Dissident Memories: Our Odyssey, by Christiane Jatahy

Authors

DOI:

https://doi.org/10.5965/1414573103422021e0212

Keywords:

Embodied memory, Testimony, Archives as act

Abstract

The text analyzes the spectacles Ítaca [Ithaca] (2018) and O agora que demora [The now that’s delayed] (2019), created by the director Christiane Jatahy. Recognized for the creation of a performative, hybrid and political theatre, the artist transits between cultural and geographical frontier zones. Based on assemblages and repetitions the artist's performative practices relate to certain proposals defined by Rebecca Schneider, especially the conception of “archives as act” and embodied modes of memory.

Downloads

Download data is not yet available.

Author Biography

Sílvia Fernandes, Universidade de São Paulo (USP)

Post-doctoral studies at the University of Paris 8, in 2003, under the supervision of Patrice Pavis, and at the University of Lisbon, in 2009. PhD in Performing Arts (University of São Paulo, 1988), Master in Performing Arts (University of São Paulo, 1995), Graduated in Performing Arts (University of São Paulo, 1978). Senior Titular Professor in the Postgraduate Programme in Performing Arts of the University of São Paulo (USP).  

References

ABRAMOVIC, Marina. Seven Easy Peaces. Milan: Charta, 2007.

AGAMBEN, Giorgio. Quel che Resta di Auschwitz. L'Archivio e il Testimone. Torino: Bollati Boringhieri, 1998.

AUSLANDER, Philipp. Liveness. Performance in a Mediated Culture. London e New York: Routledge, 1999.

AUSLANDER, Philipp. “The Performativity of Performance Documentation”. In: JONES, Amelia Jones e HEATHFIELD, Adrian (ed.). Perform, Repeat, Record. Chicago: The University of Chicago Press, 2012, p.47-58.

CASSIN, Barbara. “L’Odyssée et le Jour du Retour”. In: BENJELLOUN, Nadia. Le Voyage Initiatique. Paris: Albin Michel, 2011, p.101-118.

DA COSTA, José, JATAHY, Christiane. L’Espace du Commun. Le Théâtre de Christiane Jatahy. Paris: Hachette, 2017.

DARGE, Fabienne. “Au Festival d’Avignon, Christiane Jatahy Présente son Odyssée Intérieure”. Le Monde, 5 de julho, 2019.

DELEUZE, Gilles, GUATTARI, Felix. L’anti-OEdipe: Capitalisme et schizophrénie. Paris: Les Editions de Minuit, 1972.

DERRIDA, Jacques. Mal d’Archive. Paris: Galilée, 1995.

DERRIDA, Jacques. Poétique et politique du témoignage. Paris: L’Herne, 2005.

DERRIDA, Jacques. Trace et archive, image et art. Paris: Ina Editions, 2014.

FÉRAL, Josette. Théorie et Pratique du Théâtre. Au-delà des Limites. Montpellier: l’Entretemps, 2011.

FISCHER-LICHTE, Erika. “Reality and Fiction in Contemporary Theatre”. In: BOROWKSKI, Mateusz, SUGIERA, Malgorzata (ed.). Fictional Realities/Real Fictions. New Castle: Cambridge Scholars Publishing, 2007, p.13-28.

FISCHER-LICHTE, Erika. The Transformative Power of Performance. Trad. Saskya e Iris Jain. London e New York: Routledge, 2008.

FORSYTH, Alison, MEGSON, Chris (ed.). Get Real. Documentary Theatre Past and Present. Basingstoke: Palgrave Macmillan, 2009.

FOUCAULT, Michel. Archéologie du Savoir. Paris: Gallimard, 1969.

GLUSBERG, Jorge. The Art of Performance. New York: New York University Press, 1980.

GOLDBERG, Rose-Lee. Performance Art. From Futurism to the Present. London: Thames and Hudson, 1988.

HANTELMANN, Dorothea von. How to Do Things with Art. Zurich: JRP/Ringier, 2007.

JATAHY, Christiane. Diálogos para a Criação de A Floresta que Anda. Rio de Janeiro: Cobogó, 2017.

KUBUROVIC, Branislava, HEATHFIELD, Adrian. “Being With Emergence”. In WEE, Cecilia (ed.). Perform, Experience, Re-Live. London: Tate Public Programmes, 2016, p.200-222.

MARTIN, Carol. Theatre of the Real. Basingstoke: Palgrave Macmillan, 2013.

MARTIN, Carol (ed.). Dramaturgy of the Real on the World Stage. Basingstoke: Palgrave Macmillan, 2010.

MASSUMI, Brian. Politics of Affect. Cambridge: Polity Press, 2015.

MULLER, Martin. “Assemblage thinking and actor-networks: Rethinking Socio-material Power, Politics and Space”. Geography Compass, No.9/1: 2015, p.27-41.

PHELAN, Peggy. Unmarked. The Politics of Performance. London e New York: Routledge, 1993.

PICON-VALLIN, Béatrice, MAGRIS, Erica (ed.). Les Théâtres Documentaires. Montpellier: Deuxième Époque, 2019.

ROTHBERG, Michael. “Multidirectional memory and the implicated subject: On Sebald and Kentridge”. In: PLATE, L., SMELIK, (ed.). Performing Memory in Art and Popular Culture. New York e London: Routledge, 2013, p.35-58.

SCHECHNER, Richard. Performance Studies: An Introduction. London e New York: Routledge, 2002.

SCHNEIDER, Rebecca. Performing Remains: Art and War in Times of Theatrical Reenactment. London e New York: Routledge, 2011.

SCHNEIDER, Rebecca. “Performance remains again”. In: GIANNACHI, Gabriela, KAYE, Nick, SHANKS, Michael (ed.). Archaelogies of presence. London e New York: Routledge, 2012, p.64-81.

SCHNEIDER, Rebecca. “Performance remains”. In: JONES, Amelia, HEATHFIELD, Adrian (ed.). Perform, repeat, record. Chicago: The University of Chicago Press, 2012, p.137-150.

SCHNEIDER, Rebecca. “Performance and Documentation: Acting in Ruins and the Question of Duration”. In: DZIEWANSKA, Marta, LEPECKI, André (ed.). Points of Convergence. Alternative Views on Performance. Warsaw: Museum of Modern Art, 2017, p.65-84.

SOURD, Patrick. “Modernes Odyssées”. Les Inrockuptibles, 29 agosto 2019.

TAYLOR, Diana. The archive and the repertoire. Durham e London: Duke University Press, 2003.

TRIAU, Christophe. “Miroirs et Anamorphoses du Spectateur: A Floresta que Anda, de Christiane Jatahy”. Alternatives Théâtrales, No.131: 50-55.

WILMER, Stephen Elliot. Performing statelessness in Europe. Basingstoke: Palgrave Macmillan, 2018.

Downloads

Published

2021-12-13

How to Cite

FERNANDES, Sílvia. Dissident Memories: Our Odyssey, by Christiane Jatahy. Urdimento: Revista de Estudos em Artes Cênicas, Florianópolis, v. 3, n. 42, p. 1–20, 2021. DOI: 10.5965/1414573103422021e0212. Disponível em: https://www.periodicos.udesc.br/index.php/urdimento/article/view/21144. Acesso em: 14 may. 2024.

Issue

Vol. 3 No. 42 (2021): Viewpoints e Método Suzuki em praticas artísticas e pedagógicas | Pedagogia das Artes Cênicas em tempos pandêmicos: Criações online e ensino emergencial remoto II

Section

Continuous flow

License

Copyright (c) 2021 Urdimento - Revista de Estudos em Artes Cênicas

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Copyright Statement

The articles published by the magazine are free to use. The copyright is all assigned to the magazine. The articles whose authors are identified represent the expression from the point of view of their authors and not the official position of the journal Urdimento. The author (s) undertakes whenever publishing material relating to the article published in Revista Urdimento mention the said publication as follows: This article was originally published by Urdimento magazine in its volume (put the volume), number (put the number) in the year of (put the year) and can be accessed at:
 http://www.revistas.udesc.br/index.php/urdimento

This work is licensed under a Creative Commons Attribution 4.0 International License.