{"id":1390,"date":"2021-06-17T07:00:00","date_gmt":"2021-06-17T10:00:00","guid":{"rendered":"https:\/\/bibliotecadesigncenico.ct.utfpr.edu.br\/?p=1390"},"modified":"2021-06-16T14:47:15","modified_gmt":"2021-06-16T17:47:15","slug":"atraves-das-paredes-a-cenografia-como-escrita-alegorica","status":"publish","type":"post","link":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/?p=1390","title":{"rendered":"Atrav\u00e9s das paredes : a cenografia como escrita aleg\u00f3rica"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"1390\" class=\"elementor elementor-1390\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-b46ce15 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"b46ce15\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-4c3ce48\" data-id=\"4c3ce48\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-25298f9 elementor-widget elementor-widget-text-editor\" data-id=\"25298f9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span data-sheets-value=\"{&quot;1&quot;:2,&quot;2&quot;:&quot;CASTILHO, Fernando Moreira de. Atrav\u00e9s das paredes : a cenografia como escrita aleg\u00f3rica. Disserta\u00e7\u00e3o (Mestrado em Teatro) - UDESC, 2014.&quot;}\" data-sheets-userformat=\"{&quot;2&quot;:7073,&quot;3&quot;:{&quot;1&quot;:0},&quot;8&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:{&quot;1&quot;:0}},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;10&quot;:2,&quot;11&quot;:0,&quot;12&quot;:0,&quot;14&quot;:[null,2,2575891],&quot;15&quot;:&quot;Arial&quot;}\">CASTILHO, Fernando Moreira de. <strong>Atrav\u00e9s das paredes : a cenografia como escrita aleg\u00f3rica<\/strong>. Disserta\u00e7\u00e3o (Mestrado em Teatro) &#8211; UDESC, 2014.<\/span><\/p><p>Palavras-chave: <span data-sheets-value=\"{&quot;1&quot;:2,&quot;2&quot;:&quot;1. Cenografia. 2. Cen\u00e1rio. 3. Palco italiano. 4. Mimese. 5. Alegoria. 6. Imagem Dial\u00e9tica.&quot;}\" data-sheets-userformat=\"{&quot;2&quot;:575,&quot;3&quot;:{&quot;1&quot;:0},&quot;4&quot;:[null,2,9895767],&quot;5&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;6&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;7&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;8&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;12&quot;:0}\">1. Cenografia. 2. Cen\u00e1rio. 3. Palco italiano. 4. Mimese. 5. Alegoria. 6. Imagem Dial\u00e9tica.<\/span><\/p><p>Resumo: <span data-sheets-value=\"{&quot;1&quot;:2,&quot;2&quot;:&quot;Resumo : Esta pesquisa pretende analisar a cenografia teatral em rela\u00e7\u00e3o ao espa\u00e7o c\u00eanico enquanto sua imagem e objeto significante. O palco italiano expressa uma forma de representa\u00e7\u00e3o pautada em padr\u00f5es cl\u00e1ssicos que se tornou hegem\u00f4nica durante mais de quatro s\u00e9culos. Enquanto suporte pl\u00e1stico do drama, a cenografia faz a media\u00e7\u00e3o entre texto e visualidade partindo da \u00bfmimese\u00bf e se abre \u00e0 an\u00e1lise da perspectiva, da alegoria barroca e da moldura como condi\u00e7\u00e3o c\u00eanica e arquitet\u00f4nica. O conceito de \u00bfalegoria\u00bf \u00e9 o centro irradiador da linguagem da cenografia de palco italiano e seu espa\u00e7o; e o conceito de \u00bfimagem dial\u00e9tica\u00bf arremata a cr\u00edtica. As cenografias do espet\u00e1culo Vida e Esta Crian\u00e7a (companhia brasileira de teatro, Curitiba, 2010 e 2012)1 s\u00e3o analisadas a partir destes conceitos e no contexto da hist\u00f3ria e da teoria do teatro e da arte.&quot;}\" data-sheets-userformat=\"{&quot;2&quot;:574,&quot;4&quot;:[null,2,9895767],&quot;5&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;6&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;7&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;8&quot;:{&quot;1&quot;:[{&quot;1&quot;:2,&quot;2&quot;:0,&quot;5&quot;:[null,2,0]},{&quot;1&quot;:0,&quot;2&quot;:0,&quot;3&quot;:3},{&quot;1&quot;:1,&quot;2&quot;:0,&quot;4&quot;:1}]},&quot;12&quot;:0}\">Esta pesquisa pretende analisar a cenografia teatral em rela\u00e7\u00e3o ao espa\u00e7o c\u00eanico enquanto sua imagem e objeto significante. O palco italiano expressa uma forma de representa\u00e7\u00e3o pautada em padr\u00f5es cl\u00e1ssicos que se tornou hegem\u00f4nica durante mais de quatro s\u00e9culos. Enquanto suporte pl\u00e1stico do drama, a cenografia faz a media\u00e7\u00e3o entre texto e visualidade partindo da \u00bfmimese\u00bf e se abre \u00e0 an\u00e1lise da perspectiva, da alegoria barroca e da moldura como condi\u00e7\u00e3o c\u00eanica e arquitet\u00f4nica. O conceito de \u00bfalegoria\u00bf \u00e9 o centro irradiador da linguagem da cenografia de palco italiano e seu espa\u00e7o; e o conceito de \u00bfimagem dial\u00e9tica\u00bf arremata a cr\u00edtica. As cenografias do espet\u00e1culo Vida e Esta Crian\u00e7a (companhia brasileira de teatro, Curitiba, 2010 e 2012)1 s\u00e3o analisadas a partir destes conceitos e no contexto da hist\u00f3ria e da teoria do teatro e da arte.<\/span><\/p><p>Link: <a href=\"https:\/\/sistemabu.udesc.br\/pergamumweb\/vinculos\/00006e\/00006e6d.pdf\">https:\/\/sistemabu.udesc.br\/pergamumweb\/vinculos\/00006e\/00006e6d.pdf<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>CASTILHO, Fernando Moreira de. Atrav\u00e9s das paredes : a cenografia como escrita aleg\u00f3rica. Disserta\u00e7\u00e3o (Mestrado em Teatro) &#8211; UDESC, 2014. Palavras-chave: 1. Cenografia. 2. Cen\u00e1rio. 3. Palco italiano. 4. Mimese. 5. Alegoria. 6. Imagem Dial\u00e9tica. Resumo: Esta pesquisa pretende analisar &hellip; <a href=\"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/?p=1390\">Continue lendo <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1390","post","type-post","status-publish","format-standard","hentry","category-cenografia"],"_links":{"self":[{"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/posts\/1390","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1390"}],"version-history":[{"count":4,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/posts\/1390\/revisions"}],"predecessor-version":[{"id":1394,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=\/wp\/v2\/posts\/1390\/revisions\/1394"}],"wp:attachment":[{"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1390"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1390"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/utfpr.curitiba.br\/bibliotecadesigncenico\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1390"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}