Julia Guimarães

O artigo se propõe a investigar um modelo de diálogo site-specific com o espaço público presente nas artes cênico-performativas atuais: aquele que busca ressignificar o espaço por meio do enquadramento de realidades pré-existentes. Como recorte de pesquisa, será feita uma análise do espetáculo "PassAarão" (2017), do Grupo Espanca! (BH). Observa-se que o princípio do enquadramento reconfigura a prática cênica em pelo menos três aspectos: ao conceber o artista como "conector" de realidades encontradas; ao intensificar a reflexividade, junto ao espectador, sobre os modos de olhar para um determinado território; ao valorizar a teatralidade do cotidiano e aqueles que a constroem - os chamados "praticantes ordinários da cidade". ABSTRACT: This article aims to investigate a model of site-specific dialogue with the public space presentin the contemporary scenic-performing arts: one that seeks to re-signify the space through the framing of pre-existing realities. As a research focus, it will be made an analysis of the performance "PassAarão" (2017), from Grupo Espanca! (BH). It is observed that the framing principle reconfigures the scenic practice in at least three aspects: in conceiving the artist as a "connector" of found realities; by intensifying the reflexivity of the audience, about the ways of looking at a specific territory; by valuing the theatricality of daily life and those who construct it-the so-called "ordinary practitioners of the city".

Este artigo investiga potencialidades artísticas e políticas de criações contemporâneas construídas sob a forma de reenactments. O termo compreende espetáculos que convidam os espectadores a refazerem ações de pessoas previamente documentadas, a partir de dispositivos poéticos e tecnológicos específicos. Para desenvolver a análise, parto da minha própria experiência como pesquisadora-partici-pante de obras criadas pelo diretor catalão Roger Bernat e pelo coletivo suíço-alemão Rimini Protokoll. A partir do diálogo com o conceito de dispositivo cênico (SÁNCHEZ, 2016; CORNAGO, 2015), exploro a hipótese de que a experiência imersiva de “performar o outro” colabora para problematizar e dilatar temporalmente a percepção do público sobre os contextos documentais abordados. Palavras-chave: Espectador, reenactment, Teatro documentário, Participação, Dispositivo cênico.

This article investigates artistic and politic potentialities of contempo-rary creations built in the form of documentary reenactments. The term comprises performances that invite audience to redo actions of people previously documented, from specific poetic and technological devices. In order to develop this analysis, I start from my own experience as a researcher-participant in works created by the Catalan director Roger Bernat and by the Swiss-German collective Rimini Protokoll. From the dialogue with the concept of scenic device, I explore the hypothesis that the immersive experience of “performing the other” collaborates to prob-lematize and temporarily expand the public perception about the docu-mentary contexts addressed.Keywords: Audience, Reenactment, Documentary theatre, Participation, Scenic device.

Este artigo analisa a interação estabelecida entre atores, moradores e público na habitação cênica Naquele Bairro Encantado. Busca-se compreender como o projeto colabora para ressignificar fronteiras entre arte e vida e resgatar memória histórica a partir do uso de dispositivos relacionais.

This article analyzes the interaction established between actors, residents and audience in the theatrical housing At that enchanted neighborhood. The objective is to understand how the project contributes to resignify the borders of art and life and rescue historical memory from the use of relational devices.

This article analyzes the critical dimension present
in the tension between real and fictional in Esta
Noite Mãe Coragem, created by the group ZAP 18.
To transpose Brecht’s piece for brazilian peripheries,
the spectacle discusses the issue of urban
violence through accounts of actors and audience

The goal of this dissertation is to investigate some of the meanings circumscribed in the ways the idea of reality has been explored in theater at the beginning of the current century. The research departs from a bibliographic survey focused in recent
publications on the theme, goes through the mapping of the most recurrent appearances of the real at the contemporary scenic and artistic sphere and is concluded with a case study of the play Esta Noite Mãe Coragem – (Tonight Mother Courage), by the group ZAP 18 from Belo Horizonte, Minas Gerais. Throughout the work a discussion on the meanings of the growing presence of reality on contemporary theatrical presentation is developed, aiming to focus on a few aspects: In which ways is the real absorbed by theater today? What are the potentialities of such representative strategies? What kinds of questions are elaborated? What reactions are provoked on the spectators? Thus, through this study, it is possible to infer that the presence of the real in the current artistic scenario points both to a new organization of the place of representation in
contemporary art as to the reflection about a possible political dimension of theater nowadays.
Key-words: Representation, Contemporary Theater, Theatricalities of the real

Conhecida por seus estudos sobre
os conceitos de teatralidade e
performatividade, a pesquisadora
franco-canadense Josette
Féral, esteve em São Paulo em
novembro do ano passado (2010),
durante o VI Congresso da
ABRACE (Associação Brasileira
de Pesquisa e Pós-Graduação
em Artes Cênicas), para realizar
a conferência O Real na Arte: a
Estética do Choque. Professora
do Departamento de Teatro da
Universidade de Québec, em
Montreal, autora e organizadora
de diversos livros e artigos, Féral
discutiu a presença do real na
arte contemporânea, com recorte
em obras artísticas que exploram
especificamente o instante
da morte no interior das
próprias criações.

Neste capítulo, proponho uma aproximação do conceito de dramaturgia ao de dispositivo cênico. O termo tem sido utilizado para designar criações pautadas pela elaboração de regras/procedimentos simples, passíveis de serem realizadas/ativadas por qualquer um. Investigo como essa lógica artística favorece o descentramento da presença do artista e da ideia de autoria em prol de uma ampliação sobre quem pode atuar nas artes cênico-performativas atuais. A partir do estudo de obras do diretor catalão Roger Bernat e do coletivo alemão Rimini Protokoll, centradas na participação de espectadores em situação autorreferencial e cotidiana, discuto as potencialidades críticas deste recurso, que permite uma intensificação sobre a reflexividade acerca dos modos de subjetivação produzidos na interação entre participantes e dispositivos.

This thesis aims to investigate the aesthetic and critic potentialities related to the presence of the actors of everyday life in the context of contemporary performing arts, addressing creations produced in Brazil and Europe at the beginning of 21st century. The term includes people who do not necessarily have artistic training and are invited to take part in current creations from a self- referential perspective. We start from the hypothesis that the incorporation of actors of everyday life collaborate to change the “regime of visibility” (RANCIÈRE, 2009) of bodies and subjectivities in the context of performing  arts, by broadening the possibilities about who acts in theatre and dance. From the dialogue with the concepts of theatres of the real (SAISON, 1998; FERNANDES, 2010; MARTIN, 2013), expanded theatricality (DIÉGUEZ, 2014; SÁNCHEZ, 2015), and audience theatricality (CORNAGO, 2015), this research focuses on the analysis of the trajectory and of specific works of artists from the contemporary scene who stand out by their work with actors of everyday life, such as French director Jérôme Bel, the Brazilian Cia. Hiato, the Swiss-German collective Rimini Protokoll, and Catalan director Roger Bernat. From this analysis, we outline some some potentialities linked to their works, focusing on the subversion of traditional theatrical codes of representation, the intensification of experience sharing with the spectator, the approach of the performing arts with the fields of reality and everyday life, the questioning of issues relating to otherness, the irruption of a theatricality of the collective, the projection of mirrors with the audience and its participation in the work, and, finally, the dialogue with the context in which the spectacle takes place. That kind of participation reflects a specific way with which theatre and dance have been working their language expansion. And it shows how the presence of everyday actors collaborates to transform the “ways of doing” and the “ways of thinking” (RANCIÈRE, 2009) of the contemporary performing arts.