5 - REALIDADES OSCILANTES: OBSERVAÇÕES SOBRE O PERFORMATIVO NO TEATRO CONTEMPORÂNEO
Bibliographic record
Abstract
No contexto de um projeto teatral teorico-pratico, o autor investigou a funcao estetica e o significado social de “performatividade” em alguns experimentos teatrais contemporâneos. Usando exemplos de encenacoes “pos-dramaticas”, estrategias de apresentacao e extratos de entrevistas, o conceito de “performatividade” e desenvolvido como uma paradoxal estrutura de papeis, e a relacao especifica entre ator e publico e ilustrada pelo paradigma estrutural da “fita de Mobius”: a ambiguidade de suas posicoes desconstroi a hierarquia dos papeis sociais daqueles que estao presentes, produzindo o evento teatral. A transgressao de limites da representacao no sentido da apresentacao e da auto-apresentacao leva, em diferentes medidas, a combinacoes criativas de ficcao e realidade e a uma mudanca na atitude de recepcao. Palavras-chave | performatividade | teatro pos-dramatico | realidade | ficcao | autenticidade FRITHWIN WAGNER-LIPPOK e diretor de teatro, formado no Drama Department da Brock University, em Ontario (Canada). Fundou o Theater Tantalus em Freiburg, Alemanha (1990), onde dirigiu todas as pecas. Foi assistente, entre outros, de Jurgen Kruse e Wolfram Mehring. Diretor e Dramaturgo na Freie Kammerspiele Koln (1997-2000). Assistente de direcao no Staatstheater Kassel (2000-2001). Seu primeiro projeto “pos-dramatico” de teatro catalao-germânico foi Einsamkeit Solitud 2000, adaptando Na solidao dos campos de algodao, de Bernard-Marie Koltes. A partir de 2000, manteve colaboracao regular com Christina Schmutz, com quem produziu e encenou, entre outros, Peix per Peix, de Roland Schimmelpfennig; Deu es un DJ, de Falk Richter; Nomades, de Ulrike Syha e, em 2010, la festa.el foc.la ciutat, de Anja Hilling. In the context of a theoretical-practical theatre project, the author investigated the aesthetic function and social meaning of “performativity” in a few contemporary theatre experiments. Using examples from “post dramatic” theatre shows, presentation strategies and excerpts of interviews, the concept of “performativity” is elaborated as a paradoxical structure of roles. The specific relation between actor and audience it entails is illustrated through the structural paradigm of the Mobius loop: the ambiguity of their positions dismantles the hierarchy of social roles of those present who, together, bring forth the theatrical event and in doing so lose any individual authority over it. The transgression of the limits of representation towards presentation and self-presentation leads, in variable proportions, to creative combinations of fiction and reality, and thereby to a change in how the work is received by the public. Keywords | performativity | post dramatic theatre | reality | fiction | authenticity FRITHWIN WAGNER-LIPPOK was trained as an actor and director at the Drama Department of the Brock University, Ontario (Canada). He founded the Theater Tantalus in Freiburg (1990), where he directed all the plays. He worked as an assistant with Jurgen Kruse and Wolfram Mehring. He was appointed director and dramaturge of the Freie Kammerspiele Koln between 1997 and 2000 and was assistant director in Staatstheater Kassel 2000-2001. He realized the first catalan-german “post-dramatic” theatre project: Einsamkeit Solitud 2000 adapting En la solitut dels camps de coto by Koltes. Since the year 2000, he is a regular collaborator of Christina Schmutz, with whom he staged, among others: Peix per Peix by Roland Schimmelpfennig; Deu es un DJ by Falk Richter; Nomades by Ulrike Syha (International Theatre Festival of Sitges); no dormim by Kathrin Roggla, and in 2010, la festa.el foc.la citutat, by Anja Hilling.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.009 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.005 | 0.009 |
| Scholarly communication | 0.008 | 0.004 |
| Open science | 0.001 | 0.007 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.024 | 0.002 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".