Papers by Dr Pedro Ilgenfritz
Routledge eBooks, Nov 16, 2021
The research project LAB: Research Theatre Company (part two) - Creating a Dialogue with the Audi... more The research project LAB: Research Theatre Company (part two) - Creating a Dialogue with the Audience was designed to investigate the dramaturgical development of the theatre show Alfonsina (and the theme of immigration) through audience feedback. The show was performed in four different places/contexts and selected audience members were invited to reflect and to express their reading/understanding of plot, theatre language, social and political questions and the philosophy of the company. The research revealed that all focus groups perceived the dialectics of the immigration experience and its contradictions in different degrees. Our goal was to see how this conversation with the audience could become a further step towards the development of the story and the technical side of the performance. In conclusion, the project was successful in achieving the desired result. The script of Alfonsina was adjusted several times as a result of the conversations with the audience; the audience was almost a co-creator in a sense that they were active in participating in the process of developing the show
... time. Pedro4. Photo by Cleide de Oliveira – Vertice Brazil 2010. The same actor also perceive... more ... time. Pedro4. Photo by Cleide de Oliveira – Vertice Brazil 2010. The same actor also perceived that this discipline is not merely an attitude towards the 'seriousness and engagement' needed to do the work in the best way. There ...
Diretor de teatro, dramaturgo, ator, pesquisador das áreas de história e teoria do teatro, da pal... more Diretor de teatro, dramaturgo, ator, pesquisador das áreas de história e teoria do teatro, da palhaçaria, do teatro de máscaras e do treinamento de atuação. Com experiência de mais de 20 anos em teatro, Pedro Ilgenfritz iniciou sua carreira profissional em Florianópolis, no Grupo de Pesquisa Teatral Atormenta, pesquisando a linguagem do clown. Inspira-se nos trabalhos de Jacques Copeau, Konstantin Stanislavski, Antonin Artaud, Bertold Brecht, Vsevolod Meyerhold, Jerzy Grotowski, Dario Fo e Jacques Lecoq. Graduado em Artes Cênicas pelo Centro de Artes - CEART/ Universidade do Estado de Santa Catarina - UDESC, doutorando em Teatro pela Universidade de Auckland, professor adjunto do Departamento de Artes Cênicas da UNITEC – New Zealand, fundador e diretor do LAB Theater e da Mahuika Theatre Company. Nesta entrevista, realizada durante o Floripa Teatro – XIV Festival Isnard Azevedo, ele expõe como foi a sua trajetória em Florianópolis, o significado do Atormenta para a história do teatr...
This essay is a reflection on some aspects of dramaturgy observed during the creation and develop... more This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the i...
Research in Drama Education: The Journal of Applied Theatre and Performance, 2021
ABSTRACT Ngā Pātū Kōrero: Walls That Talk (2019) is a documentary theatre production staged by in... more ABSTRACT Ngā Pātū Kōrero: Walls That Talk (2019) is a documentary theatre production staged by incarcerated men at Unit 8 Te Piriti at Auckland Prison in Aotearoa New Zealand. The performance was built around Te Whare Tapa Whā (The House of Four Sides) – a model of Māori health that participants engaged with as part of their therapy for being convicted of sex offences. This article discusses the use of masks in performance and the significance of Te Whare Tapa Whā as a dramaturgical device. What insights for decolonising prison theatre practices can be advanced by building on foundations of cultural rights?
Commedia dell'Arte for the 21st Century
... time. Pedro4. Photo by Cleide de Oliveira – Vertice Brazil 2010. The same actor also perceive... more ... time. Pedro4. Photo by Cleide de Oliveira – Vertice Brazil 2010. The same actor also perceived that this discipline is not merely an attitude towards the 'seriousness and engagement' needed to do the work in the best way. There ...
This essay is a reflection on some aspects of dramaturgy observed during the creation and develop... more This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.”
Thesis Chapters by Dr Pedro Ilgenfritz
This project examines the previously uncharted genealogy of Jacques Lecoq’s theatre pedagogy in A... more This project examines the previously uncharted genealogy of Jacques Lecoq’s theatre pedagogy in Aotearoa New Zealand. It poses questions on how to identify lines of descent within Lecoq’s family tree and examines what happened to Lecoq’s theatre pedagogy once it was released into the world via his teaching. It analyses what is behind the process of knowledge transmission, first from Lecoq to primary inheritors, and then from primary inheritors to secondary inheritors. This research poses questions in relation to the ownership of Lecoq’s pedagogy in the context of Aotearoa New Zealand using the theoretical framework of Michel Foucault’s historical genealogy. From this I have developed a taxonomy of transmission comprising autonomous, purist and conflicted inheritors of Lecoq’s pedagogy, which are further viewed through the lens of primary and secondary levels of inheritance. I use the image of the voyage as a reference point for the thesis’s narrative and provide a critical examination of the existing literature about the global diaspora of Lecoq’s pedagogy and its influence in the context of theatre pedagogy, creation and performance. The thesis demonstrates how Lecoq’s teaching was influenced by the variety of sources before him, and that the genetic material associated with his pedagogical work belongs to a much larger sphere than to those who only had contact with him in his school. The history of the transmission of Lecoq’s teaching is characterised by a web of tangled connections that are messy and impure. This thesis argues that the history of the transmission process of Lecoq’s pedagogy exists in a plural context based on the conflict between preservation and disruption, and attempts to understand the ways Lecoq’s pedagogy interacted with the specific cultural context of Aotearoa New Zealand.
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Papers by Dr Pedro Ilgenfritz
Thesis Chapters by Dr Pedro Ilgenfritz