Kintsugi 100 (without) memories: a performing self-fictional gesture to converge with dramaturgy of memory
The starting point happens with a dialogue between a broadening of ‘dramaturgy’ concept that is performed in contemporary scenic rehearsals/ assays, regarding shows whose aim is investigating the actor’s/performer’s memory in a self-fictional perspective. The study concerning “I” and memories evocat...
| Autores: | , |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Brasil |
| Institución: | Universidade Estadual do Oeste do Paraná (UNIOESTE) |
| Repositorio: | Travessias (Cascavel. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.e-revista.unioeste.br:article/26227 |
| Acceso en línea: | https://e-revista.unioeste.br/index.php/travessias/article/view/26227 |
| Access Level: | acceso abierto |
| Palabra clave: | Memory dramaturgy Kintsugi 100 (without) memories Performativity Creation processes. Dramaturgia da memória Kintsugi 100 (sem) memórias Performatividade Processos de criação. |
| Sumario: | The starting point happens with a dialogue between a broadening of ‘dramaturgy’ concept that is performed in contemporary scenic rehearsals/ assays, regarding shows whose aim is investigating the actor’s/performer’s memory in a self-fictional perspective. The study concerning “I” and memories evocation is highlighted as a procedure to create a theatrical performance. Based on these assumptions and, taking a relevant artistic work in this theme as the object, which is also a reference in the performing arts, this study aims at understanding how the dramaturgy of memory is built during the creation process of Kintsugi show: 100 (without) memories (2019) by Lume Teatro. Therefore, the following questions are: based on which perspectives is memory set in this work? How boundaries between “real” and fictional are defined during creative processes in this scenic work? Comparative literature is the applied methodology in text/scene/performativity analysis according to the composition process. The theoretical basis is delimited mainly by the following authors: Eco, Borriaud, Lopes and in some reports from an interview with the actress Ana Cristina Colla for this research, among other researchers. As a result, we found out that 'creative memory' plus performativity touches real/fictional boundaries, resizing the contemporary scene and dramaturgy. |
|---|