Publications

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.

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.

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

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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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.