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Authors
Advisor(s)
Abstract(s)
O termo “teatro” tem vindo a perder alguma preponderância, optando muitas artistas e também a academia, por nomes como “artes performativas” ou “artes cénicas” ou “artes vivas” (live art ou art vivant). Esta busca de uma maior abrangência com a alteração de nomenclatura segue uma tendência com raízes antigas, mas que hoje se apresenta mais confiante. Ao teatro do início do sec. XX como lugar da confluência de diferentes disciplinas e artes, responde a possibilidade de hoje encontrarmos nas salas de espetáculo objetos que, não só abraçaram essa pluralidade, como se distanciaram de uma essência que os irmanava.
Usando vocabulário e pensamento extraído do campo da arte contemporânea, este ensaio procura descrições mais capazes de abarcar a pluralidade de certos espetáculos de teatro e artes performativas, partindo do princípio de que se, por um lado, as categorias são formas obsoletas e conservadoras para deles falar, também são elas que permitem o seu reconhecimento social.
ABSTRACT - The word "theatre" has been losing some preponderance, with many artists and also academics electing names like "performing arts", "scenic art", " live art” or “art vivant”. This search for greater inclusiveness by changing nomenclature follows a trend with ancient roots, which is currently showing a new impetus. After a theatre of the early 20th century that saw itself as a place of confluence of different disciplines and arts, we find in today’s theatre spaces objects that not only embrace plurality, but also distance themselves from an essence that used to unify diversity. Using a vocabulary and theory produces in conceptual and contemporary art, this essay goes looking for descriptions that are more capable of embracing the plurality of theatrical performances, on the principle that if, on the one hand, categories are obsolete and are ways of preventing changes, they are also indispensable in a process of social recognition.
ABSTRACT - The word "theatre" has been losing some preponderance, with many artists and also academics electing names like "performing arts", "scenic art", " live art” or “art vivant”. This search for greater inclusiveness by changing nomenclature follows a trend with ancient roots, which is currently showing a new impetus. After a theatre of the early 20th century that saw itself as a place of confluence of different disciplines and arts, we find in today’s theatre spaces objects that not only embrace plurality, but also distance themselves from an essence that used to unify diversity. Using a vocabulary and theory produces in conceptual and contemporary art, this essay goes looking for descriptions that are more capable of embracing the plurality of theatrical performances, on the principle that if, on the one hand, categories are obsolete and are ways of preventing changes, they are also indispensable in a process of social recognition.
Description
Keywords
Teatro Estudos de teatro Arte contemporânea Medium Theatre Theatre studies Contemporary art Medium
Citation
«Teatro Cósmico: O Estado Em Movimento Do Teatro». 2022. RHINOCERVS: Cinema, Dança, Música, Teatro 1 (1): 144-57. https://doi.org/10.34629/rcdmt.vol.1.n.1.pp144-157.
Publisher
Instituto Politécnico de Lisboa