O teatro de feira e sua poética
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Data
2012-03
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Resumo
This paper presents refl ections on the various forms of
theatrical events held in the French fairs between the seventeenth
and eighteenth centuries, and indicates the proper impact of these
theatrical forms at the French fairs in the defi nition of what must be
called theater, drama or performance. It also, presents some examples
of the acting procedures and construction of its performance, which uses deliberately and without any ceremony all existing styles and
reworked them into a new permanent key. A theater that is not imposed
by stylistic boundaries or allegiances, instead, sought to break them,
renew them, occupy them, and maybe subtract them. With the
strong gesture-representational momentum of this kind of spectacle,
the theater at the fairs was composed by such heterogeneity, that
we must call it a heterogender, a gender that is made by using
always the difference, profi led without using predetermined or fi xed
characteristics. In its constant prismatic method, determined by using
at random a constant dialogue with distinct forms of contemporary
spectacle, it shows other dramatic forms of compositional unity,
asserting itself as a central phenomenon in determination of what
should be understood as drama.
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Palavras-chave
Gestual no teatro, Teatro das feiras, França, Teatro séculos XVII e XVIII, Gestus on drama, Drama at fairs, France, Drama at XVII and XVIII century
Citação
CAMARGO, Robson Corrêa de. O teatro de feira e sua poética. REBENTO: revista das artes do espetáculo, Barra Funda, n. 3, p. 62-81, mar. 2012.