FL_CET_Artigos em Revistas Internacionais
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- Notes towards the rooting of Utopia in the imagination of politics through performancePublication . Coelho, Rui PinaOne can easily argue that since Marx and Engels demise of nineteenth century Utopian socialism, characterizing Utopianism as an “idealism deeply and structurally averse to the Political” (Jameson, 2005), utopia has migrated into fiction. With no surprise, Alain Badiou has famously declared the “passion for the real” as the twentieth century’s “major subjective trait”. The (early) twenty first century has also succumbed helplessly to the eruption of the real. But the times we live today seem to be claiming for something else. Over the past two decades utopian thinking seems to have resurfaced. The severity and monumentality of the issues that afflict the world today are inciting a central question for artists: in the face of an imminent catastrophe, what is the use of utopian imagination at the end of times? What is the purpose of artistic endeavours in a finite world. Utopian (or dystopian) fiction and has always dealt with the envisioning of a future anchored in possible or impossible scenarios, helping the world to correct its wrong doings, to improve, to transform, to threat with dreadful outcomes or to denounce present inequalities. However, if we consider that the world needs to start a new narrative, performing arts can help us to expand imagination, freeing political thinking from the constraints of the real world and wide open to “social dreaming”. In this paper, I aim to combine a speculative reflection grounded on utopian studies and in political theatre considering that performing arts are in a particularly good position to intervene in “social imaginary. This frame incites us to rethink the possibilities of political theatre today and its ontology, fighting for the rooting of (artistic) utopia in the imagination of politics, trusting that art and theatre will be able to help us to invent scenarios that today seem impossible or that we have not yet managed to conceive.
- A l'assaut du ciel: de la fragilité du marxisme au quotidien, des enfants et de la mélancoliePublication . Coelho, Rui PinaDans ce texte, je vais essayer de rendre compte de ma pratique de dramaturge et de dramaturgiste, notamment dans le cadre du TEP - Teatro Experimental do Porto [Théâtre Expérimental de Porto], dirigée par l’acteur et metteur-en-scène Gonçalo Amorim, en présentant un contexte général des prémisses du travail qui y est développé et des différentes lignes de recherche (évoquant certaines performances, notamment « l'adaptation » du roman Esthétique de la Resistance, de Peter Weiss, en 2022) ; et, plus en détail, dans une deuxième partie du texte, rappelant la création du spectacle Karl Marx raconté à mes enfants et rappelé au peuple , créé en 2017, à Lisbonne, un spectacle écrit et interprété par moi (avec le musicien, acteur et conteurs d'histoires, Carlos Marques), une tentative hésitante d'expliquer à un jeune public ce que signifie être marxiste au 21e siècle – ou, du moins, "d'essayer tous les jours".
- Nudité sur scène et violence sur le corps: une réflexionPublication . Coelho, Rui PinaIl est relativement courant d'associer la représentation du corps nu sur scène à une quelconque forme de violence : une forme de violence sur le propre corps de l'acteur, sur les coutumes que la plupart des spectateurs partageront ou sur une quelconque idée abstraite du corps de l'humanité. Ce texte explore la relation entre la violence et le corps nu, la nudité sur scène étant entendue comme un moyen de sauver le théâtre de la banalisation et comme une manière d’atteindre un changement du réel à travers la transformation des intervenants dans le processus théâtral. Un corps (nu) qui se présente sur scène comme un plateau pour la transformation sociale.
- Harlequin companies: the retrieval of a forgotten popular tradition in the fairs of LisbonPublication . Magalhães, Paula GomesIn Lisbon, the fairs and their amusements were one of the most popular manifestations of popular culture during the second half of the 19th century and the beginning of the 20th century. Among the entertainment on offer, theater was one of the most appreciated, but history has only kept the memory of the shacks that, in the fairs, began to feature a recited repertoire (comedies, parodies, magic and revues). The tents of harlequins and saltimbancos, itinerant troupes that went from place-toplace performing acrobatics, pantomimes, and comic sketches, were forgotten. This article aims to highlight popular theater practices that were once ‘forgotten’, such as the troupes of harlequins and their shows, redefining their importance in the context of the time and the history of theater in Portugal.
- Companhias de arlequins: o resgate de uma tradição popular esquecida nas feiras de LisboaPublication . Magalhães, Paula GomesEm Lisboa, as feiras e os seus divertimentos foram uma das mais concorridas manifestações da cultura popular durante a segunda metade do século XIX e o início do século XX. Entre os divertimentos oferecidos, o teatro era um dos mais apreciados, mas a história apenas guardou a memória das barracas que, nas feiras, passaram a apresentar repertório declamado (comédias, paródias, mágicas e revistas). Votadas ao esquecimento ficaram as barracas de arlequins e saltimbancos, trupes ambulantes que, de terra em terra, apresentavam acrobacias, pantomimas e cenas cómicas. Este artigo pretende trazer à ribalta práticas de teatro popular outrora ‘esquecidas’, como as trupes de arlequins e os seus espetáculos, redefinindo a sua importância no contexto da época e da História do Teatro em Portugal.
- Theatre censorship and archival research: Teatro Experimental de Cascais during the portuguese dictatorshipPublication . Sousa, José PedroHistory of the theatre company Teatro Experimental de Cascais during the dictatorship. Censored plays and prohibited performances, and performed plays. Archival sources and documents.
- The plague of comedies: praise and criticism of spanish theatre in Oporto at the end of the seventeenth centuryPublication . Sousa, José PedroThe inclusion of the Portuguese territory in the itinerary of Spanish theatre companies, at least from the late sixteenth century onwards, contributed towards shaping a truly Iberian theatrical landscape during the seventeenth century. The influence of the Spanish language and theatrical models on Portuguese playwrights, the creation of a playhouse in Lisbon that followed almost exactly the Spanish reference of the corral de comedias and the constant presence of Spanish actors in Portugal during this period support that idea of a common cultural history shared by Portugal and Spain. Most of what is known about this chapter of Iberian theatre history, particularly when it comes to the presence of Spanish theatre companies on the Portuguese stage, conveys the idea of an unquestioned and uncriticized acceptance of this phenomenon in Portugal. However, if such might be the case in Lisbon, a recently found corpus of documentation concerning the theatrical activity in Oporto at the end of the seventeenth century shows a completely different attitude towards Spanish theatre companies. The opposition of both religious and secular Oporto authorities against commercial (Spanish) theatre, which was even considered to be a plague, was particularly evident in two different episodes that took place in the final decade of the seventeenth century. The analysis of these incidents proves the existence, at least in Oporto, of a certain resistance against the dominant theatrical practices, which uncovers a new space of enquiry in Iberian theatre history and the cultural exchanges between Portugal and Spain during the Golden Age.
- O espólio infinito: Sobre as novas aquisições, 390 a 829Publication . Sousa, Rui; Pizarro, Jeronimo; Fernandes, Manuel P.O espólio de Fernando Pessoa tem sido, desde a sua aquisição pelo Estado português, em 1979, um núcleo fundamental da cultura em língua portuguesa. Esse manancial, que esteve na génese das sucessivas edições da obra do poeta depois dos trabalhos pioneiros de chancelas como a Ática e a Aguilar, conheceram extensões relevantes desde 2008. Foi nesse ano que foram adquiridos pelo Estado português alguns documentos incluídos pelos sobrinhos de Pessoa, no quadro de um polémico leilão. Em 2020, um novo conjunto de autógrafos foi adquirido pela Biblioteca Nacional de Portugal através de um ajuste directo com os herdeiros de Pessoa, só recentemente disponibilizados para consulta na Sala dos Reservados da BNP. Este artigo conjuga uma descrição sumária do processo de novas aquisições, com a apresentação de um conjunto seleccionado de documentos, alguns dos quais inéditos, a que se somam alguns materiais que em 2008 foram digitalizados por uma equipa de investigadores que trabalharam em casa dos herdeiros de Pessoa e que não constam nem do conjunto leiloado em 2008, nem dos documentos adquiridos em 2020.
- Guerre contre le gallicisme! L’intervention de la censure dans la réception du théâtre français au Portugal au XIXe sièclePublication . Ferreira, Licínia RodriguesEm Portugal, a tradução de teatro francês adquire posição destacada no século XIX. Todavia, alguns intelectuais encaram a influência francesa como uma ameaça à pureza da língua portuguesa. A recente disponibilização de uma base de dados de censura teatral portuguesa do século alarga as fontes de que dispomos para perspetivar esta guerra ao galicismo. Os dados da censura permitem-nos medir a intervenção sobre as traduções e a dimensão da barreira linguística levantada na receção do teatro francês. Cumprindo a função de zelar pelo bom uso da língua portuguesa, os censores corrigem ou mesmo rejeitam as versões que consideram carregadas de francesismos, quer de vocabulário, quer de construção ou de conceptualização.
- MinorclassPublication . Coelho, Rui Pina