dramaturgy of the spectacle is conceived from newspaper news and real stories, which tenses the relationship between the real and the fictional, bringing new dimensions to the spectator. Therefore, the spectacle proposes a hybrid narrative, which is updated through the interaction between these different media and supports in the dialogue with spectators in the ephemeral time of the theatrical scene. Our objective is, therefore, to investigate questions about the spectacle and respective subjectivities in the delimitation of an intermediate bias for the construction of the scene. To delimit the scope of analysis, the concepts of Patrice Pavis, Chiel Kattenbelt and Silvia Fernandes are used as a theoretical basis.
Occidental theater is born through intermediality. Starting from literary structures to develop itself as a language, for many centuries the theater has been understood as an enunciator of the dramatic text. Furthermore, in its evolution, theater will embrace, from an early age, other artistic languages. However, all these possibilities of entanglement will be intentionally articulated and will expand in the experiments of contemporary theater, reducing the limits and creating problematic and new concepts about art fields, unexplored until then. That being said, we will analyze the construction proposal of the spectacle 'When I die, I'll tell God everything' (2019), by the collective 'O Bonde', which links the work of the actors with music, storytelling, dance and proposes a unique visuality through several scenic elements. In addition, the dramaturgy of the spectacle is conceived from newspaper news and real stories, which tenses the relationship between the real and the fictional, bringing new dimensions to the spectator. Therefore, the spectacle proposes a hybrid narrative, which is updated through the interaction between these different media and supports in the dialogue with spectators in the ephemeral time of the theatrical scene. Our objective is, therefore, to investigate questions about the spectacle and respective subjectivities in the delimitation of an intermediate bias for the construction of the scene. To delimit the scope of analysis, the concepts of Patrice Pavis, Chiel Kattenbelt and Silvia Fernandes are used as a theoretical basis.
Descrição
Palavras-chave
Intermidialidade, Teatro Contemporâneo, Teatros do real, Intermediality, Contemporary Theater, Theaters of the real
Citação
BALDO, Lysiane Cassia. Teatro e intermidialidade: um estudo do espetáculo “Quando eu morrer vou contar tudo a Deus”. Travessias, Cascavel, PR, v. 15, n. 2, p. 84-92, maio/ago. 2021. https://doi.org/10.48075/rt.v15i2.27735. Disponível em: https://e-revista.unioeste.br/index.php/travessias/article/view/27735. Acesso em: 2022-02-21