Sistema Regional de Información
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This article proposes a research on larp (acronym for Live Action Role Playing Game), a contemporary artistic expression with a strong presence in the Scandinavian countries and brought to Brazil in recent years, and its relation with the performativity of scenic artists from other areas, with special attention to the theater. By approaching the concept of performativity, we draw a relation between larp and theater/performance, and analyze how some conceptions of the director Constantin Stanislavski may be related to larp. Finally, we try to understand how the practice of different games - products of larp art - can help the actor/performer in the exercise of his work.

This article examines three scenic architecture projects by Lina Bo Bardi, two in an improvised space on the stage of the Castro Alves Theater in Salvador, in ruins after a fire, and the third in the Oficina Theater, in São Paulo, still refurbished by Imperio e Lefèvre. The argument draws a parallel with Bo Bardi´s writings and her architectural design, confirming the architect's deep knowledge of Brecht's suggestions for the theatrical scene but also of the North-eastern popular culture, which found fertile ground in her work for scenic architecture. Based on Henri Lefebvre´s (1974) theories on the production of space and Dorita Hannah´s (2018) recent theoretical concepts, the three study cases reveal visceral and raw spatial conceptions in the Italian-Brazilian architect´s performance design.

Resumo   O presente artigo é um relato de experiência da vivência de uma catadora/contadora de histórias em território kalunga. Do encontro com mulheres kalungas das comunidades do Engenho II, Riachão e Vão de Almas, surge o encantamento por suas  “narrativas pessoais”. A andança kalunga que se configurara como o dispositivo da investigação de mestrado em Performances Culturais sobre as narrativas e performances de mulheres kalunga, mais especificamente da Comunidade Riachão. A poetnografia e experiência em campo A experiência em campo é compreendida, analisada e descrita do ponto de vista de uma vivência sensível, permeada por afetos e encantamento que não ignoram as adversidades vividas pelo Povo kalunga em seu histórico de luta e resistência. Vanusa Nogueira, com a personagem Glorinha Fulustreka, saem contando, catando e (re)inventando histórias como forma de se permitir ouvir, ver e compreender, na perspectiva dos estudos da performance, a poética da alteridade, expressas na cultura e identificações kalunga. Perceber e se deixar afetar por esse contexto é também o processo de criação da contadora de histórias Glorinha Fulustreka, que por meio das poetnografias, devolverá às comunidades suas próprias histórias. Palavras-chave: Povo kalunga. Contação de histórias. Narrativas.

O artigo apresenta uma reflexão sobre a função da encenadora, articulando estudos teóricos e investigação empírica. São apresentadas características e competências técnicas vinculadas a essa função, problematizando as atribuições tradicionalmente vinculadas ao fazer da encenadora. Através da análise de práticas e procedimentos criativos vivenciados no percurso formativo da futura artista-professora, princípios do trabalho da encenadora são apresentados.

This work tries to ascertain the evolution of the use of light in the cinematographic art, having as background some periods of the history of the cinema where the same one was synonymous of style of time through the work of considered originator directors. The German expressionist cinema and the noirfilms will collaborate directly with examples, allowing the understanding of possibilities of the relation between light, photography and expressivity in the cinematographic environment. Starting from studies on photography, the study seeks to understand the semiotics of image capture through the lens, relating the lighting aspects common to cinema and photographic art. On the other hand, to the artists and technicians of theatrical art, the theme discussed will contribute to a perception of the differences of illumination between the cinema and the theater, relating audiovisual field research with theorists of the scene arts such as Adolphe Appia and Edward Gordon Craig . At the end of the study, a practical production was analyzed, using elements of cinematographic lighting and photography inspired by the above mentioned film genres, realized as visual narrative and integral part of the theatrical spectacle Enquanto Dure (2015), entitledSurrencontro.

This article is a synthesis of a research of a qualitative character and experimental in dance that launched the look for Capoeira Angola, considering its possible contributions to the process of choreographic composition and training of the dancer, both with regard to aspects technical and poetics. The title of the present work refers to an excerpt from a capoeira song "Quebra cabaça, espalha a semente” (break the gourd spreads the seed), and here the gourd is a belly metaphor and the seed of the fruit that is born from the contact with the songs, images and Games of Capoeira Angola. Field research was developed in the Águas de Menino, project linked to the Capoeira Angola Angoleiro Sim Sinhô Center (CCAASS). The experience in the project was associated to the studies on the process of creation in dance intending the reflection on a dance that plays with the capoeira marking an Afro-Brazilian identification.

This article aims to present and discuss Hélio Oiticica’s scenography and costume design project for the film A Cangaceira Eletrônica of Antônio Carlos da Fontoura, 1970. It was possible to locate where this work was at Oiticica’s career and what is real importance of the performance activity in his poetic. From primary sources as manuscripts, letters and interviews, beyond the specific literature to read Oiticica’s poetic, it was possible to analize carefully each sketch-collage revealing each detail pointed at the project and how it relates to the script. With this study we can perceive how, in 1970, the relation between different languages as cinema, music hall and performative activity, wins a central role and announces an unfolding of language that integrates the called Ambiental Program, Oiticica’s famous poetic project.

This text brings a reflection about the use of the elements of sound in musical and theatrical compositions seeking to destabilize the hierarchies of the elements of the scene. For a better understanding of the articulations between concepts such as Polyphony of the Scene and Dramaturgy of Perception the research first lingers in the notes made by José Miguel Wisnik on the sound, silence and noise. Later it observes some topics of Serialism and Minimalism, in order to find support for the analysis of some works by Heiner Goebbels. Thus, along with the analysis of performance videos, the studies by Hans-Thies Lehmann (2007) and Luiz Felipe Reis (2016) on Goebbels were important references that contribute to this research.

Este artigo pretende discutir a Direção de Arte na perspectiva de campo expandido, como locusautônomo de pesquisas e práticas artísticas, no contexto amplo das Artes da Cena. Sua meta principal é fortalecer a área e fornecer alguns subsídios reflexivos a ela, tendo em vista a carência ainda grande de discussões teóricas sobre o assunto.

O presente artigo procura encontrar índices da imagem popular do malandro e vadio na constituição de um tipo cômico consagrado pela cultura de massa. Didi, tipo cômico criado por Renato Aragão em 1960, espelha o excluído, mal trajado, inadaptado, muitas vezes, vadio. Esperto e independente, rei da facécia e do improviso, pode ser definido como o renunciador (DAMATTA, 1997) ou o pária suspeito (ARENDT, 2005), ambos personagens que prometem ao povo um universo social alternativo ao abdicarem de prestígio e das leis da sociedade organizada.