A leitura como um processo cognitivo
Figueiredo, Olívia Maria
1999-01-01
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Although architecture and cinema or architecture and photography are two well developed fields of study, the connection between 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 common 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 aro...
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...
«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 Mag...
Em O Princípio da Incerteza (2002), Manoel de Oliveira regressou ao universo
de Agustina Bessa-Luís, adaptando o romance Jóia de Família, de
2001, desta autora portuguesa, para encenar o confronto de duas mulheres:
Camila e Vanessa, que parecem disputar o amor de dois homens – António
Claro, ou Cravo-roxo, o marido de Camila e amante de Vanessa, e Luciano,
ou Touro-Azul, amante de Vanessa e apaixonado de Camila.
A adaptação literária não é uma novidade na obra de Manoel de Oliveira,
que começa desde logo com a sua icónica longa-metragem Aniki-Bobó (1942),
uma adaptação do conto “Os Meninos Milionários”, de Rodrigues de Freitas,
que Oliveira descreve como “um pouco indeciso entre o cinema e a literatura”
(Torres, 2007: 13). Tal estará relacionado com a conhecida preponderância
que a palavra falada tem na cinematografia olivei...
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.
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 eficaz 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
Fíl...
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.
info:eu-repo/semantics/publishedVersion
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.
Tese de Doutoramento em Estudos Culturais
