2021 – Page 12 – Stereo Immersive Media 2021

Quintal dos Sons: Uma experiência a partir de sons do Vale do Jequitinhonha [PT]

Rosimária Rocha

A presente investigação, consiste numa reflexão sobre a instalação sonora imersiva “Quintal dos Sons”. Onde, abordamos o processo artístico envolvido na sua criação e os conceitos e noções referentes ao artefacto computacional e os médias envolvidos; aliando, desta forma, a prática artística e a investigação teórica. A instalação tem como objetivo principal refletir sobre os sons na contemporaneidade. A primeira versão buscou levar o(s) fruidor(es) a ficar(em) sozinho(s) numa sala escura, visualizarem um vídeo e interagirem com os sons que eram reflexos do conceito Soundscapes (paisagens sonoras) de sons da natureza e de outros produzidos pelo Ser Humano; esses sons apenas eram executados com a aproximação do(s) fruidor(es) (incorporando os sons e espaço nas suas próprias vivências sensoriais, de forma imersiva).

Na fase atual, foi incorporada a metáfora do “Assum Preto” e foram acrescentados à sequência sonora da instalação sons característicos da cidade de Almenara, no Vale do Jequitinhonha-Minas Gerais. Na concepção da arte sonora, o conceito Soundscapes mistura sons naturais, processados e artificiais. São obras que (re) criam sensações de ambientes particulares e imersivos. Segundo Barros (2016: 860), elas relacionam-se diretamente com a arte da instalação e imersão, e em muitos casos, são construídas especialmente para o local em que acontecerá a intervenção. Muitas destas, fazem uso de tecnologias interativas, interfaces, computadores, sensores, dispositivos mecânicos, cinéticos e eletrônicos. A instalação é uma linguagem artística, que em seu bojo traz a questão da ampliação do conceito de arte e da contaminação de diversos meios como poética.

A instalação Quintal dos Sons pretende trazer para o fruidor, os extremos paradoxos da vida contemporânea, como a calmaria e o caos.

Performing the photographic archive in contemporary Portuguese stage [EN]

Cosimo Chiarelli

Over the past decade, photography, and more generally the photographic archive, has become an object of interest for several artists of the Portuguese theatre scene, integrating their performative practice in various ways.

Artists such as Joana Craveiro (Um museu vivo de memórias pequenas e esquecidas, 2015), Jorge Andrade (Moçambique, 2016), Ana Janeiro (The Archive is Present, 2018), Tânia Dinis (Imaginário familiar, 2014/2017), André Amálio (Hotel Europa, 2018) often conceive the dramaturgy of their productions starting from archive images, be they personal, vernacular, or official. At the intersection of documentary theater, family album, and exhibition/performance installation, these productions resort to the presence on the scene of optical devices (sometimes pre-digital) and use the photographic object in its materiality in order to re-enact or manipulate the intimate and familiar remembrance or collective memory to reflect on specific moments of political or colonial history of the recent Portuguese past.

In my communication I intend to present some of these cases, questioning the function of these images and their performative status. How do these images act? What relationship do they establish with memory or post- memory? What is the boundary between their evocative power and their fictional dimension?

Images in between the action. Some Italian experience of immersive “photographic theater” [EN]

Arianna Novaga

Although the notion of Immersive Theater has recently been attributed to a specific genre of Anglo-Saxon origin (presumably born around 2011 with the interactive and site-specific shows of the Punchdrunk group), Italy counts a series of performative events that advanced the times, anticipating all those characteristics that define the current concept of immersion linked to theater: real space, unified, within in the public moves freely; active role and direct participation of the spectators, in interactive sharing with the actors; use of the media, in particular of a visual mold, to fragment a narration that becomes polychronic, so that the public creates their own version of the story.

In an exploratory journey that begins in the mid-nineties and passes through the pioneering Tetralogy of the spectator of the Teatro del Lemming – the Italian paradigm of the active participation of an audience placed in the middle of the scenic action – the proposed Paper aims to compare a series of contemporary theatrical experiences in which photography, used in different forms, assumes a decisive role from the point of view of the immersive condition.

If some practices prior to the 2000s had offered a total involvement of the five senses, that sometimes consciously and provocatively excluded the gaze, some current experimentation in Italy returns to forcefully mark a visual aesthetic based on the photographic image, which more than ever it makes an experiential sharing tool. Among the various, it is proposed here three case studies, Wunderkammer by Città di Ebla, Orthographie de la physionomie en mouvement by Ortographe and No Title Yet by Kinkaleri, different types of representations with in common a dimension of immersiveness generated by the use of photography.