Published Articles by Sandra Pereira Vinagre
Pouco tempo depois do início da Guerra civil na Síria, o mundo assiste à diáspora de todo um Povo... more Pouco tempo depois do início da Guerra civil na Síria, o mundo assiste à diáspora de todo um Povo. É neste contexto que Omar Abusaada, dramaturgo sírio, reescreve a peça de Eurípides, As Troianas, em cuja representação as atrizes não são profissionais, mas antes sírias refugiadas. Substituindo as histórias de cada uma das personagens da peça original pelas histórias reais destas mulheres, assistimos à renovação da tragédia de Eurípides, num paralelismo evidente entre os sofrimentos das troianas e os das mulheres sírias. A este projeto seguiu-se a reescrita e representação de outras duas tragédias antigas, também com refugiadas como atrizes, projeto este que não só veio atestar, uma vez mais, a intemporalidade e universalidade das questões colocadas nas tragédias, como também veio contribuir para dar uma plataforma à voz destas mulheres e às suas histórias.
En uno de sus primeros discursos, Joseph Goebbels, Ministro de la Propaganda Nazi, refería que un... more En uno de sus primeros discursos, Joseph Goebbels, Ministro de la Propaganda Nazi, refería que uno de sus objetivos era crear una Gleichschaltung, es decir, una coordinación ideológica entre el Gobierno y el Pueblo Alemán. Para el nacional-socialismo la cultura se restringía así a ser solamente una herramienta del Estado y el teatro uno de los medios para alcanzar esa coordinación.
Oedipus, Antigone, Prometheus, Cassandra… these are much more than just the names of mythical cha... more Oedipus, Antigone, Prometheus, Cassandra… these are much more than just the names of mythical characters. In fact, their stories are not frozen in a specific time; rather, they surpass its boundaries.
Conference presentations by Sandra Pereira Vinagre
Os conteúdos apresentados são da exclusiva responsabilidade dos respetivos autores. © Autores. Es... more Os conteúdos apresentados são da exclusiva responsabilidade dos respetivos autores. © Autores. Esta obra encontra-se sob a Licença Internacional Creative Commons Atribuição 4.0 [Antígona é] a tragédia da liberdade. António Pedro (1957). Antígona. Glosa nova da tragédia de Sófocles (p. 14) Antígona es la razón suprema de la libertad.
According to The Syrian Centre for Policy Research, from the start of the Syrian revolution, more... more According to The Syrian Centre for Policy Research, from the start of the Syrian revolution, more than 500,000 Syrians have been killed. And according to the UN Refugee Agency, in the end of 2017, 12,6 million people have been forcibly displaced, a number that includes 6,3 million refugees, more than 146.000 asylum-seekers and 6,2 million internally displaced.
In this context of diaspora of the Syrian people, several artists put their lives at risk by using their art not only to resist injustice but also to expose it to the eyes of the rest of the world.
Among these artists we find several playwrights and theatre directors with a set of innovative scenic proposals, such as The Syria Trojan Woman, premiered in Amman. This adaptation of the Greek tragedy, The Trojan Women, by Euripides, and directed by Omar Abu Saada, was the result of therapeutic theatre workshops in which refugees, the most visible face of the Syrian tragedy, are the protagonists. These women, wives, and mothers stand for the passive victims of wars. Unlike men who die, these women must endeavour to survive through the spoils of war and deal with their sufferings. These are women who once lived happy lives and are now fighting for their survival.
With the collaboration of the writer and playwright Mohammad Al Attar, this play was followed by two other adaptations of Greek plays - Antigone, by Sophocles, renamed Antigone of Shatila and premiered in Beirut, and Iphigenia at Aulis, by Euripides, premiered in Berlin. Which leads us to several questions: A testimonial theater play, as The Syria Trojan Woman, is an act of individual rehabilitation or a political act? The directors and playwrights of these plays are mere observers or activists? What is the role of theatre in times of Revolution?
With this communication, we would like to contribute to finding the answers to these questions. And to show how these interactions between the ancient and the modern, in addition to ensure the timelessness and universality of the Greek ancient drama, went from promoting personal healing to a new revolutionary public sphere based on new models to spread the word and improve civic commitment.
According to The Syrian Centre for Policy Research, from the start of the Syrian revolution, more... more According to The Syrian Centre for Policy Research, from the start of the Syrian revolution, more than 500,000 Syrians have been killed. And according to the UN Refugee Agency, in the end of 2017, 12,6 million people have been forcibly displaced.
In this context of diaspora of the Syrian people, artists put their lives at risk by using their art not only to resist injustice but also to expose it to the eyes of the rest of the world. Among these artists we find several playwrights and theatre directors with a set of innovative scenic proposals as a result of therapeutic theatre workshops in which refugees, the most visible face of the Syrian tragedy, are the protagonists.
It is our goal to show how these interactions between the ancient and the modern, in addition to ensure the timelessness and universality of the Greek ancient drama, contribute not only to give these women a voice but also contribute to create a new revolutionary public sphere. We would like to show how these projects of adaptations of Greek tragedies went from fostering local healing to a new revolutionary public sphere based on new models to improve civic commitment.
De acuerdo con la agencia de la ONU para los Refugiados, más de 5,6 millones de p... more De acuerdo con la agencia de la ONU para los Refugiados, más de 5,6 millones de personas han huido de Siria desde 2011 y el 93% de refugiados en Jordania viven por debajo del umbral de la pobreza. De acuerdo con el Centro Sirio por la Investigación Política, en el final de 2014, más de mitad de la población de Siria (52,8%) se mudó o huyó en busca de seguridad como resultado del conflicto armado.
En esto contexto de diáspora del Pueblo Sirio encontramos a mujeres refugiadas Sirias en escena, primero en campos de concentración y después fuera delos, en adaptaciones de tragedias griegas. Hemos decidido centrarnos en una de esas tragedias, "Las Troyanas", de Euripides, en una adaptación hecha por Omar Abu Saada que sigue su tradición de hacer teatro político. Representada en 2013 por 25 mujeres sirias en un campo de concentración en Jordania, lo que inicialmente era teatro terapéutico con efecto catártico, ha pasado para la esfera del público, ganando después más notoriedad con el documentario efectuado por Yasmin Fedda, intitulado "Reinas de Siria" y que ganó diversos premios en varios festivales de teatro.
A través de la similitud entre las tragedias a que estas mujeres asistieran y las de las mujeres troyanas de 2500 años antes, vemos como estas mujeres refugiadas sirias pasan de víctimas a sobrevivientes de una guerra que precisa de ser comunicada al resto del mundo para que éste pueda tomar posición al respecto. Y que la escoja de este dramaturgo y de estas mujeres tenga incidido sobre las tragedias antiguas, es prueba, siempre y una vez más, de la pervivencia de estos dramas, de su carácter universal e intemporal y de cómo siguen siendo utilizados para contestar regímenes políticos.
Os anos 50, em Portugal, ficaram marcados para a História como anos de imobilismo, anos em q... more Os anos 50, em Portugal, ficaram marcados para a História como anos de imobilismo, anos em que a vida do País, vista à superfície, parecia mergulhada num ambiente tranquilo e despolitizado e em que a própria oposição à ditadura, vigiada pela polícia política do regime e pela censura, parecia ter-se rendido ao silêncio.
É esta mesma década que verá ser dado um passo crucial na recepção das tragédias clássicas em Portugal. Com efeito, não só foram então representadas, pela primeira vez desde o início da ditadura, tragédias gregas nas suas versões originais nas principais cidades do País, como as emissões de teatro radiofónico permitiram fazer chegar muitas das tragédias clássicas a todos aqueles que não tinham hipóteses de se deslocar às cidades.
Pretendemos, assim, com esta comunicação, proceder a uma reflexão sobre estes dois factos e verificar a possível ligação entre eles.
En uno de sus primeros discursos, Joseph Goebbels, Ministro de la Propaganda Nazi, r... more En uno de sus primeros discursos, Joseph Goebbels, Ministro de la Propaganda Nazi, refería que uno de sus objetivos era crear una Gleichschaltung, es decir, una coordinación ideológica entre el Gobierno y el Pueblo. Para el nacional-socialismo la cultura se restringía así a ser solamente una herramienta del Estado. En ese tiempo, varios autores, valorados por el régimen Nazi, hicieron adaptaciones de tragedias griegas. Es nuestro objetivo mostrar como uno de esos autores, Hans Schwarz, eleva la figura secundaria de Casandra a protagonista, defendiendo valores absolutamente esenciales para el III Reich entre los cuales se destacan la exaltación del nacionalismo exacerbado, la justificación de la guerra contra los enemigos de la Patria y la proclamación de la necesaria sujeción y sacrificio del individuo a las exigencias de la Nación.
During the years where Portugal was emerged in a dictatorship, and in a time where the theatrical... more During the years where Portugal was emerged in a dictatorship, and in a time where the theatrical options were focused on national authors and national myths, we can see that some directors staged Greek tragedies and that some Portuguese authors made new versions of them. During these years, and mostly near the end of this political regime, Portuguese people could see several of Greek plays in the Portuguese professional and non-professional stages. With this communication, it is my goal to show the way politics influenced (or not) not only the staging, but also the way the audience interpreted what they saw on stage and the preference for some myths in detriment of others.
(15th Annual Postgraduate symposium on the performance of ancient drama “Viewing and Spectating in the Theory and Practice of Greek and Roman Drama”. University of Oxford and University of London.)
"War and Theatre" - APGRD/HAR Colloquium, University of Oxford (March 2015)
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Published Articles by Sandra Pereira Vinagre
Conference presentations by Sandra Pereira Vinagre
In this context of diaspora of the Syrian people, several artists put their lives at risk by using their art not only to resist injustice but also to expose it to the eyes of the rest of the world.
Among these artists we find several playwrights and theatre directors with a set of innovative scenic proposals, such as The Syria Trojan Woman, premiered in Amman. This adaptation of the Greek tragedy, The Trojan Women, by Euripides, and directed by Omar Abu Saada, was the result of therapeutic theatre workshops in which refugees, the most visible face of the Syrian tragedy, are the protagonists. These women, wives, and mothers stand for the passive victims of wars. Unlike men who die, these women must endeavour to survive through the spoils of war and deal with their sufferings. These are women who once lived happy lives and are now fighting for their survival.
With the collaboration of the writer and playwright Mohammad Al Attar, this play was followed by two other adaptations of Greek plays - Antigone, by Sophocles, renamed Antigone of Shatila and premiered in Beirut, and Iphigenia at Aulis, by Euripides, premiered in Berlin. Which leads us to several questions: A testimonial theater play, as The Syria Trojan Woman, is an act of individual rehabilitation or a political act? The directors and playwrights of these plays are mere observers or activists? What is the role of theatre in times of Revolution?
With this communication, we would like to contribute to finding the answers to these questions. And to show how these interactions between the ancient and the modern, in addition to ensure the timelessness and universality of the Greek ancient drama, went from promoting personal healing to a new revolutionary public sphere based on new models to spread the word and improve civic commitment.
In this context of diaspora of the Syrian people, artists put their lives at risk by using their art not only to resist injustice but also to expose it to the eyes of the rest of the world. Among these artists we find several playwrights and theatre directors with a set of innovative scenic proposals as a result of therapeutic theatre workshops in which refugees, the most visible face of the Syrian tragedy, are the protagonists.
It is our goal to show how these interactions between the ancient and the modern, in addition to ensure the timelessness and universality of the Greek ancient drama, contribute not only to give these women a voice but also contribute to create a new revolutionary public sphere. We would like to show how these projects of adaptations of Greek tragedies went from fostering local healing to a new revolutionary public sphere based on new models to improve civic commitment.
En esto contexto de diáspora del Pueblo Sirio encontramos a mujeres refugiadas Sirias en escena, primero en campos de concentración y después fuera delos, en adaptaciones de tragedias griegas. Hemos decidido centrarnos en una de esas tragedias, "Las Troyanas", de Euripides, en una adaptación hecha por Omar Abu Saada que sigue su tradición de hacer teatro político. Representada en 2013 por 25 mujeres sirias en un campo de concentración en Jordania, lo que inicialmente era teatro terapéutico con efecto catártico, ha pasado para la esfera del público, ganando después más notoriedad con el documentario efectuado por Yasmin Fedda, intitulado "Reinas de Siria" y que ganó diversos premios en varios festivales de teatro.
A través de la similitud entre las tragedias a que estas mujeres asistieran y las de las mujeres troyanas de 2500 años antes, vemos como estas mujeres refugiadas sirias pasan de víctimas a sobrevivientes de una guerra que precisa de ser comunicada al resto del mundo para que éste pueda tomar posición al respecto. Y que la escoja de este dramaturgo y de estas mujeres tenga incidido sobre las tragedias antiguas, es prueba, siempre y una vez más, de la pervivencia de estos dramas, de su carácter universal e intemporal y de cómo siguen siendo utilizados para contestar regímenes políticos.
É esta mesma década que verá ser dado um passo crucial na recepção das tragédias clássicas em Portugal. Com efeito, não só foram então representadas, pela primeira vez desde o início da ditadura, tragédias gregas nas suas versões originais nas principais cidades do País, como as emissões de teatro radiofónico permitiram fazer chegar muitas das tragédias clássicas a todos aqueles que não tinham hipóteses de se deslocar às cidades.
Pretendemos, assim, com esta comunicação, proceder a uma reflexão sobre estes dois factos e verificar a possível ligação entre eles.
(15th Annual Postgraduate symposium on the performance of ancient drama “Viewing and Spectating in the Theory and Practice of Greek and Roman Drama”. University of Oxford and University of London.)
In this context of diaspora of the Syrian people, several artists put their lives at risk by using their art not only to resist injustice but also to expose it to the eyes of the rest of the world.
Among these artists we find several playwrights and theatre directors with a set of innovative scenic proposals, such as The Syria Trojan Woman, premiered in Amman. This adaptation of the Greek tragedy, The Trojan Women, by Euripides, and directed by Omar Abu Saada, was the result of therapeutic theatre workshops in which refugees, the most visible face of the Syrian tragedy, are the protagonists. These women, wives, and mothers stand for the passive victims of wars. Unlike men who die, these women must endeavour to survive through the spoils of war and deal with their sufferings. These are women who once lived happy lives and are now fighting for their survival.
With the collaboration of the writer and playwright Mohammad Al Attar, this play was followed by two other adaptations of Greek plays - Antigone, by Sophocles, renamed Antigone of Shatila and premiered in Beirut, and Iphigenia at Aulis, by Euripides, premiered in Berlin. Which leads us to several questions: A testimonial theater play, as The Syria Trojan Woman, is an act of individual rehabilitation or a political act? The directors and playwrights of these plays are mere observers or activists? What is the role of theatre in times of Revolution?
With this communication, we would like to contribute to finding the answers to these questions. And to show how these interactions between the ancient and the modern, in addition to ensure the timelessness and universality of the Greek ancient drama, went from promoting personal healing to a new revolutionary public sphere based on new models to spread the word and improve civic commitment.
In this context of diaspora of the Syrian people, artists put their lives at risk by using their art not only to resist injustice but also to expose it to the eyes of the rest of the world. Among these artists we find several playwrights and theatre directors with a set of innovative scenic proposals as a result of therapeutic theatre workshops in which refugees, the most visible face of the Syrian tragedy, are the protagonists.
It is our goal to show how these interactions between the ancient and the modern, in addition to ensure the timelessness and universality of the Greek ancient drama, contribute not only to give these women a voice but also contribute to create a new revolutionary public sphere. We would like to show how these projects of adaptations of Greek tragedies went from fostering local healing to a new revolutionary public sphere based on new models to improve civic commitment.
En esto contexto de diáspora del Pueblo Sirio encontramos a mujeres refugiadas Sirias en escena, primero en campos de concentración y después fuera delos, en adaptaciones de tragedias griegas. Hemos decidido centrarnos en una de esas tragedias, "Las Troyanas", de Euripides, en una adaptación hecha por Omar Abu Saada que sigue su tradición de hacer teatro político. Representada en 2013 por 25 mujeres sirias en un campo de concentración en Jordania, lo que inicialmente era teatro terapéutico con efecto catártico, ha pasado para la esfera del público, ganando después más notoriedad con el documentario efectuado por Yasmin Fedda, intitulado "Reinas de Siria" y que ganó diversos premios en varios festivales de teatro.
A través de la similitud entre las tragedias a que estas mujeres asistieran y las de las mujeres troyanas de 2500 años antes, vemos como estas mujeres refugiadas sirias pasan de víctimas a sobrevivientes de una guerra que precisa de ser comunicada al resto del mundo para que éste pueda tomar posición al respecto. Y que la escoja de este dramaturgo y de estas mujeres tenga incidido sobre las tragedias antiguas, es prueba, siempre y una vez más, de la pervivencia de estos dramas, de su carácter universal e intemporal y de cómo siguen siendo utilizados para contestar regímenes políticos.
É esta mesma década que verá ser dado um passo crucial na recepção das tragédias clássicas em Portugal. Com efeito, não só foram então representadas, pela primeira vez desde o início da ditadura, tragédias gregas nas suas versões originais nas principais cidades do País, como as emissões de teatro radiofónico permitiram fazer chegar muitas das tragédias clássicas a todos aqueles que não tinham hipóteses de se deslocar às cidades.
Pretendemos, assim, com esta comunicação, proceder a uma reflexão sobre estes dois factos e verificar a possível ligação entre eles.
(15th Annual Postgraduate symposium on the performance of ancient drama “Viewing and Spectating in the Theory and Practice of Greek and Roman Drama”. University of Oxford and University of London.)
Nesta comunicação pretendemos procurar ecos da Cassandra clássica na Cassandra vicentina por forma a demonstrar como o contexto social e histórico da época do dramaturgo contribui, e de que forma, para a reconfiguração do mito. Procuraremos desta forma evidenciar como a literatura comparada continua a surgir como um espaço privilegiado de reflexão sobre o carácter histórico e social que envolve qualquer obra literária assim como as relações de interdisciplinaridade que promove.
Com a presente comunicação pretendemos mostrar como, nomeadamente a partir da peça Kassandra de Hans Schwarz (um dramaturgo de referência no Reich), assistimos a uma reconfiguração do mito de Cassandra transformando-o num importante veículo de uma ideologia, o nacional-socialismo. Através de uma equivalência do tempo mítico com o tempo actual, encontramos uma Cassandra que defende e reproduz valores absolutamente essenciais para o regime do III Reich e para a sua fundamentação ideológica, entre os quais a exaltação do nacionalismo exacerbado, a justificação da guerra contra os inimigos da Pátria e a proclamação da necessária sujeição e sacrifício do indivíduo às exigências da Nação.
No fundo, numa procura de se encontrarem diferentes meios de divulgar e propagandear um ideário que se pretende expressar e principalmente legitimar, vemos como a utilização dos mitos clássicos, e designadamente o de Cassandra, se revela um reflexo da relação que os Homens e as sociedades têm com eles desde sempre estabelecido.
Since the myth is not a reality petrified in time, the plasticity that characterizes it allows it to be reused to defend or criticize new values, quite characteristic of modern times.
With this communication, one wants to demonstrate that, particularly from the play Kassandra written by Hans Schwarz (a reference play writer from the Reich), one witnesses a reconfiguration of Cassandra’s myth, which is transformed into an important vehicle for an ideology – the National Socialism. Via an equivalence of the mythical time with the current time, one finds a Cassandra that defends and reproduces values absolutely essential for the Third Reich and its ideological framework, including the exaltation of extreme nationalism, the justification of war against Motherland’s enemies and the proclamation of the necessary submission and sacrifice of the individual to the Nation’s demands.
Overall, in a quest to find different ways to promote and advertise an ideology that seeks to be expressed and especially legitimized, one sees how the use of classical myths – namely Cassandra’s – becomes a reflection of the relationship that Men and societies have established with them since ever.