Frei Luís de Sousa, by Almeida Garrett. Genetics and Theatre History

In this episode of "Tu aqui tu lá com a história do teatro", the drama Frei Luís de Sousa, by Almeida Garrett, is analysed through the lens of textual criticism. Allied with theatre history this perspective help us to better understand this classic text of Portuguese dramaturgy. 

The arts of joint attention

In this conversation we will talk about the importance of paying attention to our attention and cultivating attentional regimes that strengthen our careful correspondence with the world. It is about practicing the arts of joint attention, an invitation to think about attention beyond the individual, as a fundamental process in the constitution of relational networks that articulate humans and non-humans.

The ARTHE project team invites everyone to sign up for this newsletter, a portal to explore the activities of our research. Get to know the work being developed by our investigators, discover documents found in archives, and follow our visits to the archives of the artistic structures participating in the project. We will regularly share experiences, discoveries, and results of our work.

When? May 20, from 10am to 5:30pm (lunch break between 1pm and 2:30pm).
Where? Espaço da Penha / Forum Dança. Travessa do Calado, 26B, 1170-070, Lisbon
How much? 5€ (paid by the participant) and 35€ (paid by the organizing institutions)

In the operations of an organization of a cycle of films, by the Associação de Escritores, the Researcher Bruno Schiappa was invited to make an introduction of Arrabal's work at the 30th may, 7 pm, Sala Félix Ribeiro

Venue: Cinemateca
Date: 30 de Maio de 2023
Organization: Associação de Escritores

Book of mine what do you wait for? Towards a history of the Copilaçam de todalas obras, by Gil Vicente

In this episode, Professor Márcio Muniz from the Federal University of Bahia carries out a fine reading of Gil Vicente's Compilaçam de todalas obras de Gil Vicente (1562), presenting a history of reading in which he addresses questions of the composition of the book, the paratexts, theatre genres, etc. Professor Vanda Anastácio from the Centre for Classical Studies of the Faculty of Letters of the University of Lisbon is the interlocutor of this dialogue.

Since its origin, the History of Theatre has been built by male names. However, it is unthinkable that women have not also had an important role in this construction. Besides existing as characters, their contributions as performers, playwrights, composers, entrepreneurs, patrons, scenographers or costume designers, among a broad range of other functions, were fundamental to the development of the theatrical practice.