Genetics of a Reenactment in Jan Fabre’s Work

Detalhes bibliográficos
Autor(a) principal: Boato (Università di Bologna – Bolonha, Itália), Giulio
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: por
Título da fonte: Revista Brasileira de Estudos da Presença
Texto Completo: https://seer.ufrgs.br/index.php/presenca/article/view/37145
Resumo: This article proposes a selective path through the process of recreation of two spectacles by Jan Fabre: This is theatre like it was to be expected and foreseen (1982) and The power of theatrical madness (1984). The author – who followed closely the work of the company from April to July 2012 – focuses on the small differences between the two versions of the works, analys- ing the modalities and reasons of the changes. The dissertation examines the work of the director and  the performers, at the same time as it questions the notions of theatrical genetics and reenactment.
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spelling Genetics of a Reenactment in Jan Fabre’s WorkGénétique d’un Reenactment, chez Jan FabreGenética de um Reenactment em Jan FabreJan FabreGénétique ThéâtraleReenactmentRépétitionsThéâtre Post-dramatiqueJan FabreGenética TeatralReenactmentEnsaiosTeatro Pós-dramáticoJan FabreTheatrical GeneticsReenactmentRehearsalsPostdramatic TheatreThis article proposes a selective path through the process of recreation of two spectacles by Jan Fabre: This is theatre like it was to be expected and foreseen (1982) and The power of theatrical madness (1984). The author – who followed closely the work of the company from April to July 2012 – focuses on the small differences between the two versions of the works, analys- ing the modalities and reasons of the changes. The dissertation examines the work of the director and  the performers, at the same time as it questions the notions of theatrical genetics and reenactment.L’article propose un parcours sélectif à travers le processus de recréation de deux spectacles de Jan Fabre: C’est du théâtre comme c’était à espérer et à prévoir (1982) et Le pouvoir des folies théâtrales (1984). L’auteur de cet article – qui a suivi personnellement le travail de la compagnie d’avril à juillet 2012 – a choisi de se concentrer en particulier sur les différences subtiles entre les deux versions des œuvres, en analysant les modalités et les raisons des changements. Le parcours suivi met en évidence le travail du metteur en scène et de ses performers, en s’interrogeant aussi sur les notions de génétique théâtrale et reenactment.Este artigo propõe um per- curso seletivo através do processo de recriação de dois espetáculos de Jan Fabre: C’est du théâtre comme c’était à espérer et à prévoir (1982) e Le pouvoir des folies théâtrales (1984). O autor deste artigo – que acompanhou pessoalmente o trabalho da companhia de abril a julho de 2012 – escolheu se concentrar em particular sobre as sutis diferenças entre as duas versões das obras, analisando as modalidades e as razões das modificações. O caminho traçado evidencia o trabalho do diretor e de seus performers, interrogando-se também sobre as noções de Genética Teatral e reenactment. Universidade Federal do Rio Grande do Sul2022-10-16info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttps://seer.ufrgs.br/index.php/presenca/article/view/37145Brazilian Journal on Presence Studies; Vol. 3 No. 2 (2013): maio/ago. 2013; 425-446Révue Brésilienne d'Études de la Présence; Vol. 3 No. 2 (2013): maio/ago. 2013; 425-446Révue Brésilienne d'Études de la Présence; Vol. 3 No 2 (2013): maio/ago. 2013; 425-446Revista Brasileira de Estudos da Presença; v. 3 n. 2 (2013): maio/ago. 2013; 425-4462237-2660reponame:Revista Brasileira de Estudos da Presençainstname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSporhttps://seer.ufrgs.br/index.php/presenca/article/view/37145/50967Copyright (c) 2022 Revista Brasileira de Estudos da Presençainfo:eu-repo/semantics/openAccessBoato (Università di Bologna – Bolonha, Itália), Giulio2022-10-16T21:37:10Zoai:seer.ufrgs.br:article/37145Revistahttp://seer.ufrgs.br/presencaPUBhttps://seer.ufrgs.br/presenca/oai||rev.presenca@gmail.com2237-26602237-2660opendoar:2022-10-16T21:37:10Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv Genetics of a Reenactment in Jan Fabre’s Work
Génétique d’un Reenactment, chez Jan Fabre
Genética de um Reenactment em Jan Fabre
title Genetics of a Reenactment in Jan Fabre’s Work
spellingShingle Genetics of a Reenactment in Jan Fabre’s Work
Boato (Università di Bologna – Bolonha, Itália), Giulio
Jan Fabre
Génétique Théâtrale
Reenactment
Répétitions
Théâtre Post-dramatique
Jan Fabre
Genética Teatral
Reenactment
Ensaios
Teatro Pós-dramático
Jan Fabre
Theatrical Genetics
Reenactment
Rehearsals
Postdramatic Theatre
title_short Genetics of a Reenactment in Jan Fabre’s Work
title_full Genetics of a Reenactment in Jan Fabre’s Work
title_fullStr Genetics of a Reenactment in Jan Fabre’s Work
title_full_unstemmed Genetics of a Reenactment in Jan Fabre’s Work
title_sort Genetics of a Reenactment in Jan Fabre’s Work
author Boato (Università di Bologna – Bolonha, Itália), Giulio
author_facet Boato (Università di Bologna – Bolonha, Itália), Giulio
author_role author
dc.contributor.author.fl_str_mv Boato (Università di Bologna – Bolonha, Itália), Giulio
dc.subject.por.fl_str_mv Jan Fabre
Génétique Théâtrale
Reenactment
Répétitions
Théâtre Post-dramatique
Jan Fabre
Genética Teatral
Reenactment
Ensaios
Teatro Pós-dramático
Jan Fabre
Theatrical Genetics
Reenactment
Rehearsals
Postdramatic Theatre
topic Jan Fabre
Génétique Théâtrale
Reenactment
Répétitions
Théâtre Post-dramatique
Jan Fabre
Genética Teatral
Reenactment
Ensaios
Teatro Pós-dramático
Jan Fabre
Theatrical Genetics
Reenactment
Rehearsals
Postdramatic Theatre
description This article proposes a selective path through the process of recreation of two spectacles by Jan Fabre: This is theatre like it was to be expected and foreseen (1982) and The power of theatrical madness (1984). The author – who followed closely the work of the company from April to July 2012 – focuses on the small differences between the two versions of the works, analys- ing the modalities and reasons of the changes. The dissertation examines the work of the director and  the performers, at the same time as it questions the notions of theatrical genetics and reenactment.
publishDate 2022
dc.date.none.fl_str_mv 2022-10-16
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://seer.ufrgs.br/index.php/presenca/article/view/37145
url https://seer.ufrgs.br/index.php/presenca/article/view/37145
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/presenca/article/view/37145/50967
dc.rights.driver.fl_str_mv Copyright (c) 2022 Revista Brasileira de Estudos da Presença
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Revista Brasileira de Estudos da Presença
eu_rights_str_mv openAccess
dc.publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
dc.source.none.fl_str_mv Brazilian Journal on Presence Studies; Vol. 3 No. 2 (2013): maio/ago. 2013; 425-446
Révue Brésilienne d'Études de la Présence; Vol. 3 No. 2 (2013): maio/ago. 2013; 425-446
Révue Brésilienne d'Études de la Présence; Vol. 3 No 2 (2013): maio/ago. 2013; 425-446
Revista Brasileira de Estudos da Presença; v. 3 n. 2 (2013): maio/ago. 2013; 425-446
2237-2660
reponame:Revista Brasileira de Estudos da Presença
instname:Universidade Federal do Rio Grande do Sul (UFRGS)
instacron:UFRGS
instname_str Universidade Federal do Rio Grande do Sul (UFRGS)
instacron_str UFRGS
institution UFRGS
reponame_str Revista Brasileira de Estudos da Presença
collection Revista Brasileira de Estudos da Presença
repository.name.fl_str_mv Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)
repository.mail.fl_str_mv ||rev.presenca@gmail.com
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