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‘Maráia Quéri’ and the Queer Future of Contemporary Theater||Maráia Quéri’ et le Futur Queer de la Scène Contemporaine||‘Maráia Quéri’ and the Queer Future of Contemporary Theater
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Metadados
Descrição
The Feminist Scenics: theorizations about science and practice of the feminist theater scene and the space and importance of feminist epistemologies in the theatrical field1 – This article describes a feminist scenic, resulting from the application of feminist epistemologies to theater, synthesizing the criticism they make of the canonical demarcations linked to the act of knowing, which contribute to the invalidation of women's experience. Its way of functioning is associated with the awareness of gender hierarchies, to which it reacts through the formulation of poetic and political strategies to confront discriminatory and sexist social models and their symbolic supports. It is concluded that this feminist scenic finds centrality in pedagogy, where emancipatory forms of knowledge and territories of resistance and creation emerge, which give new meaning to being.||Maráia Quéri’ et le Futur Queer de la Scène Contemporaine – L'essai met en évidence les éléments de la mise en scène de Maráia Quéri – une pièce dramaturgique de Raquel S., créée en 2022 au Teatro Nacional D. Maria II, à Lisbonne, interprétée et mise en scène par l'acteur d'Aveiro Romeu Costa – qui justifient sa classification comme pièce de conférence. Lorsqu’on se demande quelles sont ses implications esthétiques et éthiques sur les questions liées au genre et à la sexualité, il est souligné que le spectacle établit d’importants liens interdisciplinaires, comme avec les politiques de subjectivation et de temporalité queer. Finalement, la réponse est que des pièces de théâtre comme Maráia Quéri sont d’importantes productions de déprogrammation coloniale.||The Feminist Scenics: theorizations about science and practice of the feminist theater scene and the space and importance of feminist epistemologies in the theatrical field1 – This article describes a feminist scenic, resulting from the application of feminist epistemologies to theater, synthesizing the criticism they make of the canonical demarcations linked to the act of knowing, which contribute to the invalidation of women's experience. Its way of functioning is associated with the awareness of gender hierarchies, to which it reacts through the formulation of poetic and political strategies to confront discriminatory and sexist social models and their symbolic supports. It is concluded that this feminist scenic finds centrality in pedagogy, where emancipatory forms of knowledge and territories of resistance and creation emerge, which give new meaning to being.
Colaboradores
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Abrangência
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Autor
Thürler, Djalma | Woyda, Duda
Data
29 de abril de 2024
Formato
Idioma
Direitos autorais
Copyright (c) 2024 Revista Brasileira de Estudos da Presença | https://creativecommons.org/licenses/by/4.0
Fonte
Brazilian Journal on Presence Studies; Vol. 14 No. 2 (2024): Abr./Jun. 2024 | Révue Brésilienne d'Études de la Présence; Vol. 14 No. 2 (2024): Abr./Jun. 2024 | Révue Brésilienne d'Études de la Présence; Vol. 14 No 2 (2024): Abr./Jun. 2024 | Revista Brasileira de Estudos da Presença; v. 14 n. 2 (2024): Abr./Jun. 2024 | 2237-2660
Assuntos
Maráia Quéri | Peça-Conferência | Teatro Contemporâneo | Temporalidade Queer | Políticas de Subjetivação | Maráia Quéri | Pièce de Conférence | Théâtre Contemporain | Temporalité Queer | Politiques de Subjectivation | Maráia Quéri | Conference Request | Contemporary Theatre | Queer Temporality | Subjectivation Policies
Tipo
info:eu-repo/semantics/article | info:eu-repo/semantics/publishedVersion