It’s a great joy to be here. Thank you for the kindness of Hans-Thies Lehmann and Akademie der Künste. My speech will be, in part, about the Brazilian reception of the Post-Dramatic Theater, and in part, about my personal relationship with the book. This may be of interest because I was responsible for writing the preface to the Brazilian translation, published in 2007. And it is a contradictory and critical preface to a brilliant book, which I myself indicated for publication.
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Marcos Steuernagel – I’m here with Sérgio de Carvalho, director of the Companhia do Latão. We are in São Paulo, today is November 10, 2010, to discuss the work of Companhia do Latão and theatre and politics in Brazil. Could you start by describing what the Companhia do Latão is?
Sérgio de Carvalho – The Companhia do Latão is a group of São Paulo artists working on dialectical theatre. When we began, in 1997, we used Brecht’s work as an outline for applying Marxism to aesthetics. However, due to the internal requirements of the method of contradictions that forms the basis of his dialectics, we explored new ways to critique relationships between representation and social life. With Brecht, you need to go beyond him. That is how we began a new approach to dialectical dramaturgy in Brazil, an approach that seeks to stage problems that are relevant to the current stage of capitalism, and to understand how worldwide dynamics influence the peripheral world and vice-versa.
Como ustedes saben, el tema de este encuentro es considerado anacrónico por mucha gente. Para ellos, la politización del arte es una cuestión del pasado.
Augusto Boal changed the condition of theatre. He did so through a unique theoretical reflection, which enabled him to initiate a popular trans-aesthetic theatre practice. The paradox is that his project includes, simultaneously, a denial of art and the creation of an independent aesthetic which sought to achieve an egalitarian artistic praxis. Therefore, within every hopeful affirmation of the possibilities of transforming human action, Boal has also inscribed a fundamental “no,” because he has been for a long time a dialectician. I have not yet found anyone more interested in mobility, uncertainty and ambiguity.
Die Zukunft der Nachgeborenen
(Von der Notwendigkeit, über die Gegenwart hinauszudenken. Herausgegeben von Therese Hörnigk und Sebastian Kleinschmidt.)
“Ein Experiment mit dialektischem Theater in Brasilien von Sergio de Carvalho”
Paperback mit 208 Seiten, Format: 140 x 240 mm
SÉRGIO DE CARVALHO. Studium für Kommunikation und Journalismus an der Universität von São Paulo und Abschluss mit einer Arbeit über den Theoretiker Anatol Rosenfeld. Professor für Theorie des Theaters und dramatische Literatur, Abteilung der Szenischen Künste an der Universidade de São Paulo, USP. Regisseur, Autor, Kritiker und Direktor der Companhia do Latão (brasilianische Theatergruppe, die sich mit dem Werk Brechts auseinandersetzt).