FL_CET_Livros e Capítulos de livros
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- À procura da política no teatroPublication . Coelho, Rui Pina
- Abraçar a arte e a vida num sistema de vasos comunicantesPublication . Fadda, SebastianaEnsaio sobre a produção de Miguel Barbosa, que aborda as facetas do dramaturgo, do escritor, do poeta e do artista plástico. São procuradas as linhas unificadoras de uma criação que pretende esbater as fronteiras de género numa procura de confluências interartísticas.
- Actor Being : A Role in MankindPublication . Lameiras, TiagoActor Being: A Role in Mankind is an essay on Theater Arts, but not quite stricto sensu, as it may sound firsthand. Though related to the actor, who is now all the more renowned as a «performer», in detriment of a «player», the goal here is to figure out the Thespian artist's place and influence in Human race itself. Starting at the cradle of Western civilization, in Ancient Greece, where Modern knowledge has its basis set, we take the actor across a timeline of events, movements and contexts, from where he (as only men could play) is seen as an individual of extreme public life importance, not only because of his ability to speak, read and write like not so many others could, but also because of his relevance in Politics. Through the course of the Dark and Middle Ages, when Christianity takes over Europe and the Near East, profanity is associated to Theater Arts by the clergy, therefore excommunicating all forms of stage artistry, though they became so popular among the people, that the Church considered for a few moments taking Theater inside its walls, staging, for instance, liturgical dramas. Nonetheless, because of all the foulness the peasants expected from players, there was no choice but to kick them out again. Regardless of the period in time, the truth is actors were generally acclaimed by the general public as folk of the utmost interest, many dreaming about a career in the field, such as those who got a chance to work with the creator of the kind of drama still in practice up to this day, William Shakespeare. How does all this popularity meddle with society, and how does it shape the course of civilization, in order to keep it together, working as one, single force, toward peace and agreement or even disagreement, though intellectual only and, henceforth, peaceful? Also, what influence is there among actors themselves and how do they behave around each other and in the industries they are a part of? That is what this essay looks to explain, pointing out both virtues and flaws of being an actor.
- Albert Camus au Portugal: de la lecture à la scènePublication . Santos, Ana
- Almost imperceptible rhythms and stuff like thatPublication . Pais, AnaAlthough spectators are seated in a traditional auditorium facing the performers of the production Until the Moment When God is Destroyed by the Extreme Exercise of Beauty (AQD), by Portuguese choreographer Vera Mantero, what is asked from them does not follow the conventions of Western theatre according to which the stage is the place for action and the spectator a passive beholder. AQD performs a critique both of action as something to be seen and of the voyeuristic and passive role it prescribes to the spectator: there will scarcely be any action to be seen on stage. Instead, the bodies of AQD carry out a chorus of activities , choreography of words displaying their sounding materiality in playful rhythmic patterns. This performative construction invites the audience to immerse itself in a cadence of sounds, challenging it to engage with the performance from an aural and, I will argue, an affective angle. AQD summons the audience to a particular kind of engagement with the performers on stage, an engagement that equates an exchange of affect with a practice of listening, rather than a production of effects. I will be claiming that this shift - from effects to affect - is a distinctive feature of contemporary performance that gestures towards a mode of intersubjectivity in the theatre by which the performance lends itself to the affective impact of the audience.
- Análise intercultural da corporalidade nos processos criativos de coletivos brasileiros e portugueses de teatro de improvisoPublication . Carvalho, José LuisTomando por ponto de partida o problema de pesquisa anteriormente enunciado sob a forma de uma pergunta, consoante as diretrizes metodológicas legadas por Kerlinger (1980), o resultado que se deseja alcançar pode ser traduzido sob a forma de um objetivo principal, ao qual se seguem os objetivos intermediários correspondentes, de cujo atingimento depende a conquista do objetivo final, conforme se mostra a seguir. 1.2.1 Objetivo principal A partir de uma perspectiva intercultural, a presente investigação tem por objetivo desenvolver uma análise da corporalidade nos processos criativos de coletivos teatrais brasileiros e portugueses identificados com o Sistema Impro de Keith Johnstone. 1.2.2 Objetivos intermediários - revisitar o conhecimento teórico acumulado acerca de improvisação teatral, corporalidade, interculturalidade e processos criativos em artes cênicas20 e performativas, com ênfase nos aspectos relacionados ao sistema de teatro de improviso concebido por Keith Johnstone - explorar os processos criativos experimentados por três coletivos portugueses de teatro identificados com o Sistema Impro, com destaque para o âmbito da corporalidade - examinar os processos criativos vivenciados por três coletivos brasileiros de teatro alinhados com o Sistema Impro, com distinção para a dimensão da corporalidade
- António PedroPublication . Coelho, Rui Pina
- ApresentaçãoPublication . Fadda, Sebastiana; Barbosa, MiguelNota introdutória ao livro Miguel Barbosa, Simbologia da unidade, que descreve as finalidades e os critérios norteadores da organização.
- Athens and Rome revisited in LisbonPublication . Serôdio, Maria Helena
- Catálogo de manuscritos da Sala Jorge de Faria da Faculdade de Letras da Universidade de CoimbraPublication . Ferreira, Licínia RodriguesA coleção de manuscritos da Sala Jorge de Faria é originária da doação do bibliófilo e crítico de teatro Jorge Brandão Figueiredo de Faria (1888-1960) à Faculdade de Letras da Universidade de Coimbra, em 1960. Os 1110 manuscritos apresentados neste catálogo fazem parte de uma coleção de cerca de 29 mil espécies bibliográficas relativas ao teatro e a outras artes performativas. Incidem principalmente sobre o teatro que se escreveu e representou no século XIX e nas primeiras décadas do século XX em Portugal. O catálogo constitui, assim, um instrumento de pesquisa para os investigadores da história do teatro em Portugal, quer no domínio do espetáculo, quer no domínio da literatura.