Margarida Gandara Rauen, Ph.D. Professor
Margie in Arts
Margie Rauen's personal archive.
and Cultural Studies
Articles, reviews and book chapters have been published by major academic institutions:
The Federal University of Santa Catarina UP, the Federal University of Bahia UP and the University of Brasilia Press in Brazil; Oxford University Press in the UK; Université Paul Valéry Montpellier/Cahiers Élisabéthains in France;The University of Delaware Press and Fairleigh Dickinson UP in the United States.
Contributions to the World Shakespeare Bibliography, with Texas A&M University and The Shakespeare Quarterly of the Folger Library, also were very special achievements in the USA, in the 1990s.
As a result of her interest in engaging performance, Margie Rauen’s latest work has accentuated participatory poetics and draws on concepts by Jacques Derrida, Augusto Boal, Richard Shechner and Roger Callois.
Abrigo Portátil n.5 [performance]
"Manifesto of Sex, Gender and Identity Freedom". IN Abrigo Portátil, n. 5 [performance], BOUGER, Cristiane (editor), Curitiba/Brazil: Editora Medusa, May 2016.
Download the book in Portuguese.
Póetica do ERRO: Dramaturgias
"Para além da apresentação/representação" [Beyond showing/representation]. IN BENNATON, Pedro & RAITER, Luana (organizadores). Póetica do ERRO: Dramaturgias. Ilha do Desterro: ERRO Grupo de Teatro, 2014, p. 191-216.
Download the book chapter in Portuguese.
Porosidades entre arte e ativismo/poéticas da participação
"Porosidades entre arte e ativismo/poéticas da participação" [Art and activism porosities/ participatory poetics].
Book chapter with Fabio Guilherme Salvatti (UFSC) and Charles Feitosa (UNIRIO) - ABRACE research group (Brazilian Association of Research and Graduate Studies in the Performing Arts). IN Beigui, Alex & Braga, Bia (org.) Treinamento e Modos de Existência. Natal, RN, Brazil: EDUFRN, 2013, p. 195-212.
POETICAS PARTICIPATIVAS E A ESCRITURA DA ESCRITURA IN PROGRESS [PARTICIPATORY POETICS: WRITING THE WRITING IN PROGRESS]. Revista Cerrados [A journal from the University of Brasilia], vol. 1/2012, p. 134-150.
This paper addresses participatory poetics as writing in progress, in which the notion of authorship is subverted by means of interaction with the audience in collective processes of composition, generating the discontinuity of experience, and also demanding the consideration of discontinuity, so as to avoid the simplistic appropriation of post-structuralist metaphors in the theoretical and critical appraisals of relational art.
Penso Teatro: Dramaturgia, Crítica, Encenação
“Boal: do exílio às diretrizes curriculares de Artes.” [Boal, from exile to the Arts Curriculum]. Co-authored by Sheila Diab MALUF and Karla Fernanda Ribeiro NEVES. IN Penso Teatro: Dramaturgia, Crítica, Encenação. Vinhedo, São Paulo: Ed. Horizonte, 2012, p. 202-219.
This book chapter addresses Boal’s forum theater and its application in a project that was developed by Karla Neves during her specialization work at the College of Arts of Parana, with Margie Rauen’s advising.
Download the book in Portuguese.
A interatividade, o controle da cena e o público como agente compositor
[Interactivity, scene control and the audience as a composition agent]. Salvador: EDUFBA, 2009. (Collection of essays I organized, with a grant from the Araucaria Foundation of Paraná.)
Do controle da cena à interações alostéricas. O público como agente compositor. [Scene control and allosteric interactions; the audience as a composition agent]. IN RAUEN, Margarida Gandara (org.) A interatividade, o controle da cena e o público como agente compositor. Salvador: EDUFBA, 2009, p. 155-193.
Dramaturgia e Teatro: Intersecções
“Paidia, Ludus e o Público na Cena.” [Paidia, Ludus and the audience acting] IN GOMES, André Luis; MACIEL, Diógenes André Vieira (orgs.). Dramaturgia e Teatro: Intersecções. Maceió: EDUFAL, 2008, p. 249-268.
“I have been interested in interactivity since the 1990s, when I started teaching direction workshops and often found myself exploring creative processes where interactivity generated a transit of control because of audience participation. The issues of who controls and to what extent one can actually control interactive performance cannot be charted in rehearsal because the boundaries of fiction and History are not only blurred during the actual time of the event, but may involve a great deal of unpredictable contents
Such participation differs substantially from the theatrical routine for two reasons: there is no separation between the stage and the audience, and the spectators engage in play as composition agents. I have used the term composition agent because in addition to not being stage oriented not emerging
from playwriting, the events that I address challenge single authorship and the actions
of performance composition