ABSTRACT
This article is the result of practical research in the field of performing arts, with emphasis on processes and artistic achievements in studies focused in Pirandello's scene studies. In search of a theatricality built from the intersection between theatre and performance, the dramaturgy of the Italian author is investigated from its head node: the acknowledgement by the playwright himself of the theatre's unpower of representation. In this article, we organize documents and reflections derived from a year of practical activities around the Italian author's scene and dramaturgy, revisited from a performative theatricality, in light of Deleuze's concept of the theatre of repetition.
Keywords:
Pirandello; Deleuze; Performative Theatre; Repetition Theatre; Maschere Nude
RESUMO
Este artigo é o resultado de pesquisa prática no campo das artes cênicas, com ênfase nos processos e resultados artísticos alcançados nos estudos de cena pirandellianos. Na busca de uma teatralidade construída a partir do cruzamento entre teatro e performance, investiga-se a dramaturgia do autor italiano a partir de seu nó principal: a constatação pelo próprio dramaturgo do impoder de representação do teatro. Neste artigo, organizamos documentos e reflexões de um ano de atividades práticas em torno da cena e da dramaturgia do autor italiano, revisitada a partir de uma teatralidade performativa, à luz do conceito deleuziano de teatro da repetição.
Palavras-chave:
Pirandello; Deleuze; Teatro Performativo; Teatro da Repetição; Maschere Nude
RÉSUMÉ
Cet article est le résultat d'une recherche pratique dans le domaine des arts du spectacle, spécialement, des processus et réalisations artistiques autour de la scène de Pirandello. À la recherche d'une théâtralité construite à partir de l'intersection entre théâtre et performance, on étudie la dramaturgie de l'auteur italien depuis son nœud principal: sa constatation de l'impouvoir de représentation du théâtre. Dans le présent article, nous organisons des documents et des réflexions sur une année de pratiques autour de la scène et de la dramaturgie de Pirandello, revisitées à partir d'une théâtralité performative, à la lumière du concept de Deleuze du théâtre de la répétition.
Mots-clés:
Pirandello; Deleuze; Théâtre Performatif; Théâtre de la Répétition; Maschere Nude
Full text available only in PDF format.
Referências
- DE MARINIS, Marco. In Cerca dell'Attore, un Bilancio del Novecento Teatrale. Roma: Bulzoni, 2000.
- DELEUZE, Gilles. Diferença e Repetição. Rio de Janeiro: Graal, 1988.
- FÉRAL, Josette. Por uma Poética da Performatividade: o teatro performativo. Tradução: Lígia Borges. Revista Sala Preta, São Paulo, Universidade de São Paulo, v. 8, p. 197-210, 2008.
- FÉRAL, Josette. Teatro, Teoría y Práctica: más allá de las fronteras. Buenos Aires: Galerna, 2004.
- FERNANDES, Silvia. Teatralidade e Performatividade na Cena Contemporânea. Repertório, Salvador, Universidade Federal da Bahia, n. 16, p. 11-23, 2011.
- FERNANDES, Silvia. Teatralidades Contemporâneas. São Paulo: Perspectiva, 2010.
- FISCHER-LICHTE, Erika. Realidade e Ficção no Teatro Contemporâneo. Revista Sala Preta, São Paulo, Universidade de São Paulo, v. 13, n. 2, p. 14-42, 2013.
- GROTOWSKY, Jerzy. Performer. Centro di lavoro di Jerzy Grotowski - Workcenter of Jerzy Grotowski. Pontedera: Centro per la Sperimentazione e la Ricerca Teatral, 1988.
- MAGALHÃES, Rui. Deleuze: a pluralidade metafísica. Ciberkiosk, Aveiro, Universidade de Aveiro, {s.v.}, {s.p.}, 2001. Disponível em: <Disponível em: http://sweet.ua.pt/rui.magalhaes/docs/Deleuze_DR.pdf >. Acesso em: 17 mar. 2014.
» http://sweet.ua.pt/rui.magalhaes/docs/Deleuze_DR.pdf - NANCY, Jean-Luc. Corpo-teatro. Palestra proferida por Jean-Luc Nancy no Kiasma, museu de arte moderna de Helsinki, em abril de 2010. Tradução: Marcia Sá Cavalcante Schuback. Humanidades, Brasília, Editora UnB, n. 57, p. 23-34, 2010.
- PUCHNER, Martin. Pânico de Palco: modernismo, antiteatralidade e drama. Sala Preta, São Paulo, Universidade de São Paulo, v. 13, n. 1, p. 13-46, jun. 2013.
- RANCIÈRE, Jacques. O Destino das Imagens. Tradução: Mônica Costa Netto. Rio de Janeiro: Contraponto, 2012.
- RIBEIRO, Martha. Luigi Pirandello: um teatro para Marta Abba. São Paulo: Perspectiva, 2010.
- RIBEIRO, Martha. Pirandello Contemporâneo: cadernos de cena. Niterói: UFF, 2014. Disponível em: <Disponível em: http://www.pirandellocontemporaneo.uff.br >. Acesso em: 29 set. 2013.
» http://www.pirandellocontemporaneo.uff.br - SZONDI, Peter. Teoria do Drama Moderno (1880-1950). Tradução: Luiz Sérgio Rêpa. Rio de Janeiro: Cosac Naify, 2001.
- VICENTINI, Claudio. Il Disagio del Teatro. Venezia: Marsilio, 1993.
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1
Created in 2010 by the researcher and theatre director Martha Ribeiro, the Contemporary Scene's Creation and Investigation Laboratory (CNPQ/UFF) is developed in the scope of the Post-Graduation Program in Contemporary Art Studies of Universidade Federal Fluminense and has the objective of studying the poetics of the theatrical scene and the technical-poetical foundations of the actor/performer. The LCICC is configured as a practical and theoretical research laboratory space in the formation of the contemporary theatre scene. The main purpose is the critical, aesthetical, and theoretical study of the dramatic in face the post-modern theses, which has as objective the performing arts. For more information, visit: <https://www.facebook.com/labcriacaocenacontemporanea>.
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2
In this article, we analyze the three scene studies performed in 2013 in the Artistic Residency of the LCICC, Solar do Jambeiro, in Niterói. They are: Os Seis; Improviso, Fantasmas. They were all directed and written by Martha Ribeiro; freely inspired in the plays Os Seis Personagens à Procura do Autor; Essa Noite se Representra de Improviso; and the short plays O Homem da Flor na Boca; A Saída; and Sonho (mas talvez não).The trilogy, entitled Toda Noite antes de dormir eu vejo Coisas, investigates the creation of a hybrid scene language, between theatre and performance, from the psychophysical experience of the actors, with full freedom in the use of the Pirandellian text. For more information, visit: <www.pirandellocontemporaneo.uff.br>.
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3
Along the text, the theme of the theatre of repetition in Deleuze will be developed in opposition to the representative theatre.
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4
The Deleuzian theme of the plane of immanence, which may be examined in his book What is Philosophy?, defines a field crossed by becomings, by virtual multiplicities, essential to think of life as diversity of forms, thus standing against the idea of transcendence, that is, the illusion of a higher form of existence. Art, in this expanded Deleuzian field, is no longer subject to a specific rule, representative, which attributes to art a kind of making, a tekne.
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5
We understand here the Pirandellian characters as maschere nude to escape to the character classical concept. Maschere nude give us the idea of motion corresponding to the theatre of repetition pointed by Deleuze.
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6
The Contemporary Pirandello research project can be referred in the following address: <www.pirandellocontemporaneo.uff.br>.
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7
In the theatrical text, Pirandello calls A Cena da Enteada the description of the characters from the encounter of the Father with the Stepdaughter in the house of Madame Pace.
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8
By a matter of space, the sexuality theme will not be developed in this article.
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9
The video of the Study can be referred in the following address: <https://www.youtube.com/watch?v=EnTyNA1gWs8>.
Publication Dates
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Publication in this collection
Dec 2014
History
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Received
16 Apr 2014 -
Accepted
20 June 2014
