A Prop’s Story: from everyday life to the stage

Detalhes bibliográficos
Autor(a) principal: Malva (Universidade de Coimbra – Coimbra, Portugal), Filipa
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/35076
Resumo: An everyday object can be used in performance as a mediator between the reality of the stage and that of the narrative. It can go back and forward between these universes, allowing performers to play with the boundaries between presentational and fictional spaces, as defined by Gay McAuley in Space in Performance – re-positioning the narrative, either mentally or spatially. Performers can achieve this change by manipulating the perception of an object’s func- tion, scale, sound and aesthetics. The performer uses the object’s original characteristics, such as colour, texture, form and design purpose, as potential clues, reframing them to establish new links with the main narrative. This process of transformation makes for a fluid scenography/dramaturgy relationship where performers, scenographer and, of course, spectators share the experiencee an emerging theatrical creation.
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spelling A Prop’s Story: from everyday life to the stageL’Histoire d’un Accessoire de Théâtre: du quotidien à la scèneHistória de um Adereço: do quotidiano ao palcoScenographyStage PropertyPractice-as-researchObjectEverydayScénographieAccessoirePractice-as-researchObjetQuotidienCenografiaAdereçoPractice-as-researchObjectoQuotidianoAn everyday object can be used in performance as a mediator between the reality of the stage and that of the narrative. It can go back and forward between these universes, allowing performers to play with the boundaries between presentational and fictional spaces, as defined by Gay McAuley in Space in Performance – re-positioning the narrative, either mentally or spatially. Performers can achieve this change by manipulating the perception of an object’s func- tion, scale, sound and aesthetics. The performer uses the object’s original characteristics, such as colour, texture, form and design purpose, as potential clues, reframing them to establish new links with the main narrative. This process of transformation makes for a fluid scenography/dramaturgy relationship where performers, scenographer and, of course, spectators share the experiencee an emerging theatrical creation.Un objet du quotidien peut être utilisé comme médiateur entre la réalité de la scène et la fiction du récit. Il peut circuler entre ces deux univers, permettant aux performers de jouer avec les limites de l’espace de la représentation et celui de la fiction, tels qu’ils sont définis par Gay McAuley dans Space in Performance – générant ainsi un déplacement mental ou spatial du récit. Ce changement peut être effectué par les artistes grâce à l’altération de la perception, de la fonction, de l’échelle, du son et de l’esthétique de cet objet. Le performer utilise les caractéristiques d’origine de l’objet, comme la couleur, la texture, la forme et la fonction, comme des indices permettant d’établir de nouvelles relations à l’intérieur du récit prin- cipal. Ce processus de transformation crée une relation fluide entre la dramaturgie et la scénographie offrant aux performers, au scénographe, au metteur en scène et, bien sûr, aux spectateurs, la possibilité de partager l’expérience d’une création théâtrale en cours.  Um objeto do quoti- diano pode ser usado em performance como mediador entre a realidade do palco e a ficção da narrativa. Pode movimentar-se entre estes dois universos, permitindo aos performers percorrer a fronteira entre os espaços de representação e de ficção, tal como são definidos por Gay McAuley em Space in Performance – reposicionando mental e espacialmente a narrativa. O modo através do qual os performers conseguem esta modificação é através da manipulação da nossa percepção da função, escala, som e estética do objeto. O performer usa as características originais do objeto, como a cor, textura, forma e função, como pis- tas, reenquadrando-as, para estabelecer novas relações dentro da narrativa principal. Este processo de transformação cria uma relação fluída entre a dramaturgia e a cenografia, permitindo aos performers, cenógrafo, encenador e, claro, espectadores, partilhar uma criação teatral em emergência.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/35076Brazilian Journal on Presence Studies; Vol. 3 No. 2 (2013): maio/ago. 2013; 556-568Révue Brésilienne d'Études de la Présence; Vol. 3 No. 2 (2013): maio/ago. 2013; 556-568Révue Brésilienne d'Études de la Présence; Vol. 3 No 2 (2013): maio/ago. 2013; 556-568Revista Brasileira de Estudos da Presença; v. 3 n. 2 (2013): maio/ago. 2013; 556-5682237-2660reponame:Revista Brasileira de Estudos da Presençainstname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSporhttps://seer.ufrgs.br/index.php/presenca/article/view/35076/50975Copyright (c) 2022 Revista Brasileira de Estudos da Presençainfo:eu-repo/semantics/openAccessMalva (Universidade de Coimbra – Coimbra, Portugal), Filipa2022-10-16T21:37:13Zoai:seer.ufrgs.br:article/35076Revistahttp://seer.ufrgs.br/presencaPUBhttps://seer.ufrgs.br/presenca/oai||rev.presenca@gmail.com2237-26602237-2660opendoar:2022-10-16T21:37:13Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv A Prop’s Story: from everyday life to the stage
L’Histoire d’un Accessoire de Théâtre: du quotidien à la scène
História de um Adereço: do quotidiano ao palco
title A Prop’s Story: from everyday life to the stage
spellingShingle A Prop’s Story: from everyday life to the stage
Malva (Universidade de Coimbra – Coimbra, Portugal), Filipa
Scenography
Stage Property
Practice-as-research
Object
Everyday
Scénographie
Accessoire
Practice-as-research
Objet
Quotidien
Cenografia
Adereço
Practice-as-research
Objecto
Quotidiano
title_short A Prop’s Story: from everyday life to the stage
title_full A Prop’s Story: from everyday life to the stage
title_fullStr A Prop’s Story: from everyday life to the stage
title_full_unstemmed A Prop’s Story: from everyday life to the stage
title_sort A Prop’s Story: from everyday life to the stage
author Malva (Universidade de Coimbra – Coimbra, Portugal), Filipa
author_facet Malva (Universidade de Coimbra – Coimbra, Portugal), Filipa
author_role author
dc.contributor.author.fl_str_mv Malva (Universidade de Coimbra – Coimbra, Portugal), Filipa
dc.subject.por.fl_str_mv Scenography
Stage Property
Practice-as-research
Object
Everyday
Scénographie
Accessoire
Practice-as-research
Objet
Quotidien
Cenografia
Adereço
Practice-as-research
Objecto
Quotidiano
topic Scenography
Stage Property
Practice-as-research
Object
Everyday
Scénographie
Accessoire
Practice-as-research
Objet
Quotidien
Cenografia
Adereço
Practice-as-research
Objecto
Quotidiano
description An everyday object can be used in performance as a mediator between the reality of the stage and that of the narrative. It can go back and forward between these universes, allowing performers to play with the boundaries between presentational and fictional spaces, as defined by Gay McAuley in Space in Performance – re-positioning the narrative, either mentally or spatially. Performers can achieve this change by manipulating the perception of an object’s func- tion, scale, sound and aesthetics. The performer uses the object’s original characteristics, such as colour, texture, form and design purpose, as potential clues, reframing them to establish new links with the main narrative. This process of transformation makes for a fluid scenography/dramaturgy relationship where performers, scenographer and, of course, spectators share the experiencee an emerging theatrical creation.
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/35076
url https://seer.ufrgs.br/index.php/presenca/article/view/35076
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/presenca/article/view/35076/50975
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; 556-568
Révue Brésilienne d'Études de la Présence; Vol. 3 No. 2 (2013): maio/ago. 2013; 556-568
Révue Brésilienne d'Études de la Présence; Vol. 3 No 2 (2013): maio/ago. 2013; 556-568
Revista Brasileira de Estudos da Presença; v. 3 n. 2 (2013): maio/ago. 2013; 556-568
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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