Silvia Raposo
Faculdade de Ciências Sociais e Humanas - Universidade Nova de Lisboa, Antropologia, Master Student, Anthropology
Sílvia Raposo nasce em Lisboa a 9 de junho de 1993. É investigadora colaboradora no CRIA. Doutoranda em Artes Performativas, é licenciada e mestre em Antropologia, tendo preparado a dissertação «Estado de Insurgência»: Performance, política e resistência nas práticas artísticas contemporâneas. Foi também mestranda em Artes Cénicas, na FCSH/UNL e formou-se em Direção de Arte e Photoshop. Inicia a sua actividade enquanto investigadora no Laboratório Arquivo Jill Dias (AJD/CRIA/FCSH-NOVA). Desenvolve pesquisa sobre os domínios da performance, artes plásticas, movimentos artísticos contemporâneos, resistência política, memória, Islão e terrorismo, etc. É produtora, actriz e dramaturga, fundou as Produções D. Mona e é CEO das Galerias São Rafael, um projeto de investigação em artes baseado em realidade aumentada e realidade virtual.
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Abstract: This article starts from an art based research on the Não Kahlo performance to evoke the place of Frankensteinian performance as a place of the incorporation of images, questioning and appropriating the concept of hybridity and the Nietzschean theory of the death of God associated with Post-Modernism and the advent of the 'end of art' through its intersection with the concept of mediality in art and the theory of 'phasma' in image according to Jean Pierre Vernant. Through Vernant's theory, which claims an understanding of the image as part equally composed of «pictura» and «imago», the place of the contemporary artist is claimed as double entity that integrates the Superman and the God of Nietzsche, evoking new mediality formats in art, redefining the concept of cinematographic medium from the notion of 'ghostly-matters', in a search for a cinema medium that is not restricted to the film or projected image.
Palavras-chave performance, memória, guerra civil síria.
o espectáculo Não Kahlo para evocar o lugar da Estética
Frankenstein enquanto lugar por excelência da incorporação
de imagens, questionando e compreendendo os conceitos de
contemporaneidade, hibridismo e micro-história da arte; bem
como a teoria do pós-Modernismo e o advento do «fim da arte»
através do seu cruzamento com a teoria da imagem na acepção
de Jean Pierre Vernant. Resgatam-se os conceitos de matéria-
fantasma» e «cripto-história da arte» para reivindicar uma arte
que não se limita a criar numa relação passado-presente, mas
projeta futuros através da criação. Partindo do objeto artístico
Não Kahlo, assente na «técnica de Lecter» e numa canibalização
da linguagem cinematográfica, defende-se que o hibridismo
artístico poderá estar na frente de uma reorientação histórica
da vanguarda.
Abstract. No Kahlo: between the «Frankenstein Aesthetics» and the death of God This article part of an arts research based on the show No Kahlo to evoke the place of contemporary performance as an excellence field of the embedding of images, questioning and understanding the concept of hybridity and micro-history of art; as well as the Nietzschean theory of God's death, associated with Postmodernism and the advent of the ' end of art ' through the interconnection with the theory of the image within the meaning of Jean Pierre Vernant, claiming an understanding of the image while also composed of «pictura» and «imago», rescuing the concepts of «ghostly matters» and «crypto-history of art».
the artwork of Gonçalo Mabunda, as the
Maputo Art Center carries out a ‘recycling’
and reproduction of war icons in order
to create an entire identity production
based on historical memory. I lean over
on how sculptures can make room to a
place of memory injunction allowing the
negotiation of meanings and mnemonics
associated with the Civil War, mirroring
counter-memories strained by the
artist’s personal experience. It analyzes
the expressive and symbolic capacity
of sculptural-performative language as
communicator of social and political
meanings, and as a form of mise-en-scene
of “social drama”.
departing from the binomial performance / politics, through
which bodies can be perceived as priviledged places to examine
power, since a dancing body is always politically invested.
To achieve it, we intend to contextualize theatricaldance
after the shows Before they kill the elephants, by Olga
Roriz’s Company, and I am Mediterranean, by Lifes from A to
Z’s Company, following both its artistic path and the analysis
of their choreographical and scenic languages, in order
to achieve an understanding of the dancing body as a body
that suffers the actions of power connections. Studied as
a site of tension and clash, developing articulations with
memory and oblivion within a sensory-corporeal game, the
body is approached as archive and place of memory and
resistence, reinforcing its perception as a privileged spot to
inspect power.
Nhatugueja, como o Núcleo de Arte de Maputo leva a cabo uma “reciclagem” e reprodução dos
ícones de guerra, de forma a criar toda uma produção identitária baseada na memória histórica.
Debruço-me sobre a forma como as esculturas podem abrir espaço a um lugar de memória
liminar que permite a negociação de significados e mnemónicas associadas à Guerra Civil,
espelhando contramemórias coadas pelas experiências pessoais dos artistas. Analisa-se a capacidade expressiva e simbólica da linguagem escultórico-performativa enquanto
comunicadora de significados sociais e políticos e como forma de mise-en-scène do “drama social”.
Anthropology and Performance. Nobody's land or everybody's land?
Abstract:
This article aims to present and debate critically the performative turn in Performance Studies and ritual, trying to understand the relations that performance can establish with the political so that one can think of performance as a way of documenting / analyzing the social world. In order to do so, a theoretical complex is needed in order to establish Performance Studies as a field that escapes a definitive focus and defines itself as an anti-discipline.
ABSTRACT: The present work is an analysis of portuguese Teatro de Revista instrumentalization, in the sense of resistance and social agency. The relationship between the artistic and the political is evidenced in the use of social agency and resistance concepts. In this sense, it will be reflected on a dramatic poetics as a form of resistance, through discursive analysis, and will be placed as social-political rábulas within the concepts of heterotopia of resistance and poetry of the space. That leads to subaltern groups taking over these cultural agencies. So, this research serves as a qualitative methodology for all these questions, crossing theory and empiricism.
Este artigo procura compreender, através do trabalho artístico de Gonçalo Mabunda, como o Núcleo de Arte de Maputo leva a cabo uma «reciclagem» e reprodução dos ícones de guerra, de forma a criar toda uma produção identitária baseada na memória histórica. Debruço-me sobre a forma como as esculturas podem abrir espaço a um lugar de memória liminar que permite a negociação de significados e mnemónicas associadas à Guerra Civil, espelhando contra-memórias coadas pela experiência pessoal do artista. Analisa-se a capacidade expressiva e simbólica da linguagem escultórico-performativa enquanto comunicadora de significados sociais e políticos, e como forma de mise-èn-scene do «drama social».
Abstract
This article seeks to understand, through the artwork of Gonçalo Mabunda, as the Maputo Art Center carries out a 'recycling' and reproduction of war icons in order to create an entire identity production based on historical memory. I lean over on how sculptures can make room to a place of memory injunction allowing the negotiation of meanings and mnemonics associated with the Civil War, mirroring counter-memories strained by the artist's personal experience. It analyzes the expressive and symbolic capacity of sculptural-performative language as communicator of social and political meanings, and as a form of mise-èn-scene of "social drama".
Apesar de a antropologia visual, ou a emergência do chamado “filme etnográfico”, ser percepcionada como algo recente, é possível perceber, ao revisitarmos a história do documentário, que já desde o séc. XIX ela é posta em prática com algum sucesso devido a nomes como Robert Flaherty, Margareth Mead, Gregory Batson ou Jean Rouch. Também não nos podemos esquecer que desde sempre o documentário disputou com a ficção o privilégio de representar a realidade, tendo-a, por vezes, acolhido em seu regaço, como foi o caso da etnoficção, de Jean Rouch, ou romantismo cinematográfico, de Flaherty. Então no filme etnográfico, ou no cinema em geral, onde está essa fronteira entre a realidade e a ficção? Poderá o filme etnográfico captar o real de uma forma quase mecânica e transmiti-lo às audiências? Ou será que existe sempre uma construção por parte do cineasta, sendo o filme um produto da sua visão dos acontecimentos, ou sendo este manipulado, necessariamente, na montagem? A fronteira entre a realidade e ficção é demasiado ténue para se poder classificar um filme como instrumento de projeção da realidade, ou da ficção.
Books
“Um dia ainda nos soltaremos destas inglórias amarras e juntos fundaremos um império com palavras.”
(Mónica Gomes, dramaturga)
Thesis Chapters
The aim of this dissertation is to analyze the way in which artistic agents rescue the performance of the social world and mobilize the "media version" and "theater of power” in relation to "social drama" of Syrian Civil War. Artistic Performance is analyzed as a reflective space that aims to deconstruct the structures of group experience from a scenic or choreographic politics of the ground (Lepecki, 2011). For this purpose, it examines how ghost matters enables an understanding of the scenic space as a place of memory inhabited by the 'haunts' and 'disappeared' of the Syrian conflict. The performance of violence is analyzed from the bodies "without organs" of the Companies Olga Roriz and Vidas de A to Z, evidencing the way in which the floor that is danced / interpreted proposes an archeology of the violence on the bodies, transforming them into a microcosm of war. From this place I search for an understanding of the performers as agents who reinterpret the history and the official discourses transmitted by the structures of power, making the performance of violence its ideological instrument. I analyze the performative discourse around violence as a social recognition of suffering, in which the witness and the victim support the construction of a "make-say" that seeks to express violence in the social space through the aesthetic field. The body is thus understood as a "archive" of the Syrian conflict, recovering the "weak memories" (Traverso, 2012) and assuming itself as micro-resistance. It also addresses the process of scenic objectification that aims to mise-en-scène the social drama, allowing the subject to rise to the scene as a social agent (Gell, 1998), in view of political-cultural resistance. I also undertake an understanding of performance as a symbolic space of socio-political contestation, in which the very method of improvisation is also manifested as a strategy of resistance and decentralization of power in dance-theater. The aim of this dissertation is therefore to look for an understanding of the body's "make-say" as a possibility for the exercise of agency and resistance both in relation to the artistic structure and a structure of political domination.
Abstract: This article starts from an art based research on the Não Kahlo performance to evoke the place of Frankensteinian performance as a place of the incorporation of images, questioning and appropriating the concept of hybridity and the Nietzschean theory of the death of God associated with Post-Modernism and the advent of the 'end of art' through its intersection with the concept of mediality in art and the theory of 'phasma' in image according to Jean Pierre Vernant. Through Vernant's theory, which claims an understanding of the image as part equally composed of «pictura» and «imago», the place of the contemporary artist is claimed as double entity that integrates the Superman and the God of Nietzsche, evoking new mediality formats in art, redefining the concept of cinematographic medium from the notion of 'ghostly-matters', in a search for a cinema medium that is not restricted to the film or projected image.
Palavras-chave performance, memória, guerra civil síria.
o espectáculo Não Kahlo para evocar o lugar da Estética
Frankenstein enquanto lugar por excelência da incorporação
de imagens, questionando e compreendendo os conceitos de
contemporaneidade, hibridismo e micro-história da arte; bem
como a teoria do pós-Modernismo e o advento do «fim da arte»
através do seu cruzamento com a teoria da imagem na acepção
de Jean Pierre Vernant. Resgatam-se os conceitos de matéria-
fantasma» e «cripto-história da arte» para reivindicar uma arte
que não se limita a criar numa relação passado-presente, mas
projeta futuros através da criação. Partindo do objeto artístico
Não Kahlo, assente na «técnica de Lecter» e numa canibalização
da linguagem cinematográfica, defende-se que o hibridismo
artístico poderá estar na frente de uma reorientação histórica
da vanguarda.
Abstract. No Kahlo: between the «Frankenstein Aesthetics» and the death of God This article part of an arts research based on the show No Kahlo to evoke the place of contemporary performance as an excellence field of the embedding of images, questioning and understanding the concept of hybridity and micro-history of art; as well as the Nietzschean theory of God's death, associated with Postmodernism and the advent of the ' end of art ' through the interconnection with the theory of the image within the meaning of Jean Pierre Vernant, claiming an understanding of the image while also composed of «pictura» and «imago», rescuing the concepts of «ghostly matters» and «crypto-history of art».
the artwork of Gonçalo Mabunda, as the
Maputo Art Center carries out a ‘recycling’
and reproduction of war icons in order
to create an entire identity production
based on historical memory. I lean over
on how sculptures can make room to a
place of memory injunction allowing the
negotiation of meanings and mnemonics
associated with the Civil War, mirroring
counter-memories strained by the
artist’s personal experience. It analyzes
the expressive and symbolic capacity
of sculptural-performative language as
communicator of social and political
meanings, and as a form of mise-en-scene
of “social drama”.
departing from the binomial performance / politics, through
which bodies can be perceived as priviledged places to examine
power, since a dancing body is always politically invested.
To achieve it, we intend to contextualize theatricaldance
after the shows Before they kill the elephants, by Olga
Roriz’s Company, and I am Mediterranean, by Lifes from A to
Z’s Company, following both its artistic path and the analysis
of their choreographical and scenic languages, in order
to achieve an understanding of the dancing body as a body
that suffers the actions of power connections. Studied as
a site of tension and clash, developing articulations with
memory and oblivion within a sensory-corporeal game, the
body is approached as archive and place of memory and
resistence, reinforcing its perception as a privileged spot to
inspect power.
Nhatugueja, como o Núcleo de Arte de Maputo leva a cabo uma “reciclagem” e reprodução dos
ícones de guerra, de forma a criar toda uma produção identitária baseada na memória histórica.
Debruço-me sobre a forma como as esculturas podem abrir espaço a um lugar de memória
liminar que permite a negociação de significados e mnemónicas associadas à Guerra Civil,
espelhando contramemórias coadas pelas experiências pessoais dos artistas. Analisa-se a capacidade expressiva e simbólica da linguagem escultórico-performativa enquanto
comunicadora de significados sociais e políticos e como forma de mise-en-scène do “drama social”.
Anthropology and Performance. Nobody's land or everybody's land?
Abstract:
This article aims to present and debate critically the performative turn in Performance Studies and ritual, trying to understand the relations that performance can establish with the political so that one can think of performance as a way of documenting / analyzing the social world. In order to do so, a theoretical complex is needed in order to establish Performance Studies as a field that escapes a definitive focus and defines itself as an anti-discipline.
ABSTRACT: The present work is an analysis of portuguese Teatro de Revista instrumentalization, in the sense of resistance and social agency. The relationship between the artistic and the political is evidenced in the use of social agency and resistance concepts. In this sense, it will be reflected on a dramatic poetics as a form of resistance, through discursive analysis, and will be placed as social-political rábulas within the concepts of heterotopia of resistance and poetry of the space. That leads to subaltern groups taking over these cultural agencies. So, this research serves as a qualitative methodology for all these questions, crossing theory and empiricism.
Este artigo procura compreender, através do trabalho artístico de Gonçalo Mabunda, como o Núcleo de Arte de Maputo leva a cabo uma «reciclagem» e reprodução dos ícones de guerra, de forma a criar toda uma produção identitária baseada na memória histórica. Debruço-me sobre a forma como as esculturas podem abrir espaço a um lugar de memória liminar que permite a negociação de significados e mnemónicas associadas à Guerra Civil, espelhando contra-memórias coadas pela experiência pessoal do artista. Analisa-se a capacidade expressiva e simbólica da linguagem escultórico-performativa enquanto comunicadora de significados sociais e políticos, e como forma de mise-èn-scene do «drama social».
Abstract
This article seeks to understand, through the artwork of Gonçalo Mabunda, as the Maputo Art Center carries out a 'recycling' and reproduction of war icons in order to create an entire identity production based on historical memory. I lean over on how sculptures can make room to a place of memory injunction allowing the negotiation of meanings and mnemonics associated with the Civil War, mirroring counter-memories strained by the artist's personal experience. It analyzes the expressive and symbolic capacity of sculptural-performative language as communicator of social and political meanings, and as a form of mise-èn-scene of "social drama".
Apesar de a antropologia visual, ou a emergência do chamado “filme etnográfico”, ser percepcionada como algo recente, é possível perceber, ao revisitarmos a história do documentário, que já desde o séc. XIX ela é posta em prática com algum sucesso devido a nomes como Robert Flaherty, Margareth Mead, Gregory Batson ou Jean Rouch. Também não nos podemos esquecer que desde sempre o documentário disputou com a ficção o privilégio de representar a realidade, tendo-a, por vezes, acolhido em seu regaço, como foi o caso da etnoficção, de Jean Rouch, ou romantismo cinematográfico, de Flaherty. Então no filme etnográfico, ou no cinema em geral, onde está essa fronteira entre a realidade e a ficção? Poderá o filme etnográfico captar o real de uma forma quase mecânica e transmiti-lo às audiências? Ou será que existe sempre uma construção por parte do cineasta, sendo o filme um produto da sua visão dos acontecimentos, ou sendo este manipulado, necessariamente, na montagem? A fronteira entre a realidade e ficção é demasiado ténue para se poder classificar um filme como instrumento de projeção da realidade, ou da ficção.
“Um dia ainda nos soltaremos destas inglórias amarras e juntos fundaremos um império com palavras.”
(Mónica Gomes, dramaturga)
The aim of this dissertation is to analyze the way in which artistic agents rescue the performance of the social world and mobilize the "media version" and "theater of power” in relation to "social drama" of Syrian Civil War. Artistic Performance is analyzed as a reflective space that aims to deconstruct the structures of group experience from a scenic or choreographic politics of the ground (Lepecki, 2011). For this purpose, it examines how ghost matters enables an understanding of the scenic space as a place of memory inhabited by the 'haunts' and 'disappeared' of the Syrian conflict. The performance of violence is analyzed from the bodies "without organs" of the Companies Olga Roriz and Vidas de A to Z, evidencing the way in which the floor that is danced / interpreted proposes an archeology of the violence on the bodies, transforming them into a microcosm of war. From this place I search for an understanding of the performers as agents who reinterpret the history and the official discourses transmitted by the structures of power, making the performance of violence its ideological instrument. I analyze the performative discourse around violence as a social recognition of suffering, in which the witness and the victim support the construction of a "make-say" that seeks to express violence in the social space through the aesthetic field. The body is thus understood as a "archive" of the Syrian conflict, recovering the "weak memories" (Traverso, 2012) and assuming itself as micro-resistance. It also addresses the process of scenic objectification that aims to mise-en-scène the social drama, allowing the subject to rise to the scene as a social agent (Gell, 1998), in view of political-cultural resistance. I also undertake an understanding of performance as a symbolic space of socio-political contestation, in which the very method of improvisation is also manifested as a strategy of resistance and decentralization of power in dance-theater. The aim of this dissertation is therefore to look for an understanding of the body's "make-say" as a possibility for the exercise of agency and resistance both in relation to the artistic structure and a structure of political domination.