Abstract
Resumo: Através da análise de proposições contemporâneas e postulando o jogo de enquadramentos como princípio da construção da poética da cena, este artigo contextualiza as noções de teatralidade e performatividade como funções que coexistem. Deslocadas do campo da crítica teatral para o da atuação, teatralidade e performatividade aparecem como noções operacionais de uma análise da práxis atoral, servindo de base para uma revisão da teoria e do lugar do dramático como uma suposta prática da significação, permitindo apresentá-lo como uma modalidade de enquadramento entre outras.
Highlights
RESUMO ‒ Performando a Teatralidade no Jogo de Enquadramentos: repensando a tessitura do dramático ‒ Através da análise de proposições contemporâneas e postulando o jogo de enquadramentos como princípio da construção da poética da cena, este artigo contextualiza as noções de teatralidade e performatividade como funções que coexistem
It can be claimed that what Artaud wanted for the body was the language statute; that is, of the fragmentation producing an effect of what escapes to its reading and interpretation - the poetic effect itself1
If we increase the differences between the framings, we open fissures and, possibilities of linking produced by each spectator. These differences between the framings, is what we call theatricality: we address the theatricality as a clash between framings5
Summary
The contemporary theory is based on names like Schechner, FischerLichte, Féral, Lehmann, bringing a perspective of overcoming of the signification effect in scene, as well as pointing to materiality as immediate affection of the spectator. Taking the stage work as writing (and not representation), we agree that effects of signification are not predetermined, as the spectator frames the work with his look (it is a unique and distinguishing process from a life history); that the very reality of this frame implies affect, fruition, discovery, in the extent that it is subjected to a series of metonymic sliding and detachments. What remains from these sliding is translated as a space of flaw of the language (absence of signifier inscription) that, in turn, makes it possible the performativity. It can represent a solution when it proposes the dramatic text as a field of extraction of materials - as it allows to the actor disentangle from theoretical framework of the theory of the signification and the representation.
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