Re: space X place in chronotopes

From: Ana Marjanovic-Shane (anamshane@speakeasy.net)
Date: Wed Jul 30 2003 - 16:36:56 PDT


Ricardo,
It seems to me that both Bakhtin and Boal were talking about the same
issue: although each one of them from a different perspective. While
Bakhtin sets himself outside the whole process of play -- to emergent
spectator-author and transition from play to art, Boal speaks from the
insider perspective of an author/director, the one who is creating the
play and them presenting it to an outsider and through this process
transforming it into art.
However, I would be very interested to know more about "current
brazilian dominant proposal to theatrical luduspedagogic activity in
schooling (based on Spolin's theater games system)".
Can you tell us more about this?
What is the role of ludus pedagogic?

Ana

Ricardo Japiassu wrote:

>"This would suggest actor & audience operating within two chronotopes
>simultaneously - recognizing actor as actor as Hamlet, stage as stage as
>Kingdom of Denmark. Constantly moving between the plasticity of the two."
>JHaught
>
>
>
>>Yes, well riminded by you.
>>Boal's concept of "aesthetic space" was (re)signed and named "play area"
>>
>>
>in
>
>
>>current brazilian dominant proposal to theatrical luduspedagogic activity
>>
>>
>in
>
>
>>schooling (based on Spolin's theater games system).
>>
>>When he says in chapter 2 of the "rainbow" that, to Lope de Vega, the
>>
>>
>stage
>
>
>>is "a space pointed out of the other ones, a 'place of representation' ",
>>
>>
>he
>
>
>>makes clear to us what he is calling "aesthetic space": something done
>>intentionally to an observer (as does Bakhtin in his *Aesthetic of Verbal
>>Criation* when he distiguishes between drama (pretend play) and theater).
>>
>>Although, to Boal, Theater can exists "in the subjectivity of those ones
>>that practice it" (p.33) and is not necessarily related to an audience or
>>spectator (espectador) or set or stage... "to the existence of Theater
>>neither the stage or the audience (espectadores) are needed" (p. 33)
>>
>>But to Bakhtin, on contrary, " The representation in fact is close to the
>>art, or dramatic action more preciselly, but is only with the emergence of
>>
>>
>a
>
>
>>new participant, outsider, not involved by representation - the spectator
>>(audience), that begin to observe children representation in the point of
>>view of the hole happening of representation (...) [that] the initial
>>happening is transformed, becomes enriched of a new element - the
>>spectator-author (...) in other words, we're in front of a happening that
>>
>>
>is
>
>
>>no more representation [pretend play] but borning Theater, as to say, an
>>artistic happening." (p.91)
>>
>>If to Bakhtin the drama's outsider observer (lurker?) is what changes
>>initial happening, to Boal what makes difference is what one does have in
>>mind when "acts" in order to be viewed by others...
>>
>>What defines the aesthetic dimension of a happening, to Bakhtin, is the
>>emergence of that ousider, the observer. In this sense, a kind of author -
>>because she/he (co)labours the artistic happening, gives the happening a
>>
>>
>new
>
>
>>meaning, a new sense...
>>
>>But, on the other hand, Boal is also right. Because it could not exist
>>Theater without intention of communication to an eventual observer by
>>
>>
>those
>
>
>>ones involved in pretending.
>>
>>What do u think?
>>
>>
>
>Ricardo Japiassu
>Universidade do Estado da Bahia em Teixeira de Freitas - Uneb X
>Rua SS, s/n - Jd. Caraípe
>Tx. de Freitas - Bahia
>45 995 000 BRASIL
>http://www.ricardojapiassu.pro.br
>
>
>
>
>



This archive was generated by hypermail 2b29 : Fri Aug 01 2003 - 01:00:09 PDT