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The article sought to analyze perspectives on the effects of falsehood based on reflections on B for Beatriz SIlveira's play and its creation process that took place remotely in 2021. Reflecting on aspects of the process such as collective film analyses, the creation of scenes with dubbing devices and the creation of a common vocabulary on the concept of falsehood and falsification, the article focused on the creation of an artistic-pedagogical space in which participants could freely explore the creation of scenes and critical analysis tools. The reflections were carried out in dialogue with Joséte Feral and the effects of presence, Giorgio Agamben and the screen as an invisible “material” obstacle and the films F for Fake (1973) by Orson Welles and City of Dreams (2001) by David Lynch in their elaborations on the false.
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In this article we continue the investigations into the concept of self-defense and its potential within the artistic and pedagogical field based on the analysis of the record of an event that occurred at the end of 2021 in Rio de Janeiro, which went viral for a few days and called our attention as an action of self-defense.
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Near Judgment Day, a prophet and a prophet meet to talk about politics, religion and violence.
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In this article we thought about some hypotheses to analyze, in a theatrical work, the potential of a political event, which, when it comes to light, can transform the subjects involved in it. We intend to propose a field of ideas based on a theoretical reading of the play When it brakes, it burns performed by Coletiva Ocupação in light of the notion of subjects and their political bodies and José Sanchéz's concept of crowd theater.