Resumo: O artigo investiga a questão da teatralidade do Minimalismo a partir das leituras críticas elaboradas por Michael Fried e Rosalind Krauss. Enquanto Krauss, desde o primeiro momento em que reflete sobre obras de Donald Judd e Dan Flavin, evidencia sua contradição fundamental - a presença da ilusão, a despeito de sua rejeição pelos artistas -, Fried atém-se ao pretenso literalismo dessas propostas, denominando-o de teatralidade. No texto, as duas abordagens serão confrontadas, extraindo-se delas os pontos de vista dos autores para a noção de teatralidade.
<p class="normal">No panorama teatral atual, algumas produções cênicas tratam de discutir questões caras à contemporaneidade por meio de inquestionável precisão formal. Esse é o caso dos dois espetáculos analisados neste ensaio, ambos integrantes do repertório do teatro Schaubühne, em Berlim: enquanto <em>Never Forever</em>, do alemão Falk Richter em parceria com a Total Brutal, encena a melancolia contemporânea, <em>I'd rather Goya robbed me of sleep than some arsehole</em>, do espanhol Rodrigo García, discute o vínculo entre humanismo e antropotécnica.</p>
ReviewBrazilian performing arts is as old as its nation. This means that there are, at least, two ways of approaching its history. It is possible to consider, on the one hand, the traditional rituals that native Indigenous people, such as the Bororo and Kadiweu tribes, have practiced for more than 500 years. From this broad point of view, theatre and religion are intertwined in ceremonies that must help people to overcome the struggles of life and death. In all the diversity of rituals that celebrated events and milestones in Indian's trajectories, there lies the basic principle of theatre: the transformation of one person into another.In a narrower perspective, Brazilian performing arts was born along with the Portuguese discovery in 1500. From this date on, theatre was used by the Catholic Church as a powerful tool of catechism of Indians and Africans. During the first decades of colonization, priests, like José de Anchieta (1534-1597), created some plays that were usually performed in Catholic festivities. Frequently written in three different languages (Portuguese, Spanish and Tupi), these plays staged the main Bible's episodes in order to pacify Indian and African audience, showing them how to act and behave under the intense cultural imperialism of the colonial period.It was not until the transfer of the Portuguese Court to Brazil that a formalized theatre has been established in the country. Escaping from the invasion of Lisbon by Napoleonic forces, Braganza Royal Family and its court departed for the Portuguese colony of Brazil in 1808. This "metropolitan reversal" that made Rio de Janeiro the capital of the Portuguese Kingdom and elevated Brazil to the same rank as Portugal, provided the basic structures for the development of the country's theatrical production. Theatre, then, AbstractThe paper attempts to assess and analyze the economics of Brazilian contemporary theatre, focusing on financing and employment indicators. It was considered only the official data published by public institutions. The reason for it is as economic as cultural: although Brazilian theatre is at least 500 years old and is inseparable part of Brazilian culture, it has never been a subject of an in-depth economic analysis.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
hi@scite.ai
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.