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Globo para helio1/9/2023 The EBA-UFRJ was still based in downtown Rio de Janeiro, where the National Museum of Fine Arts is now located. The work of the Russian Vsevolod Meyerhold (1874-1940) and the Germans Erwin Piscator (1893-1966) and Walter Gropius (1883-1969), are examples of this progression.Įichbauer and Gonçalves engaged together in teaching activities at the School of Fine Arts of the Federal University of Rio de Janeiro (EBA-UFRJ) during the early 1970s, in what was then the newly-established degree in Scenography and Costume Design. It was also the continuation of an artistic progression in which theater and cinema coexist, and towards which Eichbauer was inclined. Álbum de família made possible the application of the experience gained from Josef Svoboda concerning the use of projected images in movement as part of the theater set: the cast acted with each other, and with the projected images. Few studies have been made of these courses, but they remain significant, given that for Gonçalves they represented a continuation - albeit with less intensity - of his artistic-pedagogical work with the Bahia Theater School, 4 and for Eichbauer the beginning of his own artistic-pedagogical activities, which would later develop their own characteristics in the 1970s, following the death of Gonçalves. In that same year, at the Ateneo de Caracas, in Venezuela, they staged the work Álbum de família, by Nelson Rodrigues, and once again organized educational activities in parallel with the theatrical production. In 1968, the production of Oscar Wilde’s Salomé –staged at the MAM-RJ– opened the museum’s cycle of theatrical activities and, in parallel with the theatrical season, Gonçalves and Eichbauer developed pedagogical activities in the MAM School Block. Of the eight theatrical shows put on by Gonçalves and Eichbauer, 3 two are notable for the fact that the two artists gave joint theater courses during the productions. 1 From 1967 to 1971, he was associated with the theater director, professor, critic and scenographer Martim Gonçalves (1919-1973), 2 who was cited by Eichbauer as the most Brazilian of the directors with whom he worked, given his profound love for his country and connoisseurship of the “breadth and richness” of Brazilian culture (Eichbauer, 2006, p. Upon his return to Brazil, following his study of geometric abstractionism in Prague and his sojourn in Cuba, which injected tropical color into his work, Helio Eichbauer worked on projects including the set design for the show O rei da vela, by Oswald de Andrade, in 1967, with José Celso Martinez Corrêa and the Teatro Oficina, in what was a theatrical landmark of tropicalismo. In 1966 he spent time in Cuba, where he was a member of the jury of the Latin American Theater Festival, promoted by the Casa de las Américas, and where he worked with the Teatro Estudio, touring to several theaters on the island with a production of La noche de los asesinos, by José Triana. Helio Eichbauer recounts in his book Cartas de Marear - impressões de voyagem, caminhos da criação, and in interviews, that after seeing an exhibition of the works of the Czech set designer Josef Svoboda (1920-2002) in 1962, at the Museum of Modern Art in Rio de Janeiro (MAM-RJ), he left the philosophy course on which he was enrolled at the University of Brazil to become a student of that renowned artist, in the Czechoslovak Socialist Republic, between 19.
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