Rebento

O Voo e o Homem

Jhoão Junnior — 2024-06-19

Esta narrativa sobre criação, memória e território no teatro fundamenta-se na trajetória do diretor e dramaturgo co-fundador do Coletivo Estopô Balaio. As distintas experiências criativas aqui delineadas são marcadas pelos processos migratórios e pelas relações conviviais com a comunidade e o território do Jardim Romano. A escrita desta experiência artística e cidadã materializa-se nas formas de carta, diário e texto ensaístico, cujas metáforas, por vezes, recorrem ao passado, buscando ressignificá-lo no presente.

Relicário de Concreto - A luta dos Queixadas e a Greve da Fábrica de Cimento Portland Perus

Lucas Vitorino — 2024-06-19

ABSTRACT: The article "Concrete Reliquary - The Fight of the Queixada and the Strike at the Portland Perus Cement Factory: Inspiration and Representations in Theater" discusses the history of the Portland Perus Cement Factory, Brazil's first cement factory, its importance for the verticalization of São Paulo, and its relationship with the local community. The text highlights the creative process of the theater performance by the Pandora Theater Group titled "Concrete Reliquary," which was inspired by the strike of the factory workers, known as the "Queixada" strike, which lasted about seven years during the Civil-Military Dictatorship in Brazil and left significant marks on the history of the Perus neighborhood. The Pandora Theater Group, based in the same neighborhood, finds inspiration in these memories to create the play "Concrete Reliquary," which portrays the story of a young man in search of employment at the factory. The creative process explores the relationship between theater, memory, and territory, using documentary and personal approaches to rescue and represent the workers' struggle. The article emphasizes the importance of preserving collective memory, questioning injustices, and valuing the stories of those who resisted and fought for their rights.

On the banks of the Rio Grande:

João Victor Soares dos Santos — 2024-06-19

This experience report presents, in a panoramic way, the history of Cia de Teatro Trakinus, which since its founding in 2012 has been the only theater company operating in the city of São Desidério, in western Bahia. Based mainly on the commemorative documentary of the company's 10th anniversary (2022), available on Youtube, in the Revista da Rede de Teatro do Velho Chico (2023), and on the approaches to Teatro de Rua proposed by TURLE (2020), this text aims to reflect about: the achievements and barriers of theater making in the city of São Desidério, poetic construction, the relationship between art and education, from the perspective of Cia de Teatro Trakinus. It can be seen from this report that, in addition to performing collectively, Cia Trakinus is a successful experience in art and education, an independent initiative, promoting both artistic training and cultural dissemination and mediation in the city of São Desidério – BA and region. On the margins of large urban centers, public theaters, Italian stage, so-called conventional, Cia Trakinus persists, re(exists), finding its place of theatrical performance and scenic power.

Antônio Araújo e o Teatro da Vertigem

Antonio Duran — 2024-06-19

In the article, we discuss the relationship between the site-specific creations of Teatro da Vertigem and the city of São Paulo, territory occupied by the group from São Paulo in its shows. We return to the central concepts that underlie the collective's research, in particular, the notion of collaborative creation, as described by director Antônio Araújo, who directs Vertigem alongside Eliana Monteiro and Guilherme Bonfanti. After listing what moves the collective in deciding on its future creative processes, we follow how the creative and logistical dilemmas were faced in the making of Marcha a Ré (2020), performance-film created by the group, in collaboration with Nuno Ramos; work that exemplifies both the fusion between artistic languages and the practice of continued research, which characterize the collective, as well as the relationship with the polis, an interest that results in stagings arranged in friction with the bodies of the city and citizens.

The endless battles of theatrical collectives included in the category of historical subject group theatre

Alexandre Luiz Mate — 2024-06-19

Please, see the document.

Robin Hood's Country Warfare against the Sheriff:

Ademir de Almeida — 2024-06-19

Grupo Núcleo, a theatrical collective from São Paulo that emerged in 1969 at Teatro de Arena, and which had outstanding artistic and political activity on the outskirts of the city of São Paulo, during the years of the civil-military dictatorship. Combining artistic experimentation and political engagement, the Núcleo developed theatrical expedients and militancy tactics that were important in the context of cultural resistance against the authoritarian regime. This article, based on documental research and interviews with former members of the Núcleo, addresses the show “Robin Hood e o Xerife”, from 1973, a theatrical work aimed at children who participated in the group’s first forays into the popular neighborhoods it was part of. allusions to the ongoing rural guerrilla warfare in the country.

O Bicho by Grupo Opinião

Everton da Silva José — 2024-06-19

This article is dedicated to presenting a critical study about the dramaturgy Se correr o bicho pega, se ficar o bicho come (1966), written by Oduvaldo Vianna Filho and Ferreira Gullar. Dramaturgic elements that are depicted as epic and popular are summoned in this work. These elements deliberate epic scenes in parallel with the peasantry's cunning used against the oligarchy ruled by colonels that was tied to a feudalistic system. The fight was also against the state's arbitrary and tyrannical politics. The work executed by Grupo Opinião during the dictatorial system government is examined with the purpose to contrast the historical and philosophical perspectives with the political and poetical elements in the books II, III e X of The Republic by Plato. This brazilian theater praxis is characterized as a theater of resistance. This study focuses on plato's political and artistic ideals that prompt a deliberation about politics, justice, education and mimetic poetry. Therefore this work is about politics, but not restricted to the one practiced by the state, it includes the one practiced on the margins of society. The period between the past and the present in Brazil is depicted in the poetic dramaturgy that relates to a popular form of art, such as the brazilian cordel.

Keywords: Grupo Opinião. Se correr o bicho pega, se ficar o bicho come. brazilian theater history. Plato. The Republic.

Centros Populares de Cultura

Adailtom Alves Teixeira — 2024-06-19

RESUMO

O artigo passa em revista a curta experiência dos Centros Populares de Cultura (CPCs), de dezembro de 1961 a março de 1964, interrompida pelo Golpe Civil-militar (1964-1985). Antes, contextualiza e apresenta rapidamente o seu antecessor, o Teatro de Arena, de onde saem seus criadores. A pergunta norteadora é o que as experiências desenvolvidas pelos artistas do CPC ainda têm a nos dizer no século XXI, sobretudo para aqueles com preocupações classistas. Conclui-se que, no mínimo, precisamos aprender com nosso passado, mantendo a memória acesa, já que esta é sempre um elemento de disputa, e que o trabalho desenvolvido naquele período é importante para entendermos e realizarmos a disputa simbólica hoje, não como uma repetição sem críticas, mas como uma continuidade da luta de classes.

Ensaio dos oprimidos para ruptura das opressões

Flavio Vieira de Melo — 2024-07-01

This article has as object of study, a free theater course created by a Union that, taking the experiences of the Brazilian group theater, builds a popular and political curriculum aimed at this time and, with the due class cut. Its starting point is the Cultural Space created and maintained by the Union of Bus Workers of Sorocaba, in carrying out its expansion project, recognizing in the training processes and popular forms of culture, an opportunity to contribute to the fight for a less unequal society, focusing on gender, race and sexual diversity. To this end, it creates and maintains the actor training course Jovem em (atu)Ação. The clipping is the work of the Sorocaba Road Workers Union, which expanded with/as a social movement based on a project of reception and basic political training, with group theater with the perspective of class struggle, as the central point of this training process. The hybrid methodologies allowed us to bring to light a concrete part of this social/theatrical/interior and revolutionary experience, with regard to theatrical formative processes and union activities. Among the various aspects that the practice of this work reverberates, the pedagogical, political and affective conditions and procedures in the 2020 and 2021 theater course stand out.

Propping fragments of history

Beatriz Mendes — 2024-06-19

The aim of this paper is to present a point of view about the work of the prop designer, which is one of the work fronts of theatrical scenotechnics. Aspects of the prop designer work and considerations about their creative process, which is simultaneously individual and collective, will be discussed. Aspects of the hierarchization of knowledges, work relations and lack of understanding of processeses that require manual constructive labor will be addressed under the scope of what the sociologist Nathalie Heinrich (2005) calls artist status. I also bring forward the way in which the reach of documentation analysis leads theatrical studies to other fields, sidelining possible considerations about specific backstage professions. The focus of this publication is aimed at the understaing of the knowledges arising from practice and working alongside artists of the scene, in order to understand how prop designing processes exist beyond practical knowledge and can also contribute to the construction of discourses and thought. Therefore, it is cosidered that group theater is a territory of preservation of scene design professions, amongst them, the prop designer.

Challenges for a critical theatrical practice:

Mariana Sapienza Bianchi — 2024-06-19

Abstract:

This review comments on the book of the Theatre of the Oppressed militant and practitioner, Julián Boal, “Sobre antigas formas em novos tempos: o Teatro do Oprimido hoje, entre ‘ensaio da revolução’ e técnica interativa de domesticação das vítimas”.

Introduction

Lucia Regina Vieira Romano — 2024-06-19

A edição de número 19, intitulada “Novo cortejo das teatralidades coletivas do teatro de grupo: variações temporais e territoriais”, reposiciona a questão da importância do teatro de grupo na cena brasileira, um dilema sempre em deslocamento. Este novo número da Revista Rebento, portanto, complementa o número 16, ao mesmo tempo que oferece o traçado de uma linha histórica, que ocupa espacialidades distintas. Conforme coletivos emergentes se organizam, com interesses originais, estruturam-se diversamente de seus antecessores, modificando disposições e, ato contínuo, as maneiras de descrever esses arranjos de coisas. Coletivos de maior longevidade também adquirem configurações hodiernas, ao passo que ingressam novas pessoas em seus quadros, ou que as condições históricas se transformam. Essa adaptabilidade é parte constitutiva desse tipo de produção, cujo caráter singular nas artes presenciais é também sua continuidade, de tal modo que sua “forma” reconstitui-se sempre, em transitividade com o espaço-tempo em que os coletivos se inserem.

Creating collectively and thinking about Brazilian society:

Ligia Jardim — 2024-06-19

In the selected sequence, different notions of [ver no arquivo]

Voice Lab:

Gabriela Flores Nunes — 2024-06-19

The article reflects on the artistic pedagogical procedures experienced in conducting the Vocal Experimentation Laboratory (Lab Voz), which was part of the actions of the master's degree, together with the PPG Artes da Unesp. The research deals with vocal performativity as a stimulating gesture in the creation of the scene, in the composition of the character, and in dealing with the text beyond words. Our starting point is the understanding of the voice in an integrated perspective, that is, voice as a body; a research field on the sound materiality of the voice and its multiple dimensions (corporeal, emotional, political). It is a creative approach to the voice, as a driver for the scene and as a generator of possible dramaturgies and poetics. The work seeks to deepen the relationships between textuality, musicality and vocality in order to enhance the use of the voice in the performing arts.

Fall into writing the presence of the fall in dance and text

Isabel Monteiro — 2024-06-19

The fall (and its metaphorical connotation of madness), and also gravity and proximity to the ground will gain preponderance in dance from the second half of the 20th century until nowadays. The final moment of the parabola of any jump, as well as its apex, poses difficulties for its representation, description and interpretation. In this article that assumes an essayistic writing, it is intended to analyze how the falling movement will be treated not only by choreographers and dancers, but also among authors and writers of the last centuries, who in some way, performed or staged the fall both in dance and in writing. Taking the fall as key of reading and writing, the article also traces some relationships between dance and literature.

The Dramaturgy Poetics of English-Speaking Musicals

Larissa de Oliveira Neves — 2024-06-19

In the last twenty years there was a great increase in the number of productions of English-Speaking musicals in São Paulo. This genre created a new and big artistic field, including the opening of specialized schools for performers. This paper aims to analyze the dramaturg poetics of this genre of musical theatre, i. e., how the text of these plays is structured as convention, a theme not yet investigated in Brazilian studies, which turn themselves mostly to issues such as production, history or performing techniques, and not to how the texts of those plays are structured. For illustrative purposes, excerpts from four works are commented: Oklahoma!, from 1943; My fair lady, from 1956; Les Misérables, from 1985 and The Phantom of the Opera, from 1986. This research was developed using documents investigated in an international research fellowship in Brunel University London, during which bibliography, playwriting, and data unpublished in Brazil about the poetics and history of English-Speaking musicals were collected.

Service

Lucia Regina Vieira Romano — 2024-06-19