English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The present work aims to propose a reflection about the relations between the theatrical text and its assembly. From the play La cantatrice chauve by Ionesco, we intend to investigate how the use of the scenic indications and the literary text occurred in relation to the Nicolas Bataille montage, which is presented every week for more than 60 years in the Théâtre de la Huchette, in Paris. This piece is known as the landmark of what is conventionally called the theater of the absurd (ESSLIN, 1968). Within this perspective, meaningless repetitions, the clock that touches countless times, curiosity and bizarre give way to the crisis of language (IONESCO, 1966). In this way, we will demonstrate through the analysis presented here how these elements the text and the montage are translated through the view of the viewer, to whom the reality of the text and the scene are possible.

LA CANTATRICE CHAUVE ENTRA EM CENA: UMA ANÁLISE DA MONTAGEM DE NICOLAS BATAILLE