At the end of the 20th century, the "research theater"-as an artistic practicebecame theatrically plausible, culturally acceptable and economically viable in the city of São Paulo. This master's dissertation tries to investigate what were the conditions that enabled the consolidation of such theater resource. A generation of creators-young people graduated at the end of the 1980s-helped introduce new scenic production techniques in the city. To analyze the São Paulo scene in the last decade of the 20th century, I focus on two groups from the period: Teatro da Vertigem and Cia. de Teatro os Satyros. I analyze the trajectory of each group and try to show how they contributed, each in its own way, to the organization of certain theater practices in the capital city of São Paulo: the theater group Teatro da Vertigem, coming from the university environment, and the theater group Cia de Teatro os Satyros, engaged in the business management of its activities. Over the years 1990 and 2000, a structure was developed so that research could be done: public funding policies; creation of colleges in performing arts; definition of an agenda for language research and so on. Social experience and theatrical conventions were then combined to form a system that is continuously changing and generating new patterns of creation and artistic production. Keywords: research theater; performing arts university; Teatro da Vertigem; Cia. de Teatro os Satyros; history of the theater.
Centered on examining the trajectories of Brazilian actors who migrated to the United States with the purpose of studying and working in that country, this article aims to discuss the rhetoric of difference mobilized by subjects to describe states, markets and their own experiences. The proposal is aligned with anthropological research focused on investigating the politics of difference in transnational contexts. During 2015 and 2016, I conducted interviews with eleven Brazilian artists who lived in the USA. These individuals argued that there was a “universal” communication conferred by “art” and relied on the transcendence of their acting techniques - they believed they were capable of playing any character in the new country. However, as they tried to obtain roles, they encountered restrictions precisely because they were foreigners: their accent, physical appearance and the visa-related limitations prevented them a regular professional practice. The main question is: how these subjects formulated about difference?
At the turn of the twenty-first century, Broadway musicals began to be produced in many countries outside the United States. In Brazil, particularly the city of São Paulo, new laws, business interests, and the fascination of some artists with US productions converged to enable the creation of a new system of musicals. In this article I examine the social elements I consider fundamental to understanding the proliferation of musicals in recent years. My description focuses especially on how some actors orchestrated multiple procedures and interests to organize a unique and fertile setting that changed the city’s theatrical production. In the process, I explore theatre as an expressive form that acts as a thermometer of social desires and practices.
Resumo Diante da profusão de respostas intelectuais à pandemia do Sars-Cov-2, este artigo propõe sistematizar algumas das publicações realizadas pelas ciências humanas nos meses de março a junho de 2020. Inicialmente pensado como conteúdo para estudantes dos cursos de graduação, foram lidos textos presentes no volume Sopa de Wuhan, no site n-1 edições, no “Observatório do CEMI - COVID-19” (CEMI/Unicamp), no Boletim Cientistas Sociais e o Coronavírus (Anpocs), e no site antropoLÓGICAS EPIDÊMICAS (UFRGS). A leitura dessa produção, marcada por textos relativamente curtos, em formatos variados, de rápida escrita e circulação, com caráter ora ensaístico, ora analítico, sugere dois principais eixos temáticos referentes 1) à problemática da escala; 2) à problemática do biopoder e dos governos. Ao fazer um recorte instantâneo das reações mais imediatas à crise, observamos perspectivas e conceitos-chave lançados pelas ciências humanas para compreensão do mundo contemporâneo.
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