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From Oríkì to Elinga: Black-Brazilian principles of acting and staging: Black-Brazilian principles of acting and staging||From Oríkì to Elinga: : Black-Brazilian principles of acting and staging
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Metadados
Descrição
The purpose of this article is to present reflections that seek to system Black- Brazilian principles of dramatic performance and staging. The studies presented aim to demonstrate the need for theoretical-practical thinking in the performing arts focused on an anti-colonial perspective, as opposed to a hegemonic Euro-referenced vision. Thus, the concept of dramaturgy is problematized as part of a colonial device to control subjectivities. The theoretical-practical studies and the underlying arguments of this text were systematized with a basis in counter-hegemonic scenic experiments investigated in workshops, courses, and classes in which creative processes were developed, which do not separate the languages of dance, theater and performance.||L'objectif de cet article est de présenter des réflexions qui cherchent une systématisation des principes afro-brésiliens de représentation scénique et de la mise en scène. Les études présentées visent à démontrer la nécessité d'une réflexion théorique et pratique dans les arts de la scène orientée vers une perspective anticoloniale, par opposition à une vision hégémonique euro-référencée. Ainsi, le concept de dramaturgie est problématisé comme faisant partie d'un dispositif colonial de contrôle des subjectivités. Les études théoriques et pratiques et les arguments sous-jacents de ce texte ont été systématisés sur la base d'expériences scéniques contre-hégémoniques étudiées dans des ateliers, des cours et des classes dans lesquels des processus créatifs ont été développés, qui ne séparent pas les langages de la danse, du théâtre et de la performance.||The purpose of this article is to present reflections that seek to system Black- Brazilian principles of dramatic performance and staging. The studies presented aim to demonstrate the need for theoretical-practical thinking in the performing arts focused on an anti-colonial perspective, as opposed to a hegemonic Euro-referenced vision. Thus, the concept of dramaturgy is problematized as part of a colonial device to control subjectivities. The theoretical-practical studies and the underlying arguments of this text were systematized with a basis in counter-hegemonic scenic experiments investigated in workshops, courses, and classes in which creative processes were developed, which do not separate the languages of dance, theater and performance.
Colaboradores
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Abrangência
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Autor
dos santos, Lau Pereira
Data
27 de outubro de 2022
Formato
Idioma
Direitos autorais
Copyright (c) 2022 Revista Brasileira de Estudos da Presença
Fonte
Brazilian Journal on Presence Studies; Vol. 12 No. 4 (2022): Out./Dez. 2022; 1-24 | Révue Brésilienne d'Études de la Présence; Vol. 12 No. 4 (2022): Out./Dez. 2022; 1-24 | Révue Brésilienne d'Études de la Présence; Vol. 12 No 4 (2022): Out./Dez. 2022; 1-24 | Revista Brasileira de Estudos da Presença; v. 12 n. 4 (2022): Out./Dez. 2022; 1-24 | 2237-2660
Assuntos
Corporeities. Dramaturgy. Oríkì. Coloniality. Afro-Indigenous Cosmoperceptions. | Corporéités. Dramaturgie. Oríkì. Colonialité. Cosmoperceptions Afro-Indigènes. | Corporeities | Dramaturgy | Oríkì | Coloniality | Afro-Indigenous Cosmoperceptions
Tipo
info:eu-repo/semantics/article | info:eu-repo/semantics/publishedVersion