Abstract


 
 
 A proposta deste artigo é discutir o processo de trabalho do diretor teatral Hugo Rodas na montagem da peça Memória Roubada (2002) que amplia noções sobre as artes da cena e o campo da visualidade. A obra teatral configura-se, neste caso, como mais que uma simples relação entre a obra e seu apreciador. Ela se insere no mundo como uma intervenção, o que coloca o espectador no centro da ação perceptiva e permite múltiplas interpretações e vivências. O estudo, então, abrange questões e reflexões no que se refere às dinâmicas do ato cênico e à capacidade de agir e formular pensamentos.
 
 

Highlights

  • The purpose of this article is to discuss the artistic process and work of director Hugo Rodas in his creation of the piece Memória Roubada (2002) a work known to increase the audience’s awareness of the scenic arts and which expands viewers understanding of theatrical interpretation

  • Memória Roubada places the viewer in the center of all the action enabling them to perceive the multiple interpretations and experiences actively occurring on stage

  • This study raises question and reflections in reference to the dynamics of the scenic arts employed in this work whilst analyzing the ability of the theatrical work to invoke questions and formulate new thoughts to the viewer

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Summary

Introduction

The purpose of this article is to discuss the artistic process and work of director Hugo Rodas in his creation of the piece Memória Roubada (2002) a work known to increase the audience’s awareness of the scenic arts and which expands viewers understanding of theatrical interpretation. A proposta deste artigo é discutir o processo de trabalho do diretor teatral Hugo Rodas na montagem da peça Memória Roubada (2002) que amplia noções sobre as artes da cena e o campo da visualidade.

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