This essay, following Chantal Bilodeau’s call for new dramatic theories, investigates the patterns with which we are thinking about the world when (re)presenting it on the stage. If the Aristotelian ...form can be interpreted as hierarchical, conflict-led and expressing patriarchal values, what are those heterarchical dramaturgies in contemporary theatre that promote a more equal worldview? Looking at recent examples of drama, performance and contemporary dance, this paper draws up a parallel universe of new dramaturgies (including complex systems theory, game theory and musical dramaturgy) that are open, playful, dynamic, not binary, non-linear and promote a more complex worldview. It examines the emerging theory behind them and discerns what value and overall meaning arise from using these dramaturgies in theatrical composition.
ABSTRACT – The Conflict Element in Modern and Contemporary Dramaturgy: tool of analysis and creation – This article focuses on conflict as a dramaturgical element, with the objective of firstly ...performing a bibliographic review on this specific theme, besides showing its presence and relevance not only in more traditional dramatic works but also in dramaturgies of greater rupture from the dramatic canon in which epicization and/or lyricism stand out. It also proposes to consider conflict as a tool for analysis and creation based on the system of division into drives (intersubjective, extrasubjective and intrasubjective) and axes (intrafictional and extrafictional) that interchange.
Taking the recent relational turn in the discussion on care as a point of departure this contribution aims to ask: What are ways of a critical artistic practice that take care seriously as a ...challenge to the theatre apparatus, its aesthetic, its dramaturgy and to the way it thinks-with bodies, objects, materiality and more-than-human ways of existence? In which ways can performance find other modes of representation for that which matters within the theatrical frame but that usually exceeds its paradigm of visibility? By focusing on the performance Living Matters (2019) by German artist Eva Meyer-Keller, the article explores relational ways of thinking-with in the apparatus of theatre while interrogating its scopic regime for its exclusions and blind spots. In the performance, where grapes mutate into fluorescent deep-sea monsters under the eye of the microscope and where tampons perform cell division, scientific processes are interrogated rigorously as to their normative structures and presuppositions – but in such a way that consistently takes into account the theatrical peepshow apparatus in which the work unfolds. The article argues for a dramaturgy of response-ability which problematizes the purportedly ‘neutral’ frame of the black box, its objectifying gaze and the way it constructs objects and viewing subjects. Relationality is thereby understood not as a mere thought experiment, but as a theatrical practice of response-ability towards, with and by (more-than-human) accomplices.
Este artigo se debruça sobre o conflito como elemento dramatúrgico, com o objetivo de realizar primeiramente uma revisão bibliográfica sobre esse tema específico, além de mostrar sua presença e ...relevância não somente em obras dramáticas mais tradicionais como também em dramaturgias de maior ruptura com o cânone dramático nas quais se destacam a epicização e/ou o lirismo. Propõe-se também pensar o conflito como ferramenta de análise e de criação a partir do sistema de divisão em pulsões (intersubjetivo, intrassubjetivo e extrassubjetivo) e em eixos (intraficcional e extraficcional) que se intercambiam.
Tripney discusses the challenges and paradoxes of exploring utopian themes on stage. While numerous fictional Utopias exist in literature, film, television, and comic books, there aren't that many ...notable theatrical Utopias. On the whole dramatists don't go in for utopias. Dystopias, yes. It turns out it's impossible to have a conversation about utopianism in fiction without sooner or later arriving at Star Trek. The universe created by Gene Roddenbery in the 1960s has spawned numerous series, films, and novels. As well as being products of their time, Utopian fiction also necessarily reflects the preoccupations, struggles, and divisions of the country and culture in which they were produced. Even if a piece of theater is Utopian in its ideas, this will be undermined if those making it are struggling or hemmed in by a system that undervalues or is actively damaging to them.
This article presents a study on the psychological violence suffered by the character Luana, in the dramaturgical book Um Judeu na minha cama (1976), by contemporary writer Lília Silva. Gad, a ...successful businessman with a traditionalfamily, has been in a relationship for almost twenty years with Luana, his lover, who spends most of the work isolated in an apartment, living submissively to her partner'sorders and humiliation. At each meeting between them, the couple discusses the existential dramas that occur in both their lives. From these dialogues, the objective is to analyze whether Gad's quest to be happy does not become psychological violence, experienced by Luana. Literary study is based on psychoanalytic and philosophicaltheories aligned with Literature, based on the theories of Pierre Bourdieu (2019), Ginzburg (2012), Freud (1986) and Schopenhauer (2005).
The concept of intertextuality was one of the problems that occupied the attention of critics and critics in targeting the structure of textual intertextuality between texts and their overlap in the ...process of producing meaning. Until intertextuality became a stable term and it can be monitored in the structure of the theatrical text and determining the mechanisms of this intertextuality between texts through fields and classifications agreed upon by the most important critics who wrote and considered intertextuality. Perhaps our previous research (the approach of exposure in the epistemological hallway to intertextuality) was an attempt to interview a terminology, which the researcher intended to monitor, through the mechanisms of intertextuality and other innovative mechanisms, a critical method to read the relational structure of the presentation as it is in the texts, so the new comes in our current (applied) research that it is an experimental attempt Another in the field of (exposure) here to monitor the same relational structure by trying to activate the mechanisms of (exposure), but this time within (the one play with multiple scenes), and here lies the uniqueness of this attempt in the practical process of a critical dramaturgy where the researcher will analyze a single show composed of several scenes according to mechanisms The (reproductive theatrical performances) were attached to exposure after he conducted a (dramatic) experience of the show he chose (as a research sample) to prove the possibility of employing the mechanisms of (exposure) in analyzing (multi-viewing presentation) in the same critical and analytical method that he worked on in his previous research. Perhaps here lies the novelty of this research, according to the researcher's estimation
Atravessada pela criaqao de engajamentos critico-afetivos, por meio das estrategias metodoldgicas Estimulo Composto, de John Somers (2011), Pre-texto e Professor-personagem, de Beatriz Cabral (2006), ...fez-se possivel aflorar nas crianqas novas percepqoes poeticas, marcadas pela tecnologia. Abstract: This article addresses the dramaturgy of the spectator emerging from the contact between audience and work at the time of online theatrical mediation with children, from a poetic-machine-body. Crossed by the creation of critical-affective engagements, through the methodological strategies Composite Stimulus by John Somers (2011), Pre-text and Teacher-in-role by Beatriz Cabral (2006), it was possible to bring out new poetic perceptions in children, marked by the technology. Teatralidades a partir de palavras, gestos e imagens vindas do espectador sao formas de dramaturgias que emergem do encontro entre corpos Espectadores-artistas. Sendo a dramaturgia do corpo uma nova perspectiva dentro do campo do teatro, a mediaqao teatral abre espaqo para a agao do corpo-espectador a partir das aqoes-convites que sao realizadas no encontro entre publico, obra e mediadores, ou no presente estudo, artistas-mediadores. Convidar o espectador a ocupar o lugar de participante da mediaqao, antes, durante e depois da fruiqao da obra arti'stica, fez com que ele se tornasse cocriador da obra, na medida em que uma nova dramaturgia emergia durante o ato da mediaqao - no encontro do corpo dos artistas-mediadores com os artistas-espectadores, ou artistas-fazedores-de-arte, neste caso, atraves da tela. 'Arte nao e pra mim", "eu nao sirvo pra essas coisas", "eu nao sou criativo e nem tenho capacidade pra isso", "arte e pra quem pode", entre outras crenqas construidas ao longo de anos, advindas, muitas vezes, da falta de acesso, incentives publicos, difusao e ate de abordagens e metodologias falhas no ensino da arte, pode resultar em escassez de publico de arte, no que diz respeito a quantidade e qualidade (estar disponivel para a experiencia). A mediaqao artistica e um campo em expansao, em permanente transformaqao, cuja amplitude abarca diversas esferas do lugar do publico na obra de arte.
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