The essays in this book are informed by two new theoretical visions: one is dedicated to modern contemporary theatre, the other to the theatre of the past. In the first case, performances by Brazilian groups (such as Vertigem, Oficina and Macunaíma) and Portuguese groups (such as Bando) are analysed. We also visit works by Italian director Romeu Castellucci and Rio de Janeiro directors Aderbal Freire-Filho and Moacir Chaves. The dramaturgy written in Portugal by Eduarda Dionísio and Jacinto Lucas Pires, among others, is presented in its different guises, as well as describing the horizons of theatrical modernity represented in works by authors such as Beckett, Handke, Novarina, Lagarce and the Englishman John Osborne. In the second case, the history of a theatre that is no longer visible is constructed through images. Through them, scenes from revues in Rio de Janeiro and Lisbon are recovered. The portraits of beautiful and influential stars of the theatre world, such as Luísa Todi, the Portuguese opera singer who lived in the 18th century, and the Brazilian Alda Garrido, celebrated in the first half of the 20th century, show how the fine line of the engraving, the brushstroke of the painter or the click of the photographer are carriers of historically based conceptions of the theatrical phenomenon. Stardom aside, when the scene is recorded in the caricatures of Rafael Bordalo Pinheiro, whose traces devastate the stages in Brazil and Portugal in the 19th century, theatre appears as a daily craft of work, humour and magic.
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