O TEATRO NA REDE: Estudo dos recursos processuais da cena no contexto pandêmico do coronavírus

• Ano de defesa: 2023
• Autor(a) principal: TAVARES, Girlan Almeida Souza
• Orientador(a): SILVA, Regiane Aparecida Caire da
• Banca de defesa: SILVA, Regiane Aparecida Caire da , ROCHA, Larissa Leda Fonseca , FONSECA, José Flávio Gonçalves da
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Maranhão
• Programa de Pós-Graduação: PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS
• Departamento: DEPARTAMENTO DE ARTES/CCH
• País: Brasil
• Palavras-chave em Português: Cena Intermedial; Teatro Imersivo; Performance; Pandemia/Covid- 19; Teatro na Web
• Palavras-chave em Inglês: Intermediate Scene; Immersive Theatre; Performance; Pandemic/Covid- 19; Theater on the Web
• Área do conhecimento CNPq: Interpretação Teatral
• Link de acesso: https://tedebc.ufma.br/jspui/handle/tede/4583

This research proposes to analyze three virtual scenic presentations that took place during the pandemic period of covid-19: O Canto da Liberdade - Histórias de uma Boneca Project, by Cia Teatral de Fátima Carvalho (2020); As Palavras da Nossa Casa, from Núcleo Teatro de Imersão (2020-2021); and A Febre, by Coletiva Ruidosa Alma (2021). It is a netnographic, qualitative and exploratory investigation in the arts, with the work “Imersos”, by filmmaker researcher Girlan Tavares (2020), as a counterpart. The scenic interfaces between the body and the intermedial scene are considered as an object of study, adopting the concepts of Intermedial Theater, Immersive Theater and Web-Video-Performance. As a theoretical reference, the research presents discussions proposed, mainly, by Marta Isaacsson (2013; 2014; 2017), Fernanda Oliveira (2017), Gabriel Monteiro (2013; 2018), about the intermedial scene; in addition to Inês Belo (2016), on the concept of immersive theater; and Wayner Gonçalves (2018), on the concept of video performance. The reflections on the concepts that are presented throughout the chapters were produced with authors who dialogue about the covid-19 pandemic in the performing arts. Thus, it is intended to explore scenic transversal narratives from stage to screen. As expected results, we observed how the immersive theater presentations were carried out within the scenic virtuality, in addition to the use of analogue and digital technologies in storytelling and web-video-performance.