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

This text discusses the city as an inhospitable and violent space, and how a theater of invasion may relate to this urban space, positing itself as a dissident strategy in relation to the street’s functionalism and as a resistance to the culture of violence. This material also discusses the idea of ​​conflict as a context for the processes of artistic creation and ocupation of the urban space realized by theatrical experiences.

In this article, I propose a conceptual approach between the expressive feature known as the Neutral Mask and the philosophical approach called Phenomenology. I try to describe in general terms the principles of acting with this type of mask, which was originally called Noble, and I compare its principles with some aspects of the phenomenological method. Finally, I question the relationship between actor and mask, trying to provoke the reader to question certain representational paradigms.

Unconventional spaces used for performance and theater have been increasingly appropriated by contemporary directors, mainly due to the spatial qualities with which the current scenic dynamics involves performers and participants, generally called site-specific. Based on the theories of Carlson (1989, 2012), Rufford (2015) and Pearson (2001), this article discusses occupations of different spatial configurations, whether in industrial warehouses, in public or semi-public spaces in the city that ensure a participatory relationship between stage and audience and establish a relevant role in fruition between body and space, performed outside the theater building.

Considering the history of the theater of the Brazilian Northeast, in the terms in which Paschoal Carlos Magno will recognize the poetics introduced by the Teatro do Estudante de Pernambuco in the 1940s, this article sheds light on the encounters that the theatrical movement from Recife established with the stages of Rio de Janeiro, considered the center of the country's theatrical culture. In particular, it is interesting here to highlight the specificities of the participation of the Auto da Compadecida in the first edition of the Festival de Amadores Nacionais in 1957 for the context of affirming the visibility strategies that marked the Northeast as a place in Brazilian theater.

This paper present the space as a structuring element of staging, based on the project developed by the theater group mundana companhia in Na Selva das Cidades - Em Obras #ocupasp (2014-2017). From this perspective arises the critical power of theatrical practices that understand scenic spatiality not only as an aesthetic determination, but as a social space. Thus, theater becomes a means of unveiling and criticizing issues that speak of the current urban condition of São Paulo.

The article describes the methodology used to create the play Acima de tudo - anti-fascist theater, emphasizing the way in which dramaturgy and staging articulated the theoretical bases studied. Neofascism was approached from philosophical and sociological sources that made it possible to establish parallels between the period of Nazi Germany and Brazil today, the most evident being the mobilization, for totalitarian ideas, of the feeling of loneliness among the crowd. The cell phone was taken as a symbol of this massively hyperconnected loneliness that generated fascism in Brazil and used in the staging both as an object of the scene and as inspiration for the entire spectacle.

This essay focuses on the analysis of the dramaturgical text Os arqueólogos, by Vinicius Calderoni, a writer from São Paulo, offering a reflection on the notion of space and gesture from the evaluation of dramatic textual construction procedures and their philosophical developments. The specificities of the landscape of contemporary dramaturgy, the fragmentation of the fable, and the mythos are considered in the design of episodic writing and its relationship with the photographic chronicle of the present times.

Written interview in May 2020 with Andreas Schleicher, director of education at the OECD – Organization for Economic Cooperation and Development, focusing on educational issues that directly or indirectly concern theatre education. The interview was also addressed to Stéphan Vincent-Lancrin, Ellen Winner and Thalia Goldstein, authors of an OECD book dedicated to teaching arts in schools. The approached topics comprehended the importance of artistic education, connections of artistic education with competencies, public policies in education and the global economic agenda. The interview is preceded by a preamble authored by the interviewer.

Se realizó un estudio observacional descriptivo prospectivo en un grupo de pacientes con síndrome coronario agudo ingresados en la sala de cuidados intensivos del Hospital Provincial Docente de Morón en el periodo comprendido desde el 1ro. de enero hasta el 31 de diciembre del año 2011. En este universo de 68 pacientes se realizó un estudio comparativo y se tuvo en cuenta el uso de un trombolítico (estreptoquinasa recombinante) de fabricación cubana en un grupo de 60 pacientes y la realización de retrombolisis en un grupo de 12 pacientes. De esta manera se dividió topográficamente el estudio al tener en cuenta los resultados electrocardiográficos en infartos agudos del miocardio de cara anterior, inferior, lateral y septal donde se mició la eficacia del fibrinolítico en estos grupos. Se trombolizaron 60 pacientes para un 88.2% y se retrombolizaron 12 pacientes para un 11.8%. No se observaron diferencias importantes respecto a las complicaciones por el uso de estreptoquinasa entre el grupo trombolizado y retrombolizados. Se demostró la eficacia del empleo de la estreptoquinasa ya que la mortalidad del total de pacientes representó un 20.6%, en el caso de los trombolisados de un 13.3% y en los retrombolizados de un 8.3%.

Se presenta el caso de una paciente femenina de 60 años, procedente de área urbana, con antecedentes de hipertensión arterial y artritis psoriásica, que lleva tratamiento con metrotexate, quien ingresó en la Unidad de Cuidados Intensivos por cefalea gradual generalizada y constante, seguida de pérdida de la conciencia, convulsiones generalizadas tónico-clónicas, estupor, afasia mixta, hiperreflexia osteotendinosa en los 4 miembros, Babinnsky bilateral y rigidez de nuca. La tomografía de cráneo informó hemorragia cerebral intraparenquimatosa. El estudio del líquido cefalorraquídeo fue incoloro, transparente, con 50 células solamente a predominio de linfocitos, por lo que se sospechó meningoencefalitis por hongos, que se confirmó al realizar tinción con tinta china (Cryptococo neoformans). Fueron estudiadas las excretas de su mascota (cotorra Amazona leucocephala leucocephala) que demostró ser el agente causal. Se aplicó tratamiento con amfotericin B, pero finalmente falleció ocho semanas después.