{"id":4451,"date":"2024-02-15T16:32:07","date_gmt":"2024-02-15T16:32:07","guid":{"rendered":"https:\/\/ciac.pt\/?p=4451"},"modified":"2024-03-20T06:59:52","modified_gmt":"2024-03-20T06:59:52","slug":"ana-clara-viegas-santos","status":"publish","type":"post","link":"https:\/\/ciac.pt\/en\/members\/ana-clara-viegas-santos\/","title":{"rendered":"Ana Clara Viegas Santos"},"content":{"rendered":"\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-advgb-columns advgb-columns-wrapper\" id=\"advgb-cols-6eefa214-fdb9-4ae3-84c8-7f01bb498271\"><div class=\"advgb-columns-container\"><div class=\"advgb-columns advgb-columns-row advgb-is-mobile advgb-columns-2 layout-23-13 mbl-layout-stacked vgutter-10\">\n<div class=\"wp-block-advgb-column advgb-column\" id=\"advgb-col-86c997ab-02e8-4a17-ba69-b93ee9b14583\"><div class=\"advgb-column-inner\" style=\"border-style:none;border-width:1px\"><\/div><\/div>\n\n\n\n<div class=\"wp-block-advgb-column advgb-column\" id=\"advgb-col-125673c7-b887-4acc-856a-98947593267b\"><div class=\"advgb-column-inner\" style=\"border-style:none;border-width:1px\"><\/div><\/div>\n<\/div><\/div><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Ana Clara Santos<\/h2>\n\n\n\n<div class=\"wp-block-advgb-columns advgb-columns-wrapper\" id=\"advgb-cols-ec19bdac-743c-467a-875f-bfff52e3a09b\"><div class=\"advgb-columns-container\"><div class=\"advgb-columns advgb-columns-row advgb-is-mobile advgb-columns-2 layout-13-23 mbl-layout-stacked gutter-30 vgutter-10\">\n<div class=\"wp-block-advgb-column advgb-column\" id=\"advgb-col-58d0e4b0-9d4a-4c1e-bbb0-c7924c7450c4\"><div class=\"advgb-column-inner\" style=\"border-style:none;border-width:1px\">\n<p><a href=\"mailto:avsantos@ualg.pt\">avsantos@ualg.pt<\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.cienciavitae.pt\/F916-5C9E-5AD6\">https:\/\/www.cienciavitae.pt\/F916-5C9E-5AD6<\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/orcid.org\/0000-0003-4845-4741\">https:\/\/orcid.org\/0000-0003-4845-4741<\/a><\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-advgb-column advgb-column\" id=\"advgb-col-a15e61ce-4380-48a5-9af0-883d265fc2fc\"><div class=\"advgb-column-inner\" style=\"border-style:none;border-width:1px\">\n<p>Ana Clara Santos holds a PhD in French Literature from the University Sorbonne Nouvelle \u2013 Paris 3 and is a tenured Associate Professor at the Faculty of Human and Social Sciences, University of the Algarve (FCHS\/UAlg). She is currently a full member of the Center for Research in Arts and Communication (CIAC\/UAlg), and a collaborator of the Center for Theater Studies of the University of Lisbon (CET\/FLUL), having been full member at CET from 1999 to 2017. She has recently held various management positions at the FCHS, including Head of the Department of Arts and Humanities, Vice-Chair of the Pedagogical Council, and Director of the Degree in Languages, Literatures and Cultures. She is currently Director of the Master\u2019s Degree in Creative Processes. As a result of her scientific activity, she has presented over a hundred national and international papers\/conferences, (co)coordinated more than two dozen books, fifteen journal issues, and published around half a hundred articles in leading nationally and internationally acknowledged journals, some indexed in Scopus, plus more than fifty chapters in recognized books in her fields of study.<\/p>\n\n\n\n<p>At the publishing house Le Manuscrit (Paris), she directs the CET\/FLUL collection, \u201cEntr\u2019acte: \u00e9tudes de th\u00e9\u00e2tre et performance\u201d and co-directs the collection \u201cExotopies\u201d of the Portuguese Association of French Studies (APEF), awarded the Herv\u00e9 Deluen Prize 2014 by the French Academy (Acad\u00e9mie Fran\u00e7aise). She is currently honorary president of the APEF, having been a founding member of that scientific association, in which she held executive positions between 2003 and 2021 (secretary, President and Vice-President). She co-edited <em>Carnets, revue \u00e9lectronique d&#8217;\u00e9tudes fran\u00e7aises<\/em> and has been the editor-in-chief of the journal <em>Synergies Portugal<\/em> (Scopus) since 2017. She was also a literary and cultural advisor to the C\u00e9nacle europ\u00e9en francophone (Paris).<\/p>\n\n\n\n<p>She is a member of the scientific committee of the journal <em>Th\u00e9l\u00e8me, a journal of French studies <\/em>at the Complutense University of Madrid, of the <em>Anales de Filolog\u00eda Francesa<\/em>, of the editorial board of <em>Sinais de Cena, a journal of Theatre Studies and Performing Arts<\/em> (FLUL) and, in recent years, she has been invited as an expert peer review for <em>Revista Brasileira de Estudos de Presen\u00e7a<\/em>, in <em>\u00c7edille<\/em>, <em>Revista<\/em> <em>de Estudios Franceses<\/em>, in <em>Carnets, revista electr\u00f3nica de Estudos Franceses<\/em>,in<em> Hispanismes, revue de la Soci\u00e9t\u00e9 des Hispanistes Fran\u00e7ais<\/em>, and in <em>Documents pour l&#8217;Histoire du Fran\u00e7ais Langue Etrang\u00e8re ou Seconde<\/em>.<\/p>\n\n\n\n<p>Her research areas are: Theater Studies \u2013 Genetic Criticism and Theater Genetics, History of Theater and Performance; French Studies and Comparative Studies \u2013 Reception Studies, Translation Studies.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Research Interests<\/h3>\n\n\n\n<p>Ana Clara Santos has dedicated his scientific activity to the areas of Theatre Studies and French Studies. She has participated in international and national projects such as:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>the ARGOS project, extended looks at the contemporary European scene (2018-2021), a pioneering project in the field, funded by the Creative Europe program;<\/li>\n\n\n\n<li>the project \u201cO Velho Teatro de S. Jo\u00e3o do Porto\u201d (1798-1908): patrim\u00f3nio e cultura teatral no Norte de Portugal (2016-2020) \u2013 CESEM \u2013 Centro de Estudos de Sociologia e Est\u00e9tica Musical, Universidade Nova de Lisboa;<\/li>\n\n\n\n<li>the FCT project EXPL\/ART-PER\/0788\/2021 \u2013 CYPET \u2013 \u201cDevelopment of a new pedagogical model for teaching cyberperformance in higher education\u201d;<\/li>\n\n\n\n<li>the REVIF project, Rencontre d\u2019Experts pour la Valorisation Interdisciplinaire de la Francophonie, University of Coimbra, coordinated by Cristina Robalo Cordeiro (AUF support, 2021-2022);<\/li>\n\n\n\n<li>the project \u201cCartografar Voltaire em Portugal e na literatura portuguesa (s\u00e9culo XVIII-XXI)\u201d (CLP, FLUC, 2019-2024).<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Latest Publications<\/h3>\n\n\n\n<p><strong>[2023]<\/strong> Dourado, P., Santos, A. C., Soares, A. I., Tavares, M., &amp; Salles. C. (2023). Forma\u00e7\u00e3o transversal na \u00e1rea dos Processos de Cria\u00e7\u00e3o: pr\u00e1ticas educacionais entrela\u00e7adas na P\u00f3s-Gradua\u00e7\u00e3o em Processos de Cria\u00e7\u00e3o da Universidade do Algarve. <em>Manuscr\u00edtica: Revista de Cr\u00edtica Gen\u00e9tica, 48<\/em>, 127-134. <a href=\"https:\/\/doi.org\/10.11606\/issn.2596-2477.i48p127-134\">https:\/\/doi.org\/10.11606\/issn.2596-2477.i48p127-134<\/a><\/p>\n\n\n\n<p><strong>[2023]<\/strong> Santos, A. C. (2023). Jo\u00e3o Brites: o teatro \u00e9 a arte da viv\u00eancia, entrevista. <em>Sinais de Cena<\/em>, 3(2), 384-459. <a href=\"https:\/\/revistas.rcaap.pt\/sdc\/article\/view\/34021\/23752\">https:\/\/revistas.rcaap.pt\/sdc\/article\/view\/34021\/23752<\/a><\/p>\n\n\n\n<p><strong>[2023]<\/strong> Santos, A. C. (2023). <em>L\u2019\u00cele des Esclaves<\/em> de Marivaux hors fronti\u00e8res. Une utopie du th\u00e9\u00e2tre sur la sc\u00e8ne portugaise. <em>European Drama and Performance Studies, 21<\/em>(2), A Classic \u201cModern\u201d Author: Marivaux on Stage (France, Europe and other Continents) (pp. 243-259).Classiques Garnier.<\/p>\n\n\n\n<p><strong>[2023]<\/strong> Santos, A. C., &amp; Lucet, S. (2023). <em>Parcours de g\u00e9n\u00e9tique th\u00e9\u00e2trale: Brouillons, variations, transpositions<\/em>. Le Manuscrit.<\/p>\n\n\n\n<p><strong>[2022]<\/strong> Santos, A. C. (2022). Criar um lugar singular: duas coproduc\u00f5es teatrais a sul do Tejo. <em>Sinais de Cena, 3<\/em>(1), 381-388. <a href=\"https:\/\/doi.org\/10.51427\/cet.sdc.2022.0023\">https:\/\/doi.org\/10.51427\/cet.sdc.2022.0023<\/a><\/p>\n\n\n\n<p><strong>[2022]<\/strong> Santos, A. C. (2022). La voix de la Nature ou l\u2019un des ressorts du tragique racinien. <em>Synergies Portugal, 10<\/em>, 237-248. <a href=\"https:\/\/gerflint.fr\/images\/revues\/Portugal\/Portugal10\/santos.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/gerflint.fr\/images\/revues\/Portugal\/Portugal10\/santos.pdf<\/a>\u00a0<\/p>\n\n\n\n<p><strong>[2022]<\/strong> Santos, A. C., (2022). A Ecologia dos outros, Philippe Descola (57-63); Eu, n\u00f3s e os outros, Fran\u00e7ois Laplantine (137-141); Pensar global, Edgar Morin (143-148); Escrever em pa\u00eds dominado, Patrick Chamoiseau(187-193)<em>;<\/em> N\u00e3o h\u00e1 identidade cultural, Fran\u00e7ois Jullien (241-246); Querelas e legitima\u00e7\u00f5es, Alain Viala (319-324).<em> In<\/em> C. R. Cordeiro (Coord.). <em>Antologia. Francofonias em Di\u00e1logo dos anos 80 \u00e0 atualidade<\/em>. REVIF; Imprensa Universidade de Coimbra.<\/p>\n\n\n\n<p><strong>[2020]<\/strong> Santos, A. C. (2020). R\u00e9pertoire(s) et transferts culturels au th\u00e9\u00e2tre au XIXe si\u00e8cle. <em>Synergies Portugal, 8<\/em>, 21-36. <a href=\"https:\/\/gerflint.fr\/Base\/Portugal8\/santos.pdf\">https:\/\/gerflint.fr\/Base\/Portugal8\/santos.pdf<\/a><\/p>\n\n\n\n<p><strong>[2020]<\/strong> Santos, A. C. (Dir.). (2020). Traduire la culture: Transfert et cr\u00e9ativit\u00e9. <em>Synergies Portugal, 8<\/em>. <a href=\"https:\/\/gerflint.fr\/Base\/Portugal8\/portugal8.html\">https:\/\/gerflint.fr\/Base\/Portugal8\/portugal8.html<\/a><\/p>\n\n\n\n<p><strong>[2020]<\/strong> Santos, A. C., &amp; Brilhante, M. J. (2020). Identifica\u00e7\u00e3o do <em>training <\/em>no processo de cria\u00e7\u00e3o de <em>O Inferno<\/em> de O Bando: A consci\u00eancia do actor. <em>Revista Brasileira de Estudos de Presen\u00e7a, 10<\/em>(4). <a href=\"https:\/\/doi.org\/10.1590\/2237-2660100111\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>https:\/\/doi.org\/10.1590\/2237-2660100111<\/strong><\/a>&nbsp;<\/p>\n\n\n\n<p><strong>[2020]<\/strong> Santos, A. C., &amp; Vasconcelos, A. I. (2020). O teatro declamado no S. Jo\u00e3o oitocentista: uma extens\u00e3o da capital? <em>In<\/em> L. Cymbron, A. I. Vasconcelos (Coord.), <em>O velho teatro de S. Jo\u00e3o (1798-1908): Teatro e m\u00fasica no Porto do longo s\u00e9culo XIX <\/em>(pp. 177-221). Edi\u00e7\u00f5es Afrontamento; CESEM.<\/p>\n\n\n\n<p><strong>[2019]<\/strong> Brilhante, M. J., Prost, B., Proust, S., &amp; Santos, A. C. (2019). Argos, un projet innovant d\u2019observations de processus de cr\u00e9ation en Europe. <em>EASTAP Journal, 2<\/em>, 4-41. <a href=\"https:\/\/journal.eastap.com\/wp-content\/uploads\/sites\/2\/2020\/05\/07_EASTAP_JOURNAL_2_ESSAYS_Brilhante_et_al.pdf\">https:\/\/journal.eastap.com\/wp-content\/uploads\/sites\/2\/2020\/05\/07_EASTAP_JOURNAL_2_ESSAYS_Brilhante_et_al.pdf<\/a><\/p>\n\n\n\n<p><strong>[2019]<\/strong> Santos, A. C. (2019). La r\u00e9ception de Maeterlinck au Portugal et au Br\u00e9sil. <em>Revista Conflu\u00eancias, 22<\/em>, s\u00e9rie belge, 139-160. M. J. Cabral, &amp; C. R. Cordeiro (Dir.). <em>Un vase clos par son immensit\u00e9 m\u00eame: M\u00e9langes francophones sur l\u2019\u0153uvre de Maurice Maeterlinck<\/em>. Imprensa da Universidade de Coimbra.<\/p>\n\n\n\n<p><strong>[2018] <\/strong>Cordeiro, C. R., &amp; Santos, A. C. (Dir.) (2018). <em>Interactions culturelles et transversalit\u00e9: Le Portugal et les francophonies<\/em>. <em>Synergies Portugal, 6<\/em>. <a href=\"https:\/\/gerflint.fr\/Base\/Portugal6\/portugal6.html\">https:\/\/gerflint.fr\/Base\/Portugal6\/portugal6.html<\/a><\/p>\n\n\n\n<p><strong>[2018]<\/strong> Santos, A. C. (2018). A history and historiography of foreign languages teaching and learning in Portugal. <em>The Language Learning Journal, 46<\/em>(1), <em>Histories of Language learning and teaching in Europe<\/em>, Routledge Taylor &amp; Francis Group, 62-70: <a href=\"https:\/\/doi.org\/10.1080\/09571736.2017.1382057\">https:\/\/doi.org\/10.1080\/09571736.2017.1382057<\/a><\/p>\n\n\n\n<p><strong>[2018]<\/strong> Santos, A. C. (2018). Pour une histoire du spectacle portugais au XIXe si\u00e8cle: R\u00e9pertoires de th\u00e9\u00e2tre et m\u00e9diation culturelle luso-fran\u00e7aise. <em>Synergies Portugal, 6<\/em>, 37-46. <a href=\"https:\/\/gerflint.fr\/Base\/Portugal6\/santos.pdf\">https:\/\/gerflint.fr\/Base\/Portugal6\/santos.pdf<\/a><\/p>\n\n\n\n<p><strong>[2018]<\/strong> Santos, A. C. (2018). Traduire la culture litt\u00e9raire et th\u00e9\u00e2trale fran\u00e7aise au Portugal. Effets de cons\u00e9cration culturelle. <em>HispanimeS, Revue de la Soci\u00e9t\u00e9 des Hispanistes Fran\u00e7ais<\/em>, hors-s\u00e9rie 2, E. Fisbach, H. Thieulin-Pardo, P. Rabat\u00e9 (\u00c9ds). <em>Traduire d\u2019une culture \u00e0 l\u2019autre<\/em>, 302-314. <a href=\"https:\/\/doi.org\/10.4000\/hispanismes.12283\"><strong>https:\/\/doi.org\/10.4000\/hispanismes.12283<\/strong><\/a><\/p>\n\n\n\n<p><strong>[2018]<\/strong> Santos, A. C., &amp; Amarante N., (Dir). (2018). <em>G\u00e9n\u00e9tique de la litt\u00e9rature, du th\u00e9\u00e2tre et de la traduction. Carnets, revue \u00e9lectronique d\u2019\u00e9tudes fran\u00e7aises, 14<\/em> (2). <a href=\"https:\/\/journals.openedition.org\/carnets\/8550\">https:\/\/journals.openedition.org\/carnets\/8550<\/a><\/p>\n\n\n\n<p><strong>[2018] <\/strong>Santos, A. C., Proust, S., &amp; Vasconcelos, A. I. (2018). <em>Parcours de g\u00e9n\u00e9tique th\u00e9\u00e2trale: De l\u2019atelier d\u2019\u00e9criture \u00e0 la sc\u00e8ne<\/em>. Le Manuscrit.<\/p>\n\n\n\n<p><strong>[2017]<\/strong> Faria, D., Santos, A. C., &amp; Cabral, M. J. (Dir.). (2017). <em>Litt\u00e9rature et th\u00e9\u00e2tre en fran\u00e7ais \u00e0 l\u2019\u00e9preuve de la traduction en P\u00e9ninsule Ib\u00e9rique<\/em>. Le Manuscrit.<\/p>\n\n\n\n<p><strong>[2017]<\/strong><strong> Santos, A. C. (2017). <\/strong>Introdu\u00e7\u00e3o: da gen\u00e9tica teatral \u00e0 an\u00e1lise do processo criativo, dossi\u00ea tem\u00e1tico <em>Gen\u00e9tica teatral<\/em> (Coord.). <em>Sinais de Cena, s\u00e9rie 2<\/em>(2), 11-14.<\/p>\n\n\n\n<p><strong>[2017]<\/strong> Santos, A. C. (2017). L\u00e9gitimation du r\u00e9pertoire th\u00e9\u00e2tral fran\u00e7ais sur la sc\u00e8ne portugaise<em>. Carnets: revue \u00e9lectronique d\u2019\u00e9tudes fran\u00e7aises, s\u00e9rie II<\/em>(9), A. P.<em> <\/em>Morais, M. E. Pina, T. Almeida, <em>Reconnaissances et l\u00e9gitimit\u00e9 en fran\u00e7ais, <\/em>140-154. <a href=\"https:\/\/ler.letras.up.pt\/uploads\/ficheiros\/14953.pdf\">https:\/\/ler.letras.up.pt\/uploads\/ficheiros\/14953.pdf<\/a><\/p>\n\n\n\n<p><strong>[2017]<\/strong> Santos, A. C. (Dir.). (2017). Les rapports culturels luso-francophones: h\u00e9g\u00e9monie ou rupture? <em>Synergies Portugal, 5<\/em>. <a href=\"https:\/\/gerflint.fr\/Base\/Portugal5\/portugal5.html\">https:\/\/gerflint.fr\/Base\/Portugal5\/portugal5.html<\/a><\/p>\n<\/div><\/div>\n<\/div><\/div><\/div>\n<\/div><\/div>\n<style class=\"advgb-styles-renderer\">#advgb-col-86c997ab-02e8-4a17-ba69-b93ee9b14583>.advgb-column-inner{}@media screen and (max-width: 1023px) {#advgb-col-86c997ab-02e8-4a17-ba69-b93ee9b14583>.advgb-column-inner{}}@media screen and (max-width: 767px) {#advgb-col-86c997ab-02e8-4a17-ba69-b93ee9b14583>.advgb-column-inner{}}#advgb-col-125673c7-b887-4acc-856a-98947593267b>.advgb-column-inner{}@media screen and (max-width: 1023px) {#advgb-col-125673c7-b887-4acc-856a-98947593267b>.advgb-column-inner{}}@media screen and (max-width: 767px) {#advgb-col-125673c7-b887-4acc-856a-98947593267b>.advgb-column-inner{}}#advgb-cols-6eefa214-fdb9-4ae3-84c8-7f01bb498271{}@media screen and (max-width: 1023px) 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