Le théâtre traversé: a traversed theater
The author intends to account here for the multiplicity of forms and sites of contemporary theatrical creation through the notion of "théâtre traversé / traversed theater," based especially on three examples chosen for their diversity: BR-3, a site-specific work of the Teatro Vertigo; thea...
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oai:periodicos.ufrn.br:article-85042020-10-05T22:16:17Z Le théâtre traversé: a traversed theater O teatro atravessado Bident, Christophe Contemporary Theater Traversed Theater Site-Specific Video New Technologies Teatro contemporâneo Teatro atravessado site-specific Vídeo Novas tecnologias The author intends to account here for the multiplicity of forms and sites of contemporary theatrical creation through the notion of "théâtre traversé / traversed theater," based especially on three examples chosen for their diversity: BR-3, a site-specific work of the Teatro Vertigo; theatrical video performances of the Berlin Group, in particular Land's end; the literary, visual and technological creations of director Guy Cassiers. The understanding is that these pieces do not seek so much to produce representations with spectators but rather perspectives, referring to Viveiros de Castro's anthropological notion: Perceptual slips, conceptual disconnections, social disaffiliations, activating, for each spectator in his or her own way, the politics of "ignorant master" (Jacques Rancière), and thus promoting new modes of subjectivity.English version by Leslie Damasceno. O autor tenta dar conta aqui da multiplicidade de formas e de lugares da criação teatral contemporânea por meio da noção de “teatro atravessado”. Ele se apoia especialmente em três exemplos escolhidos por sua heterogeneidade: BR-3, trabalho site-specific do Teatro da Vertigem; as performances vídeo-teatrais do Grupo Berlin, em particular Land’s end; as criações literárias, visuais e tecnológicas do encenador Guy Cassiers. O entendimento é o de que esses espetáculos procuram produzir nos espectadores menos representações que perspectivas, para retomar a noção antropológica de Viveiros de Castro: deslizamentos perceptivos, desligamentos conceituais, desfiliações sociais, colocando em ação, cada um à sua maneira, a política do “mestre ignorante” à que se refere Jacques Racière. Eles promovem assim novos modos de subjetivação.Tradução do francês para o português de José da Costa (Universidade Federal do Estado do Rio de Janeiro – UNIRIO) ABRACE / ANDA / ANPAP / ANPPOM 2016-05-17 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf application/pdf https://periodicos.ufrn.br/artresearchjournal/article/view/8504 Art Research Journal: Revista de Pesquisa em Artes; Vol. 3 No. 1 (2016): Theatre in the expanded field; 50-64 ARJ – Art Research Journal: Revista de Pesquisa em Artes; v. 3 n. 1 (2016): Teatro em campo expandido; 50-64 2357-9978 10.36025/arj.v3i1 por eng https://periodicos.ufrn.br/artresearchjournal/article/view/8504/6807 https://periodicos.ufrn.br/artresearchjournal/article/view/8504/6820 Copyright (c) 2016 Christophe Bident |
| institution |
Periódicos UFRN |
| collection |
Portal de Pediódicos Eletrônicos da UFRN |
| language |
por eng |
| format |
Online |
| author |
Bident, Christophe |
| spellingShingle |
Bident, Christophe Le théâtre traversé: a traversed theater |
| author_facet |
Bident, Christophe |
| author_sort |
Bident, Christophe |
| title |
Le théâtre traversé: a traversed theater |
| title_short |
Le théâtre traversé: a traversed theater |
| title_full |
Le théâtre traversé: a traversed theater |
| title_fullStr |
Le théâtre traversé: a traversed theater |
| title_full_unstemmed |
Le théâtre traversé: a traversed theater |
| title_sort |
le théâtre traversé: a traversed theater |
| description |
The author intends to account here for the multiplicity of forms and sites of contemporary theatrical creation through the notion of "théâtre traversé / traversed theater," based especially on three examples chosen for their diversity: BR-3, a site-specific work of the Teatro Vertigo; theatrical video performances of the Berlin Group, in particular Land's end; the literary, visual and technological creations of director Guy Cassiers. The understanding is that these pieces do not seek so much to produce representations with spectators but rather perspectives, referring to Viveiros de Castro's anthropological notion: Perceptual slips, conceptual disconnections, social disaffiliations, activating, for each spectator in his or her own way, the politics of "ignorant master" (Jacques Rancière), and thus promoting new modes of subjectivity.English version by Leslie Damasceno. |
| publisher |
ABRACE / ANDA / ANPAP / ANPPOM |
| publishDate |
2016 |
| url |
https://periodicos.ufrn.br/artresearchjournal/article/view/8504 |
| work_keys_str_mv |
AT bidentchristophe letheatretraverseatraversedtheater AT bidentchristophe oteatroatravessado |
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