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Advisor(s)
Abstract(s)
Resumo - AMonstra foi concebida como metodologia de sampling textual, com o objetivo de criar narrativas performativas a partir de obras pré-existentes; uma espécie de reutilização e reciclagem de ideias. Neste processo, foi aplicada à conceção de um vídeo e à criação musical, cenográfica e de figurinos da adaptação de um texto dramático, Ilusionistas.
A pergunta inicial que gerou o processo criativo foi: O que pretendo comunicar?
Numa primeira fase, concebi o vídeo. Após a definição de algumas categorias de interesse que geraram um plano de conteúdos para a pesquisa, que continha as temáticas do onírico, tempo, queer, ecologia e ritual, surgiu o texto dramático acima referido, associado a uma pesquisa sobre o mistério, que decidi pôr em cena e que gerou as seguintes questões: Como criar cenas oníricas em palco? Como utilizar a tecnologia de projeção de luz e vídeo para criar efeitos surpresa? Como é possível amplificar a temporalidade? Como sustentá-la? Como é que a utilização do sampling na expressão performativa pode despertar sensações afetivas de escuta e de transformação em direção a uma cura ou libertação?
O contexto teórico incidiu sobre o estado atual do mundo, a psicanálise, as questões de género e as relações sociais dentro da família. Para pensar e aprofundar estas temáticas, utilizei fontes como notícias, Freud, Jung, Butler, Preciado, entre outras.
O objetivo deste trabalho é explorar a metodologia acima apresentada, refletir sobre as temáticas em questão e experimentá-las em concretizações de objetos artísticos. O relatório é a descrição de um processo vivo, de todas as suas virtudes e falhas.
Os métodos utilizados para além dos já referidos foram, no que se refere ao trabalho artístico, a improvisação e gravação audiovisual dos ensaios para poder ter uma visão de fora, visto que estava a encenar e a interpretar; a análise dramatúrgica, feita através de uma tabela com as especificações do texto; a exploração da relação com o corpo e voz através da técnica do The Lucid Body e a marcação seguida de improvisação da encenação na busca de estados emotivos das personagens que fossem de acordo com o realismo mágico.
Para a reflexão acerca do percurso realizado, foi feita uma discussão no final da apresentação, na qual o público pôde fazer perguntas, sugestões e críticas e entrevistei as pessoas envolvidas na cocriação.
Portanto, o trabalho desdobra-se em duas grandes fases: a conceção da metodologia e aplicação da mesma a um objeto artístico audiovisual e à encenação do texto Ilusionistas que culminou numa apresentação cocriada.
O sampling provém de um princípio de reutilização de material, o que por si é uma ideia ecológica, ainda mais quando aplicada à criação do evolvente cénico. Pode ser também um método eficaz para a criação e enriquecimento das narrativas, interligado e contraposto necessariamente com a imaginação.
Abstract - AMonstra was conceived as a textual sampling methodology, with the goal of creating performative narratives from pre-existing works; a way of reusing and recycling ideas. In this process, it was applied to the conception of a video and to the musical, scenic and costume design, on the adaptation of a dramatic text, Ilusionists. The initial question that generated the creative process was: What do I want to communicate? In a first phase, I conceived the video. After defining some categories of interest that generated a content plan for the research, which contained the themes of the oneiric, time, queer, ecology and ritual, the dramatic text mentioned above emerged, associated with a research on mystery, which I decided to stage and that generated the following questions: How to create dreamlike scenes on stage? How to use light and video projection technology to create surprise effects? How is it possible to amplify temporality? How to sustain it? How can the use of sampling in performative expression arouse affective sensations of listening and transformation towards healing or liberation? The theoretical context focused on the current state of the world, psychoanalysis, gender issues and social relations within the family. To think and delve into these themes, I used sources such as news, and texts by Freud, Jung, Butler, Preciado, among others. The aim of this work is to explore the methodology presented above, to reflect on the themes in question and to experiment with them in concretizations of artistic objects. It is the description of a living process, of all its virtues and flaws. The methods used, besides those already mentioned, were the improvisation and audiovisual recording of the rehearsals so as to be able to have an outside view, since I was directing and acting; a dramaturgical analysis, done through a table with the specifications of the text; the exploration of the relationship with the body and voice through the technique of The Lucid Body and the blocking of the staging followed by improvisation in search of the emotional states of the characters in accordance with magical realism. For reflection about the work done, a discussion was held at the end of the performance, in which audience members were able to ask questions, make suggestions and critiques and I also interviewed the people involved in the co-creation. Therefore, the work unfolds in two major phases: the conception of the methodology and its application to an audiovisual artistic object, and the staging of the text Illusionists that culminated in a co-created presentation.Sampling comes from a principle of material reuse, which in itself is an ecological idea, even more so when applied to the creation of the scenic envelopment. It can also be an effective method for the creation and enrichment of narratives, necessarily intertwined and interconnected with imagination.
Abstract - AMonstra was conceived as a textual sampling methodology, with the goal of creating performative narratives from pre-existing works; a way of reusing and recycling ideas. In this process, it was applied to the conception of a video and to the musical, scenic and costume design, on the adaptation of a dramatic text, Ilusionists. The initial question that generated the creative process was: What do I want to communicate? In a first phase, I conceived the video. After defining some categories of interest that generated a content plan for the research, which contained the themes of the oneiric, time, queer, ecology and ritual, the dramatic text mentioned above emerged, associated with a research on mystery, which I decided to stage and that generated the following questions: How to create dreamlike scenes on stage? How to use light and video projection technology to create surprise effects? How is it possible to amplify temporality? How to sustain it? How can the use of sampling in performative expression arouse affective sensations of listening and transformation towards healing or liberation? The theoretical context focused on the current state of the world, psychoanalysis, gender issues and social relations within the family. To think and delve into these themes, I used sources such as news, and texts by Freud, Jung, Butler, Preciado, among others. The aim of this work is to explore the methodology presented above, to reflect on the themes in question and to experiment with them in concretizations of artistic objects. It is the description of a living process, of all its virtues and flaws. The methods used, besides those already mentioned, were the improvisation and audiovisual recording of the rehearsals so as to be able to have an outside view, since I was directing and acting; a dramaturgical analysis, done through a table with the specifications of the text; the exploration of the relationship with the body and voice through the technique of The Lucid Body and the blocking of the staging followed by improvisation in search of the emotional states of the characters in accordance with magical realism. For reflection about the work done, a discussion was held at the end of the performance, in which audience members were able to ask questions, make suggestions and critiques and I also interviewed the people involved in the co-creation. Therefore, the work unfolds in two major phases: the conception of the methodology and its application to an audiovisual artistic object, and the staging of the text Illusionists that culminated in a co-created presentation.Sampling comes from a principle of material reuse, which in itself is an ecological idea, even more so when applied to the creation of the scenic envelopment. It can also be an effective method for the creation and enrichment of narratives, necessarily intertwined and interconnected with imagination.
Description
Trabalho de Projeto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Artes Performativas
Keywords
Sample Queer Família Magia Cocriação Family Magic Co-creation
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema