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Playing the media and playing the senses
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Resumo(s)
Neste artigo considero o teatro como o paradigma de todas as artes e como a arte do performer. Concentro-me nos aspectos performativos da arte tal como manifestados na construção de mundos, no posicionamento em palco (“staging”), auto-referenciação e auto-reflexão. Estes dois últimos aspetos são particularmente relevantes na minha interpretação de intermedialidade como um modo específico de performatividade, provocando – com todas as suas fricções, contrastes e disjunções – uma força criava que ocorre de acordo com o princípio de “ambos-e”. Também abordo o facto de o teatro funcionar como um hípermeio [hypermedium], servindo de palco para que outros media possam ser encenados ou até mesmo, e sobretudo, funcionando como um local de interpretação e prazeroso usufruto de outros media permitindo um jogo com os sentidos e conferindo ao espectador um papel de experienciador. Através de uma breve análise de três espectáculos, proponho-me demonstrar como o princípio intermedial do ambos-e pode funcionar.
ABSTRACT - In my essay I consider theater as the paradigm of all arts and as the art of the performer. I focus on the performative aspects of art as manifested in worldmaking, staging, self-referencing and self-reflexing. These last two aspects are particularly relevant in my understanding of intermediality as a specific mode of performativity, causing with all its frictions, contrasts and disjunctions a creative force according to the principle of both-and. I also discuss theater functioning as a hypermedium, providing a stage for other media to be staged or rather a playground for other media to be played with and thus also to play with the senses and the positioning of the spectator as experiencer. With a brief discussion of three performances, I want to demonstrate how the both-and principle of intermediality can work.
ABSTRACT - In my essay I consider theater as the paradigm of all arts and as the art of the performer. I focus on the performative aspects of art as manifested in worldmaking, staging, self-referencing and self-reflexing. These last two aspects are particularly relevant in my understanding of intermediality as a specific mode of performativity, causing with all its frictions, contrasts and disjunctions a creative force according to the principle of both-and. I also discuss theater functioning as a hypermedium, providing a stage for other media to be staged or rather a playground for other media to be played with and thus also to play with the senses and the positioning of the spectator as experiencer. With a brief discussion of three performances, I want to demonstrate how the both-and principle of intermediality can work.
Descrição
Palavras-chave
Hípermeio Intermedialidade Performatividade Performer Experienciador Ambos-E Hypermedium Intermediality Performativity Experiencer Both-And
Contexto Educativo
Citação
Editora
Instituto Politécnico de Lisboa