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

Cet article porte sur la dimension profonde du noir au théâtre. Ce travail propose de répondre à la question sous-jacente au thème : comment parler de l'obscurité dans sa dimension la plus profonde ? Pour ce faire, le texte s'appuie sur des spectacles créés en France et de renommée internationale.

Esta entrevista foi realizada no dia 06 de setembro de 2019, durante o evento A Luz em Cena, realizado de 02 a 06 de setembro de 2019 no Centro de Artes (CEART), da Universidade do Estado de Santa Catarina (UDESC). Nela procurou-se levantar pontos que explicitassem o processo formativo de Wagner da Conceição enquanto iluminador cênico.

Apresentação do Corpo Editorial e Conselho de Pareceristas que compõem a Urdimento v.1, n. 37, março/qbril 2020.

Informações sobre o conteúdo da Urdimento v.1, n 37, março/abril 2020.

The text proposes a new visit the literary inquisition and theatrical censorship in the 16th century in Portugal, a time when pomp and culture, provided by the huge profits of colonialism, which granted Lisbon court the presence of Gil Vicente (c.1465- c.1536): goldsmith, playwright, director and artist, he wrote, from 1502 to 1536, about 45 plays, some of them made silent by the machinery of the Holy Office Court, established in 1536. This paper was carried out to delineate, mainly, a historical moment which put an end to Gil Vicente’s work: In Brussels (Flandres), on December 21, 1531, a short play by Gil Vicente, Jubileu de Amores, to celebrate the birth of D. Manuel, son of the King D. João III. Among the people in the audience there was Girolano Aleandro, a diplomat sent by the Pope to persuade the Emperor Charles V to intervene against the German heresy, aroused by Martin Luther. In a letter sent to the Pope’s secretary, Aleandro wrote a severe criticism against Gil Vicente’s comedy, in which there was a recrimination of the system of indulgences granted by Rome. The play was staged in the Portuguese court nor was included into Copilaçam deTodalas obras de Gil Vicente of 1562 and disappeared without trace.

This reflective account describes a theater teaching practicum carried out in the Performing Arts undergraduate course in the Arts Department of the Institute of Philosophy, Arts and Culture of the Federal University of Ouro Preto (DEART / IFAC / UFOP). It recounts the practice of a theater workshop with women prisoners and reflects on this work. It also analyzes the development of such a theatrical practice in the context of its audience.

This article proposes to analyze the scenic creation practices of the Arkhétypos Group in the light of the Ritual Game, relating it to the concept of axis mundi proposed by Mircea Eliade and the theories of the imaginary of Gilbert Durand.. We work with the hypothesis that the experience of myth manifested in the actor's body reorganizes the spatio-temporal relationship, allowing the public to displace the immanent reality so that hierophany can be achieved. In order to clarify the issue, we developed a brief reflection from the plays Santa Cruz do Não Sei (2011) and Revoada (2014) and we take a critical look at the colonization process suffered in the Americas.

Matías Umpierrez is a multidisciplinary artist born in Argentina in the early 1980s, of Uruguayan parents, who produces works that dialogue with theater, cinema and the visual arts. In this interview, he discusses about his works in several countries around the world on projects that integrate information technologies with the daily lives of people in large cities.

This work consists of a presentation by the scenic artist Wellington Nogueira, founder of the Associação Doutores da Alegria, and an interview given by him transcribed in full. The interviewee narrates the development and insertion of professional clown in a hospital environment, since 1991. Promoting the investigation of new spatial configurations within hospitals, and in the field of clowning, as well as the establishment of artistic, human, political and social relations among artists and people in hospital situations, this phenomenon, based on the project brought to Brazil by Wellington Nogueira, was widely disseminated in the country, where hundreds of groups.

The game of words that mobilizes the terms Theater, Desire and Politician, proposes a reflection in the field of theory and practice, of the text and scene, through three formulations - desire of the theater in the politician, desire of the politician in the theater and politician. theater of desire - opening a conversation with Guénoun (2003), Rancière (2012) and Benjamin (1994), respectively, to think about the modes of production and creation of the group Xama Teatro (Brasil - MA).