Eduardo Okamoto
February 20, 2011
Traduttore-traditore: Santiago Serrano
This text
is motivated by the launch of our new site design and want to reflect on the use of computer technologies and some of its possible influence on the Performing Arts. Here, as in my previous post, I use excerpts from my doctoral work in Performing Arts at UNICAMP.
The experience of using computer technology in the service of human exchange relationships, these being the foundation of theatrical language, had already been experienced by me before publication of this new site. At the beginning of my research, when the team was small and I organized the production, one of my first tasks was to create my own site. Yo, I have no training in technology (except Japan that my genetic heritage, joke friends, I easily pushed to this area), I was alone, with the help of the item "Help" own production software websites producing my own virtual territory. From this site, I enter my show presentations at the international level (Spain, Switzerland, Morocco, Kosovo) and established many contacts unexpected. Imagine: A site that was about the work of a Brazilian who was a single show on the condition of street children in order to register in China, across the world. Santiago Serrano
playwright of "Eldorado", also was surprised by the disclosure of his work for the web. Your page, also created by himself, recorded over 80,000 hits from around the world. This enabled his texts were assembled in distant places of residence: USA, Mexico, Spain, France, Bulgaria, Brazil and so on.
can say that the process creation of the show "Eldorado" was earned largely on the virtual communication. Initially, the first photographs and videos of rabequeiros - folk artists that inspired the work - were removed from the internet. Met by this means many rabequeiros actually never found beyond the virtual space.
Notwithstanding the possibility of virtual tours, encounters sensed, dreamed realities of the Internet possible also encounters from life to life, when in Iguape and Cananéia rabequeiros and builders met personally rabeca. Field research was only possible because consulted before Campinas from where I live, the site of the Living Museum do Fandango. The website showed me a circuit of visits to homes and classrooms fandangueiros popular artists. This ensured success in meeting with these artists on a journey with its own resources - and therefore necessarily fast, because I could not for a long time away from my workplace and had no means to pay for a long stay in those cities.
is to say that during his own field research I was surprised with the use of technology by the artists of popular tradition. I refer not only to the techniques each uses to create his own art (the knowledge generated for each play or build an instrument to your own personal style.) I refer also to the use of elements of postmodernity.
"Seu Benedito Nunes Iguape, for example, proudly showed me his rabeca brought and pressed" one chip "(referring to a sensor), allowing a quick connection to the table and the amplifier. Besides that, today, the search for videos on YouTube has a lot of rabequeiros and demonstrations that the rabeca is included. There is even rabequistas teachers who have their own area on the website MySpace, which is characterized by the presence of works of art, especially music.
"Tradition" is "postmodern" as he anticipated important features of the scholarly production of culture (For example: The non-specialization among actors, dancers and singers. feature of contemporary actors), and does not leave out the technology to create waves increasing and more intense human relationship.
Finally, by surfing the web, I could still get to Buenos Aires, a city that I know personally and establish a joint work with Argentine playwright. If I get carried away by the many fables possible, finally, I invited anyone who lived away from home to travel with me. Thus, I not only allowed me atravesar them for the realities invented, sino también con otro intentaba encontrarme that the su propia sus fabulaba time journeys. Con Eldorado el encuentro learned that draws on diverse resources to succeed.
The experience of using computer technology in the service of human exchange relationships, these being the foundation of theatrical language, had already been experienced by me before publication of this new site. At the beginning of my research, when the team was small and I organized the production, one of my first tasks was to create my own site. Yo, I have no training in technology (except Japan that my genetic heritage, joke friends, I easily pushed to this area), I was alone, with the help of the item "Help" own production software websites producing my own virtual territory. From this site, I enter my show presentations at the international level (Spain, Switzerland, Morocco, Kosovo) and established many contacts unexpected. Imagine: A site that was about the work of a Brazilian who was a single show on the condition of street children in order to register in China, across the world. Santiago Serrano
playwright of "Eldorado", also was surprised by the disclosure of his work for the web. Your page, also created by himself, recorded over 80,000 hits from around the world. This enabled his texts were assembled in distant places of residence: USA, Mexico, Spain, France, Bulgaria, Brazil and so on.
can say that the process creation of the show "Eldorado" was earned largely on the virtual communication. Initially, the first photographs and videos of rabequeiros - folk artists that inspired the work - were removed from the internet. Met by this means many rabequeiros actually never found beyond the virtual space.
Notwithstanding the possibility of virtual tours, encounters sensed, dreamed realities of the Internet possible also encounters from life to life, when in Iguape and Cananéia rabequeiros and builders met personally rabeca. Field research was only possible because consulted before Campinas from where I live, the site of the Living Museum do Fandango. The website showed me a circuit of visits to homes and classrooms fandangueiros popular artists. This ensured success in meeting with these artists on a journey with its own resources - and therefore necessarily fast, because I could not for a long time away from my workplace and had no means to pay for a long stay in those cities.
is to say that during his own field research I was surprised with the use of technology by the artists of popular tradition. I refer not only to the techniques each uses to create his own art (the knowledge generated for each play or build an instrument to your own personal style.) I refer also to the use of elements of postmodernity.
"Seu Benedito Nunes Iguape, for example, proudly showed me his rabeca brought and pressed" one chip "(referring to a sensor), allowing a quick connection to the table and the amplifier. Besides that, today, the search for videos on YouTube has a lot of rabequeiros and demonstrations that the rabeca is included. There is even rabequistas teachers who have their own area on the website MySpace, which is characterized by the presence of works of art, especially music.
"Tradition" is "postmodern" as he anticipated important features of the scholarly production of culture (For example: The non-specialization among actors, dancers and singers. feature of contemporary actors), and does not leave out the technology to create waves increasing and more intense human relationship.
Finally, by surfing the web, I could still get to Buenos Aires, a city that I know personally and establish a joint work with Argentine playwright. If I get carried away by the many fables possible, finally, I invited anyone who lived away from home to travel with me. Thus, I not only allowed me atravesar them for the realities invented, sino también con otro intentaba encontrarme that the su propia sus fabulaba time journeys. Con Eldorado el encuentro learned that draws on diverse resources to succeed.
