Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage

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 th...

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Autor principal: Furquim Werneck Lima, Evelyn
Formato: Online
Idioma:por
eng
Publicado em: ABRACE / ANDA / ANPAP / ANPPOM
Endereço do item:https://periodicos.ufrn.br/artresearchjournal/article/view/10142
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spelling oai:periodicos.ufrn.br:article-101422021-09-19T23:46:20Z Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage Antigas estruturas para montagens teatrais contemporâneas Furquim Werneck Lima, Evelyn Old structures Theatrical spaces Playhouses New Theatrical Arrangements Contemporary Productions. Antigas estruturas. Espaços teatrais. Teatros. Novos espaços adaptados. Montagens contemporâneas. 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.  Este artigo busca investigar o papel da arquitetura no processo teatral e o uso de antigas estruturas para abrigar espetáculos contemporâneos de diretores brasileiros. Recentemente, o diretor José Celso Martinez Corrêa readaptou em diferentes lugares onde encenou Os Sertões, espaços similares ao seu Teatro Oficina em São Paulo. Outra possibilidade de novos arranjos para a arquitetura teatral é o teatro de arena, como por exemplo o Teatro SESC de Copacabana, no qual Miguel Vellinho dirigiu Peer Gynt com um cenário perfeito adaptado ao palco e criando uma interação ideal entre os atores e o público. Mas esses usos alternativos das arquiteturas existentes não são a única maneira de "encontrar o espaço", e demonstro como uma estrutura arquitetônica bem antiga pode propiciar espaços perfeitamente adequados para exibir drama nos tempos atuais como o Globe Theatre reconstruído não muito longe do local real do Shakespeare’s Globe, no qual Gabriel Villela encenou Romeu e Julieta em 2000.  ABRACE / ANDA / ANPAP / ANPPOM 2017-08-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed article Avaliado pelos pares application/pdf application/pdf application/vnd.openxmlformats-officedocument.wordprocessingml.document https://periodicos.ufrn.br/artresearchjournal/article/view/10142 Art Research Journal: Revista de Pesquisa em Artes; Vol. 4 No. 1 (2017): Multidisciplinary Perspectives in the Field of Art | Articles; 76-95 ARJ – Art Research Journal: Revista de Pesquisa em Artes; v. 4 n. 1 (2017): Perspectivas Multidisciplinares no Campo da Arte | Artigos; 76-95 2357-9978 10.36025/arj.v4i1 por eng https://periodicos.ufrn.br/artresearchjournal/article/view/10142/8711 https://periodicos.ufrn.br/artresearchjournal/article/view/10142/8771 https://periodicos.ufrn.br/artresearchjournal/article/view/10142/10471 Copyright (c) 2017 Evelyn FURQUIM WERNECK LIMA
institution Periódicos UFRN
collection Portal de Pediódicos Eletrônicos da UFRN
language por
eng
format Online
author Furquim Werneck Lima, Evelyn
spellingShingle Furquim Werneck Lima, Evelyn
Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage
author_facet Furquim Werneck Lima, Evelyn
author_sort Furquim Werneck Lima, Evelyn
title Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage
title_short Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage
title_full Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage
title_fullStr Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage
title_full_unstemmed Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage
title_sort old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage
description 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. 
publisher ABRACE / ANDA / ANPAP / ANPPOM
publishDate 2017
url https://periodicos.ufrn.br/artresearchjournal/article/view/10142
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