Creative Dialogue Research Articles

Can we still be at home? Agnes Heller and China

This paper offers a short history of Agnes Heller’s relationship to China through three aspects: imaginative aesthetic enjoyment, real encounters with Chinese cultural spectacles and actual audiences, and the construction of an academic community through creative dialogue. These discussions suggest that Heller felt at home in China. Although Heller has passed away, a home for us remains in her work through remembering her and engaging further with her writings.

The Myth of Determining Mate and Wedding Day in The Tradition of The Kejawen Community, Central Java, Indonesia

This article proves that the dialogue between Islamic teachings and the local culture of the Kejawen community creates a syncretic blending culture. The influence of culture is more dominant than the values ​​of Islamic teachings The transmission of teachings from ancestors is delivered orally and is believed to be the truth. The marriage tradition of the kejawen community is a fusion of local Javanese culture with Islamic religious values. Creative dialogue between local Javanese culture and Islamic religious traditions gave birth to a syncretic pattern of religious traditions. In the tradition of the kejawen community, the determination of a life partner and the day of the wedding uses a calculation based on the birthday of the prospective bride and groom. The way of counting uses a formula that has been passed down by their ancestors orally from generation to generatio Internal contestation between cultural and religious values shows the superiority of local Javanese culture over Islamic teachings.

Human-centric Fundamentals of Socio-humanitarian Development in the Sphere of Tourism: Theoretical Aspect

The article presents the scientific analysis results of human-centred principles of socio-humanitarian development of tourism from the standpoint of tourism science and practice, which takes place in today’s global challenges. It is proved that the social and humanitarian resource of tourism creates a favourable environment for a person to realize their aspirations, desires, opportunities. It is determined that the sphere of education is an environment that has a positive effect on the formation of human-oriented values of the individual and the entire educational process. According to the ideas of anthropocentrism, education as a public good should serve everyone, and its destiny, personal success and happiness are the primary value of the welfare of the state. That is why the state must provide people with open and equal access to education and innovative, socio-economic and national-cultural development of society. An innovative approach to the training of human resources in the field of tourism, implemented on the principles and components of anthropocentrism, adult learning, focus on competencies, “education of leaders”, capacity development, self-realization, choice of creative freedom, positive thinking, partnership and dialogue, innovation. Emphasis is placed on a new paradigm of training a competitive specialist in the field of tourism – a travel broker that provides intermediary services between the client and the field of tourism based on individual activity. It is proved that socio-humanitarian principles of tourism development on the basis of tourism anthropocentrism should become the basis for the formation and implementation of state policy in tourism as a basis that harmonizes the subject-object interaction of tourism and manifests itself through a conscious patriotic attitude to history, traditions, the culture of the Ukrainian people and gaining experience in organizing and using a nationally oriented humanistic, ecological, tolerant, socially responsible, a safe culture of travel to Ukraine in the conditions of the economy of impressions. It is recommended to consider tourist anthropocentrism as a basic component of socio-humanitarian principles of tourism development in Ukraine at the present stage as a sign of forming a new worldview of a person travelling, and in such a way stimulates tourism to introduce innovative approaches to meet a wide range of needs.

Artists on the Research Team: An Interdisciplinary Approach to Team Science, Research Rigor, and Creative Dialogue.

In an arts in public health research team, artists may be undervalued as key research collaborators because of the difficulties in skillful integration of experts who possess not only different bodies of knowledge but also different ways of examining and valuing the world. Under the stewardship of two Rhode Island state agencies, an innovative research-driven enterprise, comprising researchers, clinicians, and community artists, was brought together to integrate arts-based interventions into statewide public health policy and practice. Here, we examine our work with the Rhode Island Arts and Health Advisory Group as a case study to illuminate our experiences in collaborating with artists on public health policy and practice research. Using existing frameworks from the literature, we define the attributes of, and challenges to, successful research collaborations and identify from our work how these apply to interdisciplinary collaborations between artists and public health practitioners. To support others working at the nexus of arts in public health, we include key experiences that were specific to the engagement of artists in research teams.

You are mine. I see now, I'm a have to let you go.

Abstract Critical Art Encounters offer sustained and at times meditative engagements with contemporary artworks. This Critical Art Encounter is a kind of reprise, a return to a joint performance by visual artist Suné Woods, poet and theorist Fred Moten, and musician and theorist James Gordon Williams. Titled You are mine. I see now, I'm a have to let you go, the piece was performed live at the Hammer Museum during their 2018 biennial event “Made in L.A.” This special section of liquid blackness aims to sample the fully realized collaboration and audiovisual experimentation that took place in the largely improvised art event. This Critical Art Encounter includes the intimate ecological exploration that takes place in Woods's video work; Moten's poem “the general balm,” which was written in part for the performance and later published in his book of poetry and criticism all that beauty (2019); and finally, a conversation with Erin Christovale, an associate curator at the Hammer who helped organize the event. Although not all three artists are featured (Williams's original compositions can be heard in the footage from the performance), we were fortunate to expand this creative dialogue by including a curatorial perspective. Thus we are able to consider how this work expresses liquidity as both a concern of contemporary black art and a call to the congregation.

A Conversation with Erin Christovale about You are mine. I see now, I'm a have to let you go

Abstract Critical Art Encounters offer sustained and at times meditative engagements with contemporary artworks. This Critical Art Encounter is a kind of reprise, a return to a joint performance by visual artist Suné Woods, poet and theorist Fred Moten, and musician and theorist James Gordon Williams. Titled You are mine. I see now, I'm a have to let you go, the piece was performed live at the Hammer Museum during their 2018 biennial event “Made in L.A.” This special section of liquid blackness aims to sample the fully realized collaboration and audiovisual experimentation that took place in the largely improvised art event. This Critical Art Encounter includes the intimate ecological exploration that takes place in Woods's video work; Moten's poem “the general balm,” which was written in part for the performance and later published in his book of poetry and criticism all that beauty (2019); and finally, a conversation with Erin Christovale, an associate curator at the Hammer who helped organize the event. Although not all three artists are featured (Williams's original compositions can be heard in the footage from the performance), we were fortunate to expand this creative dialogue by including a curatorial perspective. Thus we are able to consider how this work expresses liquidity as both a concern of contemporary black art and a call to the congregation.

Theory in the historical progress of psychological cognition

The article analyzes the correlation between the theory and history of psychology on the basis of a concept, which is formed in the process of researching the work of the outstanding Ukrainian scientist V. A Romenets. According to the concept, psychological cognition is a historical-logical-psychological process that is carried out on an epistemological basis and runs from dualism to monism; stages of the process are ways to solve the main problem of psychology, which fixes the need to characterize the mental as subjective in view of the objective; patterns of the process illuminates the thinking of the author of the theory of mind in solving this problem. The state of theoretical psychology is critically assessed, the latter is understood as marked by the theory of mind progress of psychological cognition. The example of V. A. Romenets’ creative dialogue with his predecessors shows that the theory is evidence of the author’s extraordinary place in this process. The search for the place of man in cognition ends with the proclamation of man as a subject of cognition, a body of self-knowledge of the world, capable of comprehending an object within the limits of its thinking. In epistemology, it is substantialism, proceduralism; the principle of observation is opposed by the principle of involvement; man’s place in cognition is characterized either dualistically or monistically. The idea of the identity of thought and being means that the condition of cognition is the coincidence of the way of understanding an object with the way of its existence. The philosophy of science either denies or affirms the principle of involvement, the same thing happens in the psychology of science. Subjectocentrism in epistemology is echoed in psychology by the opposition of the subjective to the objective, overcoming this opposition generates monistic theories in both epistemology and psychology. In psychology, this is the main problem; it is accentuated by the circle of cognition that the psychologist enters into when, using his own psychic, he explores the nature of the psychic. The problem – a source of psychological knowledge, the circle – evidence of the direct presence of a psychologist in this process. Marxist psychologists solve the problem monistically, in terms of the category of practice. Solutions encounter difficulties, ideas deepen the content of the category of practice and open the possibility of new solutions to this problem. Psychologists of the post-Soviet era do not think as a category of practice and, in contrast to the activity-based, assert the subjective approach. From an epistemological point of view, this is subject-centrism, and from a historical and psychological point of view, it is a step in the opposite direction. According to V. A. Roments, the main way of practice is the act as a contradictory interaction of subjective and objective, which is engraved in the history of human self-knowledge. The dynamics of the components of the act highlights the historical and ontogenetic path of man, the essence and purpose of mental, historical levels of psychological knowledge. In the work of the scientist, psychology reaches a post-classical level of development. For classical psychology, the subjective and the objective are disproportionate entities, for non-classical – the sides of reality, for post-non-classical - the side of the human way of life. The main problem of psychology is solved in fundamentally different ways; the solutions illuminate the path of psychology from dualism to increasingly meaningful monism. Analysis of the work of V. A. Romenets shows that the progress of thinking of the psychologist expresses the historical progress of psychology, which occurs when the way of thinking coincides with the way of being mental. The idea of the identity of thinking and being is illustrated, which logically completes the search for the place of man in cognition in epistemology. The inherent explanation of the nature of the mental circle of cognition expands to the limits of the existence of the mental, and the monistic solution to the basic problem of psychology no longer stands in the way. V. A. Romenets creates a theory of the way of human existence at the historical and ontogenetic level, it is actual to characterize the way of human existence at the individual level on the basis of category of being in the subject-practical content, to implement the anthropological approach in psychology and overcome the gap between theoretical and practical branches of this science.

Eurasian entanglements: notes towards a planetary perspective of popular music histories

In recent years, music scholars have argued for a shift towards writing and researching world history, in line with other planetary impulses that invite a more inclusive, de-centred, and less parochial view of cultural life. This intervention argues for a focus on the exchanges, influences, and dialogues of popular music across Eurasia, as just one dynamic cultural space of creative dialogues stretched across and entangled with many other places and peoples around the planet.

Dialogue with Russian Literature of the 19th and Early 20th Centuries in the Poetry of Shanghai Emigrant Writers of the 1930s-1940s

The study of preserving cultural identity among emigrants is an important area of modern humanitarian science. The purpose of this article is to analyze intertextual relations with Russian literature of the 19th and early 20th centuries in the poetry of Shanghai emigrant writers of the 1930s-1940s. The novelty of the work is in analyzing a wide range of Shanghai poets' lyrics: M. Shcherbakov, O. Skopichenko, K. Pedenko-Zvantsev, N. Peterets, Yu. Kruzenshtern-Peterets, M. Volin, M. Vezey, B.Volkov. The work uses the method of structural genetic analysis. In the considered group of poems, the texts with love theme prevail. They contain references to the poetry by A.Blok, M. Lermontov, N. Gumilyov and A. Akhmatova. The poems about creativity and the tragic fate of a person refer to the lyrics by F. Tyutchev and V.Bryusov. The first variant of the relationship between the original and the new text is stimulus and response. Separate lines act as an impulse for creating a new text. Thematic connections between the source and the recipient can vary. The second variant is a dispute, polemics. Rethinking and reevaluating of other writer's ideas and characters are demanded in the poetry of emigrants. The greatest agreement with a predecessor can be observed in the love lyrics (O. Skopichenko,M. Vezey). The convergence and contrast are emphasized by M. Shcherbakov, N. Peterets and B.Volkov. The discrepancy and contrast is confirmed by M. Volin and Yu. Kruzenshtern-Peterets. The intertextual elements serve as a source of images and become the basis for a creative dialogue. Keywords: Russian poetry in Shanghai, allusion, citation, epigraph, references, Russian literature of the 19th and early 20th centuries

Pengembangan Bahan Ajar Pengantar Hukum Bisnis Dengan Pendekatan Dialog Kreatif Partisipatori

The aim of this research is; (1) to determine the process of developing and producing teaching materials for introducing business law with a participatory creative dialogue approach; (2) to determine the feasibility of introductory business law teaching materials using a participatory creative dialogue approach. The research and development (R D) method was used in this research with stages, namely (1) initial investigation and design, (2) realization, (3) testing, and (4) descriptive-qualitative analysis to determine the feasibility of the resulting teaching materials. both in material, content / substance, language, appearance, user friendly for lecturers and students. The results of the assessment of the feasibility of teaching materials developed were assessed by students, lecturers and experts with indicators of accuracy of content assessment, accuracy of content coverage, digestibility, language use, compulsion, illustrations, completeness of the components showing an average score of 3.68 or very good category. Thus the teaching materials developed are very good for use in introductory business law courses or can be used as a relevant reference source in introductory business law courses.

Достоевский: вступая в третье столетие (взгляд изнутри на взгляд со стороны)

An international language of interethnic communication emerges from Dostoevsky’s novels published in translations. The signifi cance of the pronouncements by various foreign cultural fi gures concerning the Russian writer is determined by the fact that today they shape the public opinion of tomorrow. They focus on Dostoevsky’s relevance for modern life, the universality and accessibility of his work for various periods and cultures. The multifaceted human nature, as refl ected in the works by Dostoevsky, is particularly obvious in the fact that various cultural fi gures see the writer’s various protagonists as the most compatible ones with the spirit of our time. The stage directors’ and moviemakers’ creative dialogue with Dostoevsky does not negate the fact that the value of his own „mes-sage“ is much greater than the aesthetic impact of the works of art he has inspired. The „dispute“ about Tolstoy and Dostoevsky has not been ignored either. According to the art activists of today, Dostoevsky novels help to shape the picture of Russia and the Russian folk. At the same time, though, they offer a true and profound picture of humanity and human nature in general.

Memorial music as a way of comprehension and dialogue through time and space

This article is dedicated to the phenomenon of memorial music. Memoriality is characterized as one of the facets of cultural memory. The methodological basis of the work was made up of works dedicated to the “memory of culture” (J. Assman, P. Nora, J. Lotman) and musical memoriality (T.S. Andruschak, M.N. Lobanova, E.V. Nazaikinsky, O.V. Sokolov, N.L. Sokolvyak, V.N. Kholopova). The results of the study were the identification of thematic complexes, characteristic features and coordinate system of memorial music. Particular attention is paid to the manifestation in memorial music of a certain chronotope, embodied through the principle of “creative dialogue” with the addressee of the memorial dedication. Analytical characteristics of the coordinate system of “music of memory” are given by the authors on the example of memorial music of Siberian composers, composers of the Krasnoyarsk region in particular.

УИЛЬЯМ БЛЕЙК В СОВРЕМЕННОЙ РУССКОЙ ЛИТЕРАТУРЕ И КУЛЬТУРЕ

The article discusses the creativity of the English romantic William Blake comprehended in contemporary Russian literature and culture. These facts are quite significant, since many Russian thinkers and writers, such as Igor Garin and Merab Mamardashvili, mention Blake in their works. Blake, partly remembered as a symbolist and mystic, loomed large in the cultural universe of the Moscow mystical “Yuzhinsky” circle, members of which were, in particular, Yuri Mamleev, Yevgeny Golovin, Alexander Dugin, Yuri Stefanov. For them, Blake was an integral part of the great Tradition or ancient knowledge, lost by the civilization. Blake has been mentioned and quoted in the prose by Yuri Buida, Alexey Gryakalov, Ivan Ermakov, Ksenia Buksha, Oleg Postnov and in the poetry by Olga Kuznetsova, Maria Galina, Alla Gorbunova, Maxim Kalinin and others. Andrei Tavrov enters into a creative dialogue with the English Romanticist in his poetic cycle Lament for Blake (2018). Tavrov creatively renders Blake’s metaphysics of human physiology. The poem “Blake. Sparrow” shows an impressive fusion of Blake’s motives and lyrics. in particular, the multilevel character of the mythological world (from Ulro to Eden), conversations with Angels and traveling through the stars in “The Marriage”, the image of a sparrow and a visionary bird in general, images of insects guided through the night (“Dream”), the image of Milton like the meteorite in the heel of the narrator, the figure of Flaxman and the philosophy of creation by the word. In Tavrov’s work, Blake inhabits in a bizarre world of metaliterature, including Gogol and Derzhavin, Velasquez and Newton, Lear and Oedipus, Pan and Melchizedek. Blake, as the creator of overlapping worlds, becomes for Tavrov the key to the total poetization of the universe; where a transition is made from the hermetic principle “as above, so below” to the principle “everything in everything”. This principle turns out to be the most important for contemporary poetry. Blake’s paintings and drawings have become a part of Russian book culture: the famous engraving of the Creator God with a compass “The Ancient of Days” is often used in book graphics; the Moscow conceptualist Viktor Pivovarov, the author of samizdat, admitted that Blake inspired him with his experience in book printing. Blake’s influence can also be seen in the works of contemporary sculptor Alexander Kudryavtsev (1938–2011), namely, his ceramic fresco “The Creation of the World”. Thus, Blake, who came, among others, through the work of The DOORS and Jarmusch’s Dead Man, plays a significant role in the space of contemporary Russian literature. In these terms, the most significant of his works are “Songs” and “The Marriage of Heaven and Hell”, as well as mystical revelations of prophetic poems and his creative life of a genius unrecognized during his lifetime in general.

«Восстановление родства»: роман «Подросток» как пролог к диалогу Н.Ф. Федорова и Ф.М. Достоевского

The article is an attempt to read the novel The Adolescent in the light of the spiritual and creative dialogue between the philosopher of the common task Nikolay Fedorov and Fyodor Dostoevsky. Although The Adolescent was written and published three years before Fedorov’s student N. Peterson presented his teacher’s ideas to the writer in the article “What should a people’s school be?”, the novel can be considered as a prologue to the topic that eventually became the subject of Fedorov’s main work The question of brotherhood or kinship, about the causes of the non-fraternal, unrelated, i.e. non-peaceful, state of the world, and about the means to restore kinship. The plot of the novel is interpreted in the article through the prism of Fedorov’s themes of non-kinship and the restoration of universal kinship, the idea of returning the hearts of sons to their fathers and the fathers’ ones to their children. It is shown how the theme of “family as the practical beginning of love” is expressed in the novel.

ДО ПИТАННЯ ІСТОРИКО-КУЛЬТУРНОГО РОЗВИТКУ КАМЕРНО-ВОКАЛЬНИХ ФОРТЕПІАННИХ ТВОРІВ

One of the leading groups of genres in which the interaction of vocal and instrumental principles is possible is chamber-vocal works, where one of the participants in the creative dialogue is the piano. The development of chamber and vocal works demonstrated the vitality and leading importance of the genre for musical culture. In the context of the history of music, we can distinguish various forms of interaction between voice and piano. The field of chamber and vocal creativity has repeatedly attracted the attention of scientists. However, due to the fact that it has been developing since the XIX century, the period of its existence to this day often remains little studied. Accordingly, the question of the formation of chamber and vocal piano works is a problem that opens a significant field for studying aspects of the formation of this group of genres. The combination of vocal and instrumental principles has an extremely long history. For a long period of time, vocal was given priority over the instruments that accompanied it. Regarding the question of the unity of vocal and instrumental principles in one work, it was present as early as the times of ancient cultures. As a rule, the instrumental accompaniment played a secondary function in relation to the voice, providing support, tuning, shading the voice or simply filling in the pauses necessary for the rest of the vocalist. With the advent of the Renaissance and the development of various secular vocal genres, there are various works, both purely vocal (polyphonic) and vocal-instrumental. Among the polyphonic genres can be distinguished barcarole, villanelli, frottoli, madrigals, canzones. They are dominated by a polyphonic composition, which provides for «equality» of all voices. Chamber-vocal piano works occupy an important place in the singer's activity. The process of forming a duet of voice and piano had a long prehistory. The stage of the final formation of this genre falls on the XVIII century, and this is facilitated by a number of factors – the arrival of the piano to replace keyboard instruments, its predecessors, and the worldview of the Classicist era. A very important factor is the formation of dialogue between the instrument and the voice, which changes the priority of the vocals. During this period, a kind of summary of the achievements of previous centuries is carried out and conditions are laid for the following directions, in which chamber vocal-instrumental piano works will acquire a fundamentally different quality level.

О. БЕРДСЛЕЙ И А. РЭКХЕМ: ТОНКОСТИ ВЛИЯНИЯ

Art critics rarely write about the creative connection between Aubrey Beardsley (1872–1898), a prominent representative of book and magazine graphics of the decadence era, and the famous Edwardian illustrator Arthur Rackham (1867–1939), limiting themselves, as a rule, to a couple of dry facts. Despite this, there is evidence of the influence of the former on the latter, which requires careful study. Rackham turned to Beardsley's work many times, his opinion about the outstanding fin de siecle graphics changed over time, allowing him to acquire certain features of his early deceased contemporary, to quote his drawings, to be inspired by the same artists and art trends. Rackham was especially influenced by Beardsley's early period, namely his illustrations for The Death of Arthur from 1893-1994, which was reflected in the design of several editions illustrated by Rackham: from The Legends of Ingoldsby (1898) to The Novel of King Arthur and his Knights of the Round Table "(1917). In this regard, the article provides a detailed analysis of the creative dialogue between the Edwardian artist and the legacy of the outstanding graphic artist fin de siècle.

Клавирные фантазии Вильгельма Фридемана Баха: творческий диалог с отцом

W.F. Bach was greatly influenced by the personality and style of his great father Johann Sebastian Bach. As the first teacher of clavier and composition, his father remained Friedemann’s main mentor throughout his life. For him, his father’s music was the highest artistic reference point.W.F. Bach’s woks have numerous quotations and allusions to J. S. Bach’s compositions. These borrowings did not go unnoticed by the composers’ contemporaries. According to the musicologist T. Frumkis, the composer was following his father’s footsteps as a slave. At the same time, an 18th century music theorist F.W. Marpurg in his Legende Einiger Musikheiligen reported on Friedemann’s cases of plagiarism. However, it seems that in most cases such quotes in Friedman's music do not indicate the lack of one's own imagination or attempts of blind copying. They are more about an original creative reinterpretation of the borrowed material. The article explores the series ofW. F. Bach’s polyaffective (the term by Y. S. Bocharov) clavier fantasies: F. 16,F. 18, F. 19 and F. 21. They are marked by the biggest number of citations fromJ. S. Bach’s music. These compositions, to some extent, can be considered as free “fantasia on themes” originally written by Sebastian Bach. The borrowings manifest themselves in motifs, phrases, textured drawings, development techniques, and even compositional principles. At the same time, the quotations are surrounded by W. F. Bach’s original compositional material and placed in new structural conditions. This creates the conditions for creative dialogues with J. S. Bach. They are of different quality and emotional mood and range from a heart-to-heart talk to a heated debate.

Etudes in Light and Harmony: An Interdisciplinary Workbook for Creative Dialogue and Discovery

This workbook of etudes offers a collection of experimental texts for communal dialogue and discovery that crosses multiple academic disciplines, including: foundations of physics, metaphysics, theoretical biology, semiotics, cognitive science, linguistics, phenomenology, logic & mathematics, poetry and theology. Each etude probes limits, horizons and boundaries by implicitly bring into relation foundational issues that characterize different academic disciplines or systems of meaning formation. Some formal techniques are deployed the etudes. Most notable is the use of the “logic of three” to overcome falsely totalizing images and inexorable dualities. This technique involves a particular kind of attunement to the “betweenness” of mediation that is not common in modern science. The attunement draws on the formal and precise movements of analysis in concert with the metaphoric and singular movements of synthesis.

Н. Я. МЯСКОВСКИЙ: ПРИТЯЖЕНИЕ ТАЛАНТА

The article is dedicated to Nikolay Yakovlevich Myaskovsky, whose 140th birthday will be celebrated in 2021. Myaskovsky's role in Russian and world culture is unique. A composer, teacher, music and public figure, who had an indisputable literary gift, critical thinking, inclined to scientific understanding of historical facts and artistic potential of art, he was a defender of the Artist's high destiny, a creator who, at a time when the country was collapsing, cutting off the deep ties of culture and tradition, remained faithful to these traditions and believed in the continuity of culture. And this was at a time when deviations from the course set for Soviet music were severely punished. N. Ya. Myaskovsky did not escape this fate either. During that difficult period, he was supported by his work and immersion in the world of Old Russian church music in connection with the writing of the Twenty-sixth Symphony. The personality of Myaskovsky, who had an indisputable authority, attracted; he was constantly surrounded by students, in direct creative dialogue with performers, conductors, close-minded figures of musical art, as reflected, among other things, in many "musical dedications" to the master that are stored in his archive.

Daisy e Dionísia: três peças com o teatro de poetas de Pessoa

Between 2002 and 2013, the author of this article published and saw staged three different plays that establish creative dialogues with the work of Fernando Pessoa. Two of them – Audicao – Com Daisy ao vivo no Odre Maritimo (Audition – With Daisy live in Lisbon) and Cabare de Ofelia (Ophelia’s Cabaret) constitute a dramaturgical diptych sharing a common character who is present in both: Daisy Mason; reinvention of the figure from a Pessoa’s poem, portrayed in them as a drag‑queen friend of Alvaro de Campos, “legend of poetry and music‑hall”. The third of these plays, Menino de sua Avo (Fernando and his Grandmother), brings to the theatrical scene Dionisia Seabra, Fernando’s crazy grandmother, in a play with seven scenic encounters between grandmother and grandson that extend beyond the physical death of both. The article begins by establishing a brief comprehensive picture of Pessoa’s approach to the universe of theater and dramatic creation, namely that which in its plural creation is identified with a function that we can designate as a poet‑actor. The discursive course of the article gives attention to each of the mentioned plays, articulating the motivations for their writing, the imaginary that constitutes them, as well as the way they relate to elements and figures from the fictional universe of Fernando Pessoa. THEATRE / FERNANDO PESSOA / POET‑ACTOR / DRAMATURGICAL CREATION / TEXT AND SCENE