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dc.creator | Ferrer (Universidade Federal de São João del-Rei ‒ UFSJ, São João del-Rei/MG, Brazil), Maria Clara | |
dc.date | 2017-09-21 | |
dc.date.accessioned | 2022-04-04T18:14:30Z | |
dc.date.available | 2022-04-04T18:14:30Z | |
dc.identifier | https://seer.ufrgs.br/index.php/presenca/article/view/75456 | |
dc.identifier.uri | http://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/165970 | |
dc.description | Considered as an acting feature, presence is generally approached from the actor’s perspective. Disrupting this conception, this work intends to grasp presence as a relational, not a personal quality. For this purpose, two performances will be analyzed: Heiner Goebbels’s Stifters Dinge and Claude Régy’s Variations on death. Created as landscapes, both performances develop a non-anthropocentric aesthetics of the scene and allow envision presence as a perception phenomenon and from the point of view of the audience activity. | en-US |
dc.description | Considérée comme une propriété de celui qui joue, la présence est généralement abordée du point de vue du travail de l’acteur. En rupture avec cette conception, l’article cherche à penser la présence comme une qualité relationnelle, et pas personnelle. Pour cela, deux spectacles seront analisés: Stifters Dinge de Heiner Goebbels et Variations sur la mort de Claude Régy. Composés comme des paysages, l’un et l’autre développent une esthétique non anthropocentrique de la scène et aident à penser la présence comme un phénomène de la perception et par le prisme de l’activité du spectateur. | fr-FR |
dc.description | Considered as an acting feature, presence is generally approached from the actor’s perspective. Disrupting this conception, this work intends to grasp presence as a relational, not a personal quality. For this purpose, two performances will be analyzed: Heiner Goebbels’s Stifters Dinge and Claude Régy’s Variations on death. Created as landscapes, both performances develop a non-anthropocentric aesthetics of the scene and allow envision presence as a perception phenomenon and from the point of view of the audience activity. | pt-BR |
dc.language | eng | |
dc.publisher | Brazilian Journal on Presence Studies | en-US |
dc.publisher | Révue Brésilienne d'Études de la Présence | fr-CA |
dc.publisher | Révue Brésilienne d'Études de la Présence | fr-FR |
dc.publisher | Revista Brasileira de Estudos da Presença | pt-BR |
dc.relation | https://seer.ufrgs.br/index.php/presenca/article/view/75456/50327 | |
dc.rights | Copyright (c) 2017 Revista Brasileira de Estudos da Presença | pt-BR |
dc.source | Brazilian Journal on Presence Studies; Vol. 7 No. 3 (2017): Set./Dez. 2017; 626-648 | en-US |
dc.source | Révue Brésilienne d'Études de la Présence; Vol. 7 No. 3 (2017): Set./Dez. 2017; 626-648 | fr-CA |
dc.source | Révue Brésilienne d'Études de la Présence; Vol. 7 No 3 (2017): Set./Dez. 2017; 626-648 | fr-FR |
dc.source | Revista Brasileira de Estudos da Presença; v. 7 n. 3 (2017): Set./Dez. 2017; 626-648 | pt-BR |
dc.source | 2237-2660 | |
dc.subject | Presence | en-US |
dc.subject | Landscape-Scene | en-US |
dc.subject | Non-Anthropocentric Aesthetics | en-US |
dc.subject | Goebbels | en-US |
dc.subject | Régy | en-US |
dc.subject | Presença - Presence | en-US |
dc.subject | Presence | pt-BR |
dc.subject | Landscape-Scene | pt-BR |
dc.subject | Non-Anthropocentric Aesthetics | pt-BR |
dc.subject | Goebbels | pt-BR |
dc.subject | Régy | pt-BR |
dc.subject | Présence | fr-FR |
dc.subject | Scène-Paysage | fr-FR |
dc.subject | Esthétique Non Anthropocentrique | fr-FR |
dc.subject | Goebbels | fr-FR |
dc.subject | Régy | fr-FR |
dc.title | Impersonal Presences: tones of human in the landscape-scene | en-US |
dc.title | Des Présences Impersonnelles: les tons d’humain sur la scène-paysage | fr-FR |
dc.title | Impersonal Presences: tones of human in the landscape-scene | pt-BR |
dc.type | info:eu-repo/semantics/article | |
dc.type | info:eu-repo/semantics/publishedVersion |
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