| 词条 | Teatro o Bando |
| 释义 |
| name = Teatro O Bando | logo = Sede vista da estrada.jpg | caption = Headquarters at Palmela | type = Theatre Company | foundation = October 15th 1974 | founders = João Brites Jaqueline Tison Cândido Ferreira Carmen Marques Jorge Barbosa Maria Janeiro | location_city = Palmela, Portugal [//m.google.com/u/m/_2kYVH GPS] | area_served = Worldwide | key_people= directors: João Brites, Raul Atalaia and Sara de Castro | industry = Theatre, Actor's Training, Communitary Activities | products = Plays, Events and Classes | homepage = www.obando.pt }}Teatro O Bando is a Portuguese professional traveling theatre company active since 1974. According to its official website, it is "[a] collective that elects aesthetic transfiguration has a civic and communitary participation".[1] It is a Portuguese National Entity of Public Utility and a Certified Actor's Training establishment. FoundingThe Cooperativa de Produção Artística Teatro e Animação o Bando (Artistic Production Cooperative for Theatre and Animation o Bando) was founded on October 15, 1974, at Algés by the artists João Brites, Jaqueline Tison, Cândido Ferreira, Carmen Marques, Jorge Barbosa and Maria Janeiro.[2] The name o Bando is the Portuguese expression for a flock of birds. When it was founded, the company was structured within the childhood theatre area, a free concept that fought the post-revolutionary tendency to infantilize children created by commercial children's theatre. According to Teatro O Bando's approach, the child should be an active part of society, able to have a political and artistic point of view and to manage the limits between concrete reality and dreams. This opposes the average commercial approach that underestimates the child's creative potential by using disarming fairy tales and other stereotyped worlds built by grownups.[3] Singularism as an aesthetic trendTeatro O Bando maintains its original collectivist methodology based on a long achieved experience named singularism. The singularism aesthetic methodology has the objective of achieving unexpected and singular works because they are not the result of a single illuminated individual. Those works can be recognized because the artistic leadership seeks the transpersonal dimension of its results and not by being merely based on variations of a same style that repeats itself.[4] This way, Teatro O Bando refreshes its acquired knowledge when it searches for a constant unease and defy in its unclassifiable shows. The group's theatrical creations are fueled by cultural activities, mainly in training and audience sensitization, that interact with several types of participants and contributes to a growing impact in the community, in the artistic métier and in the professional actor's training.[4] DramaturgyThe company adapts Portuguese non-theatrical texts to theater, so that novels, poems and folk stories are staged and are the basis of Teatro O Bando's dramaturgic work. Teatro O Bando has the most shows created from masterworks of Portuguese authors.[2] Its adaptations include:
Scenic spaces and scene machinesTeatro O Bando has always sought unconventional spaces to put on productions. Even when the show happens in a conventional theatre, different solutions are studied. For example, the front of the stage can advance inside and over some of the audience's chairs in a big diagonal, creating a break from formal, frontal stage.[4] The group also creates shows with devices called scene machines that are not static scenes merely at the service of actors; they are equivalent to characters because they create tensions and emotions even when they are stationary. Theater critic Jorge Listopadits said, "a theatre that draws a new landscape but a landscape with a wider scope then the one of nature".[5][6] As a result of intense touring activity, the scene machines have become important in Teatro O Bando and in Portuguese Theatre history. Theatre professor and historian Maria Helena Serôdio calls them "polysemic objects" that achieve a function or meaning according to the position they occupy on stage.{{citation needed|date=December 2014}} One example of this is in Afonso Henriques' show, on stage since 1983 and still working today, is called the throne, but depending on its position can be a cradle, a cart, a castle, a cathedral or a bed.[2] From this patrimony of several shows throughout the decades, Teatro O Bando has most of scene machines scattered throughout the landscape within its headquarters, in a perpetual exposition called Ao Relento.{{citation needed|date=December 2014}} Various parts of Teatro O Bando's shows can be isolated and still be of artistic value. For example, the characters usually continue in small-scale shows after the large-scale shows are discontinued, the text can be read and have literary value on its own, the musical composition with its abstract meaning is reused by others in agreement with Teatro O Bando and the composer.[7] HeadquartersAfter having several homes in Lisbon since its foundation, in 2000 Teatro O Bando moved its headquarters to Vale dos Barris in Palmela, inside the Natural Reserve of the Arrábida in a farm of 80 hectares. Two pavilions, constructed from old pig styes, were remodeled to have offices, workshops, warehouses, dressing rooms, interior and exterior stages.[4] This rural space is used for artistic residences and workshops, allied with Teatro O Bando's training knowledge, actors, musicians and singers discover new approaches to the stage.{{citation needed|date=December 2014}} Cooperative's structure (2013)Teatro O Bando is organized as cultural cooperative since its foundation and is one of the first and oldest Portuguese cultural cooperatives, although in fiscal terms it is the same as a private corporation.[2] General Assembly and the elected Board of DirectorsThe highest organ is the General Assembly of Cooperants, composed of 22 members who elect the current board of directors. These three manage Teatro O Bando's team in its daily work. Other nominations made by this assembly are the functions within the cooperative, such as the president of the assembly, the secretary and any new members, and a Board of Artistic Directors.[7] Board of Artistic DirectorsThe Board of Artistic Directors is the creative core that analyzes and discusses future projects. It conceives and executes the projects leading them from the concept/idea/draft to stage.[7] International touringTeatro O Bando tours it shows in Portugal and abroad. The company puts on more shows on the road throughout the world than it does at home. Its members traveled in Portugal's deserted rural interior in the 1970s, undertook European tours in the 1980s and later toured worldwide to theatre festivals. Teatro O Bando builds large, heavy, scenic spaces and to take them around. It has been to five continents, taking the shows but maintaining a long-term artistic and effective relationship with the hosts in Brazil, Germany, Russia, and various African nations.{{citation needed|date=December 2014}} Other aspects
External links
References1. ^[//www.estc.ipl.pt/escola/arquivo/eventos/2009_10/resumos.pdf Nota Biográfica na ESTC] 2. ^1 2 3 vários autores "O BANDO - monografia de um grupo de teatro no seu vigésimo aniversário", em: grupo de teatro o bando. (1994), Corlito/Setúbal. {{ISBN|972-96482-0-4}} 3. ^"Trilhos", Real. Rui Simões, Prod. Real Ficção/teatro o Bando, Lisboa, 1994 VIDEO 4. ^1 2 3 DO OUTRO LADO/ON THE OTHER SIDE direcção [de] João Brites, Rui Francisco , Miguel Jesus. PQP 2011, ed.. DGARTES. 2011 5. ^MÁQUINAS DE CENA/SCENE MACHINES direcção João Brites, 2005, ed. Campo de letras Porto 2005 {{ISBN|972-610-953-1}} 6. ^[//www.leitura.gulbenkian.pt/index.php?area=rol&task=view&id=30207 Artigo Gulbenkian] 7. ^1 2 Teatro O Bando : afectos e reflexos de um trajecto / direcção [de] João Brites. 1a ed.. Palmela : Grupo de Teatro O Bando,. 2009. {{ISBN|9789899532304}}. 8. ^[//dre.pt/pdfgratis2s/2010/07/2S131A0000S00.pdf DIÁRIO DA REPUBLICA, II Série, de 2010-07-08] 1 : Theatre in Portugal |
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