Book, Theater at the intersection of cultures, O[LS]

Patrice Pavis uses, in 'The Theater at the Crossing of Cultures', the symbol of the hourglass as a methodology to identify, in theater, the intrinsic elements of production and representation: to give it an organic scope, he follows them from the beginning of the theatrical process -- the election of the project (text or pre-text, means and ways of organizing the various scenic systems, such as direction, performance, plastic or sound arrangement, etc.) -- and goes up to the final conception of the mise en scène that aims at how the public can receive the work in the form of a play and spectacle. Analyzing themes such as objectives, adaptations, choices and sociological, anthropological, cultural and aesthetic approaches, the author follows a competent theoretical path from text to stage, reflecting on the most representative Western and European theater at the turn of the 20th century, researching classic and modern songs from the Franco-German repertoire. In the end, from a semiological angle, it shrewdly examines the specificity of theatrical translation (intergestural and intercultural transposition) in the specific cases of productions by Peter Brook (Mahabharata), Ariane Mnouchkine (Indiade and Twelfth Night) and Eugenio Barba (Dançar com Faust). For Brazilian theater -- modernly open to globalization, represented by the most varied trends on the international scene, with particular emphasis on the interculturalist vision and inclination --, Pavis's reflection is of particular fruitfulness and relevance, as it opens up intriguing paths for new approaches and creative intersections, which makes its inclusion in the Perspectiva publisher's Studies collection all the more opportune.