“Pateada”
Echoes of an extinct but noisy practice
Bibliographic Data
| ID | 22051675 |
|---|---|
| Authors | Luiz Paulo Pimentel de Souza (0000-0001-9160-9003, Universidade de São Paulo, corresponding author) |
| Year | 2024 |
| Volume | 14 |
| Issue | 4 |
| Publication date | 2024-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Revista Brasileira de Estudos da Presença (JOURNAL) |
| Journal identifiers | ISSN: 2237-2660 • E-ISSN: 2237-2660 |
| Publisher | FapUNIFESP (SciELO) (PUBLISHER) |
| DOI | 10.1590/2237-2660138216vs02 |
| OpenAlex | W4407904388 |
| Language | EN |
| References cited | 1 |
“Pateada”: echoes of an extinct but noisy practice – Historically, the theater spectator has been constituted as a central figure in both theatrical practice and theory, becoming the target of an artistic-pedagogical discourse. Starting from this premise, this article aims to problematize the game play between conduct and counter-conduct in which the theater spectator was entangled. To do so, we propose to observe an extinct practice in Brazilian theaters but prevalent throughout the 19th century – the “pateada” – which involved a noisy stomping of feet by the audience with the purpose of interrupting a performance. Resorting to the analysis of the “pateada”, we present a historical moment in which the behavior and subjectivity of the spectator would begin to be regulated towards a disciplined, moderated, and pedagogized body, and a new type of public-stage address would emerge
Biology · Evolutionary biology · Geography · Arts and Performance Studies · Computer Science · History · History, Culture, and Society · Theatre and Performance Studies
| Highly cited | No |
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