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Que linguagens cénicas utilizam os docentes da unidade curricular de atuação da Licenciatura em Teatro da Faculdade de Artes da Universidade de Luanda?
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Artaud (1989) refere que a “linguagem do teatro tem como objetivo conter e utilizar a extensão, quer dizer, o espaço e, ao utilizá-lo, fazê-lo falar, tomo os objetos, os dados de extensão, como imagens, como palavras, reunindo-as e fazendo-os reagir uns aos outros.” É nesta senda da linguagem do teatro que se cinge este trabalho de investigação. O que contribui para a construção desta linguagem cénica? Será o percurso pessoal, académico e profissional? Considera-se que ao longo da sua trajetória os docentes da unidade curricular de Atuação sofreram várias influências, que deram origem a este trabalho de pesquisa.
Partiu-me formular a seguinte pergunta central: Que linguagens cénicas utilizam os docentes da unidade curricular de Atuação da Faculdade de Artes da Universidade de Luanda? A resposta a essa questão consiste em analisar, caracterizar e distinguir, através dos trabalhos desenvolvidos, as linguagens cénicas empregadas pelos docentes Francisco Pedro António e Pinto Nsimba. Quanto aos aspetos metodológicos, pretende-se examinar documentos escritos e visuais que tem a ver com as suas produções artísticas, bem como e observar e analisar os espetáculos Antígona e Galáxia de Francisco Pedro António e Matumbice d’ouro e Ekatombe de Pinto Nsimba. Pretende-se com este trabalho expor as linguagens cénicas destes docentes e que contribua para o crescimento e desenvolvimento da investigação teatral em Angola.
Artaud (1989), states that the “language of theater aims to contain and use extension, that is, space, and, when using it, making it speak, I take the objects, the data of extension, as images, like words, bringing them together and making them react to each other.” It is along this linguistic path of theater that this research is based. What contributes to the construction of the scenic language? Is it the personal, academic and professional pathway? It is considered that throughout their career, teachers of the acting curricular unit suffered several influences, which gave origin to this research work. We started with the following central question for this work: What per-forming languages do the teachers of this curricular unit of the Faculty of Arts of the University of Luanda use? The answer to this question consisted in analyzing, characterizing and distinguishing, through the work developed, the scenic lan-guages used by teachers Francisco Pedro António and Pinto Nsimba. Regarding methodological aspects, we aimed to examine written and vis-ual documents about their artistic productions, as well as to observe an analyze the shows Antígona, Galáxia by Francisco Pedro António; Matumbice d’ouro and Ekatombe by Pinto Nsimba. The aim of this work is to expose the scenic languages of these teachers and thus contribute to the growth and development of theatrical research in Angola.
Artaud (1989), states that the “language of theater aims to contain and use extension, that is, space, and, when using it, making it speak, I take the objects, the data of extension, as images, like words, bringing them together and making them react to each other.” It is along this linguistic path of theater that this research is based. What contributes to the construction of the scenic language? Is it the personal, academic and professional pathway? It is considered that throughout their career, teachers of the acting curricular unit suffered several influences, which gave origin to this research work. We started with the following central question for this work: What per-forming languages do the teachers of this curricular unit of the Faculty of Arts of the University of Luanda use? The answer to this question consisted in analyzing, characterizing and distinguishing, through the work developed, the scenic lan-guages used by teachers Francisco Pedro António and Pinto Nsimba. Regarding methodological aspects, we aimed to examine written and vis-ual documents about their artistic productions, as well as to observe an analyze the shows Antígona, Galáxia by Francisco Pedro António; Matumbice d’ouro and Ekatombe by Pinto Nsimba. The aim of this work is to expose the scenic languages of these teachers and thus contribute to the growth and development of theatrical research in Angola.
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Teatro Angola Linguagens cénicas Francisco Pedro António Pinto Nsimba Theater Scenic languages