Resumo: O artigo investiga a questão da teatralidade do Minimalismo a partir das leituras críticas elaboradas por Michael Fried e Rosalind Krauss. Enquanto Krauss, desde o primeiro momento em que reflete sobre obras de Donald Judd e Dan Flavin, evidencia sua contradição fundamental - a presença da ilusão, a despeito de sua rejeição pelos artistas -, Fried atém-se ao pretenso literalismo dessas propostas, denominando-o de teatralidade. No texto, as duas abordagens serão confrontadas, extraindo-se delas os pontos de vista dos autores para a noção de teatralidade.
Abstract: The article investigates Minimalism’s theatricality from the standpoint of Michael Fried’s and Rosalind Krauss’ critical readings. On the one hand, Krauss, from the very first moment in which she reflects on the works of Donald Judd and Dan Flavin, evidences their fundamental contradiction: the presence of the illusion, despite its rejection by the artists. On the other hand, Fried focuses on the alleged literalism of those projects, calling them theatricality. In the text, the two approaches will be confronted in order to explore the authors’ different views on the notion of theatricality.
Résumé: Le document examine la question de la théâtralité minimaliste à partir des lectures critiques produites par Michael Fried et Rosalind Krauss. On observe que, si Krauss, dès le premier moment qui reflète sur les travaux de Donald Judd et Dan Flavin, montre sa contradiction fondamentale - la présence de l’illusion, en dépit de son rejet par les artistes - Fried met l’accent sur le littéralisme présumé de ces propositions, baptisant la théâtralité. Dans le texte, les deux approches seront confrontées en les extrayant les vues des auteurs à la notion de théâtralité.