Between Empathy and Dissection: the live cinema by Katie Mitchell

Detalhes bibliográficos
Autor(a) principal: Magris (Université Paris 8 Vincennes Saint-Denis – Paris, França), Erica
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/64131
Resumo: The paper studies two productions by British director Katie Mitchell at the Schaubuhne in Berlin – Fraulein Julie (2010) with video artist Leo Warner, and Die Gelbe Tapete (2013) – which, as a diptych, explore the intimate life of two suffering women by using an elaborate cine-theatrical staging. By analysing the specific features of Mitchell’s live cinema, we observe how the simultaneity of two different levels of presence on stage – the acting and the filming –, as well as of the theatrical action and of the movie, creates a continuous tension between contradictory effects – distancing/ identification, continuity/discontinuity, concentration/fragmentation – both on the actors and on the audience. This phenomenon produces a flexible interface, which envelops the stage and the audience and allows a theatrical immersion in subjectivity.
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spelling Between Empathy and Dissection: the live cinema by Katie MitchellEntre Dissection et Empathie: le cinéma en direct de Katie MitchellEntre Dissection et Empathie: le cinéma en direct de Katie MitchellEntre Empatia e Dissecação: o cinema ao vivo de Katie MitchellCineteatroDistanciamentoIdentificaçãoNíveis de PresençaEfeito de SubjetividadeCine-TheatricalDistancingIdentificationLevels of PresenceSubjectivity EffectCiné-ThéâtralDistanciationIdentificationRégimes de PrésenceEffet de SubjectivitéCiné-ThéâtralDistanciationIdentificationRégimes de PrésenceEffet de SubjectivitéThe paper studies two productions by British director Katie Mitchell at the Schaubuhne in Berlin – Fraulein Julie (2010) with video artist Leo Warner, and Die Gelbe Tapete (2013) – which, as a diptych, explore the intimate life of two suffering women by using an elaborate cine-theatrical staging. By analysing the specific features of Mitchell’s live cinema, we observe how the simultaneity of two different levels of presence on stage – the acting and the filming –, as well as of the theatrical action and of the movie, creates a continuous tension between contradictory effects – distancing/ identification, continuity/discontinuity, concentration/fragmentation – both on the actors and on the audience. This phenomenon produces a flexible interface, which envelops the stage and the audience and allows a theatrical immersion in subjectivity.L’article étudie deux spectacles réalisés par la metteuse en scène britannique Katie Mitchell à la Schaubühne de Berlin – Fraulein Julie (2010), en collaboration avec le vidéaste Leo Warner, et Die Gelbe Tapete (2013) – qui, comme dans un diptyque, explorent la vie intime de deux femmes souffrantes grâce à un dispositif ciné-théâtral complexe au fonctionnement spécifique. La simultanéité de deux régimes de présence sur scène, le jeu et le tournage, ainsi que de l’action scénique et du film, produit une tension permanente entre effets contradictoires – identification/distanciation, continuité/discontinuité, éclatement/concentration – tant sur les acteurs que sur les spectateurs, en créant une interface élastique qui enveloppe la scène et la salle et permet une immersion théâtrale dans la subjectivité. L’article étudie deux spectacles réalisés par la metteuse en scène britannique Katie Mitchell à la Schaubühne de Berlin – Fraulein Julie (2010), en collaboration avec le vidéaste Leo Warner, et Die Gelbe Tapete (2013) – qui, comme dans un diptyque, explorent la vie intime de deux femmes souffrantes grâce à un dispositif ciné-théâtral complexe au fonctionnement spécifique. La simultanéité de deux régimes de présence sur scène, le jeu et le tournage, ainsi que de l’action scénique et du film, produit une tension permanente entre effets contradictoires – identification/distanciation, continuité/discontinuité, éclatement/concentration – tant sur les acteurs que sur les spectateurs, en créant une interface élastique qui enveloppe la scène et la salle et permet une immersion théâtrale dans la subjectivité. O artigo examina dois espetáculos da diretora britânica Katie Mitchell no teatro Schaubühne, de Berlim – Fraulein Julie (2010), em colaboração com o videoartista Leo Warner, e Die Gelbe Tapete (2013) – que, como um díptico, exploram a vida íntima de duas mulheres que sofrem por meio de um complexo dispositivo de cineteatro. A simultaneidade de dois planos de presença em cena, o do jogo e o da filmagem, bem como a ação cênica e cinematográfica, produz uma tensão permanente entre efeitos contraditórios – identificação/distanciamento, ontinuidade/descontinuidade, dispersão/concentração – tanto nos atores quanto nos espectadores, criando uma interface flexível que envolve o palco e a plateia, permitindo uma imersão teatral na subjetividade.Universidade Federal do Rio Grande do Sul2022-10-12info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttps://seer.ufrgs.br/index.php/presenca/article/view/64131Brazilian Journal on Presence Studies; Vol. 6 No. 2 (2016): May/Aug. 2016; 186-205Révue Brésilienne d'Études de la Présence; Vol. 6 No. 2 (2016): Mai/Aôut 2016; 186-205Révue Brésilienne d'Études de la Présence; Vol. 6 No 2 (2016): maio/ago. 2016; 186-205Revista Brasileira de Estudos da Presença; v. 6 n. 2 (2016): maio/ago. 2016; 186-2052237-2660reponame:Revista Brasileira de Estudos da Presençainstname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSporhttps://seer.ufrgs.br/index.php/presenca/article/view/64131/50448Magris (Université Paris 8 Vincennes Saint-Denis – Paris, França), Ericainfo:eu-repo/semantics/openAccess2022-10-12T19:22:11Zoai:seer.ufrgs.br:article/64131Revistahttp://seer.ufrgs.br/presencaPUBhttps://seer.ufrgs.br/presenca/oai||rev.presenca@gmail.com2237-26602237-2660opendoar:2022-10-12T19:22:11Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv Between Empathy and Dissection: the live cinema by Katie Mitchell
Entre Dissection et Empathie: le cinéma en direct de Katie Mitchell
Entre Dissection et Empathie: le cinéma en direct de Katie Mitchell
Entre Empatia e Dissecação: o cinema ao vivo de Katie Mitchell
title Between Empathy and Dissection: the live cinema by Katie Mitchell
spellingShingle Between Empathy and Dissection: the live cinema by Katie Mitchell
Magris (Université Paris 8 Vincennes Saint-Denis – Paris, França), Erica
Cineteatro
Distanciamento
Identificação
Níveis de Presença
Efeito de Subjetividade
Cine-Theatrical
Distancing
Identification
Levels of Presence
Subjectivity Effect
Ciné-Théâtral
Distanciation
Identification
Régimes de Présence
Effet de Subjectivité
Ciné-Théâtral
Distanciation
Identification
Régimes de Présence
Effet de Subjectivité
title_short Between Empathy and Dissection: the live cinema by Katie Mitchell
title_full Between Empathy and Dissection: the live cinema by Katie Mitchell
title_fullStr Between Empathy and Dissection: the live cinema by Katie Mitchell
title_full_unstemmed Between Empathy and Dissection: the live cinema by Katie Mitchell
title_sort Between Empathy and Dissection: the live cinema by Katie Mitchell
author Magris (Université Paris 8 Vincennes Saint-Denis – Paris, França), Erica
author_facet Magris (Université Paris 8 Vincennes Saint-Denis – Paris, França), Erica
author_role author
dc.contributor.author.fl_str_mv Magris (Université Paris 8 Vincennes Saint-Denis – Paris, França), Erica
dc.subject.por.fl_str_mv Cineteatro
Distanciamento
Identificação
Níveis de Presença
Efeito de Subjetividade
Cine-Theatrical
Distancing
Identification
Levels of Presence
Subjectivity Effect
Ciné-Théâtral
Distanciation
Identification
Régimes de Présence
Effet de Subjectivité
Ciné-Théâtral
Distanciation
Identification
Régimes de Présence
Effet de Subjectivité
topic Cineteatro
Distanciamento
Identificação
Níveis de Presença
Efeito de Subjetividade
Cine-Theatrical
Distancing
Identification
Levels of Presence
Subjectivity Effect
Ciné-Théâtral
Distanciation
Identification
Régimes de Présence
Effet de Subjectivité
Ciné-Théâtral
Distanciation
Identification
Régimes de Présence
Effet de Subjectivité
description The paper studies two productions by British director Katie Mitchell at the Schaubuhne in Berlin – Fraulein Julie (2010) with video artist Leo Warner, and Die Gelbe Tapete (2013) – which, as a diptych, explore the intimate life of two suffering women by using an elaborate cine-theatrical staging. By analysing the specific features of Mitchell’s live cinema, we observe how the simultaneity of two different levels of presence on stage – the acting and the filming –, as well as of the theatrical action and of the movie, creates a continuous tension between contradictory effects – distancing/ identification, continuity/discontinuity, concentration/fragmentation – both on the actors and on the audience. This phenomenon produces a flexible interface, which envelops the stage and the audience and allows a theatrical immersion in subjectivity.
publishDate 2022
dc.date.none.fl_str_mv 2022-10-12
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/64131
url https://seer.ufrgs.br/index.php/presenca/article/view/64131
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/presenca/article/view/64131/50448
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
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. 6 No. 2 (2016): May/Aug. 2016; 186-205
Révue Brésilienne d'Études de la Présence; Vol. 6 No. 2 (2016): Mai/Aôut 2016; 186-205
Révue Brésilienne d'Études de la Présence; Vol. 6 No 2 (2016): maio/ago. 2016; 186-205
Revista Brasileira de Estudos da Presença; v. 6 n. 2 (2016): maio/ago. 2016; 186-205
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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