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Authors
Advisor(s)
Abstract(s)
Esta dissertação divide-se em três capítulos: sendo o primeiro O Teatro, o Realismo e o Espetador, o segundo, Encenação Digital e, por fim, o terceiro, Teatro Imortal. Procuro no primeiro capítulo analisar a relação do espetador com os media e a tecnologia (vídeo, ecrãs, smartphone, projeções e interatividade) assim como a relação dos espetadores com o objeto teatral. Posteriormente interessa-me analisar o objeto teatral em si, diferenciando-o do seu processo criativo. No segundo capítulo, Encenação Digital, questiono a encenação realizada na era digital, assim como a utilização de media em espetáculos, destacando diferentes possibilidades de o encenador tirar partido da evolução tecnológica para as suas criações. Apresento neste capítulo dois conceitos: ‘Encenação Digital’ e ‘Controlo Técnico Total’. Estes conceitos foram desenvolvidos a partir do software Isadora de Mark Coniglio, que permite interação entre diferentes media. O primeiro conceito diz respeito à utilização da tecnologia, software e hardware, enquanto ferramenta artística e o segundo conceito tem uma abordagem mais técnica com foco na organização do espetáculo para que este possa ser operado (som, luz e vídeo) através de um único computador. Por fim, no capítulo Teatro Imortal, coloco em questão a efemeridade do teatro e a importância do texto enquanto ponto de partida ou forma para a fixação do objeto teatral no espaço e no tempo. Proponho neste último capítulo uma aproximação às artes plásticas, enquanto testemunho de um espetáculo.
ABSTRACT - This dissertation is divided into three chapters, the first: Theatre, Realism and Audience, the second : Digital Directing and finally the third chapter: Immortal Theatre. In the first chapter I will analyze the audience's relationship with the media and technology (video, screens, smartphone, video projections and interactivity) and the relationship between the audience with the theatrical object, then I seek to analyze the theatrical object itself, distinguish hit from the creative process.In the second chapter, Digital Directing, I will question the theatre directing in the digital age, as well as using media in shows, highlighting different features that the director can take advantage of for technological developments for their creations. In this chapter I will introduce two concepts: the Digital Directing and Total Technical Control; these were developed with Isadora from Mark Coniglio software that allows interaction between different media. The first concept relates to the use of technology, software and hardware, as an artistic tool and the se-cond concept has a more technical approach focused on the organization’s show so that it can be operated (sound, light and video) through a single computer. Finally in chapter Immortal Theatre I question the ephemerality of the theater and the importance of the text as a starting point or as a means for fixing the theatrical object in space and time. I propose in this last chapter an approach to art as witness of a spectacle.
ABSTRACT - This dissertation is divided into three chapters, the first: Theatre, Realism and Audience, the second : Digital Directing and finally the third chapter: Immortal Theatre. In the first chapter I will analyze the audience's relationship with the media and technology (video, screens, smartphone, video projections and interactivity) and the relationship between the audience with the theatrical object, then I seek to analyze the theatrical object itself, distinguish hit from the creative process.In the second chapter, Digital Directing, I will question the theatre directing in the digital age, as well as using media in shows, highlighting different features that the director can take advantage of for technological developments for their creations. In this chapter I will introduce two concepts: the Digital Directing and Total Technical Control; these were developed with Isadora from Mark Coniglio software that allows interaction between different media. The first concept relates to the use of technology, software and hardware, as an artistic tool and the se-cond concept has a more technical approach focused on the organization’s show so that it can be operated (sound, light and video) through a single computer. Finally in chapter Immortal Theatre I question the ephemerality of the theater and the importance of the text as a starting point or as a means for fixing the theatrical object in space and time. I propose in this last chapter an approach to art as witness of a spectacle.
Description
Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Encenação.
Keywords
Encenação digital Controlo técnico total Teatro imortal Multimédia Hipermédia Encenação Teatro Performance Digital directing Total technical control Immortal theatre Multimedia Hypermedia Theatre Directing Performance
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema