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

La lumière, Strehler a su en faire une composante fondamentale de ses spectacles jouant avec la transparence, la superposition de couches, l’ombre. Elle s’inscrit dans une époque théâtrale, comprise entre les années 1950 et 1990, et elle se développe d’une manière tout à fait personnelle, devenant une référence.  Héritier d’une culture avant-gardiste et européenne, l’imaginaire strehlerien se forge dans un environnement milanais sillonné, à partir des années 1920, par des artistes - scénographes et plasticiens - très attentifs aux problématiques d’espace et de lumière. Chez Strehler, la pratique des éclairages s’articule non seulement à la scénographie, mais aussi au jeu, dont elle devient partenaire, ou au rythme musical. Elle peut être considérée comme un outil dramaturgique au service de la mise en scène.

Interview via Skype by the actress and director Quitéria Kelly of the Carmin Group, on January 27, 2019, about the shows Jacy and A Invenção do Nordeste. The interview arose from my interest in documentary theater, and addresses two pieces of aesthetics from the Carmin Group Documentary Theater.

Este artigo debate o funcionamento do encontro entre a representação e o olho do espectador. Este pequeno Mostruário explora as condições de percepção do olho do espectador, com o objetivo de compreender as interações entre o olho e a luz em cena. 

O artigo segue o pressuposto do potencial de “animação” pela luz, oferecendo um reconhecimento de possíveis significados da relação luz / figura. Diferentes exemplos desta paisagem serão abordados: desde as consonâncias entre os dois territórios, passando pelas relações dramatúrgicas mais íntimas, até o conceito de “atores de luz”.

L’articolo muove dal presupposto della potenzialità di “animazione” da parte del fattore luminoso, offrendo una ricognizione di alcune delle possibili accezioni della relazione luce/figure. Si offrono esempi diversi di questo paesaggio: dalle consonanze tra i due territori, alle più intime relazioni a livello drammaturgico, alle concezioni di “attori di luce”.

This essay is the account of a commented translation of Renaissance intellectual Niccolò Machiavelli’s comedy La Mandragola, adapted to Salvador da Bahia’s contemporary context. First and foremost, the translation process and its subsequent analysis allowed to highlight the importance  of a careful study concerning Renaissance sexual vocabulary, in order to recreate in the text of arrival the double entendres found in the  text of departure; such a study was feasible thanks to Valter Boggione’s (2016) research, which also points out political and social issues present in the play. Secondly, with the aid of Hannah Pitkin’s studies (2013), it was possible to underline some gender issues in Machiavelli’s play, in primis regarding the role of women. Practical translation challenges, amongst which the characters’ language, the hybrid features of a text that contains prose and poetry, and the historical and geographical distance between source-text culture and target-text culture, were highlighted and addressed via the technical translation procedures – particularly the concept of adaptation – systematized by Heloísa Gonçalves Barbosa (2004). Finally, the authors introduced the concept of “dramaturgical transplant”, a transfer process which takes place in the culture of arrival, at the same time revitalizing the culture of departure. Further than causing the text displacement, such a process displaces the very translator.

The article reflects on the emergency conditions of the Application Schools (CAPs) in Brazil, based on a brief historical overview of the creation of these educational institutions and their role in the training of students and teachers. The text links the creation of CAPs to significant transformations envisaged in the first decades of the 20th century. CAPs are idealized as a field of teaching practice and research for students of Didactics courses, which gives them a differentiated and, to a certain extent, elitist nature. The text ends with a reflection on the reality of the CAP of the Federal University of Rio Grande do Sul (UFRGS), with regard to the teaching of Theater, showing favorable conditions for pedagogical work and the learning of knowledge related to this artistic area.

Cet entretien a été réalisé en septembre 2019 par José Ronaldo Faleiro et Priscila Costa, lors de l'événement A Luz em Cena qui s'est tenu du 2 au 6 septembre 2019 au Centre des Arts (CEART) de l'Université d'État de Santa Catarina (UDESC) au Brésil. Dans un discours passionné et didactique, Véronique Perruchon expose des données sur l'enseignement, la formation et la pratique des éclairagistes en France du milieu du XXe siècle à nos jours. Elle décrit avec clarté sa recherche d'une dimension sensible dans la relation entre la lumière et le noir.

The conference paper addressed by Marvin Carlson in October 2019 at Unirio, whose translation I present here, examines a significant subject for those who study theatrical reception. Leading the reader through different productions and various theatre groups throughout history, the author discusses and proves that, due to certain unique characteristics of theatre as a human activity, this art operates a universal dynamic of cognition, based on the memory of previous experiences juxtaposed with the new ones. The author calls this process ghosting.

Este artigo aborda a dimensão mais profunda do escuro em cena. O trabalho se propõe responder à questão subjacente ao tema, qual seja, como falar do escuro em sua dimensão mais profunda? Para tanto a sua escrita se pauta em espetáculos de renome internacional criados na França.