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The development of the Portuguese entertainment market and the rise of several types of musical theatre are inextricably bound to the complex symbolic and material process through which Portugal was established, presented, developed, and commodified as a modern nation-state between 1865 and 1908. During this period, several fundamental transformations that merged urban planning, everyday life, and modernity took place in Lisbon. In this process, leisure activities began to include new forms of music theatre (such as operetta and the revue theatre) that became an important site for the display of modernity, representing and commodifying the nation. Despite its colonial possessions, Portugal was a peripheral European country where modernity developed in a specific way. The commodification of music associated with both music publishing and mechanical music fostered the creation of a transnational market for goods in a period when most of the trade was conducted with or within national economies. In this context, the Portuguese entertainment market reflected a particular form of negotiation between the local, the national and the global levels, in which gender, class, ethnicity, and technology intertwined with theatrical repertoires, street sounds and domestic music making.

Political, diplomatic, cultural and artistic relations (including music and the visual arts) between Rome and Lisbon in the 18th century have, at different times, aroused the interest of several scholars. However, these research fields have often been approached in parallel paths within the traditions of each of the disciplines, without establishing in most cases a true dialogue between the different areas of knowledge and disregarding cross-cutting issues. On the other hand, the study of artistic relations and cultural transfers presupposes an in-depth and up-to-date view of the historical and social context of each city in their own peculiarities. This international conference intends to promote new approaches to the history of music and the arts through multidisciplinary dialogue that involves different points of view. The meeting will gather researchers at different stages of their careers, with backgrounds ranging from various fields (namely political, cultural and arts history and musicology, among others). The program addresses topics such as arts, music and diplomacy; royal, aristocratic and cardinalic patronage; circulation of people between Rome and Lisbon (in the political, religious, scientific, intellectual and artistic spheres); circulation of musical repertoires and works of art; the training of musicians and artists and their professional careers; artistic, intellectual and sociability networks; spaces and institutions linked to music and the arts; stylistic issues and performance practices. Parallel with the symposium, the National Library of Portugal hosts the exhibition "From the Tagus to the Tiber: Portuguese musicians and artists in 18th century Rome", curated by Pilar Diez del Corral and Cristina Fernandes.

The creation of an art market in Portugal in the 1980s had an impact on the field of Portuguese performance art. In the 1960s and 1970s, some of the precursors of performance art in Portugal no longer followed this option and devoted themselves to other professional fields or a more object-based art, such as painting, sculpture etc.-and even talked of a kind of "death of performance art". Yet, at the same time, new agents and groups emerged that still had a connection with performance art, including HomeostéticaHomeostética and Happy the Faith. Some of them moved in the direction of alternative music with a strong satirical base. This article will seek to examine the specificities and the intergenerational points of contact, continuity and difference among these groups in relation not only to their predecessors but also to the positions held by some of their members in the field of contemporary art and to the "social places" that performance art occupies today in the national and international scene. Keywords: performance art, performance art and alternative music. We have heard that Portuguese performance art died in the mid-1980s… This article aims to question this announcement. This idea has often been linked to the establishment of an art market in mid-1980s in Portugal which would have led to artists replacing performance with other professional fields, or focusing on a more objective aesthetic art, like painting, sculpture, etc. There was, then, a change from a "non-market"-where the art world of performance took place through setting up informal networks, not aimed at profit-to an "art market"-based on objective aesthetic production and commercial value. This change led to the genre becoming invisible in Portugal for the later generations who joined the performative area, as in the case of what was called "new dance". It also affected the other generations in the area of fine arts, with some Performance festivals appearing at the end of the Millennium. The Brrr, for example, in Oporto, with the goal of creating a space for Performance by importing international examples, as if this genre had never existed in Portugal. Only recently have these generations come to rediscover these performers, and to integrate their agents or their practices in their own artistic projects. This process has been intensified, with the emergence of a new cycle of performance art, now more Transartistic, i.e., disseminated by different artistic or even non artistic fields, such as social protests and demonstrations, among other areas. This has also been complemented both by a renewed interest in the repertoire of artistic precursors through their representation , as well as an admittedly dispersed academic interest on the part of young researchers into the history of Portuguese artistic performativity. What I'm looking to emphasize in this paper is that the process of progressive "unveiling" of this generation, has not been enough to show the most diachronic dynamics and traces of performativity over time. If this "unveiling" legitimates a temporal cyclical analysis, where performance art appears to be reactivated in the social contexts of crisis, namely, in this case the pre-and post-revolution period and the current period of severe social and political crisis; on the other hand, this cyclical logic ends up reviewing other dynamics. These dynamics include the confluence in the same period, namely in the mid-1980s, of the emergence of new agents and groups who not only had an approach to performance art, knowing and/or sharing experiences with the performance art generation from the 1960s to the 1980s, as is the case of Homeostética, the Felizes da Fé (Happy in the Faith), the Objectos Perdidos (Lost Objects) or even, through António Olaio, The Repórters Estrábicos (The Cross-eyed reporters).

This article aims to introduce the relationship between the mobility of music, symbolic power and urbanism in the context of an Entertainment Industry based on Commercial-Musical Theatre in Portugal. This relation will be shown through a Revista show entitled “Esta Lisboa que eu Amo”, that premiered in September 24, 1966 in the Monumental Theatre (Lisbon), promoted by Vasco Morgado’s Company, the most prolific Impresario of theatre and music during the third quarter of the 20 Century.

Sr. José do capote, a worker and an opera lover, is the monad contemplated in this article. He is a theatrical figure, the protagonist of the one-act burlesque parody Sr. José do capote assistindo a uma representação do torrador (Sr. José of the Cloak attends a performance of The Roaster, 1855), but also an idea that expresses in abbreviated form the urban environment of nineteenth-century Lisbon, the theatrical and operatic sensibility of its citizens, and the politics of their engagement with the stage. This article is a history of Il trovatore and of bel canto claimed for a nascent culture of democracy in nineteenth- century Portugal.