Images not to be seen: ephemeral theatrical actions in company with Alejandro Jodorowsky
In the 1960s, in an insurgent artistic gesture, Alejandro Jodorowsky produced the efímero pánico, Melodrama Sacramental. More than 50 years later, based on research on the Chilean multi-artist, Fabrício Trindade creates Ações Cênicas do dia doze (2016) and Efêmero (2017). This article aims to reveal...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Institución: | Universidade Estadual de Campinas (UNICAMP) |
| Repositorio: | Conceição/Conception |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.periodicos.sbu.unicamp.br:article/8674769 |
| Acceso en línea: | https://periodicos.sbu.unicamp.br/ojs/index.php/conce/article/view/8674769 |
| Access Level: | acceso abierto |
| Palabra clave: | Alejandro Jodorowsky Teatro latinoamericano Acciones escénicas Teatro latino-americano Ações cênicas Latin American theater Scenic actions |
| Sumario: | In the 1960s, in an insurgent artistic gesture, Alejandro Jodorowsky produced the efímero pánico, Melodrama Sacramental. More than 50 years later, based on research on the Chilean multi-artist, Fabrício Trindade creates Ações Cênicas do dia doze (2016) and Efêmero (2017). This article aims to reveal possible similarities between the aforementioned creations, to demonstrate that, in line with the ideas of Didi-Huberman (2010), they are made up of images that invite the viewer to close their eyes to see them. |
|---|