LOPES, P. H. S.; TENENBLAT, N. A vulnerabilidade como aspecto de atuação. Urdimento: Revista de Estudos em Artes Cênicas, Florianópolis, v. 1, n. 46, p. 1-26, 2023.

This study examines vulnerability in acting using bioethics, social sciences, and psychology, revealing it as a crucial and significant aspect for further exploration. To observe, develop, and apply vulnerability in acting, Coletiva Teatro divides the creative process into stages as a methodological parameter. From Stanislavski, Fabião and Feral, vulnerability reveals itself pertinent in works of interpretation, performance and performative theater. The observation of vulnerability and its respective vulnerabilizing agents allows the recognition of its modes of operation and the search for solutions that allow a healthy and productive relationship with it as a powerful artistic tool.

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Marinho, J., & Tenenblat, N. (2023). Instâncias Orientadoras para Contadores e Contadoras de Histórias . Educação, 48(1), e8/1–31.

This article shares reflections for storytellers and introduces three guiding instances that aim to contribute to the craft and art of storytelling in contemporary times, a practice widely used as a resource in the educational context. The research is based on the praxis of actor, storyteller and educator Jorge Marinho, member of Coletiva Teatro, with support in the authors Paulo Freire and Jorge Larrosa Bondía, storytelling and theater Ângela Barcellos Café, Regina Machado, Gislayne Avelar Matos and Jorge Dubatti, as well as in analyses of artistic practices of storyteller Jan Blake. The three guiding instances for storytellers are named as 1. Principles of storytelling, 2. Strategies in storytelling, and 3. Devices for telling with, and permeate the work of the artist on himself/herself; ontological aspects of storytelling; and technical aspects. The article presents analyses, questions and technical approaches, links to videos with demonstration examples, and instigations for a more autonomous, creative, and conscious practice, considering the transforming potential of storytelling as a convivial art.

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MUNDIM, T. E. Broadway ou West End: Influências dos musicais anglófonos na produção dos musicais no (e do) Brasil. Urdimento - Revista de Estudos em Artes Cênicas, Florianópolis, v. 2, n. 41, p. 1-31, 2021.

This article sought to raise a question about the nomenclature given to a branch of Musical Theater, which is commonly designated in Brazil as being "Broadway", in a kind of categorization of a musical style instead of a denomination of the place of origin of the show. The proposal presented in this article was to denominate these shows as "Anglophone musicals" - since many of these musicals imported to Brazil had their origin both in the West End (London) and Broadway (New York) - and present their influences on the growth of this theatrical trend in contemporary Brazil, both in the production of these musicals imported and performed "in" Brazil and in the production of original musicals "from" Brazil.

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MUNDIM, T. E. A utilização da tecnologia no desenvolvimento das habilidades artísticas inerentes ao ator-cantor-bailarino no Teatro Musical em tempos de isolamento social. ouvirOUver, [S. l.], v. 16, n. 2, p. 624–636, 2020.

From the relationship of the use of technology with the training of the actor-singer-dancer of musical theater, this paper aims to generate reflections on the use of these technological devices in the development of artistic skills of these professionals and how this use has influenced the relations of teaching and learning in contemporary times, especially amplified due to the social isolation caused by the pandemic of the covid-19 virus. A correlation will be made both in the area of education, based on Pierre Lévy's reflections, and in the area of theater regarding the use of technologies, based on Hans-Thies Lehmann's thought and contextualizing it with other areas of art and education contemporary to these interpreters. The research will be based on the observation of the use of these technological apparatuses in the training of performers in Brazil, more specifically actors-singers-dancers from Brasilia, São Paulo and Rio de Janeiro who improve the development of their acting, singing and dancing skills in the national musical theater.

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TENENBLAT, N. Poetic Doors: Space for the Poetics of Unpredictability on Stage. Urdimento - Revista de Estudos em Artes Cênicas, v. 2, No. 38, p.1-30, 2020.

This article examines the tool denominated poetic door as a performative device that opens space-time opportunities for the poetics of the collective unpredictability on stage. It presents how it was developed, its definition and applied examples in the productions O Amor Que Habito (2018), Uma Sonata Familiar (2018) and Luar de Contos (2019) by Coletiva Teatro. In a blocked performance, space for deviation is created with the goal of intensifying a given dramatic moment, enabling multiple new layers of meaning in real time that emerge during and as a a result of the encounter between artists and audience. The degree of poetic freedom and performativity of the device are investigated as well as the required conditions and dramaturgical implications of its use. Artist and audience become continuous reconfigurators of poetic singularities.

Keyworkds: Poetic door; Coletiva Teatro; Performative device; Collective creation.

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Mundim, T.E., & Lignelli, C. Acting Through Song: a música como norteadora para o desenvolvimento das habilidades do ator-cantor-bailarino no teatro musical. Rebento, n.10 (2019).

Based on the training approach of acting through song for the actor-singer-dancer of musical theater, commonly applied in universities and technical courses of professional training in London, UK, we present in this work a detailing of this process, considering the music as the guiding element of the development and application of the technical skills of the performer in the composition of scenes and characters in the plays of this aspect of theater. We describe the processes used in this training perspective, which aim at the development of the performer's acting, singing and dancing skills, as well as the way in which these elements integrate to enhance each other. We approach music as the element that conducts acting and dance, passing through dance as a potentiator of vocal and corporal expression, arriving at the acting as a connector of all the elements in the construction of the Aristotelian mimesis, aiming at providing the affective connection with the audience and the communication of the narrative presented in the show.

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Mundim, T. E., & Lignelli, C. (2019). Recorrentes vias de comoção da plateia em espetáculos de Teatro Musical. Repertório, (33).

Seeking an understanding of the recurrent ways of moving the audience in Musical Theater shows, in which music, dance and interpretation are combined with visual effects, technology and scenography, providing an experience of immersion in the event being presented, this work proposes a survey of principles for the understanding of the functioning of these elements in the communication and emotional contagion between the actor-singer-dancer and the audience of this kind of theater. We present music as a strong emotional conductor in this audience contagion, being, according to studies from Neuroscience, a vehicle responsible for the involuntary triggering of emotions from the incitement of physiological processes stimulated by sound. These are further amplified by dance, intensifying the modes of expression of emotions and enabling tools for the performance to connect all the elements of the show in favor of the construction of an Aristotelian mimesis that goes beyond the notion of imitation and reaches the creation of a new reality on stage from the living presence of the actors-singers-dancers on stage.

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MORAES, J. ; TENENBLAT, N. Aspectos de Colaboração nos Processos Abertos em Composição Coreográfica: Judson Dance Theatre, 1962­1964. CENA. UFRGS, v. 25, p. 75­-83, 2018.

This paper is an unfolding, in the Master's in Performing Arts, of research started during the Degree in Dance, in which the etymologies of the words process and open were studied, in order to find clues for a possible reading of what open processes are in choreographic compositions. In this essay, specifically, I analyze the Judson Dance Theater movement, which took place in New York from 1962 to 1964, as a case study to investigate parameters that indicate openings in artistic processes. Based on this, I present aspects of collaboration experienced during the event in question, which lead me to problematize modes of collaboration and their unfoldings in the light of contemporary Brazilian reality. They also raise reflections on other possibilities of thinking culture and art as a space for exchange and learning by reflecting on the interactions between creators, artistic work and spectators as autonomous decision makers.

Keywords: Collaborations; Choreographic Composition; Open Processes; Learning; Judson Dance Theater.

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TENENBLAT, N. Trans. Iago, Metatheatre for four characters and chorus. By Marcus Mota. Dramaturgias, v. 1, p. 177-206, 2016.

Translation of the dramatic text Iago by Marcus Mota. Inspired by Shakespeare's Othello.

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Mundim - Universidade de Brasília, T. E. (2015). Um manual de treinamento do ator-cantor-bailarino de Teatro Musical. Revista VIS: Revista Do Programa De Pós-Graduação Em Artes Visuais, 14(1).

TENENBLAT, N. Direção e Direcionalidade na Criação em Coletivo. ILINX - Revista do LUME, v.7, p.334 -343 , 2015.

In this study I highlight how the degree of collectivization of meaning in the creative process in collective directly impacts on the role of the theatrical director. When there is reduced collectivization, the direction works primarily with editing, exclusion and redirection of propositions to distill meaning; in the opposite case, that is, when there is ample collectivization, what I propose to call directionality occurs, in which the work aims primarily at stimulating connections and contaminations to distill meaning. I seek to examine these methodological differences in the work of the director in collective creation in order to contribute to its conceptual deepening, as well as its praxis.

Keywords: Director; Theatrical Direction; Directionality; Collective Creation.

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TENENBLAT, N. Repairing Teatro Oficina Perdiz In: Neoliberalism and Global Theatres: Performance Permutations. ed. Londres: Palgrave Macmillan, 2012.

Abstract: For the past 14 years I have collaborated as a theatre director toward the formation, development, and survival of two different group theatres in Brasília, Brazil. Both groups are composed of a relatively fixed set of members collaborating experimentally over a long period of time and whose administration, aesthetic dynamics, and content are defined by the group rather than any single person and/or function. Throughout this process I have become increasingly aware of the local challenges that affect the working conditions, sustainability, and aesthetic results of group theatres as well as other independent theatre artists. In particular, I have seen how the spaces in which we rehearse and perform impact on our overall artistic development and sustainability. Ultimately, without a viable space to rehearse and/or perform, theatre-making—whether it be group theatre and experimental or otherwise—is at risk.

CIRQUEIRA, N. R. Entrepartidas: um espetáculo feito de encontros. In: Concreto em 7 Atos. 1ed. Brasília: Organização Cultural Filhos do Beco e Teatro do Concreto, p. 174-185, 2011.

SEABRA, A.;WILKER, F.;CIRQUEIRA, N. Concreto em 7 Atos. 1ed. Brasília: Organização Cultural Filhos do Beco e Teatro do Concreto, 2011.

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