Leitura e recepção: a teatralidade em João Gilberto Noll

Abstract

This article deals with the paradox of an often reduced theatre audience – 06 to 20 persons per session – which points to new relations involving playtext, performance and audience. It also deals with the intimate and often ostensive way in which Brazilian director Celina Sodré’s work relates with the audience. She thinks it is necessary to avoid the applause because it signifies a return of whatever is offered in a sacred and genuine way. In addition to being a response to pure meaning, the applause ends up representing a somewhat comfortable strategy of reconciliation between the audience and the performance. Thus, the director pursues discomfort and systematically works to unsettle her audiences. Sodré always considers the relationship with her audiences before any other performance element, as she tries to break with the traditional forms of empathy and consensus