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English to Portuguese: http://www.publionline.iar.unicamp.br/index.php/ppgac/article/view/96/129
Source text - English TRANSCRIPTION of audio material (in English): interviews for CONCEIÇÃO/CONCEPTION, an academic journal of the Graduation Program of Performing Arts, UNICAMP (page 121-122).
MB - In your book, you described different approaches to
performance, sciences and performance art. If we consider
(Richard) Schechner, he sees theater as part of the performance
universe. It is just part of it, as if performance would have a
broader horizon that theater would be within it. Your approach
is very different because you do not like to establish a hierarchy
between theater and performance, as you think of performance
in different ways.
MC - I think that is right. What I tried to do in my book was
not to advocate some particular idea of performance. And my
feeling is that Schechner has a particular idea of performance,
about what he means by performance and he is very articulated
about this. There is a hierarchy, as you say, for Richard’s
theory: maybe it would be unfair to say that theater is inferior
to performance, but it is certainly subsumed in the performance.
That is fine, he does have a very specific agenda, which
is for one thing, to call attention to his readers to this general
human activity which he calls performance; to suggest people
how a lot of things are related or, in fact, connected under this
rubric. And also, (he wants to) argue that this is a very central
human activity, very determining element in human culture.
So, this is an agenda for a particular idea of performance. What
I was trying to do with my book is something quite different:
to explain, as clearly as I could and understood, the different
ways the idea of performance and performative have been used
by different theorists in different situations. So, I talked about
Schechner’s idea, what he is up to, what it is at stake, but then
I also go to other theorists and ideas of performance including
people concerned with linguistic performance – just within
} 122 Conceição | Conception - volume 1/nº 2 - Jun/2013
language, Austin and that tradition. Not to try to argue that
one is superior to another, but to clarify what are the different
ways this term has been used and what are the advantages, or
what can you do with the different usages of this term. What
has been used to do?
Translation - Portuguese TRANSLATION (to Brazilian Portuguese): interviews for CONCEIÇÃO/CONCEPTION, an academic journal of the Graduation Program in Performing Arts, UNICAMP (page 111)
MB - Em seu livro, diferentes abordagens em relação à
performance, ciências e à performance art são apresentadas.
(Richard) Schechner, por exemplo, vê o teatro como parte do
universo da performance – é como se a performance abrangesse
um horizonte mais amplo e o teatro estivesse dentro disso.
Sua abordagem é bem diferente, já que você não se preocupa
em estabelecer uma hierarquia entre os dois. Você pensa na
performance de forma diferente.
MC - Eu não quis defender no livro nenhuma ideia específica
sobre performance. Penso que Schechner tem uma
ideia muito particular sobre a performance, ou seja, o que ele
entende sobre isso. Ele é muito eloquente sobre o assunto, e
sim, há uma hierarquia, como você disse. Seria injusto dizer
que, para Schechner, o teatro é inferior à performance, mas,
com certeza, o teatro está incluído nela. Mas, tudo bem, ele
tem um propósito muito específico que é chamar a atenção dos
seus leitores para essa atividade humana geral, que ele chama
de performance, e de como muitas coisas estão conectadas a
ela. Além disso, ele quer argumentar que essa é uma atividade
humana central, um elemento determinante na cultura
humana. É o propósito que faz parte dessa ideia bem especí-
fica sobre performance. O que eu tentei fazer com meu livro
foi algo muito diferente – explicar, o mais claro possível, os
diferentes modos que os conceitos de performance e performativo
foram usados por teóricos em diferentes situações. Falei
sobre Schechner, mas também sobre outros teóricos e outros
conceitos de performance – incluindo pessoas focadas na performance
linguística, Austin e toda essa tradição. Não escolhi
esse caminho com o intuito de discutir quem é superior, mas
esclarecer os diversos modos que esse termo foi empregado,
quais as vantagens, ou o que foi feito com os diferentes usos
dos termos. O que foi efetivamente usado.
English to Portuguese: http://www.publionline.iar.unicamp.br/index.php/ppgac/article/view/98/131
Source text - English TRANSCRIPTION of audio material (in English): interviews for CONCEIÇÃO/CONCEPTION, an academic journal of the Graduation Program in Performing Arts, UNICAMP (page 142)
Professor (Marvin) Carlson told me, and it is written in the
preface of your book , that in German, different from (Richard)
Schechner’s approach, there is no real difference between theater
and performance. Could you talk a little bit about that?
Our concept of performance is a wider one, whereas for
Schechner and the English speaking world is a narrower one.
In English, when you talk about theater, it is about dramatic
theater; whereas in Germany, you talk about theater when we
have performances, be it of dramatic theater, non-dramatic
theater, dance or opera, whatever it is. And beyond that, we
talk about that is theater on the streets, when people just make
a scene, not something really devised, but just when others are
looking. And so far, when theater studies, as an academic discipline, started in Germany, it started as the discipline about
performances. It was said so clear by Max Herrmann, who was
the founder here in Berlin. We had literature disciplines, but
their subject is the text. We had no disciplines dealing with
performances. And since we need some, we must have Theater
Studies. So, our discipline was founded in Germany as an academic
discipline dealing with performances. And why that is like that, we cannot follow all this discussion in the English speaking world: there is performance, there is theater. For us, this is all theater.
Translation - Portuguese TRANSLATION (to Brazilian Portuguese): interviews for CONCEIÇÃO/CONCEPTION, an academic journal of the Graduation Program in Performing Arts, UNICAMP (page 131)
O Professor (Marvin) Carlson me disse, além de estar escrito no
prefácio de seu livro , que em alemão, diferente da abordagem
feita por (Richard) Schechner, não há diferença entre teatro e
performance. Você poderia falar um pouco sobre isso?
Nosso conceito de performance é mais amplo, enquanto
que, para Schechner e os falantes da língua inglesa, esse conceito
é mais restrito. Em inglês, quando se fala em teatro,
pensa-se em dramaturgia; enquanto na Alemanha, falamos
em teatro quando há performances, sejam elas provindas da
dramaturgia, do teatro não dramático, da dança ou ópera etc.
E, além disso, também falamos em teatro quando alguém faz
uma cena na rua, mesmo que não seja algo muito elaborado,
mas com pessoas assistindo. Quando os estudos teatrais surgiram
na Alemanha dentro da academia, começaram como
uma disciplina sobre performances. Isso foi muito bem colocado
por Max Herrmann, o fundador dos estudos teatrais
aqui em Berlim. Tínhamos disciplinas de literatura, mas o
foco estava no texto; não tínhamos algo sobre performances.
E uma vez que precisávamos de uma, a disciplina acadêmica
Estudos Teatrais foi criada, com o objetivo de lidar com as performances. Por que é assim, é difícil dizer, pois a discussão
em inglês envolve a diferença entre teatro e performance. Para
nós, tudo é teatro.
Portuguese to English: http://www.repensandomitosppgadc.com/
Source text - Portuguese TRANSLATION and PROOFREADING of the texts published on the site of the international symposium, Rethinking Contemporary Myths, held at UNICAMP in 2015
O I Encontro Internacional Repensando Mitos Contemporâneos – Simpósio Grotowski tem como propósito central divulgar e repensar o legado teórico-prático de Jerzy Grotowski, artista-pesquisador que, dentro do campo das Artes Cênicas, foi sem dúvida um dos mais renomados e polêmicos do século XX. Esse evento internacional é uma iniciativa conjunta do Programa de Pós-Graduação em Artes da Cena (PPGADC – Instituto de Artes, UNICAMP) com o LUME-Teatro (Núcleo Interdisciplinar de Pesquisas Teatrais da UNICAMP) em parceria com o Grotowski Institute (Wroclaw, Polônia),
e será realizado de 24 a 27 de março de 2015,
na Universidade Estadual de Campinas
Translation - English TRANSLATION and PROOFREADING of the texts published on the site of the international symposium, Rethinking Contemporary Myths, held at UNICAMP in 2015
The I International Meeting Rethinking Contemporary Myths – Grotowski Symposium aims at promoting and rethinking both the theoretical and the practical legacy of Jerzy Grotowski, artist-researcher that, within the Performing Arts field, was undoubtedly one of the most renowned and controversial in the 20th century. This international event is a joint initiative of the Scenic Arts Post-Graduate Program (PPGADC - State University of Campinas, Brazil) and LUME-Theatre (Research Group of the State University of Campinas, Brazil) along with the Grotowski Institute (Wrocław, Poland). It is estimated to be held from March 3rd to 6th, 2015, at the State University of Campinas (UNICAMP), Brazil.
Portuguese to English: http://seer.ufrgs.br/index.php/presenca/article/view/56763/34650
Source text - Portuguese TRANSLATION of a paper for the academic journal, Revista Brasileira de Estudos da Presença (Brazilian Journal on Presence Studies) by UFRGS (Federal University of Rio Grande do Sul, Brazil).
RESUMO – O Processo BPI e suas Especificidades Epistemológicas – Neste artigo,
são apresentados alguns aspectos do método Bailarino-Pesquisador-Intérprete (BPI) que
podem ser pensados como suas especificidades epistemológicas. Trata-se, portanto, de uma
revisão da bibliografia fundamental dessa metodologia de formação e criação cênica em
desenvolvimento no Brasil há mais de trinta anos. Por meio de relatos breves, apresentamos
o histórico do método BPI. Também descrevemos seu processo criativo e listamos dados
pontuais que viabilizam uma compreensão de suas singularidades no campo das Artes da
Cena. Este trabalho não tem a pretensão de esgotar o assunto, mas, sim, busca abrir frestas
para novos diálogos e discussões.
Palavras-chave: Método BPI. Processo Criativo. Relações Afetivas. Artes Cênicas.
Autoconhecimento.
Translation - English TRANSLATION of a paper for the academic journal, Revista Brasileira de Estudos da Presença (Brazilian Journal on Presence Studies) by UFRGS (Federal University of Rio Grande do Sul, Brazil).
ABSTRACT – The BPI Process and its epistemological specificities – In this article, we
present some aspects of Dancer-Researcher-Performer (BPI) method that can be considered
in its epistemological specificities. Therefore, the first purpose is to present a bibliographic
review of this training and scenic creation methodology that has been developed for over
thirty years in Brazil. Through brief reports, we present the history of the BPI, we describe
its creative process and we list some data that enable a better understanding of this method,
its singularities in the performing arts field. This paper does not intend to exhaust this
subject, but rather seeks to open spaces for new dialogues and debate.
Keywords: BPI Method. Creative Process. Affective Relationships. Performing Arts.
Self-knowledge.
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Translation education
Master's degree - UNICAMP
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Years of experience: 18. Registered at ProZ.com: Apr 2015.
I am a Brazilian Portuguese native, and a qualified translator with a Bachelor's Degree in English and Portuguese Linguistics, and a Master's in Latin American Art and Culture.
A 15-year-old experienced Language Specialist, providing the following services:
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Besides being a Translator, I am interested in Content Creation for Social Medias, using my experience as a Teacher, my resources as a Linguist, my interest in Arts, Cinema and Culture to help manage and produce content.
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Keywords: Brazilian Portuguese, Translator, Language Services, SDL, Transcription, Proofreading, Marketing, IT, English to Portuguese, Language Specialist. See more.Brazilian Portuguese, Translator, Language Services, SDL, Transcription, Proofreading, Marketing, IT, English to Portuguese, Language Specialist, Linguist. See less.
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