https://guilhermeyazbek.com Guilherme Yazbek Sun, 07 Dec 2025 00:09:19 +0000 https://guilhermeyazbek.com en https://guilhermeyazbek.com/home Wed, 28 Sep 2022 21:55:51 +0000 Guilherme Yazbek https://guilhermeyazbek.com/home https://guilhermeyazbek.com/cv-contact Wed, 28 Sep 2022 21:55:52 +0000 Guilherme Yazbek https://guilhermeyazbek.com/cv-contact <img width="3264" height="4928" width_o="3264" height_o="4928" data-src="https://freight.cargo.site/t/original/i/ca02c30e63e8eaf204145b23323ae36c3cda90d9fbbf7df3b2f77d1e5a145c48/Bia-Barros-2019.jpg" data-mid="154397715" border="0" src="https://freight.cargo.site/w/1000/i/ca02c30e63e8eaf204145b23323ae36c3cda90d9fbbf7df3b2f77d1e5a145c48/Bia-Barros-2019.jpg" />[portrait by Beatriz Barros] Brazil | USAguiyazbek@gmail.com +55 11 98498 1515 +1 412 954 8927 you can also find me at: ⧫ linkedin ⧫ orcid ⧫ currículo lattes ⧫ full academic cv⧫ instagram Guilherme Meletti Yazbek PhD student at the Theatre and Performance Studies program of the University of Pittsburgh (2023-2028) MA Performing Arts (2022) andBA Perming Arts - Theater Direcion (2010),both at University of São Paulo Brazilian art educator, actor, theater director and researcher with a diverse range of professional experiences. His focus is facilitating pedagogical and creative processes in improvisation, composition, movement-based, and devised theatre. &nbsp; As a PhD student at the Theatre and Performance Studies program at Pitt, his current research interests revolve around exploring the relationship between movement (body) and architecture (space) in both artistic and daily life situations. In the field of performance studies, he is particularly interested in the relationship between queer bodies and urban space. He’s been a facilitator at the Experimental Center for Performing Arts at Sesi-SP, where he worked in depth on the improvisation technique Viewpoints. He was also a professor at Escola Móbile – where he taught the classes of Theater and Body in Motion. As complementary training, he participated in the intensive training of Suzuki and Viewpoints techniques at the SITI Company (NY), in 2019, in the Laboratoire d'Étude du Mouvement, under the coordination of Pascale Lecoq, at the École International de Théâtre Jacques Lecoq (Paris), in 2011, and in the Play Bauhaus workshop by Bauhaus Dessau Foundation researcher Torsten Blume, in 2013. Of his quite diverse professional-artistic experience, the script and direction of the videoarts The Landscape as Stage (2022), In the Country of Anesthesia (2020) and Nothing's Threat (2010); the acting in the play Tiros em Osasco (2016), directed by Yara de Novaes; and the co-direction and lighting design of the play Loucas de Pedra (2016), by Emilio Boechat – a play with which he won the awards for best show, direction and lighting design at the ACESC festival – are highlights. In the field of cultural management, a few of the main projects were the curatorship of the Projeto Encontros (2012/2013) of art in São Paulo subway stations; and the executive production of Concerto para João (2018), directed by Cassio Scapin, Bento Batuca (2018), directed by Luciana Ramanzini and Eduardo Leão and winner of the APCA award for best children's musical show, and also Krapp's Last Tape (2012), directed and performed by Robert Wilson. For the complete CV, please access LinkedIn. For academic curriculum, access Lattes (in Portuguese) or Orcid (in English). Doutorando em Teatro e Estudos da Performance na Universidade de Pittsburgh (2023-2028), Mestre em Artes Cênicas (2022) e Bacharel em Artes Cênicas – Direção Teatral (2010), ambos pela Escola de Comunicações e Artes da USP Arte-educador, ator, diretor de teatro e pesquisador brasileiro com diversas experiências profissionais. Seu foco é facilitar processos pedagógicos e criativos em improvisação, composição, e criação de trabalhos inéditos com foco em pesquisa de movimento. Como doutorando no programa de Teatro e Estudos da Performance na Universidade de Pittsburgh, seus atuais interesses de pesquisa giram em torno de explorar a relação entre movimento (corpo) e arquitetura (espaço) em situações artísticas e da vida cotidiana. No campo dos estudos da performance, está particularmente interessado na relação entre corpos queer e espaço urbano. Foi orientador do Núcleo Experimental de Artes Cênicas do Sesi-SP, onde trabalhou com profundidade a técnica de improvisação Viewpoints. Foi também professor da Escola Móbile – onde lecionou as disciplinas Teatro e Corpo em Movimento. Como formação complementar, participou do treinamento das técnicas Suzuki e Viewpoints na SITI Company (NY), do Laboratoire d’Étude du Mouvement, sob a coordenação de Pascale Lecoq, na École International de Théâtre Jacques Lecoq (Paris), e do workshop Play Bauhaus do pesquisador da Bauhaus Dessau Foundation Torsten Blume. De sua atuação bastante diversa, destacam-se o roteiro e direção das videoartes A Paisagem como Palco (2022), No País da Anestesia (2020) e A Ameaça do Nada (2010); a atuação na peça Tiros em Osasco (2016), com direção de Yara de Novaes; e a codireção e iluminação da peça Loucas de Pedra (2016), de Emilio Boechat, peça com a qual ganhou os prêmios de melhor espetáculo, direção e iluminação no festival da ACESC. No campo da gestão cultural, destacam-se seus trabalhos como curador do Projeto Encontros (2012/2013) de arte no Metrô de São Paulo; e produtor executivo das peças Concerto para João (2018), dirigida por Cassio Scapin, Bento Batuca (2018), dirigida por Luciana Ramanzini e Eduardo Leão e vencedora do prêmio APCA de melhor espetáculo musical infantil, e Krapp’s Last Tape (2012), dirigida e interpretada por Robert Wilson. Para o CV completo, acessar o LinkedIn. Para currículo acadêmico acessar o Lattes ou Orcid&nbsp; (em inglês). https://guilhermeyazbek.com/onStage-Pittsburgh-theatre-and-dance-reviews-2025 Mon, 08 Sep 2025 01:16:07 +0000 Guilherme Yazbek https://guilhermeyazbek.com/onStage-Pittsburgh-theatre-and-dance-reviews-2025 onStage Pittsburgh (2025-) Em março de 2025, tornei-me colaborador do site de crítica teatral independente onStage Pittsburgh. In March 2025, I became a contributor to the independent theater criticism website onStage Pittsburgh.onstagepittsburgh.com&nbsp; “Pittsburgh is a theater town. Our arts and culture feed our hearts and souls, drive the economy, and export talent and creativity like few places in the world. The hometown of F. Murray Abraham, Kyle Abraham, Christian Borle, Shirley Jones, Gene Kelly, Fred Kelly, Martha Graham, George S. Kaufman, Billy Porter, Gertrude Stein, Fritz Weaver, and August Wilson, and many others. Pittsburgh is also the site of two of the world’s top theater and dance university programs. Pittsburghers are the beneficiaries of world-class arts and entertainment, and that’s where the conversation starts. Like every city in America, we are reckoning with BIPOC, LGBTQ+, and abilities representation. Sharing those voices will be of paramount importance here.” (about onStage Pittsburgh) CRÍTICAS PUBLICADAS / PUBLISHED REVIEWS:Five Bodies, One Staircase: Jonathan González’s ‘The Strikebreakers’ at Carnegie Museum of Art [The Strikebreakers, directed by&nbsp;Jonathan González –&nbsp;59th Carnegie International, August 2026]https://onstagepittsburgh.com/2026/08/15/review-five-bodies-one-staircase-jonathan-gonzalezs-the-strikebreakers-at-carnegie-museum-of-art/&nbsp; At Arm’s Length: Resonance Works’ ‘Roméo et Juliette’[Roméo et Juliette, Charles Gounod’s opera, directed by Justin Lucero for Resonance Works (artistic director and conductor: Maria Sensi Sellner) – New Hazlett Theater, June 2026]https://onstagepittsburgh.com/2026/06/20/review-at-arms-length-resonance-works-romeo-et-juliette/ The Light Without the Longing: Broadway’s ‘The Great Gatsby – A New Musical’ at the Benedum [The Great Gatsby – A New Musical, directed by Marc Bruni – Benedum Center, May 2026]https://onstagepittsburgh.com/2026/05/27/review-the-light-without-the-longing-broadways-the-great-gatsby-a-new-musical-at-the-benedum/ When Ballet Makes Us Laugh: Pittsburgh Ballet Theatre’s ‘A Midsummer Night’s Dream’[A Midsummer Night’s Dream, Pittsburgh Ballet Theatre – Benedum Center, May 2026]https://onstagepittsburgh.com/2026/05/16/review-when-ballet-makes-us-laugh-pittsburgh-ballet-theatres-a-midsummer-nights-dream/&nbsp; Waiting for Movement: News of a Difference in Beth Corning’s ‘Foolish Assumptions’ [Foolish Assumptions, by Beth Corning –&nbsp;George Rowland White Theater, May 2026]https://onstagepittsburgh.com/2026/05/15/review-waiting-for-movement-news-of-a-difference-in-beth-cornings-foolish-assumptions/&nbsp; Perpetual Permutation: Exhaustion in Jeanine Durning’s ‘The Play’ [The Play, by Keanine Durning – informal showing at Attack Theatre, May 2026] https://onstagepittsburgh.com/2026/05/11/review-perpetual-permutation-exhaustion-in-jeanine-durnings-the-play/ Disidentifying on Stage: ‘A Conversation’ in Progress with LaTrea Derome’ [A Conversation,&nbsp;by LaTrea Derome, in Freshworks, an artistic residency at the Kelly Strayhorn Theater – KST Alloy Studios, May 2026]https://onstagepittsburgh.com/2026/05/03/review-disidentifying-on-stage-a-conversation-in-progress-with-latrea-derome/ Feeding Desire: On ‘Little Shop of Horrors’ and the Logic of the Pact [Little Shop of Horrors, directed by&nbsp;Michael Campayno —&nbsp;Point Park University’s Pittsburgh Playhouse, April 2026]https://onstagepittsburgh.com/2026/04/30/review-feeding-desire-on-little-shop-of-horrors-and-the-logic-of-the-pact/ Where the Earth Meets the Sky: On ‘Grappling’ and Dancing Otherwise[Grappling, conceived by Erin Kouwe and directed by Treasure Treasure —&nbsp;Community Supported Art Performance Series (CSA), New Lazlett Theatre, April 2026]https://onstagepittsburgh.com/2026/04/17/review-where-the-earth-meets-the-sky-on-grappling-and-dancing-otherwise/ Intensity Without Resolution: Pittsburgh Ballet Theatre’s ‘Spring Mix’ [Spring Mix, Pittsburgh Ballet Theatre — August Wilson African American Cultural Center, April 2026]&nbsp;https://onstagepittsburgh.com/2026/04/11/intensity-without-resolution-pittsburgh-ballet-theatres-spring-mix/&nbsp; Performing Improvisation: The Pleasures and Limits of Laughter – The Second City’s ‘Laugh Harder, Not Smarter’ at City Theatre [Laugh Harder, Not Smarter,&nbsp;The Second City – City Theatre, April 2026]https://onstagepittsburgh.com/2026/04/10/performing-improvisation-the-pleasures-and-limits-of-laughter-the-second-citys-laugh-harder-not-smarter-at-city-theatre/ ‘Eternal Beauty’ — Texture Contemporary Ballet at 15[Eternal Beauty, Texture Contemporary Ballet – New Hazlett Theater, March 2026]https://onstagepittsburgh.com/2026/03/21/eternal-beauty-texture-contemporary-ballet-at-15/ ‘Beauty and the Beast’: A Familiar Tale, Reimagined on Broadway at the Benedum [Broadway’s new&nbsp;Beauty and the Beast in national tour, directed by Matt West – Benedum Center, February 2026]https://onstagepittsburgh.com/2026/02/25/beauty-and-the-beast-a-familiar-tale-reimagined-on-broadway-at-the-benedum/&nbsp; The Optimism of Annie — and Why We’re Still Waiting for Tomorrow [Pittsburgh Musical Theater’s Annie, directed by&nbsp;Quinn Patrick Shannon – Byham Theater, February 2026]https://onstagepittsburgh.com/2026/02/21/review-the-optimism-of-annie-and-why-were-still-waiting-for-tomorrow/&nbsp; Bringing a Tale as Old as Time Back to Pittsburgh, an Interview with Grace Marie Rusnica[Interview with a cast member, before the show arrives in town. New Disney’s Beauty and the Beast, national tour, February 2026]https://onstagepittsburgh.com/2026/02/13/bringing-a-tale-as-old-as-time-back-to-pittsburgh-an-interview-with-grace-marie-rusnica/&nbsp; Washing Dishes, Making History: Friendship, Labor, and Black Life on Stage at City Theatre [Malcolm X and Redd Foxx Washing the Dishes at Jimmy’s Shack in Harlem,&nbsp;by Jonathan Norton, directed by&nbsp;Dexter J. Singleton – City Theatre, January 2026]https://onstagepittsburgh.com/2026/01/24/review-washing-dishes-making-history-friendship-labor-and-black-life-on-stage-at-city-theatre/ ‘Intersections’: Dance as Bodies Writing in Space [Intersections, by Maria Caruso’s Bodyography collective (multiple choreographers) – Kelly Strayhorn Theater, November 2025]https://onstagepittsburgh.com/2025/11/23/review-intersections-dance-as-bodies-writing-in-space/&nbsp; The Emotional Force and Contradictions of ‘Next to Normal’&nbsp; [Next to Normal, by the&nbsp;Riverfront Theater Company, directed by&nbsp;Surya Ravindran –&nbsp;Allegheny RiverTrail Park, November 2025] https://onstagepittsburgh.com/2025/11/17/review-the-emotional-force-and-contradictions-of-next-to-normal/ Pittsburgh Ballet Theatre’s ‘Dracula’ Delivers a Vividly Told Story with Visual Power and Dramatic Performances [Dracula, directed and choreographed by Michael Pink, with the Pittsburgh Ballet Theatre – Benedum Center, October 2025]https://onstagepittsburgh.com/2025/11/01/review-pittsburgh-ballet-theatres-dracula-delivers-a-vividly-told-story-with-visual-power-and-dramatic-performances/&nbsp; ‘The Rocky Horror Show’ and the Subversive Joy of Queer Theater [Richard O’Brien’s The Rocky Horror Show,&nbsp;directed by Mark Fleischer – Greer Cabaret, October 2025] https://onstagepittsburgh.com/2025/10/18/review-the-rocky-horror-show-and-the-subversive-joy-of-queer-theater/ ‘Baquiné’: A Love Letter to Theater and the Trans Art of Becoming [Baquiné, by Moire del Carmen, in Freshworks, an artistic residency at the Kelly Strayhorn Theater – KST Alloy Studios, October 2025]https://onstagepittsburgh.com/2025/10/04/review-baquine-a-love-letter-to-theater-and-the-trans-art-of-becoming/ ‘In This Moment’: Texture Contemporary Ballet at Fifteen, Dancing Beyond Boundaries of Style [In This Moment, Texture Contemporary Ballet – New Hazlett Theater, September 2025]https://onstagepittsburgh.com/2025/09/20/review-in-this-moment-texture-contemporary-ballet-at-fifteen-dancing-beyond-boundaries-of-style/ ‘A Beautiful Noise, The Neil Diamond Musical’ Entertains and Delivers What Broadway Promises [A Beautiful Noise, The Neil Diamond Musical – Benedum Center, September 2025]https://onstagepittsburgh.com/2025/09/10/a-beautiful-noise-the-neil-diamond-musical-entertains-and-delivers-what-broadway-promises/ ‘Campfire Stories’, an Ode to Americanness (Or Dang! There’s marshmallow smeared on my beard!) [Campfire Stories – Vigilance Theater Group; at Camp Guyasuta, September 2025]&nbsp;https://onstagepittsburgh.com/2025/09/06/review-campfire-stories-an-ode-to-americanness-or-dang-theres-marshmallow-smeared-on-my-beard/ ‘Coach and Mrs. Jagoff’ and the Redemption of the White Man Who Didn’t Know How to Talk About His Feelings [Coach and&nbsp;Mrs. Jagoff –&nbsp;Iron Horse Theater; August 2025]https://onstagepittsburgh.com/2025/08/09/review-coach-and-mrs-jagoff-and-the-redemption-of-the-white-man-who-didnt-know-how-to-talk-about-his-feelings/&nbsp; ‘Speed: The Musical’—A Theatrical Ride You Don’t Want to End! [Speed: The Musical – The Glitterbox Theater; March 2025]https://onstagepittsburgh.com/2025/03/28/review-speed-the-musical-a-theatrical-ride-you-dont-want-to-end/&nbsp; https://guilhermeyazbek.com/AddVerse-2023 Thu, 18 Sep 2025 19:50:07 +0000 Guilherme Yazbek https://guilhermeyazbek.com/AddVerse-2023 AddVerse (2023-) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="1039" height="1124" width_o="1039" height_o="1124" data-src="https://freight.cargo.site/t/original/i/c161a353f546603be7af420d09f11b2b11c8736f39c5d35a310610130c45a6d5/Logo-ADDVERSE-fundo-claro.png" data-mid="238400114" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/c161a353f546603be7af420d09f11b2b11c8736f39c5d35a310610130c45a6d5/Logo-ADDVERSE-fundo-claro.png" /> AddVerse is a transcultural, multilingual, and intergenerational poetry student organization at the University of Pittsburgh that celebrates both written and spoken poetic traditions. Inspired by Audre Lorde’s words—“Poetry is not a luxury. It is a vital necessity of our existence.”—AddVerse believes in poetry as a force for personal and social transformation. Since its founding in 2016 by poet and scholar Luana Reis, the group has fostered a vibrant space for creativity, solidarity, and community, hosting regular gatherings, participating in campus and off-campus events, and curating unique poetic experiences. Through shared creativity and collective joy, AddVerse continues to build a world rooted in poetry, connection, and belonging.By a remarkable coincidence, I met Luana on day zero of my stay in Pittsburgh for my doctoral studies. I soon began attending AddVerse meetings and became increasingly involved. In my very first semester with the group, I was appointed Events Coordinator, and when the founder, Luana Reis, stepped down (after moving from Pittsburgh to teach at Princeton), I assumed the role of president of this student organization—a position I still hold today. As president, my responsibilities—with the support of the board—include both organizational tasks, such as university registration, fundraising, and determining the timing and location of meetings, as well as programming duties. This involves designing the format of our weekly meetings and planning and producing our semesterly events. Our traditional events include Black Consciousness Day in November (aligned with the celebration in Brazil) and World Poetry Day in March. instagram.com/add_verse <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/c6753dea7150875c0c3f775b7ca917f2007db34a513d0b9d2ef584f473d47f56/20251114_LT_Black-Consciousness-Day-34.jpg" data-mid="244609254" border="0" src="https://freight.cargo.site/w/1000/i/c6753dea7150875c0c3f775b7ca917f2007db34a513d0b9d2ef584f473d47f56/20251114_LT_Black-Consciousness-Day-34.jpg" /> <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/90946b675c2da252bd6725f09d3945fd27c1dc84ed8d7ff091a9099dfe41936e/20251114_LT_Black-Consciousness-Day-57.jpg" data-mid="244609257" border="0" src="https://freight.cargo.site/w/1000/i/90946b675c2da252bd6725f09d3945fd27c1dc84ed8d7ff091a9099dfe41936e/20251114_LT_Black-Consciousness-Day-57.jpg" /> <img width="6016" 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data-src="https://freight.cargo.site/t/original/i/ba1f055ce0d24ade8ea05d34c5c3972bf9603e046674ab0a428a9532428455c4/20231117_JW_6351_AddVerse_0684.jpeg" data-mid="238400574" border="0" src="https://freight.cargo.site/w/1000/i/ba1f055ce0d24ade8ea05d34c5c3972bf9603e046674ab0a428a9532428455c4/20231117_JW_6351_AddVerse_0684.jpeg" /> <img width="4928" height="3280" width_o="4928" height_o="3280" data-src="https://freight.cargo.site/t/original/i/31f082cc1fda6f6be255dec35859aeb8c565d9918dd60c4312318f94cb048266/20231117_JW_6351_AddVerse_0707.jpeg" data-mid="238400575" border="0" src="https://freight.cargo.site/w/1000/i/31f082cc1fda6f6be255dec35859aeb8c565d9918dd60c4312318f94cb048266/20231117_JW_6351_AddVerse_0707.jpeg" /> https://guilhermeyazbek.com/Artigo-sobre-Article-on-Robert-Morris-2025 Sun, 07 Dec 2025 00:09:19 +0000 Guilherme Yazbek https://guilhermeyazbek.com/Artigo-sobre-Article-on-Robert-Morris-2025 The Successful Disaster of Bodyspacemotionthings, by Robert Morris: 1971 vs 2009 (2025) O bem-sucedido desastre de Bodyspacemotionthings, de Robert Morris: 1971 vs 2009 Revista Ars (Departamento de Artes Plásticas da USP), São Paulo v. 23, 2025&nbsp; Universidade de São Paulo DOI: https://doi.org/10.11606/issn.2178-0447.ars.2025.222980&nbsp;thumbnail image:&nbsp;Bodyspacemotionthings,1971, Robert Morris. Tate Gallery, London. © 2025 Robert Morris / Licensed by Artists Rights Society (ARS), New York. Foto: © Tate. RESUMO Neste artigo apresenta-se uma leitura crítica da obra Bodyspacemotionthings, parte integrante da primeira exposição de Robert Morris na Europa, em 1971. A aspiração do artista por uma obra de arte que engajasse corporal e cinestesicamente os visitantes é aqui analisada como exemplar da virada performativa da arte do período. Para a análise da obra e de sua potência disruptiva, é levada em conta a produção escultóri-ca de Morris nos anos 1960 e seu envolvimento com a cena da dança pós-moderna. Por fim, reflete-se sobre a remontagem da obra em 2009, questionando uma possível perda de sua força crítica original. Palavras-chave: Arte participativa; Escultura; Instalação; Pós-modernismo; Virada performativa.ABSTRACT This article presents a critical reading of the work Bodyspacemotionthings, part of Robert Morris’s first European exhibition in 1971. The artist’s aspiration to create an artwork that would engage visitors corporeally and kinesthetically is analyzed here as exemplary of the period’s performative turn in art. To analyze the work and its disruptive potential, the article considers Morris’s sculptural production from the 1960s and his involvement with the postmodern dance scene. Finally, it reflects on the 2009 restaging of the work, questioning a potential loss of its original critical force. Keywords: Installation; Participatory Art; Performative Turn; Postmodernism; Sculpture. https://guilhermeyazbek.com/Pittsburgh-as-a-Stage-2025 Tue, 02 Sep 2025 13:54:07 +0000 Guilherme Yazbek https://guilhermeyazbek.com/Pittsburgh-as-a-Stage-2025 Pittsburgh as a Stage (2025) “With clarity of rhythmic structure, grace forms a duality. Together they have a relation like that of body and soul. Clarity is cold, mathematical, inhuman, but basic and earthy. Grace is warm, incalculable, human, opposed to clarity, and like the air. Grace is not here used to mean prettiness; it is used to mean the play with and against the clarity of the rhythmic structure. The two are always present together in the best works of the time arts, endlessly, and life-givingly, opposed to each other.” John Cage, “Grace and Clarity” — “Four Statements on the Dance”. In Silence: Lectures and writings by John Cage. Wesleyan University Press, 1961. [Portuguese below.] To me, every artistic work is a work in progress. We open the creative process in an encounter with the audience, and the piece keeps unfolding—whether in practice or in our minds. This work, however, may be even more in process or in progress than others, partly by intention, partly by the randomness of chance, by the circumstances of life at this moment. &nbsp; This piece is an heir to Duchamp’s found objects and to the ways John Cage expanded that philosophy and methodology into other artistic languages. It reflects the urban space—and, more specifically, the urban space of Pittsburgh, and even more precisely, of the Pittsburgh I inhabit. It’s about recognizing patterns and movement, rhythms, and flows in the landscape and forms around us. Everything is repetition and difference. Continuity and rupture. Where does my body end and space begin? Where does the glass stop and the steel come in? If I breathe the air that’s floating outside, feeding my cells with oxygen’s tide, am I not also part of the space I’m within? Are we not also city, flower, building, sin? Emotion, pleasure, pollution, and grace—are we not also asphalt, glass, and place? The debut of this work took the form of a participatory video art piece, shared with nine other participants during the seminar Creative Scholarship: Ethics and Methodologies, taught by Dr. Qianru Li in the Theatre and Performance Studies PhD program at the University of Pittsburgh. In this context, I presented the work as follows: This work will be created using something like the chance operations John Cage advocated. This is at first a soundless video. The fragments of found sounds, each one minute long, were distributed to you through a chance operation. This piece now ends—or begins, or continues—with your participation as sound designers, co-creators of this urban-landscape-turned-art. Each of you may contribute with your assigned audio once. Press play whenever you feel moved to, and let the sound flow—at full volume—from beginning to end. Follow your intuition and hit play when it feels right—listen to the impulses of your creative force and allow the landscape of images and sounds to take shape between chance and choice. Overlaps and silences are, and always will be, welcome. Let the journey unfold. Follow the flow and see where it takes us. After this initial, improvised version of the work, I created a version with a soundtrack, making use of the same short found sound pills: nine one-minute tracks captured by me during my walks through the city. -&gt; I’D RECOMMEND WATCHING THE VIDEO WITH HEADPHONES ...&nbsp; “Com clareza da estrutura rítmica, a graça forma uma dualidade. Juntas, elas têm uma relação como a de corpo e alma. A clareza é fria, matemática, inumana, mas básica e terrena. A graça é quente, incalculável, humana, oposta à clareza, e como o ar. Graça não é aqui usada para significar beleza; é usada para significar o jogo com e contra a clareza da estrutura rítmica. As duas estão sempre presentes juntas nas melhores obras das artes do tempo, infinitamente, e vitalmente, opostas uma à outra.” John Cage, “Grace and Clarity” — “Four Statements on the Dance”. In Silence: Lectures and writings by John Cage. Wesleyan University Press, 1961. [Existe a tradução deste livro para o português. Mas, esta tradução foi feita por mim — eu estou sem o livro aqui.] Para mim, toda obra artística é uma obra em processo. Abrimos o processo criativo em um encontro com a plateia, e o trabalho continua se desdobrando—seja na prática ou em nossas mentes. Este trabalho, no entanto, pode estar ainda mais em processo ou em progresso que outros, parcialmente por intenção, parcialmente pela aleatoriedade do acaso, pelas circunstâncias da vida neste momento. Esta peça é herdeira dos objetos encontrados (ou ready-mades) de Duchamp e das formas como John Cage expandiu essa filosofia e metodologia em outras linguagens artísticas. Ela reflete o espaço urbano—e, mais especificamente, o espaço urbano de Pittsburgh, e ainda mais precisamente, da Pittsburgh que eu habito. Trata-se de reconhecer padrões e movimento, ritmos e fluxos na paisagem e nas formas ao nosso redor. Tudo é repetição e diferença. Continuidade e ruptura. Onde meu corpo termina e o espaço começa? Onde o vidro para e o aço surge? Se respiro o ar que flutua lá fora, alimentando minhas células com a maré de oxigênio, não sou eu também parte do espaço em que estou? Não somos nós também cidade, flor, prédio, pecado? Emoção, prazer, poluição e graça—não somos nós também asfalto, vidro e lugar? A estreia deste trabalho se deu como uma videoarte participativa, compartilhada com outras nove pessoas, na ocasião do seminário Creative Scholarship: Ethics and Methodologies, lecionado por Dr. Qianru Li, no programa de pós-graduação em Teatro e Estudos da Performance da Universidade de Pittsburgh. Neste contexto, assim apresentei o trabalho: Este trabalho será criado usando algo como as operações de acaso que John Cage defendia. Este é, a princípio, um vídeo sem som. Os fragmentos de sons encontrados (found sounds), cada um com um minuto de duração, foram distribuídos a vocês por meio de uma operação de acaso. Esta peça agora termina—ou começa, ou continua—com a participação de vocês como designers de som, co-criadores desta paisagem-urbana-feita-arte. Cada um de vocês pode contribuir com seu áudio designado uma vez. Pressione play quando se sentir movido a fazê-lo, e deixe o som fluir—em volume máximo—do início ao fim. Sigam sua intuição e apertem play quando parecer certo—ouçam os impulsos de sua força criativa e permitam que a paisagem de imagens e sons tome forma entre o acaso e a escolha. Sobreposições e silêncios são, e sempre serão, bem-vindos. Deixem a jornada se desdobrar. Sigam o fluxo e vejam aonde este nos leva. Passada esta versão inicial e improvisada do trabalho, eu criei uma versão com a camada sonora, fazendo uso das mesmas pílulas de sons encontrados: nove faixas de um minuto capturadas por mim em minhas andanças pela cidade. -&gt; RECOMENDA-SE ASSISTIR AO VÍDEO COM FONES DE OUVIDO https://guilhermeyazbek.com/JamLab-2024 Mon, 19 Feb 2024 19:37:17 +0000 Guilherme Yazbek https://guilhermeyazbek.com/JamLab-2024 JamLab (2024) <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/80554ed40f8cc461bc291d34b5771682f8e6f89b3a530ed99f76e1c4e3c8565e/JamLab-folks.jpg" data-mid="204999167" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/80554ed40f8cc461bc291d34b5771682f8e6f89b3a530ed99f76e1c4e3c8565e/JamLab-folks.jpg" /> JamLab foi um workshop de improvisação em música e movimento, uma parceria entre Guilherme M. Yazbek (doutorando no programa de Teatro e Estudos da Performance) e Prof. Dr. John Bagnato do departamento de música da Universidade de Pittsburgh. O workshop ocorreu no contexto da disciplina de Improvisação em Jazz, lecionada por Bagnato, na graduação de música da universidade. JamLab was an improvisation workshop in music and movement, a partnership between Guilherme M. Yazbek (PhD student in the Theatre and Performance Studies program) and Dr. John Bagnato, a professor at the music department at the University of Pittsburgh. The workshop took place in the context of the Jazz Improvisation undergrad course, taught by Bagnato. <img width="842" height="1191" width_o="842" height_o="1191" data-src="https://freight.cargo.site/t/original/i/ad268898db1bbb6e07344f1c323c39397381ba1c95e0d5d4a2e74ed1f0e22450/JamLab-RGB.jpg" data-mid="204999054" border="0" src="https://freight.cargo.site/w/842/i/ad268898db1bbb6e07344f1c323c39397381ba1c95e0d5d4a2e74ed1f0e22450/JamLab-RGB.jpg" /> https://guilhermeyazbek.com/Alguem-ja-teve-um-orgasmo-aqui-2023 Sun, 01 Dec 2024 23:48:15 +0000 Guilherme Yazbek https://guilhermeyazbek.com/Alguem-ja-teve-um-orgasmo-aqui-2023 Alguém já teve um orgasmo aqui (2023-) Uma performance-adesivo que desafia os limites entre o privado e o público, instaurando uma mensagem libidinosa em meio aos espaços públicos e paisagens urbanas brasileiras. Longe de documentar fatos, a performance provoca a imaginação e a dúvida, abrindo espaço para possibilidades com apenas seis palavras. Tiragem: 500 adesivos. Performance ainda em andamento.A sticker-performance that challenges the boundaries between private and public, introducing a libidinous message into Brazilian public spaces and urban landscapes. Far from documenting facts, the performance sparks imagination and doubt, opening room for possibilities with just six words: “Someone has had an orgasm here“. Edition: 500 stickers. Performance still ongoing. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5496ac7508cc755dec20aac50b97ba9b85462749d75e0c9d91a49f0330a28ec9/IMG_8527-3.jpeg" data-mid="222715081" border="0" src="https://freight.cargo.site/w/1000/i/5496ac7508cc755dec20aac50b97ba9b85462749d75e0c9d91a49f0330a28ec9/IMG_8527-3.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e7c40c26a2a42713ebc817bd254a2be2435e43bf7974cbf9ef9ea5d6a26ceedc/IMG_9405-3.jpeg" data-mid="222715085" border="0" src="https://freight.cargo.site/w/1000/i/e7c40c26a2a42713ebc817bd254a2be2435e43bf7974cbf9ef9ea5d6a26ceedc/IMG_9405-3.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/492707086ee2af819c95082cdf213e34df749fb8369f9b6580bdc789a273ad6d/IMG_9489-3.jpeg" data-mid="222715087" border="0" src="https://freight.cargo.site/w/1000/i/492707086ee2af819c95082cdf213e34df749fb8369f9b6580bdc789a273ad6d/IMG_9489-3.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/1c3630e6b8fe541955a474dd402ac0cce143c160c2debc5d456e21d94760dcf2/IMG_5105-3.jpeg" data-mid="222715080" border="0" src="https://freight.cargo.site/w/1000/i/1c3630e6b8fe541955a474dd402ac0cce143c160c2debc5d456e21d94760dcf2/IMG_5105-3.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/095a113c7aff1b0c3b8ac0784a855cb3824350c6e0d490cbd66a0afcbb9306cc/IMG_8529-3.jpeg" data-mid="222715082" border="0" src="https://freight.cargo.site/w/1000/i/095a113c7aff1b0c3b8ac0784a855cb3824350c6e0d490cbd66a0afcbb9306cc/IMG_8529-3.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/4baad1e4aaee08d659230af59391ee5f8198271dc3ac9b476a506226282f74a5/IMG_9487-3.jpeg" data-mid="222715086" border="0" src="https://freight.cargo.site/w/1000/i/4baad1e4aaee08d659230af59391ee5f8198271dc3ac9b476a506226282f74a5/IMG_9487-3.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/aa2d08d12d502d26ee3af03a04532fe49cd6a4d76d285510a9ca877de827cf4c/IMG_0183-3.jpeg" data-mid="222715079" border="0" src="https://freight.cargo.site/w/1000/i/aa2d08d12d502d26ee3af03a04532fe49cd6a4d76d285510a9ca877de827cf4c/IMG_0183-3.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/8d2774fdba0da1d6e0159959f419e7231dd4a115d14eb391f1e54b89e308b84b/IMG_0180-3.jpeg" data-mid="222715077" border="0" src="https://freight.cargo.site/w/1000/i/8d2774fdba0da1d6e0159959f419e7231dd4a115d14eb391f1e54b89e308b84b/IMG_0180-3.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/159ffbce9ba96c132dc53ad920699fdc0cc315c5730ac6ae40cbb4b0a46365a1/IMG_0182-3.jpeg" data-mid="222715078" border="0" src="https://freight.cargo.site/w/1000/i/159ffbce9ba96c132dc53ad920699fdc0cc315c5730ac6ae40cbb4b0a46365a1/IMG_0182-3.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/40333139f5ae9b0e2eab2b7ee99dfb564e1093b15879df56abf6b9000a824752/IMG_8937-3.jpeg" data-mid="222715083" border="0" src="https://freight.cargo.site/w/1000/i/40333139f5ae9b0e2eab2b7ee99dfb564e1093b15879df56abf6b9000a824752/IMG_8937-3.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/ee87be5b26b4c487fdfbc4868e2e46e4839de733b3adda5f574b4c3e93d9d2d3/IMG_8939-3.jpeg" data-mid="222715084" border="0" src="https://freight.cargo.site/w/1000/i/ee87be5b26b4c487fdfbc4868e2e46e4839de733b3adda5f574b4c3e93d9d2d3/IMG_8939-3.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/4c33443cb0d20b7079ebb032c4ec21aa3005fb2ec29ae1e7dd5089940d5c1f5a/IMG_0088-3.jpeg" data-mid="222715076" border="0" src="https://freight.cargo.site/w/1000/i/4c33443cb0d20b7079ebb032c4ec21aa3005fb2ec29ae1e7dd5089940d5c1f5a/IMG_0088-3.jpeg" /> https://guilhermeyazbek.com/A-Paisagem-como-Palco-2022 Wed, 28 Sep 2022 21:55:52 +0000 Guilherme Yazbek https://guilhermeyazbek.com/A-Paisagem-como-Palco-2022 A Paisagem como Palco (2022) Projeto de performance e vídeo idealizado e dirigido por mim, no contexto da 2a chamada de Processos Criativos a Distância do Goethe Institut (América Latina). O experimento artístico baseou-se na famosa Bauhausbühne, projeto da Bauhaus para explorações em torno de um novo teatro, e propôs o desenvolvimento de três “arquiteturas ambulantes” para serem vividas e performadas em locais públicos, em paisagens características das cidades do projeto: Atibaia e São Paulo, no Brasil, e Santiago, no Chile.&nbsp; [Eu sou o terceiro e último performer a aparecer.] The Landscape as Stage Performance and video project idealized and directed by me, in the context of the 2nd Call for Creative Processes from Distance of the Goethe Institut (Latin America). Our artistic experiment was based on the Bauhausbühne, Bauhaus' performance experiments after a new theater, and proposed three "walking architectures" to be lived and performed in local publics in characteristic landscapes of the three cities from the project: Atibaia and São Paulo, in Brazil, and Santiago, in Chile. [I am the third and last performer on the video.] -&gt;&nbsp;project page at Goethe Institut website TEASERS / CREATIVE PROCESS: https://guilhermeyazbek.com/Dissertacao-de-mestrado-MA-thesis-2022 Fri, 30 Sep 2022 21:57:25 +0000 Guilherme Yazbek https://guilhermeyazbek.com/Dissertacao-de-mestrado-MA-thesis-2022 Instalação e cena na obra de Laura Vinci: Máquinas do Mundo, entre materialidades e sentidos Dissertação de mestrado no Programa de Pós-graduação em Artes Cênicas da Escola de Comunicações e Artes da Universidade de São Paulo. Março de 2020 a setembro de 2022. Orientador: Prof. Dr. Luiz Fernando Ramos Installation and scene in the work of Laura Vinci: Machines of the World, between materialities and meanings MA thesis in Performing Arts– School of Communications and Arts, University of São Paulo. March 2020 to September 2022. Advisor:&nbsp;Prof. Dr. Luiz Fernando Ramos Baixe a dissertação aqui. Download the thesis here.thumbnail image: Wellington Duarte in Máquinas do Mundo (Laura Vinci / mundana companhia) at Sesc Pinheiros, São Paulo; photo of Renato Mangolin RESUMO Esta dissertação investiga a produção artística da paulistana Laura Vinci. Mais conhecida como artista visual, Vinci atua também como cenógrafa desde a sua participação em Cacilda! (1998), do Teatro Oficina. O estudo inicia-se pelo exame de uma seleção de instalações da artista – dentre elas sua participação no Arte/Cidade III (1997) – e das cenografias realizadas por ela entre os anos 1998 e 2018. No percurso, são reconhecidos processos de trabalho, temáticas e materialidades que se tornaram recorrentes na práxis artística de Vinci. Em seguida, o estudo aprofunda-se no longo processo de criação de Máquinas do Mundo da mundana companhia, a partir do poema “A Máquina do Mundo”, de Carlos Drummond de Andrade, somado a trechos de Memórias Póstumas de Brás Cubas, de Machado de Assis, e de A paixão segundo G.H., de Clarice Lispector. Por meio de entrevistas e da análise de textos, fotografias e vídeos gerados no processo, realiza-se uma crítica genética daquela instalação performativa que teve em Vinci um dos polos de coordenação. O núcleo de arte da mundana companhia, do qual Laura Vinci é integrante, empreendeu, no caso de Máquinas do Mundo, um processo de criação radicalmente horizontal: não hierárquico, pois sem a figura de um diretor, e objetivando reunir múltiplas linguagens – literatura, materialidades, figurinos, iluminação, trilha sonora e atuação – em fricção e contaminação. Este genuíno work in progress é reconstituído à maneira genética em todas as suas etapas, com reflexões tanto estéticas quanto éticas. Por fim, analisa-se em detalhes a encenação no contexto das apresentações ocorridas no Sesc Pinheiros, em São Paulo, em 2018, o que enseja concluir com reflexão acerca de uma possível cena-paisagem ali configurada, de qualidade não-antropocêntrica. Colaboram na linha de raciocínio apresentada ao longo da dissertação pensamentos advindos de artistas e teóricos como John Dewey, Michael Fried, Josette Féral, Edmund Burke, Anne Cauquelin, Marcel Duchamp, Robert Morris, Gertrude Stein, Heiner Goebbels, José Miguel Wisnik, Renato Cohen, Maria Clara Ferrer e Eduardo dos Santos Andrade, dentre outros. Palavras-chave: instalação; cenografia; metodologia de ensaio; mundana companhia; DrummondABSTRACT This thesis investigates the artistic production of Laura Vinci, a Brazilian from São Paulo. Best known as a visual artist, Vinci has also worked as a set designer since her participation in Cacilda! (1998), from Teatro Oficina. The study begins by examining a selection of the artist’s installations–including her participation in Arte/Cidade III (1997)–and the stage sceneries done by her between 1998 and 2018. Along the way, work processes, themes and materialities that have become recurrent in Vinci’s artistic practice are recognized. Then, the study delves into the long process of creation of Máquinas do Mundo by mundana companhia [mundane company], based on the poem “The Machine of the World”, by Carlos Drummond de Andrade, and excerpts from The Posthumous Memoirs of Brás Cubas, by Machado de Assis, and from The Passion According to G.H., by Clarice Lispector. Through interviews and the analysis of texts, photographs and videos generated in the process, a genetic critique of that performative installation–that had in Vinci a coordination pole–is carried out. The creative team of mundana companhia, of which Laura Vinci is a member, undertook, in the case of Máquinas do Mundo, a radically horizontal creation process: non-hierarchical (without the figure of a director) and aiming to bring together multiple languages–literature, materialities, costumes, lighting, soundtrack and also acting–in friction and contamination. This genuine work in progress is genetically reconstituted in all its stages, with both aesthetic and ethical reflections. Finally, the staging is analyzed in detail in the context of the presentations that took place at Sesc Pinheiros, in São Paulo, in 2018; which leads to a reflection on a possible landscape play configured there, of non-anthropocentric quality. Ideas coming from numerous artists and theorists collaborated on the line of thought presented throughout the dissertation, such as John Dewey, Michael Fried, Josette Féral, Edmund Burke, Anne Cauquelin, Marcel Duchamp, Robert Morris, Gertrude Stein, Heiner Goebbels, José Miguel Wisnik, Renato Cohen, Maria Clara Ferrer and Eduardo dos Santos Andrade, among others. Keywords: installation; stage design; rehearsal methodology; mundana companhia; Drummond