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Black Theatricalities in Revisiting History for the Present

Published online by Cambridge University Press:  01 November 2021

SORAYA MARTINS PATROCÍNIO
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Abstract

This article seeks to reflect on how theatre presents itself as a fabular medium allowing for the emergence of performances that create and re-create stories and identities. In particular, it examines how theatre allows for the development of epistemologies that enhance our understanding of black bodies, knowledge, traditions, subjectivities and desires.

Type
Article
Information
Theatre Research International , Volume 46 , Issue 3 , October 2021 , pp. 382 - 389
Copyright
Copyright © International Federation for Theatre Research 2021

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Footnotes

This article and all the original quotes were translated into English by Catia Maringolo.

References

Notes

2 The concept of blackness, according to researcher Leda Maria Martins, is not a ‘topos with a metaphysical meaning. It [blackness] is not apprehended as essence, but first as a semiotic concept, defined by a net of relationships.’ Leda Maria Martins, A Cena em Sombras (Belo Horizonte: Ed. Perspectiva, 1995), p. 26.

3 Nascimento, Elisa Larkin, O Sortilégio da Cor: Identidade, Raça e Gênero no Brasil (São Paulo: Summus, 2003), p. 281Google Scholar.

4 Martins, A Cena em Sombras, p. 203.

5 Mbembe, Achille, Critique of Black Reason, trans. by Dubois, Laurent (Durham, NC: Duke University Press, 2017), p. 6Google Scholar.

6 Soraya Martins Patrocínio, ‘Dramaturgias contemporâneas negras: um estudo sobre as várias possibilidades de pensar-ser-estar em cena’, p. 48, at http://www.biblioteca.pucminas.br/teses/Letras_SorayaMartinsPatrocinio_18999_Textocompleto.pdf (accessed 13 September 2021).

7 Martins, A Cena em Sombras, p. 195.

8 The Collective Tropeço, created by Anderson Feliciano and myself, develops an aesthetic proposition that thinks about the complexity of being (permanently and temporarily) on the stage and in the world from the perspective of the non-reductionism and the non-stereotyping of black bodies.

9 As Parks recounted in a late interview, when the policeman asked her to stand up, she replied, ‘I don't think I should have to stand up.’ Macdonald, Iain, ‘What Is, Is More than It Is: Adorno and Heidegger on the Priority of Possibility’, International Journal of Philosophical Studies, 19, 1 (2011), pp. 31–57CrossRefGoogle Scholar, here p. 44. According to Parks, ‘As I sat there, I tried not to think about what might happen. I knew that anything was possible. I could be manhandled or beaten. I could be arrested.’ Rosa Parks with Jim Haskins, Rosa Parks: My Story (New York: Dial Books, 1992), p. 116.

10 Anderson Feliciano, Tropeço (Belo Horizonte: Javali, 2020), p. 85.

11 Ibid., p. 110.

12 Martins, A Cena em Sombras, p. 191.

13 Feliciano, Tropeço, p. 85.

14 Martins, Leda Maria, ‘Performance da Oralitura: Corpo, Lugar da memória’, Letras: Revista do Programa de Pós-Graduação em Letras. Santa Maria, 26 (2003), pp. 63–81Google Scholar, here p. 76.

15 Ibid.

16 Kênia Freitas, ‘Fabulações críticas em curta-metragens negros brasileiros’, MULTIPLOT!, 14 March 2019, at http://multiplotcinema.com.br/2019/03/fabulacoes-criticas-em-curta-metragens-negros-brasileiros (accessed 13 May 2021).

17 Diana Taylor, ‘Hacia una definición de performance’, O Percervejo: Revista de Teatro, Crítica e Estética. Estudos de Perfomance, UNIRIO, 11, 12 (2003), pp. 17–24, here p. 18.