A gente nunca esquece que riu e fez rir: Estudos e realizações de comicidade no LADI
DOI :
https://doi.org/10.26512/dramaturgias.vi13.31066Mots-clés :
Comicidade. Dramaturgia. Teatro. Pesquisa.Résumé
Relato de ações e reunião de documentos relacionados à produção artísticas e reflexão teórica em torno da comicidade no Laboratório de Dramaturgia da Universidade de Brasília.
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Références
ASTRUC, R. Vertiges grotesques, esthétiques du choc comique (roman - théá‚tre - ciné- ma). Paris: Honoré Champion, 2012.
BEINHORN, G. Das Groteske in der Musik. Arnold Schönbergs ‘Pierrot Lunaire’. Musikwissenschaftliche Studien. Band 11. Centaurus Verlagsgesellschaft, Pfaffenweiler 1989.
BROWN, J. Bartók and the Grotesque: Studies in Modernity, the Body and Contradiction.
Routledge, 2007.
CAVALIERE, A. Inspetor Geral de Gógol/Meyerhold. São Paulo: Editora Perspectiva,
1996.
CAVALIERE, A. Teatro Russo. Percursos para um Estudo da Paródia e do Grotesco.
Humanitas, 2009.
CLARK, J. The Modern Satiric Grotesque and Its Traditions. The University Press
of Kentucky, 1991.
CONNELLY, F. The Grotesque in Western Art and Culture: The Image at Play. Cambridge
University Press, 2014.
EDWARDS, J. &GRAULUND, R. Grotesque. Routledge, 2013.
HARPMAM, G. On the Grotesque: Strategies of Contradiction in Art and Literature.
The Davies Group, 2007.
HUGO, V. Do grotesco e do Sublime. São Paulo: Editora Perspectiva, 2007. KURYLUK, W. Salome and Judas in the cave of sex. The grotesque: origins, iconogra-
phy, techniques. Northwestern University Press, 1987.
MANDELL, C. O corpo grotesco como articulador da cena: Meyerhold, Hijikata e os cor-
pos que dançam. Dissertação de Mestrado, Universidade de São Paulo, 2009. MATHIS, M. (Org). The Beautiful, the Sublime, and the Grotesque: The Subjective Turn in Aestheticsfrom the Enlightenment to the Present. Cambridge Scholars
Publishing, 2010.
MEYNDL, D. American Fiction and the Metaphysics of the Grotesque. University of
Missouri Press, 1996.
REMSHARDT, R. Staging the Savage God. The Grotesque in Performance. Southern
Illinaois University Press, 2004.
ROESNER, D. Musicality in Theatre: Music as Model, Method and Metaphor in
Theatre-Making. Routledge, 2014.
ROSEN, E. “Grotesk”In: K. Barck, M. Fontius, D. Schlenstedt, B. Steinwachs,
F. Wolfzettel (Orgs.). Ästhetische Grundbegriffe.Band 2: Dekadent ”“ Grotesk. J.B.
Metz, 2001,876-900.
SHEINBERG, E. Irony, Satire, Parody and the Grotesque in the Music of Shostakovich
- A Theory of Musical Incongruence. Ashgate Publishing, 2000.
SODRÉ, M. & PAIVA, R. O império do grotesco. Mauad, 2014.
SYMONS, J. Meyershold’s Theatre of the Grotesque. University of Miami Press, 1971. WEISHAAR, S. Masters of the Grotesque. The Cinema of Tim Burton, Terry Gilliam, the Coehn Brothers and David Lynch. McFarland&Company,2012.
BEINHORN, G. Das Groteske in der Musik. Arnold Schönbergs ‘Pierrot Lunaire’. Musikwissenschaftliche Studien. Band 11. Centaurus Verlagsgesellschaft, Pfaffenweiler 1989.
BROWN, J. Bartók and the Grotesque: Studies in Modernity, the Body and Contradiction.
Routledge, 2007.
CAVALIERE, A. Inspetor Geral de Gógol/Meyerhold. São Paulo: Editora Perspectiva,
1996.
CAVALIERE, A. Teatro Russo. Percursos para um Estudo da Paródia e do Grotesco.
Humanitas, 2009.
CLARK, J. The Modern Satiric Grotesque and Its Traditions. The University Press
of Kentucky, 1991.
CONNELLY, F. The Grotesque in Western Art and Culture: The Image at Play. Cambridge
University Press, 2014.
EDWARDS, J. &GRAULUND, R. Grotesque. Routledge, 2013.
HARPMAM, G. On the Grotesque: Strategies of Contradiction in Art and Literature.
The Davies Group, 2007.
HUGO, V. Do grotesco e do Sublime. São Paulo: Editora Perspectiva, 2007. KURYLUK, W. Salome and Judas in the cave of sex. The grotesque: origins, iconogra-
phy, techniques. Northwestern University Press, 1987.
MANDELL, C. O corpo grotesco como articulador da cena: Meyerhold, Hijikata e os cor-
pos que dançam. Dissertação de Mestrado, Universidade de São Paulo, 2009. MATHIS, M. (Org). The Beautiful, the Sublime, and the Grotesque: The Subjective Turn in Aestheticsfrom the Enlightenment to the Present. Cambridge Scholars
Publishing, 2010.
MEYNDL, D. American Fiction and the Metaphysics of the Grotesque. University of
Missouri Press, 1996.
REMSHARDT, R. Staging the Savage God. The Grotesque in Performance. Southern
Illinaois University Press, 2004.
ROESNER, D. Musicality in Theatre: Music as Model, Method and Metaphor in
Theatre-Making. Routledge, 2014.
ROSEN, E. “Grotesk”In: K. Barck, M. Fontius, D. Schlenstedt, B. Steinwachs,
F. Wolfzettel (Orgs.). Ästhetische Grundbegriffe.Band 2: Dekadent ”“ Grotesk. J.B.
Metz, 2001,876-900.
SHEINBERG, E. Irony, Satire, Parody and the Grotesque in the Music of Shostakovich
- A Theory of Musical Incongruence. Ashgate Publishing, 2000.
SODRÉ, M. & PAIVA, R. O império do grotesco. Mauad, 2014.
SYMONS, J. Meyershold’s Theatre of the Grotesque. University of Miami Press, 1971. WEISHAAR, S. Masters of the Grotesque. The Cinema of Tim Burton, Terry Gilliam, the Coehn Brothers and David Lynch. McFarland&Company,2012.
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Publié-e
2020-04-21
Comment citer
Mota , M. (2020). A gente nunca esquece que riu e fez rir: Estudos e realizações de comicidade no LADI. Dramaturgias, (13), 287–338. https://doi.org/10.26512/dramaturgias.vi13.31066
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