- Theatre Studies, Theatre, Theatre History, Postdramatic theatre, Video Games, Video Game Design, and 30 moreVideo Game Theory, Media and Cultural Studies, Creative Writing, Writing across the media, Performance Studies, Drama, Michel Foucault, Dramaturgy, Erving Goffman, Performance Art, Game studies, Performing Arts, Use of story-telling in games, Pervasive Gaming, Action Theory, Action Research, Cultural Studies, Interactive Theatre, Interactive Narrative, Interactive Fiction, Interactive Storytelling, Neuroaesthetics, Site-Specific Art and Performance, Theatre Architecture, Theatrical Space, Space and Place, Performance Art and Public Spaces, Immersive Theatre, Phenomenology of Space and Place, and Performance Spacesedit
Number 4 of Persona Journal, with several articles about the role of space in performance and drama.
In Portuguese and English.
In Portuguese and English.
Research Interests:
The idea of End times, crossing all Western culture, also appears across a wide range of artistic fields, and, in itself, it is defined by the concepts of ending of limits. In this paper I attempt to cross-analyze two different media,... more
The idea of End times, crossing all Western culture, also appears across a wide range of artistic fields, and, in itself, it is defined by the concepts of ending of limits. In this paper I attempt to cross-analyze
two different media, videogames and theatre, looking for unsuspected affinities, and developing some possibilities of the concepts of limit, impurity, redemption, individual, colective, roleplaying, as core
elements of theatre, videogames and the idea of endtimes, in itself
two different media, videogames and theatre, looking for unsuspected affinities, and developing some possibilities of the concepts of limit, impurity, redemption, individual, colective, roleplaying, as core
elements of theatre, videogames and the idea of endtimes, in itself
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Neste estudo procede-se à análise do trabalho site-specific da companhia Visões Úteis, nomeadamente no que diz respeito aos seus trabalhos realizados sob o tema de “Arte na Paisagem”. Para tanto irei caracterizar brevemente o percurso da... more
Neste estudo procede-se à análise do trabalho site-specific da companhia Visões Úteis, nomeadamente no que diz respeito aos seus trabalhos realizados sob o tema de “Arte na Paisagem”. Para tanto irei caracterizar brevemente o percurso da companhia dentro deste âmbito – ou seja, excluindo o substancial trabalho de teatro de palco que a companhia também tem desenvolvido – e focando-me especialmente numa das performances da companhia – O Resto do Mundo – como exemplo de análise do tipo de trabalho site-specific desenvolvido pelo coletivo teatral do Porto.
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Artigo Biográfico sobre o escritor Raúl Brandão, publicado por A Oficina em Guimarães, em 2013, no tomo Biografias Vimaranenses.
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José Maria Vieira Mendes é um dos principais dramaturgos portugueses em atividade, tendo já colaborado com duas das mais importantes companhias atuais: os Artistas Unidos e o Teatro Praga. Com este último grupo criou a peça Padam Padam –... more
José Maria Vieira Mendes é um dos principais dramaturgos portugueses em atividade, tendo já colaborado com duas das mais importantes companhias atuais: os Artistas Unidos e o Teatro Praga. Com este último grupo criou a peça Padam Padam – Um espetáculo catástrofe, inspirada no cinema catástrofe, apresentada no Centro Cultural de Belém, em Lisboa, e cujo texto foi publicado na Revista Galega de Teatro.
Nesta comunicação proponho-me analisar o dispositivo dramatúrgico que Vieira Mendes apresenta, tentando identificar nele marcas dos conceitos atuais de poder e de ação que reflitam crenças e tendências da sociedade contemporânea, mas também novas evoluções da dramaturgia atual.
Nesta comunicação proponho-me analisar o dispositivo dramatúrgico que Vieira Mendes apresenta, tentando identificar nele marcas dos conceitos atuais de poder e de ação que reflitam crenças e tendências da sociedade contemporânea, mas também novas evoluções da dramaturgia atual.
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Na tentativa de colmatar a efemeridade da existência em fluxo, o ser humano cria dispositivos que a transformam em algum tipo de configuração mais ou menos permanente: dar um sentido à dispersão de acontecimentos que nos assaltam no... more
Na tentativa de colmatar a efemeridade da existência em fluxo, o ser humano cria dispositivos que a transformam em algum tipo de configuração mais ou menos permanente: dar um sentido à dispersão de acontecimentos que nos assaltam no dia-a-dia parece ser uma necessidade vital. A sucessão de eventos é muitas vezes unificada num discurso, numa história, que se torna um possível instrumento para fixar a representação da realidade vivida, sob pena de a reduzir, engrandecer ou mesmo transformar. O narrado ganha uma autonomia própria, distinguindo-se da vivência subjacente. Com origem numa experiência compartilhada com outrem (e portanto mais tangível, objetiva ou intersubjetiva, como nas histórias ditas reais) ou em vivências internas e imagéticas (ficcionais?), a partir do momento em que se forma, o discurso adquire a capacidade de criar novas realidades por si mesmo. Esta duplicidade dialógica, entre o sujeito que conhece enquanto experiencia e aquele que conhece através do relato, está presente em diversos setores da vida humana, assumindo expressões várias. Porque parece útil compreender interdisciplinarmente os mecanismos implicados em tais processos construtores de narrativas audiovisuais, considerou-se pertinente a organização de um colóquio que pudesse discutir estas problemáticas, dando particular enfoque ao estudo da imagem em movimento. Tendo por base as comunicações apresentadas, foram escritos e revistos por pares os textos que compõem este livro.
Research Interests: Teoría narrativa, Narrativa, Narrativas, Terapia narrativa, Narrativa Hispanoamericana contemporánea, and 18 moreEstudos Culturais, Narrativa Española Contemporánea, Narrativa Audiovisual, Narrativa latinoamericana, Narrativa, cuerpo, identidades, Narrativas audiovisuales, Narrativa Transmídia, Análisis Fílmico, Narrativa transmediática, Narrativas Transmídia, Narrativas Contemporaneas, Narrativa Digital, Análise Fílmica, Narrativas No Lineales, Narrativa Experimental, Analise De Filmes, Narrativa Interactiva, and Narrativastransmedia
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A partir dos critérios textuais propostos por Robert Beaugrande e Wolfgang Dressler procedeu-se à análise de três obras ligadas à Castelologia a fim de compreender as diferenças textuais entre elas, o impacto destas diferenças na... more
A partir dos critérios textuais propostos por Robert Beaugrande e Wolfgang Dressler procedeu-se à análise de três obras ligadas à Castelologia a fim de compreender as diferenças textuais entre elas, o impacto destas diferenças na terminologia e a importância dos critérios textuais para análise do discurso.
Research Interests:
In the last decades, narratives, as symbolic tools for keeping, fixing and sharing ideas and experiences, have undergone deep transformations. The diversity of narrative supports, the technological tools being employed, and even the deep... more
In the last decades, narratives, as symbolic tools for keeping, fixing and sharing ideas and experiences, have undergone deep transformations. The diversity of narrative supports, the technological tools being employed, and even the deep changes affecting the late modern societies have caused transformations in the classical and linear narrative paradigm.
Not only in cinema, but also in TV, videogames and other media, we are witnessing an intensive use of increasingly complex narratives, based on hypermediatic, rhizomatic, modular, branching and fragmented narratives, and its constant presence in the public and private space, including the pervasiveness of transmedia and interactive proposals.
In this special edition of the CITAR Journal, we aim to study the audiovisual narrative - specially experimental and nonclassical narratives - in close dialogue with creations of contemporary cinema, TV, cinematic art, videogames, animation, audiovisual advertising, interactive installations, location games and other expressive uses of the moving image.
Not only in cinema, but also in TV, videogames and other media, we are witnessing an intensive use of increasingly complex narratives, based on hypermediatic, rhizomatic, modular, branching and fragmented narratives, and its constant presence in the public and private space, including the pervasiveness of transmedia and interactive proposals.
In this special edition of the CITAR Journal, we aim to study the audiovisual narrative - specially experimental and nonclassical narratives - in close dialogue with creations of contemporary cinema, TV, cinematic art, videogames, animation, audiovisual advertising, interactive installations, location games and other expressive uses of the moving image.
Research Interests: Narrative, Visual Narrative, Cognitive Narratology, Narrative Psychology, Narrative and interpretation, and 20 moreNarratology, Narrative and Design, Interactive Narrative, Narrative Methods, Hermeneutics and Narrative, Narrative Analysis, Narrative Theory, Visual Narratology, Narratives, Narrativity, Narrative Research, Narrative Studies, Narration, Transmedial Narratology, Narratología, Narrativa, Narrativas, Film Narrative, Narrativas Transmídia, and Para Narrar.
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Uma reflexão do ato de caminhar enquanto possibilidade artística.
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Em 2012, um protocolo entre o Centro de Dramaturgia Contemporânea de São Paulo e o Teatro Académico Gil Vicente, de Coimbra deu origem a um intercâmbio no qual um grupo de dramaturgos brasileiros esteve em residência de criação em... more
Em 2012, um protocolo entre o Centro de Dramaturgia Contemporânea de São Paulo e o Teatro Académico Gil Vicente, de Coimbra deu origem a um intercâmbio no qual um grupo de dramaturgos brasileiros esteve
em residência de criação em Portugal, escrevendo peças curtas que abordavam as relações entre os dois países. No conjunto das peças produzidas surgiram uma série de referências recorrentes a propósito de um conjunto de gestos que traduzem, segundo este olhar
brasileiro, o próprio conceito de portugalidade. Na minha comunicação proponho analisar esses textos e detetar os gestos, aspirações e receios que traduzem em relação ao legado português do Brasil.
em residência de criação em Portugal, escrevendo peças curtas que abordavam as relações entre os dois países. No conjunto das peças produzidas surgiram uma série de referências recorrentes a propósito de um conjunto de gestos que traduzem, segundo este olhar
brasileiro, o próprio conceito de portugalidade. Na minha comunicação proponho analisar esses textos e detetar os gestos, aspirações e receios que traduzem em relação ao legado português do Brasil.
Research Interests:
Howard Phillips Lovecraft (1890-1937) was one of the most influential horror writers of the XXth Century, with a strong stylistic and thematic impact on numerous other writers of the genre but also on literary fiction and on film and... more
Howard Phillips Lovecraft (1890-1937) was one of the most influential horror writers of the XXth Century, with a strong stylistic and thematic impact on numerous other writers of the genre but also on literary fiction and on film and videogames. And architecture was one
of his preferred tools to create atmospheres of dread and infuse in the reader a sense of alienation and loneliness. Most of his short
stories and novelettes are filled with architectural descriptions and details. Either of the traditional architecture of his beloved New
England, or of what he called “Cyclopean architecture”, a name usually identified with Mycenaean historical architecture, but which
Lovecraft used to qualify the architecture built by his alien races and gods.
This Cyclopean architecture seems to have much in common with the Modernist architecture which Lovecraft detested and that
in his time was on the rise.
In this paper, I propose to analyze the most well-known example of such architectonic fantasy locations: the sunken “corpse-city” of
R’Lyeh, also called Arlyeh or Urilia, in Southern Pacific, which figures prominently in his short story «The Call of Cthulhu».
I will try to determine which architectural features Lovecraft imbued in the “Cyclopean Architecture” to create his unsettling atmospheres and especially investigate the barrenness of references – historical,
geometrical, geographical – that seem to permeate the buildings and cities dreamt by Lovecraft to make them existential distopias.
of his preferred tools to create atmospheres of dread and infuse in the reader a sense of alienation and loneliness. Most of his short
stories and novelettes are filled with architectural descriptions and details. Either of the traditional architecture of his beloved New
England, or of what he called “Cyclopean architecture”, a name usually identified with Mycenaean historical architecture, but which
Lovecraft used to qualify the architecture built by his alien races and gods.
This Cyclopean architecture seems to have much in common with the Modernist architecture which Lovecraft detested and that
in his time was on the rise.
In this paper, I propose to analyze the most well-known example of such architectonic fantasy locations: the sunken “corpse-city” of
R’Lyeh, also called Arlyeh or Urilia, in Southern Pacific, which figures prominently in his short story «The Call of Cthulhu».
I will try to determine which architectural features Lovecraft imbued in the “Cyclopean Architecture” to create his unsettling atmospheres and especially investigate the barrenness of references – historical,
geometrical, geographical – that seem to permeate the buildings and cities dreamt by Lovecraft to make them existential distopias.
Research Interests:
Largely due to the conservatism of audiences and critics, Portuguese theatre was mostly indifferent, if not downright hostile, to the avant-garde theatre coming from elsewhere in Europe. Therefore, naturalistic theatre and historical... more
Largely due to the conservatism of audiences and critics, Portuguese theatre was mostly indifferent, if not downright hostile, to the avant-garde theatre coming from elsewhere in Europe. Therefore, naturalistic theatre and historical drama
were the staple of Portuguese theatres until the 1950s, with the only exception of the plays of Almada Negreiros and symbolist plays by Fernando Pessoa, Raul Brandão and António Patrício.
However, modernism found its place on stage in one of the most typical Portuguese theatre forms: «Revista à Portuguesa», the Portuguese revue theatre, which welcomed the first generation of Portuguese modernist painters to work as set and costume designers. Artists like Jorge Barradas, Milly Possoz, José Barbosa, among others, took the influence of the Ballets Russes of Diaghlev, and the avant-garde visual arts, to change the appearance of the most typically Portuguese theatre genre, Revista à Portuguesa.
With this paper I will try to document how modernist painters gained entry in «Revista à Portuguesa» and created an art that fused the commercial interests of theatre entrepreneurs, the tastes of the bourgeois audiences and their own artistic sensibilities.
were the staple of Portuguese theatres until the 1950s, with the only exception of the plays of Almada Negreiros and symbolist plays by Fernando Pessoa, Raul Brandão and António Patrício.
However, modernism found its place on stage in one of the most typical Portuguese theatre forms: «Revista à Portuguesa», the Portuguese revue theatre, which welcomed the first generation of Portuguese modernist painters to work as set and costume designers. Artists like Jorge Barradas, Milly Possoz, José Barbosa, among others, took the influence of the Ballets Russes of Diaghlev, and the avant-garde visual arts, to change the appearance of the most typically Portuguese theatre genre, Revista à Portuguesa.
With this paper I will try to document how modernist painters gained entry in «Revista à Portuguesa» and created an art that fused the commercial interests of theatre entrepreneurs, the tastes of the bourgeois audiences and their own artistic sensibilities.
Research Interests:
We present an overview and discussion of the Colloquium «Narrative, Media and Cognition», which took place at Porto's Centre of Catholic University of Portugal in July of 2015, under the organization of the Research Centre for Science and... more
We present an overview and discussion of the
Colloquium «Narrative, Media and Cognition», which
took place at Porto's Centre of Catholic University of
Portugal in July of 2015, under the organization of the
Research Centre for Science and Technology of the
Arts (CITAR). Several scholars of different areas
presented research about the uses and advances in
narrative study and practice in a broad range of areas,
giving some important insights about the latest
developments in Narrative Studies, Ontology of
Narrative and the uses of Narrative in Art, Cinema,
Performance, Journalism, Marketing and Literature,
among other fields. After briefly describing the main
points of each presentation in the Colloquium we try
to draw some conclusions and possibilities raised by
the Colloquium and take a glimpse of future paths that
the use of Narrative can end up taking.
Colloquium «Narrative, Media and Cognition», which
took place at Porto's Centre of Catholic University of
Portugal in July of 2015, under the organization of the
Research Centre for Science and Technology of the
Arts (CITAR). Several scholars of different areas
presented research about the uses and advances in
narrative study and practice in a broad range of areas,
giving some important insights about the latest
developments in Narrative Studies, Ontology of
Narrative and the uses of Narrative in Art, Cinema,
Performance, Journalism, Marketing and Literature,
among other fields. After briefly describing the main
points of each presentation in the Colloquium we try
to draw some conclusions and possibilities raised by
the Colloquium and take a glimpse of future paths that
the use of Narrative can end up taking.
Research Interests: Creative Writing, Creativity, Narrative, Visual Narrative, Cognitive Narratology, and 27 moreNarrative Psychology, Narrative and interpretation, Narratology, Narrative and Design, Interactive Narrative, Hermeneutics and Narrative, Narrative and Identity, Narrative Analysis, Narrative Theory, Visual Narratology, Narratives, Narrativity, Narrative Research, Transmedial Narratology, Non linear narratives, Narratología, Narrativa, Narrativas, Pensamento Criativo, Criativity, Criatividade, Narrative, Mulitmedia editing, Journalism, Photojournalism, Storytelling, Audio and Video editing and digitizing, Television Journalism, Visual Communication, Construção Da Personagem, Processos Criativos, Personagem, Processo Criativo, and Construção De Personagens
Uma análise do impacto e significado dos 30 anos do filme Dune, de David Lynch.
Research Interests:
Texto do programa do espetáculo «O que é que o pai não te contou da guerra»
Research Interests:
Aristotle defined drama as the “imitation of a complete high action” performed by people, characters acting in a symbolic space. Nowadays, action, through the concept of interaction, is pervasive in society. People are called to vote, to... more
Aristotle defined drama as the “imitation of a complete high action” performed by people, characters acting in a symbolic space. Nowadays, action, through the concept of interaction, is pervasive in society. People are called to vote, to interact, to participate in experiences, through the Web, touchscreens, fictional actions, etc.
But is this a way of empowering people or of rendering social actions meaningless? Are people empowered through the disembodied medium of the internet and fictional experiences, or does virtual, playful interaction reflect a growing powerlessness of the majority?
Drawing from the concept of political action of Hannah Arendt, based on the ideas of causing social change, and confronting it with the way action is used in drama plays and real examples of fictional interaction, I will try to understand the meaning of the pervasiveness of dramatic action in contemporary society.
But is this a way of empowering people or of rendering social actions meaningless? Are people empowered through the disembodied medium of the internet and fictional experiences, or does virtual, playful interaction reflect a growing powerlessness of the majority?
Drawing from the concept of political action of Hannah Arendt, based on the ideas of causing social change, and confronting it with the way action is used in drama plays and real examples of fictional interaction, I will try to understand the meaning of the pervasiveness of dramatic action in contemporary society.
Research Interests:
A forma da narrativa é um dos temas mais discutidos da atualidade em termos de storytelling, existindo obras e autores praticamente canónicos, como Syd Field, Robert McKee, Christopher Vogler, Blake Snyder, que defendem que existe uma... more
A forma da narrativa é um dos temas mais discutidos da atualidade em termos de storytelling, existindo obras e autores praticamente canónicos, como Syd Field, Robert McKee, Christopher Vogler, Blake Snyder, que defendem que existe uma forma mais correta ou efcaz de criar uma narrativa visual. Mais recentemente, a abordagem cognitiva e evolutiva das histórias tem também reforçado a ideia de que existe um modelo ideal de histórias, com Jonathan Gottschall a afirmar que “Stories resist reinvention” (2013). Na minha comunicação proponho-me analisar a ideia da existência de um modelo ideal da narrativa que será proveniente da Antiguidade Clássica, problematizando a sua aceitação até ao início do século XX, nomeadamente com os estruturalistas como Claude Lévi-Strauss e Vladimir Propp, e as versões de grande aceitação nos Estudos Fílmicos, como o modelo dos Três Atos, de Syd Field, nos anos 90, A Viagem do Herói, de Christopher Vogler, nos anos 2000, o Archplot, de Robert McKee, e recentemente o Save the Cat, de Blake Snyder. Todas estas propostas se assemelham, mas também todas divergem, além de serem alvo de críticas e dificilmente abrangerem alguns dos criadores mais interessantes e influentes da sua época.
Research Interests:
A prosperidade económica e a ascensão de uma nova classe média brasileira geraram um entusiasmo naquela sociedade que contaminou as várias áreas artísticas brasileiras até ao ano de 2013 e ao início de vários protestos populares. Neste... more
A prosperidade económica e a ascensão de uma nova classe média brasileira geraram um entusiasmo naquela
sociedade que contaminou as várias áreas artísticas brasileiras até ao ano de 2013 e ao início de vários protestos
populares. Neste trabalho irei examinar de que forma é que esse otimismo social se refletiu num conjunto de
breves textos dramáticos de jovens autores brasileiros, nomeadamente pelo prisma do poder e da ação que é
revelada pelas personagens que nos são apresentadas nos vários textos.
sociedade que contaminou as várias áreas artísticas brasileiras até ao ano de 2013 e ao início de vários protestos
populares. Neste trabalho irei examinar de que forma é que esse otimismo social se refletiu num conjunto de
breves textos dramáticos de jovens autores brasileiros, nomeadamente pelo prisma do poder e da ação que é
revelada pelas personagens que nos são apresentadas nos vários textos.
Research Interests:
The presentation text of the play of the same name, about the life and work of Samuel Beckett.
Research Interests:
With this article we propose an analysis of the famous Auto de Floripes, a Portuguese play of folk theatre, uncovering its contextual meaning, implications and symbolism and showing its place in the landscape of Portuguese folk theatre,... more
With this article we propose an analysis of the famous Auto de Floripes, a Portuguese play of folk theatre, uncovering its contextual
meaning, implications and symbolism and showing its place in the landscape of Portuguese folk theatre, the Theatre of Gil Vicente, the Theatre of the Discoveries, so as to identify its main ideas, social connections and meanings.
meaning, implications and symbolism and showing its place in the landscape of Portuguese folk theatre, the Theatre of Gil Vicente, the Theatre of the Discoveries, so as to identify its main ideas, social connections and meanings.
Research Interests:
Texto de Jorge Palinhos publicado no programa de "Ficheiros Secretos", da companhia Visões Úteis, produzido pelo Teatro Nacional São João (novembro de 2013).
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Com a ascensão do encenador, da criação colectiva e do conceito de performance, com as acusações que o pós-modernismo lançou sobre os discursos e a desconfiança em que caiu a noção de drama, o que resta ainda do papel do dramaturgo no... more
Com a ascensão do encenador, da criação colectiva e do conceito de performance, com as acusações que o pós-modernismo lançou sobre os discursos e a desconfiança
em que caiu a noção de drama, o que resta ainda do papel do dramaturgo no teatro contemporâneo? Uma reflexão pessoal sobre os dilemas e caminhos de escrever hoje para o teatro.
em que caiu a noção de drama, o que resta ainda do papel do dramaturgo no teatro contemporâneo? Uma reflexão pessoal sobre os dilemas e caminhos de escrever hoje para o teatro.
Research Interests: Theatre Studies and Drama
Para Manoel de Oliveira, "a palavra é um elemento precioso do cinema porque é um elemento privilegiado do homem". Mas além de ser uma manifestação da natureza da humanidade, talvez para este cineasta português a palavra seja também uma... more
Para Manoel de Oliveira, "a palavra é um elemento precioso do cinema porque é um elemento privilegiado do homem". Mas além de ser uma manifestação da natureza da humanidade, talvez para este cineasta português a palavra seja também uma manifestação da presença ou ausência de uma entidade divina, um pouco à maneira daquilo que o Evangelho de São João nos diz logo no seu início e também de acordo com as angústias religiosas daquele que terá sido o principal mentor intelectual de Manoel de Oliveira, o escritor José Régio. É possível que esta meditação religiosa seja uma marca constante de toda a filmografia oliveiriana, pelo menos desde “Acto da Primavera”, que possivelmente será o filme fundador da estética que normalmente se identifica em Oliveira. Mas um dos filmes mais recentes do cineasta do Porto, "O Princípio da Incerteza", é um bom exemplo desta preocupação, pois nele a palavra torna-se símbolo de um poder criador e definidor, quase divino, em que as personagens surgem como estilhaços de uma luta sobrenatural entre o bem e o mal, numa busca constante por modelos santificados pela religião e pela própria sociedade. Na presente comunicação, procurarei fazer o levantamento de algumas das marcas desta reflexão religiosa ao longo do filme, tanto ao nível da construção das personagens, dos diálogos e da própria estrutura fílmica, identificando nele as pistas de uma perplexidade para com a natureza do mundo visível e invisível.
Research Interests:
In “Jóia de Família”, Agustina returns to the familiar landscape of Douro Valley, with its traditional families and intricate social codes. The novel has been adapted by Manoel de Oliveira in “The Uncertainty Principle”.... more
In “Jóia de Família”, Agustina returns to the familiar landscape of Douro Valley, with its traditional families and
intricate social codes. The novel has been adapted by Manoel de Oliveira in “The Uncertainty Principle”. In it it is
staged an elaborate tale of deceit and intrigue. However, more than the events, the writer and the director are more
interested in the moral implications of the characters’ decisions.
In this presentation, I will analyze the way that the book plot and characterization have been converted and conveyed
in the dialogue, and how a medium so dominated by naturalism like cinema has been turned into a canvas where
Oliveira stages a complex chess of relationships and events, dominated by philosophy and metaphysics, and how
an undercurrent of religious thought models the characters and actions.
intricate social codes. The novel has been adapted by Manoel de Oliveira in “The Uncertainty Principle”. In it it is
staged an elaborate tale of deceit and intrigue. However, more than the events, the writer and the director are more
interested in the moral implications of the characters’ decisions.
In this presentation, I will analyze the way that the book plot and characterization have been converted and conveyed
in the dialogue, and how a medium so dominated by naturalism like cinema has been turned into a canvas where
Oliveira stages a complex chess of relationships and events, dominated by philosophy and metaphysics, and how
an undercurrent of religious thought models the characters and actions.
Research Interests:
Although architecture and cinema or architecture and photography are two well developed fields of study, the connection between the theatre and architecture has raised less awareness from academia. The purpose of the Dramatic... more
Although architecture and cinema or architecture and photography are two well developed fields of study, the connection between the theatre and architecture has raised less awareness from academia.
The purpose of the Dramatic Architectures project was to gather these two fields, find new ways of understanding their connections, namely the issues of gesture and space, researching the commo
n areas of the two fields, and establish a methodology of research. For its subject, several possibilities were considered: the architecture of theatres, the connection between creative processes of both areas, site-specific theatre, the questions of light and sound in space, etc. For the time being, the project decided to focus on the research of site-specific theatre.
Site-specific art is a common artform since the 60s that attempts to create works around specific places, attempting to raise the awareness about the place or attempting to change the aforementioned place. Originally, site-specific art, according to Mion Kwon, attempted to draw attention to the specific conditions of production and presentation of works of art, but later it was used to draw a
ttention to broader cultural and social issues connected with each place.
In my presentation, I aim to propose a methodology of research for site-
specific theatre that highlights both the dramatic, performative and architectonic elements of site-specific theatre. Based on the analysis of The Rest of the World, a site-specific performance by Visões Úteis that took place in a taxi across Porto, I will try to define boundaries of research and methods to investigate the connections between space and performance, for the audience, in site-specific
theatre, that can enlighten the hidden meanings and affects of space and gesture against a real setting.
The purpose of the Dramatic Architectures project was to gather these two fields, find new ways of understanding their connections, namely the issues of gesture and space, researching the commo
n areas of the two fields, and establish a methodology of research. For its subject, several possibilities were considered: the architecture of theatres, the connection between creative processes of both areas, site-specific theatre, the questions of light and sound in space, etc. For the time being, the project decided to focus on the research of site-specific theatre.
Site-specific art is a common artform since the 60s that attempts to create works around specific places, attempting to raise the awareness about the place or attempting to change the aforementioned place. Originally, site-specific art, according to Mion Kwon, attempted to draw attention to the specific conditions of production and presentation of works of art, but later it was used to draw a
ttention to broader cultural and social issues connected with each place.
In my presentation, I aim to propose a methodology of research for site-
specific theatre that highlights both the dramatic, performative and architectonic elements of site-specific theatre. Based on the analysis of The Rest of the World, a site-specific performance by Visões Úteis that took place in a taxi across Porto, I will try to define boundaries of research and methods to investigate the connections between space and performance, for the audience, in site-specific
theatre, that can enlighten the hidden meanings and affects of space and gesture against a real setting.
Research Interests:
«All the world is a stage», wrote Petronius, and the same was repeated by William Shakespeare plagiarizing the Roman writer. They were both wrong, because in both their lives, the world – or at least the theatrical world – was not all of... more
«All the world is a stage», wrote Petronius, and the same was repeated by William
Shakespeare plagiarizing the Roman writer. They were both wrong, because in both their
lives, the world – or at least the theatrical world – was not all of it a stage. In fact, according
to Jean Duvignaud, theatre was defined by two polarizing spaces: the stage and the audience.
The first where the drama took place, the second where the drama was supported and
socialized by its watchers.
However, contemporary stage somehow breathed life to the dream – or nightmare - of
Petronius and Shakespeare. That was what Walter Benjamin already felt in epic theatre,
noting that in his time the “dead people” on stage and the living people in the audience were
mingling more and more, and the frontier that divided them was becoming more and more
blurry, so that the Magic Circle of Johan Huizinga or the Magical Conclave of Jean
Duvignaud became more and more all-encompassing, turning all the world into a stage, but
also the stage into a world.
Drawing from the classical and contemporary theories and ideas of Aristotle, Georg Simmel,
Johan Huizinga, Roger Caillois, Walter Benjamin, Erving Goffman, Jean Duvignaud,
Raymond Williams, Richard Schechner, Miwon Kwon, Cathy Turner, Markus Montola and
Ian Bogost about drama, performance, game, and adventure, and also on concepts of social
theory and the theories of action, I will try to understand the meaning, impact and limitations
of fictional interventions in real space, focusing on a anecdote told by the renowned theatre
director and thinker, Anne Bogart, to try to understand the particular relationship between
performance and space and the impact that it can have on their creators, participants,
spectators and on the surrounding environment.
Shakespeare plagiarizing the Roman writer. They were both wrong, because in both their
lives, the world – or at least the theatrical world – was not all of it a stage. In fact, according
to Jean Duvignaud, theatre was defined by two polarizing spaces: the stage and the audience.
The first where the drama took place, the second where the drama was supported and
socialized by its watchers.
However, contemporary stage somehow breathed life to the dream – or nightmare - of
Petronius and Shakespeare. That was what Walter Benjamin already felt in epic theatre,
noting that in his time the “dead people” on stage and the living people in the audience were
mingling more and more, and the frontier that divided them was becoming more and more
blurry, so that the Magic Circle of Johan Huizinga or the Magical Conclave of Jean
Duvignaud became more and more all-encompassing, turning all the world into a stage, but
also the stage into a world.
Drawing from the classical and contemporary theories and ideas of Aristotle, Georg Simmel,
Johan Huizinga, Roger Caillois, Walter Benjamin, Erving Goffman, Jean Duvignaud,
Raymond Williams, Richard Schechner, Miwon Kwon, Cathy Turner, Markus Montola and
Ian Bogost about drama, performance, game, and adventure, and also on concepts of social
theory and the theories of action, I will try to understand the meaning, impact and limitations
of fictional interventions in real space, focusing on a anecdote told by the renowned theatre
director and thinker, Anne Bogart, to try to understand the particular relationship between
performance and space and the impact that it can have on their creators, participants,
spectators and on the surrounding environment.
Research Interests:
Número da revista Drama, da Associação Portuguesa de Argumentistas e Dramaturgos, sobre Séries de Televisão
Research Interests:
Artigo sobre a criação e desenvolvimento do Projeto Cassandra, publicado na revista Sinais de Cena, n.º 21.
Research Interests:
The brochure text for the performance "I am not ashamed of mu communist past", by Sanja Mitrovic and Vladimir Aleksic,
Research Interests:
The cinema of Wes Craven
Research Interests:
Texto do programa da peça Águas Profundas+Terminal de Aeroporto
Research Interests:
Uma leitura crítica do filme «O querido Lilás», de Artur Semedo, por ocasião do ciclo que lhe foi dedicado no Teatro Rivoli, pela Confederação.