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Português (Brasil) - Detectado swap_horiz Inglês Texto de origem clear 1.048 / 5.000 Resultados de tradução Resultado da tradução Who is Neva Leona Boyd (1876 - 1963)? What is the significance of her contribution to Social Work in contemporary times? This article aims to announce a social worker, intellectual and social activist to Brazilian social workers, who was among the 20 pioneers of the state of Illinois (USA) in the city of Chicago in the late 19th century and early decades of the 20th century. During the course of the research, in dialogue with great names in Brazilian Social Work, it was noted that we were completely unaware of the life and work of this thinker who is one of the greatest references not only in Social Work, but also in theatrical games and theatrical pedagogy, having arrived in Brazil through the area of ​​Performing Arts. The work revisits the experience of Hull House, from the birth of Social Work in the state of Illinois to the contributions to contemporary Social Work, considering Theater and Education as potential areas of dialogue from the perspective of popular education and the professional ethical-political project of Social Work.
Copyright (c) 2025 Olhares https://creativecommons.org/licenses/by/4.0
ACOPLAMENTO E COPRESENÇA XAMÂNICA NA VOZ RAPSÓDICA DA PEÇA-POEMA AZIRA’I
This article places the theatrical show Azira’I within the contemporary socio-aesthetic-political circuit that challenges the neutralizing spaces reserved for ethnic and peripheral arts by official culture, affirming, in turn, the decolonization of the Western Canon and the imaginary. From this perspective, it defends the hypothesis that, because its central theme is the settling of scores between the person-performer-actress-character and her shaman mother, cosmopolitical flows of South American shamanism invade and reconfigure the rhapsodic-kaleidoscopic form of memorialistic storytelling vocal writing. This vocal writing is structured in the free expressive transit between Western and non-Western cultures.
GESTÃO E POLÍTICAS PÚBLICAS CULTURAIS NA REGIÃO OESTE DA BAHIA: ANÁLISE DOS DESAFIOS DE ACESSO, DEMOCRACIA, FRUIÇÃO E PROFISSIONALIZAÇÃO DOS GESTORES CULTURAIS
Este artigo traz uma concisa analisa as políticas públicas culturais na Bahia, com ênfase na região Oeste, destacando os desafios enfrentados por diversos grupos sociais, como produtores, agentes culturais, povos originários, ciganos e quilombolas. A apreciação enfatiza a importância do acesso, da produção e da fruição dos bens culturais para a promoção da diversidade cultural. E uma breve análise das gestões da Secretaria de Cultura da Bahia, revelando avanços e retrocessos, sublinhando a relevância da territorialização e da inclusão de diferentes vozes nas decisões culturais. Além disso, o estudo aponta para a necessidade de formação qualificada para gestores culturais, que deve incluir conhecimentos sobre planejamento estratégico e financiamento da cultura.
This article introduces the concept of a walkshop, an artistic and pedagogical practice based on walking and engaging in encounters with the cityscape. Performers and participants partake in an experience that mediates other forms of relationship with the city while they circulate, contemplate, and discover its spaces, acknowledging its inhabitants and their singularities. When we focus attention on the path and the act of walking, the focus of this movement shifts away from the point that we are directed towards and becomes the journey itself. Moving in a nonfunctional manner transforms walking into an artistic, aesthetic, and political action. As our case in point for this reflection, we concentrate on Walkshop Paris which took place in the French capital on 24 June 2022 during the “Theatre and the City” conference.
CASA DO TEATRO DE PORTAS ABERTAS PRÁTICAS DE TEATRO PARA CRIANÇAS
Review of the book: Casa do Teatro: de portas abertas – Theatre Practices for children and adolescents. ALMEIDA, Karina. BARBOSA, Marcos. CORTEZ, Vitória. Casa do Teatro: de portas abertas - Práticas de teatro para crianças e adolescentes. / Organizado por Karina Almeida, Marcos Barbosa e Vitória Cortez - São Paulo: Escola Superior de Artes Célia Helena, 2024.
A PRESENÇA DE ZAHỲ TENTEHAR NA IX SEMANA ARTE E SOCIEDADE DA ESCH*
Pela Olhares: Profa. Dra. Gabriela Alcofra (GA), Profa. Me. Luah Guimar.ez (LG) Profa. Dra. Karina Almeida (KA), Prof. Dr. Henrique Guimar.es (HG) Entrevista realizada no dia 25 de maio de 2024, no Teatro do Célia (Av. São Gabriel, 444).
Abstract: The central idea for this research emerged after hearing audience reports after a concert on the theme of "Striking Soundtracks" with the Voz&Arte Choir, of which I have been a member for three years. The research investigates how soundtracks can be used as an expressive tool in stage and musical creation with young people, stimulating active listening, affective memory, and creativity. The study begins with the context of young people's constant exposure to audiovisual productions and seeks ways to critically and creatively appropriate these resources in the school environment. It is based on Koelsch (2011), on music and memory; Suzel Reily (2014), on music and memory practices; and Tragtenberg (1999), on sound dramaturgy. The work develops on two fronts: a theoretical analysis of the expressive and symbolic aspects of soundtracks on stage and the production of a documentary, in the final editing phase, with interviews with professionals in the field. Keywords: Sound on stage; Affective memory; Experience; Sensitive pedagogy.
This essay addresses the connections between the works: The Tragedy of Othello, The Moor of Venice, by William Shakespeare and Dom Casmurro, by Machado de Assis. To this end, we observe the particularities of each language - the theatrical and the novel - and their similarities and differences, as well as the possibilities of artistic recreation based on their meanings and senses. Keywords: theater; theater and literature, classics, the character, Shakespeare, Machado de Assis, theatrical language, novel, symbols
OBJETO DRAMATICIONAL: DO COTIDIANO À FANTASIA
In this article I want to share two things. One is the admiration of realizing how much art can contribute to someone's personal development. Another is this research that talks about how easy it is for children aged four to six to join a game and actively participate in a scene when they have a scenic object in their hands. I don't believe that this is the only way for children to enter the dramatic game, but by observing great leaps in artistic and social development in contact with the object of the scene, I want to highlight this issue. To do this, I draw a relationship between "The Children's Dramatic Game" by dramatherapist Peter Slade and the idea of ​​"Transitional Object" proposed by psychoanalyst Donald Winnicott.
This article was prepared with the aim of presenting the reader with a brief panel of the life and work of Jorge Andrade, established as one of the main Brazilian playwrights since his debut in 1955, when his text A moratória was staged by Maria Della Costa Theater Company. The author also stood out for his work in education, journalism and television dramaturgy.
ENTRE MIRA, SERAFINA, ROSA E TIA NEGUITA
IRMÃOS COLACHO OU PRESIDENTES DA AMÉRICA
This article follows the traces of memory, understanding the performing body connected to the environment in which it lives, serving as a site of exploration where poetic events begin. It reports on some experiences from the political movement Art for Democracy, a tactical group that uses art as a language, always seeking collective propositions of multiple voices. Emphasizing the unexpected as one of the strategies for the symbolic occupation of spaces and the gathering of bodies to create images that dispute new narratives, it highlights the idea of the body as a territory capable of conjuring landscapes.
CORAZÓN CENTRAL: CRIANDO TERRITÓRIOS DE [R]EXISTÊNCIA
Este texto apresenta o início do processo de criação do território de [r]existência “Corazón Central”, a partir da entrevista com Martín, El Periodista, porta-voz rebelde da localidade. Marcando o espaço urbano com lambe-lambes, o entrevistado nos apresenta um lugar de denúncia do capacitismo e de celebração dos corpos com deficiência, embasado nas lutas sociais da América Latina e na busca pela justiça ocupacional.
Este artigo versa sobre as temáticas diversidade, ensino e políticas públicas, entrelaçadas com o fazer teatral. Nos últimos anos, a diversidade tem sido um assunto muito debatido e é pertinente apresentar reflexões no tocante ao tema, enfatizando o acesso à Educação por meio de conteúdos programáticos que tragam o reconhecimento dos saberes do aluno-artista. O estudo se relacionou com o processo criativo da montagem do espetáculo Agreste. Conclui-se com a reflexão de que não há como tratar do assunto sem antes planejar políticas que sejam inseridas na prática do saber e fazer artístico.
The non-do minant place of Drama in the Post-Modernity
The field of Dramatic Writing, a genre that cannot do without ontological elements such as conflict, for example, is the target of constant attacks by authors who follow the dominant precepts of their own historical contexts. This paper, supported by the ideas of Raymond Williams and Jean-Pierre Sarrazac, problematizes the defense of the supremacy of the epic in drama, in the work of Peter Szondi and the concept of post-dramatic, in the book of the same name by Hans-Thies Lehmann, bringing them together , respectively, from the teleological thought of the 19th century and the liquid thought of postmodernity, questioning the pertinence and relevance of these ideas in relation to the multifaceted dramatic literary genre.
I dance in nature with my body, as if flowers I were. I feel the perfume, the sun that warms them, the rain that refreshes them, the cold that ennobles them, the wind that gives them movement. I am not always a beautiful flower: sometimes I am crooked, but I am reborn from my mud to my skin, I rise above the earth where I step, and I am alive in the now. Sometimes, my “earth-feet” speak for themselves and step as in a dance of growth and learning. I keep evolving in the midst of many searches through my crooked body and make the defect a unique beauty.
In a preliminary proposal, this article has the exploratory nature of thinking about which space literature’s is inserted in literature in the classroom in terms of art. Based on the African expressiveness adressed by Asante (2014), and Martins (2021) and their multiplicities, we propose to reflect in the classroom what the outline of what it’s called African literature or African diasporic literature and its possible developments in different artistics languages. To project this reflection we used and application of Law n° 10.639, which refers to the obligation of African-Brazilian history and culture in the school context.
Bacchus-Dionysus-Zagreeus and the origins of Western theater
With this study I seek ways that indicate modes of affiliation between Dionysian attributes and the permanence of this god in the sphere of theater in the polis. Why consider theater as a gift from Bacchus, like wine, death, rebirth and ecstasy? Starting from the qualities of this deity and its connections with the origins of Western theater, I am interested in evidence of Dionysus’ primordial characteristics that may still prevail in theatrical practice. I intend to address this issue here, sharing a reflection on the Dionysian aspects in ancient Greek theater, its origins and development in the polis.
THE CHANGE OF PERCEPTION WHEN GOING THROUGH THE EXPERIENCE
The research dives into the vast universe of possibilities brought by the human experience. When crossing it, our perception, and the way we see ourselves in the world are profoundly affected. Experience acts as a link between the real and fictional worlds, a bridge that connects what is outside of us with what resides within everyone who connects to it. The question then arises: is it possible to experience a sense of belonging to the territory we inhabit after going through a performance experience? What do we see and feel on this journey influence our connection to the world? Could it be that even with an apparently limited repertoire of artistic influences, it is still possible to understand the world, art, and life? These questions underlie this article, seeking to establish connections that can guide us towards their answers. The research undertakes a meaningful quest, exploring the relationship between experience, perception, art, and life, in search of a deeper and more enlightening understanding.
In this reflection, I propose to weigh the fertile moment, a creative instant of improvisation, a fundamental experience for the performer. This thought about practice was built from my own experiences as an actor, although always under collective laboratories experiences, powerful path to scenic creation. Inspired by the book “The intuition of the instant” by the French philosopher Gaston Bachelard, in dialogue with the researches of the performing arts Constantin Stanislavski e Eugenio Kusnet, among others, and first pointed out in the doctoral research, it has its first steps in investigations carried out based on the scene creations of “Boa Companhia”, a theatrical research group that’s I had work since in 1992 and lasted until 2017.
This research is linked to the field of cultural mediation, aesthetic reception, and cultural citizenship, focusing on the construction of a scenic-literary show in the city of Marabá, Pará. I describe the construction of the performance soiree The Guests, reflecting on the confluence between the aesthetics of the scene and the ethics of its backstage, based on affectivity as a mobilizing force that seeks to build horizontality in interpersonal and institutional relationships. This process culminates in a scenic experience in which artists and audiences act in co-authorship. It reveals identity facets of the researched territory, highlighting that the mediation process uses particular tactics to win over each of the guests.
This article deals with the documentary film Todas por uma (2022), by Jeanne Dosse, which shows how, in the midst of the economic, political, social and cultural crises that devastated Brazil, Ariane Mnouchkine, director of the Théâtre du Soleil (France), was invited to supervise the staging of the play As comadres (2019), a version of Les Belles-Soeurs (1965) by the Canadian Michel Tremblay, turned into a musical in 2010, by René Richard Cyr, with more than twenty Brazilian actresses, in an approach collaborative that aimed to break with the dominant patterns and give rise to a collective work. In addition to highlighting the encounter between Mnouchkine and Brazilian theater, the article also seeks to point out the clues that show the strong connection between Ariane and the cinema, explicit in the way in which the director and filmmaker conducts her creation processes and invents languages through images.
ARENA THEATER AND THE DEVELOPMENT OF A BRA ZILIAN WAY OF INTERPRETING
São Paulo`s Teatro de Arena, founded in 1953 by José Renato Pécora, with the initial objective of trying out a new and cheaper way of doing theater. Then developed its history to experience a brazilian way to do it and looking for a nationalist theater that was in opposition to the elitist model of the time carried out by the Teatro Brasileiro de Comédia. One of the essential elements for thinking about a Brazilian way of doing theater was to develop, at the same time, a Brazilian way of acting. Actresses and actors from the group gave their testimonies, seeking to present the different ways of doing that developed throughout the rehearsals and shows that guided this search for a “ genuine Brazilian actor”. Teatro de Arena leaves a legacy both in the construction of a Brazilian way of acting and in the elaboration of a dramaturgy that mirrored the national reality.
This article aims to present the scenic dramaturgy Fragmentos as a theatrical text. Text composed from the correlation of materials from different disciplines and arts that was configured in the show Fragmentos, a production of Teatro Cais 21 conceived and premiered by me in March 2023, in Palmela, Portugal. And it presents the creative path reflecting on the concepts “director as playwright”, “material” and “chorality”. This work is part of the research project Field of Vision: chorality and other bodies” awarded by FAPESP as a Research Scholarship Abroad (BPE).
The experience of the political-theatrical mandate of councilor Augusto Boal (1993-1996) was fundamental for the development of the Legislative Theatre, which is a theatrical technique for drafting laws, legal measures and direct actions. This article intends to review the laws approved from Boal's political-theatrical mandate, either as author, co-author or by the Commission for the Defense of Human Rights (CDDH). For that, the deductive method is used, following the methodologies of bibliographical reading and exploratory research consulting three sources of information, namely; the first printing of the book Teatro Legislativo - versão beta (1996); the first edition of the book Teatro Legislativo (2020), edited by Fabiana Comparato and Julián Boal; and the Rio de Janeiro City Council website (www.camara.rio). There are three ways of counting laws arising from the mandate, the first considering those approved during the legislature; the second, considering those approved during and after the mandate, excluding the internal norms of the City Council; and the most comprehensive, which considers all those that had Boal's participation, including those approved after the end of his mandate. With the most comprehensive form, the present study responds to the divergences and points out the exact number of bills presented and laws approved that had the participation of the political-theatrical mandate.
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DO TEATRO DO OPRIMIDO REMOTO AOS JOGOS E IMPROVISOS PRESENCIAIS: INVESTIGAÇÕES E PARALELOS DO TEATRO EDUCAÇÃO EM QUARENTENA
O presente artigo trata de adaptações e experimentações com procedimentos do Teatro do Oprimido (TO), nas aulas da Educação de Jovens e Adultos (EJA), em princípio, remotamente, durante a pandemia, e, posteriormente, a retomada dos jogos e improvisos no contexto do ensino híbrido. Traz, por- tanto, reflexões sobre os diferentes processos metodológicos aplicados no período pandêmico na EJA, em Santo André. O presente estudo relaciona também revisão bibliográfica e relatos de práticas em ensino de arte de cena, com a modalidade de educação mencionada acima (EJA), no ABC paulista. O artigo dá um panorama dos desafios encontrados por professores e estudantes no isolamento e no presencial, e também aponta a necessidade de persistir com o trabalho de sensibilização pela arte.