Martelo and Mateus

principles for presence in embodied knowledge

Authors

DOI:

https://doi.org/10.33871/21750769.2024.18.1.9241

Keywords:

Cavalo Marinho; play; state; presence; embodied knlowledge

Abstract

The text develops a study of the Pernambuco’s Cavalo Marinho, focusing on the figure of Mateus from the performance and thinking of Martelo (Sebastião Pereira de Lima), from Condado/PE. The aim was to identify principles contained in the execution of the show that could help to understand a state of presence and play that is powerful in the performance for the public space, where unpredictability is a determining factor.

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Author Biography

Ana Caldas Lewinsohn, UFRN

Actress and director. Professor of the BA in Theatre and the Postgraduate Program in Performing Arts at UFRN. BA in Performing Arts, MA in Arts and PhD in Performing Arts from Unicamp. She did a post-doctorate at LUME Teatro (Unicamp). She is deputy director of NAC - UFRN's Art and Culture Center. She is the coordinator of LabMask - Laboratory of Experiments in Acting and Masks at UFRN, part of NACE - Center for Studies and Research in Performing Arts (CNPq). Mother of three.

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Published

2024-06-25

How to Cite

Caldas Lewinsohn, A. (2024). Martelo and Mateus: principles for presence in embodied knowledge . O Mosaico, 18(1), 1–26. https://doi.org/10.33871/21750769.2024.18.1.9241

Issue

Vol. 18 No. 1 (2024): Revista O Mosaico nº 26

Section

Especial

License

Copyright (c) 2024 O Mosaico

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