Teatro e tecnologia : criação, produção, receção do deus ex machina ao teatro virtual
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2020
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As primeiras formas teatrais conhecidas radicam na ideia de festa, celebração e
ritual. Estas deram origem ao teatro grego, fundador do conceito de teatro no ocidente. É no
contexto do teatro grego que surge o texto, a fixação do público num lugar determinado (o
anfiteatro) e surgem as primeiras tecnologias destinadas a provocar ilusão e encantamento.
Com o Barroco e a sua “maravilhosa máquina” esse encantamento e ilusão acentuase
até à sua crítica por Wagner com o conceito “Obra de Arte Total”.
Com o advento da eletricidade, muitas das máquinas cénicas de natureza mecânica
passam a ser substituídas por dispositivos elétricos ou eletromecânicos, tornando o palco
cada vez mais tecnologizado.
O som e, sobretudo, a imagem invadem a cena alterando a nossa relação com a
presença e o espaço. As tecnologias de mediação acentuam a alteração dessas relações, o que
nos obriga a debater o conceito de performance e a questionar a própria natureza do teatro.
Com as tecnologias digitais, não é só essa natureza que é equacionada, de uma forma
acelerada, mas, também, a natureza da relação com os públicos num contexto cada vez mais
virtualizado.
Por último, colocamos o trabalho que temos desenvolvido no domínio das artes
performativas num contexto retrospetivo, procurando equacionar a sua relação com as
tecnologias e a forma como estas se apresentam como elementos essenciais à criação
artística.
The first known theatrical forms are rooted in the idea of celebration, and ritual. These gave rise to the Greek theater, founder of the concept of theater in the western world. It is in the context of Greek theater that the text arises, the fixation of the public in a particular place (the amphitheater) and the first technologies designed to provoke illusion and enchantment. With the Baroque and its "wonderful machines" this enchantment and illusion is accentuated until his criticism by Wagner with the concept of "Total Artwork". With the advent of electricity, many of the scenic machines of a mechanical nature are being replaced by electrical or electromechanical devices, making the stage more technological. Sound and, above all, image invade the scene altering our relationship with presence and space. Mediation technologies accentuate the alteration of these relationships, which forces us to debate the concept of performance and to question the proper nature of theater. With digital technologies, it is not only this nature that is equated at an accelerated rate, but also the nature of the relationships with the audience in an increasingly virtualized context. Finally, we place the work we have been developing in the performing arts field in a retrospective context, seeking to equate their relationship with technologies and the way they present themselves as essential elements of artistic creation.
The first known theatrical forms are rooted in the idea of celebration, and ritual. These gave rise to the Greek theater, founder of the concept of theater in the western world. It is in the context of Greek theater that the text arises, the fixation of the public in a particular place (the amphitheater) and the first technologies designed to provoke illusion and enchantment. With the Baroque and its "wonderful machines" this enchantment and illusion is accentuated until his criticism by Wagner with the concept of "Total Artwork". With the advent of electricity, many of the scenic machines of a mechanical nature are being replaced by electrical or electromechanical devices, making the stage more technological. Sound and, above all, image invade the scene altering our relationship with presence and space. Mediation technologies accentuate the alteration of these relationships, which forces us to debate the concept of performance and to question the proper nature of theater. With digital technologies, it is not only this nature that is equated at an accelerated rate, but also the nature of the relationships with the audience in an increasingly virtualized context. Finally, we place the work we have been developing in the performing arts field in a retrospective context, seeking to equate their relationship with technologies and the way they present themselves as essential elements of artistic creation.
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Orientação: José A. Bragança de Miranda
Palavras-chave
DOUTORAMENTO EM CIÊNCIAS DA COMUNICAÇÃO, COMUNICAÇÃO, TEATRO , TECNOLOGIA, PÚBLICO, CRIAÇÃO ARTÍSTICA, ARTES CÉNICAS, TECNOLOGIAS DIGITAIS, COMMUNICATION, THEATRE, TECHNOLOGY, PUBLIC, ARTISTIC CREATION, DIGITAL COMMUNICATION, PERFORMING ARTS, DIGITAL TECHNOLOGIES