Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The article proposes a discussion concerning the use of prosthesis in P.P.P (PositionParallèle au Plancher) (2008), by Compagnie Non Nova. It considers the appearance of aprosthetic body and its actions between meat and plastic, organic and inorganic in orderto criticizes the processes of prosthetic incorporation and their effects on gendermodulation. In orchestrating a plan of dispossession of masculinity, Phia Ménard, at thesame time, director and performer of the play, inscribes an image of gender as abiopolitical mechanism that controls difference, something given in complex network ofrelationships that encompasses economic, political and social aspects.

Esta investigación busca provocar el pensamiento alrededor del cuerpo y la sexualidad de la noción de estilos de vida extraños y del performatividad de género. A partir de imágenes de las agencias del cuerpo de diferentes sujetos que se mueven por territorios festivos de música electrónica dirigidos al público LGBTQI+, es posible reflexionar sobre posibles confrontaciones micropolíticas que desafían las categorías de sexo y género y, sobre todo, buscan romper con las relaciones socialmente naturalizadas entre el cuerpo, el género, el sexo y la sexualidad en contextos homosexuales. Por lo tanto, se pretende reflexionar sobre las formas de vida creadas e inventadas a partir de multitudes extrañas en la medida en que resaltan sus rasgos, flujos, devires y deseos deterritorializar procesos de subjetivación de minorías, seres abyectos. Por lo tanto, podemos pensar en la fuerza y el potencial micropolítico que la construcción de estas formas de vida puede generar desde una posición consciente, afirmativa y productiva de la sexualidad. Por lo tanto, es asumir las formas de vida homosexuales como herramientas de una gran maquinaria que no está satisfecha con las formas establecidas de experimentar y vivir la sexualidad, afirmando en la diferencia misma.

In 2019, the Opera Center from Paraná’s State School of Music and Fine Arts/UNESPAR performed the opera Orpheus and Eurydice (1762) by Christoph Willibald Gluck. This paper explores the theatrical proposal and the creative process of the performance, which aimed to integrate the chorus and the scenography by a wide range of actions in order to constantly transform the scenic space. Recovering aspects from the ancient greek theater choruses, in which the members performed the triple duty of narrating, singing and dancing, and considering the dance in a broad meaning, according to Cláudia Andrade (comprehending body expression, several actions and movements in general), it was sought that the chorus developed meaningful actions interacting with the scenic objects. By handling them in many ways, the chorus acted as a space modifying agent, sometimes even becoming scenography itself. In order to achieve this outcome, it was necessary to develop and apply self-knowledge and body experiment techniques to the chorus members, with the intent of expanding body limits and the ability to sing while carrying out different actions. Keywords: Chorus; Opera; Scenography; Movement; Body.

This article is an excerpt from a fieldwork developed in 2017, during the master's degree in the Postgraduate Program in Performing Arts (PPG-CEN) at the University of Brasília (UnB). This research aimed to investigate the new generations of mamulengueira’s women in the city of Glória de Goitá, in Pernambuco. Mamulengo is a popular form of puppet theater and, as an oral tradition, is constantly being updated by its producers. With an intense public participation, the shows also contribute to the strengthening of the identity of that people, as they lend their stage for reflection and dialogue on the values, desires and individual and collective experiences. Therefore, a dynamic and continuous relationship is established in which the Mamulengo tradition and culture mutually influence each other. Considering this perspective and starting from the hypothesis that the insertion of women in an environment traditionally dominated by men, such as Mamulengo, opens space for new perspectives and paradigms, especially around the female universe. This article raises the following questions: how the playful women of the new generation resignify and re-elaborate the Mamulengo tradition, how is the reception of the shows produced by them and how they deal with prejudice.

The present study starts from the diagnosis made by the philosopher Byung-Chul Han about the current digital society, to think about the new demands imposed on the artists regarding the procedures of artistic creation and narrative formulation. To this end, the actions developed by Pyoter Pavlensky between 2012 and 2017 will be described and analyzed, aiming to understand how the artist has been related to the presented context and the challenges imposed by the political scenario, especially the rise of authoritarianism, and the communicational innovations brought about by the use of virtual platforms.

This study introduces the development of the female figure in a concrete way, being characterized as a contemporary framework for theoretical and practical thoughts. By outlining the research through scene arts, the researcher - perhaps scene poet - created ritualistic scenes from his own narratives and singular rites of other narratives through playful games. Thus, communications through speech and performance were enabled by contacting directly its creative anima-energy (Jung, 2000b). This material can be seen as a supposed chronological cartography in the face of dialogue in which they include gender theories, artistic manifestations and break with a compulsory heteronormative education.

This article deals with the study of body and its somatic and expressive practices in scenic art research. The objective is to study the creative process of the performance "Can not forget", staged by XXXXXXXXX, released in November 2016 in Goiânia-GO. Body studies and their expressiveness (based on the Body-Mind Centering® approach) were the subsidiary practices of the creation, rehearsal and presentation processes of the performance in question. The result of the research process culminated in a scenic performance held next to a old tree, like rubber tree. The study of this creative process allows to investigate some aspects that configure today the aesthetics of the contemporary theater and the performance from the perspective of the body of the actor and to reflect the dilution of the borders of the arts.

This article aims to discuss the creation process in the solo Anaïs Nin in full ecstasy, the composition processes of the scriptures of the scene, the procedures for creating the scenic body using flamenco corporealities and its alchemy with the author's diaries.

Em resumo, as foto-performances aqui apresentadas consistem em investigar o conceito de corpo sem órgãos, elucidado em dois momentos e por dois distintos filósofos: O corpo sem órgãos concebido por Antonin Artaud em Teatro e seu Duplo (1935) e Para acabar com o juízo de Deus (1946) e, a dobra deste conceito em Como criar para si um Corpo-sem-órgãos, em Mil Platôs: Capitalismo e Esquizofrenia, de Deleuze e Guattari e transformá-las em escrita.

The performance that became known as the Ankoku Butoh's inaugural work by Tatsumi Hijikata was named Forbidden Colors, making a direct allusion to the title of the novel written by Yukio Mishima. From this purposeful act, an eleven-year friendship between these artists emerged. This article presents from the Writer and Dancer's Forbidden Colors the distinctions between their perspectives on death, directly linked to the ways that investigated their own bodies. A clash is proposed between the Healthy Body in Mishima - forged by the strict doctrine of the Sun and Steel - and the Debilitated Body in Hijikata - open and porous as befits the wisdom announced by the mud.