In the 1970s, Portuguese performance art exhibited itself as a language of experimentation in the local artistic scene with increasing public visibility. This prominence, which led to regular festivals and live events, was, however, not accompanied by any formal education or the integration of performance into the curriculum of art schools. In this article, we argue that the Portuguese approach to a performance pedagogy occurred mainly through a double path. On the one hand, through the convergent actions of two important critic-curators with relevant international connections in the area of performance, namely Egídio Álvaro and Ernesto de Sousa. On the other, through the singular activities of an association of artists, the Círculo de Artes Plásticas de Coimbra (CAPC), which had an institutional relationship with the students’ academy (Associação Académica de Coimbra) of the University of Coimbra. The CAPC takes the pedagogical and performative utopia of an art-life relationship a step further, at a time which shared the ethos of the democratic revolution of 1974. This generation collaborated with the international performance scene, not only developing projects with Wolf Vostell, in Malpartida (Spain), but also organising an important exhibition of Portuguese performance at the Centre Georges Pompidou, in Paris (1984).

中文翻译：

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课堂外的教训：葡萄牙的表演教学法，1970-1980

在 1970 年代，葡萄牙行为艺术在当地艺术界展现为一种实验语言，公众知名度不断提高。然而，这种影响导致定期节日和现场活动的突出并没有伴随任何正规教育或将表演融入艺术学校的课程。在本文中，我们认为葡萄牙的表演教学法主要通过双重路径发生。一方面，通过在表演领域具有相关国际联系的两位重要评论家策展人的融合行动，即 Egídio Álvaro 和 Ernesto de Sousa。另一方面，通过艺术家协会的独特活动，Círculo de Artes Plásticas de Coimbra (CAPC)，与科英布拉大学学生学院（Associação Académica de Coimbra）有机构关系。在共享 1974 年民主革命精神的时代，CAPC 将艺术与生活关系的教学和表演乌托邦更进一步。这一代人与国际表演界合作，不仅与 Wolf Vostell 合作开发项目，在Malpartida（西班牙），但也在巴黎乔治·蓬皮杜中心组织了一场重要的葡萄牙表演展览（1984 年）。