Dissident Memories: Our Odyssey, by Christiane Jatahy
The text analyzes the spectacles Ítaca [Ithaca] (2018) and O agora que demora [The now that’s delayed] (2019), created by the director Christiane Jatahy. Recognized for the creation of a performative, hybrid and political theatre, the artist transits between cultural and geographical frontier zones....
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Brasil |
| Institución: | Universidade do Estado de Santa Catarina (UDESC) |
| Repositorio: | Urdimento (Online) |
| Idioma: | portugués inglés |
| OAI Identifier: | oai::article/21144 |
| Acceso en línea: | https://www.revistas.udesc.br/index.php/urdimento/article/view/21144 |
| Access Level: | acceso abierto |
| Palabra clave: | Memória incorporada Testemunho Arquivos performativos Embodied memory Testimony Archives as act Memoria encarnada Testimonio Archivos performativos |
| Sumario: | The text analyzes the spectacles Ítaca [Ithaca] (2018) and O agora que demora [The now that’s delayed] (2019), created by the director Christiane Jatahy. Recognized for the creation of a performative, hybrid and political theatre, the artist transits between cultural and geographical frontier zones. Based on assemblages and repetitions the artist's performative practices relate to certain proposals defined by Rebecca Schneider, especially the conception of “archives as act” and embodied modes of memory. |
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