The place of performance art in the museum: memories, presences and absences

• Autor(a) principal: Salazar, Daniela
• Data de Publicação: 2020
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.51427/cet.sdc.2020.0013
• topic: Museum; Theatre; Memories; Institutionalization; Presence; Museu; Teatro; Memórias; Institucionalização; Presença

This paper addresses two main questions: What museum can we create through theatre practice? And, what kind of theatre practice do we have through the perspective of the museum? This critical analysis has as its starting point the rela‑ tion between these two cultural instances: the Museum and Theatre (mainly its practice as an artistic discipline). The purpose of this paper is to define some lines and ways of reflecting on these curatorial processes, musealization, preservation and the institutionalization of the theatre memories and history. On the other hand, this paper aims to give also some new ways of thinking a new con‑ ception of the museum place based on the characteristics that define the thea‑ tre practice. This exercise of a critical analysis and also of a complementarity and opposition of two perspectives and different places will be the vehicle of present‑ ing some case studies that will support its argument: A Living Museum of Small and Forgotten Memories, from Joana Craveiro (2014), The Curiosities’ Cabinet, from Karnart (since 2012) and Alexandra do Carmo’s work All was Captured (even the movements of the Goat) (Quadrum Gallery, 2011).