GT Processos de Criação e Expressão Cênicas - VI Reunião Científica da ABRACE
ABSTRACT
The intent for the communication of this paper is to share with the
colleagues the difficulties found with actors-learners in a creative
process of a text considered to be more traditional for being labeled
in which it was stipulated to be “the dramatic
theater”. It is the theater creation of the text
“The Crucible” ( translated in portuguese as
“ As bruxas de Salém” ) – a
play written by Arthur Miller, which we worked with the class of
Estágio Supervisionado ( supervised internship) in
Interpretação/Atuação II (
Interpretation/ Acting II) in the theater course of UFU (
Uberlândia´s Federal University). The difficulties
related to body and voice begin with the difficulties regarding the
text comprehension itself and the actor’s work. The possible
paths which were found, after deep thinking and attempts of solution,
aim to the need to help the actors to break through the idea that they
should “represent”, stimulating them to be able to
relate before anything else with the actor in the scene in a concrete
way. To establish first of all direct relation with the
audience/interlocutor, that means, stimulate the intersubjectivity. The
recovery of some basic principles developed by Stanislavski is the core
of our thoughts for this paper.
Keywords: Actor’s work. Intersubjective relation.Dramatic
Theater.
ABSTRACT
Seeks to analyze a possible construction process of the comic character
to the theatrical scene through the gesture of the actor. To this end,
this article list some of the theoretical reflections of the French
philosopher Henri Bergson being applied in a practical way in the
actor’s work. Using gestures in this work as a bridge between
Bergson’s theory and practice. Through him materialize
concepts, ideas and thoughts about the phenomenon laughable. However,
without losing sight oh the individual sphere of the artist who
contributes with his experience and not become a mere reproductive
techniques in a attempt to achieve a result.
Keywords: comic character, Henri Bergson, gesture.
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BRONDANI, Joice Aglae. Transduções
Caleidoscópicas e Imaginações:
Transcursos Fluviais de uma Pesquisatriz para o acesso e
apropriação das Máscaras
dell’arte. Uberlândia: Professor Convidado;
Programa de Pós-Graduação em Artes;
PRODOC-CAPES; Atriz e Diretora.
RESUMO
O trabalho apresenta os muitos caminhos vislumbrados durante o
período do doutorado da pesquisadora, sempre buscando o
diálogo entre as culturas populares do Brasil e da
Itália. São transcursos delineados por
engendramentos de lembranças e
imaginações, aliados a afetos que foram
acontecendo ao longo de muitos anos. Todas estas
afetações entre passado, presente e futuro,
encontraram/encontram um espaço de sonho e de
poética (imaginário) para se realizar, um
espaço que se transforma/metamorfoseia-se em um corpo que
atua e se realiza em impulso criativo. Tal impulso criativo permite,
então, através de conexões
rizomáticas entre passado, presente, futuro e gens imaginais
vindouros de uma ancestralidade festiva, o acesso e
apropriação da cultura da alteridade (no caso da
commedia dell’arte italiana) através dos
próprios referenciais culturais (as práticas
espetaculares populares brasileiras). Todo o percurso foi realizado
entre a Itália e o Brasil, entrando em campo para realizar
experimentações das danças e das
Máscaras, nos dois países, resultando em uma
aula-espetáculo com teor artístico e
didático, contemplando a área da pesquisa, da
encenação e técnica de ator.
Palavras-Chaves: Imaginário. Commedia dell’Arte.
Práticas Espetaculares Populares.
Transdução Caleidoscópica.
RÉSUMÉ
Ce travail présente les nombreux chemins parcourus durant le
doctorat de l’auteure qui est toujours à la
recherche du dialogue entre les cultures populaires du
Brésil et de l’Italie. Ce sont des parcours
jalonnés par l’engendrement de souvenirs et
d’imaginations alliés à des
émotions qui se sont déroulées sur
plusieurs années. Toutes ces affections entre
passé, présent et futur ont trouvé et
trouvent place pour se réaliser dans un espace de
rêve et de poétique (imaginaire), un espace qui se
transforme / se métamorphose en un corps qui agit et se
produit dans un élan créateur. Cette impulsion
créative permet, au travers de connexions rizhomatiques
entre passé, présent, futur et les personnes
imaginaires qui viennent d’une ancestralité
festive, l’accès et l’appropriation de
la culture de l’altérité (ici de la
commedia dell’arte italienne) à partir de leurs
propres références culturelles (pratiques
spectaculaires populaires brésiliennes).
L’ensemble du cours a été
mené entre l’Italie et le Brésil afin
de donner corps à l’expérimentation des
danses et des masques dans les deux pays, résultant en une
conférence-spectacle ayant un contenu artistique et
pédagogique, traverssant le domaine de la recherche, de la
mise en scène et de la technique d’acteur.
Mots-clés: Imaginaire. Commedia dell’Arte.
Pratiques Spectaculaires Populaires Brésiliennes.
Transduction Kaléidoscopiqu
ABSTRACT
This paper is concerned on the process of composing drama performance
“A Cela” (“The cell”) physical
and vocal scores. The show was produced and performed by Groove Theatre
Studio, in which the author is manager and only performer. The text
from Michel Azama (“Le sas”) focuses on the
extremely physical and emotional sorriness of prisoners, meanwhile
acting itself was built on throughout physical scores, which means
great capacity of movability. So, the great question which emerged from
this paradox was how do demonstrate artistically lack of space and lack
of action, by the means of physical and vocal movement? Using such
contemporary dance procedures as Laban’s Efforts, Genuine
Movement and Impro, the methods of creating this composition will be
the ones discussed here.
Keywords: score; movement; jail life; prisoner.
RESUMEN
La comunicación trata de reflexionar a cerca de algunas
formulaciones de Peter Brook con relación al cuerpo del
actor, basadas principalmente en la articulación entre las
nociones de vacío, condicionamiento, des-condicionamiento y
creatividad. El director propone el desarrollo de un “cuerpo
sensible”, en resonancia con Jerzy Grotowski que habla de un
“cuerpo canal”. El texto apunta también
algunas relaciones entre la experiencia perceptiva del actor en el
trabajo a partir del cuerpo, con las nociones de ruina, quiasma e
co-funcionamiento tratados por Maurice Merleau Ponty.
Palabras-clave: Cuerpo. Vacío. Percepción.
Experiéncia.
ABSTRACT
In the play ‘The Blinds’, by Maurice Maeterlinck
and staged by Denis Marleau, the sound of the actors and the
manipulations operated on the voices are not intended to produce
special effects, but rather seek to harmonize the sound design of the
stage. There is a link between the meaning, the voice, the shapes and
rhythm, and these elements appear to strengthen the literary text.
Thus, this paper intend to analyse the poetic voice of the
presentation, which occupies space and touches the viewer. As the actor
is not physically present at the scene, only on the projection of its
image, perhaps the presence of the actor emerges through her voice. And
how sound is the propagation of a mechanical wave, which spreads
through space, perhaps the actor’s voice will pass the
vehicle mediator and have a presence, a sound presence.
Keywords: Theatre. Loudness. Presence.
ABSTRACT
This paper proposes to make an analysis of the assembly process of the
spectacle “Véu Carmim”, conducted from
February to June 2011, regarding the use of expressive factors
developed by Rudolph Laban in the construction of physical qualities of
the actress in each particular element used in the play, identifying
how it is organized to use these expressive factors as guidance for
scenic creating and how they affect the final outcome of the play.
Véu Carmim is a solo performance of the actress Sara Jobard,
directed by Victor Cayres, staged at Teatro Vila Velha in Salvador,
Bahia, in the months of June and July 2011, tells the story of a belly
dancer who was raped and proposes some possible paths in her arduous
task to overcome, not necessarily attained at the end of the spectacle.
It’s a game-show-theater that was built from a dramaturgical
logic from game-design, which gives the spectators the opportunity to
lead the character to different paths, previously tested, from a game
of chance, defined by four cards. Our deck is inspired by the Mamluk
deck and adapted to our show so that each playing card corresponds to
an element used in the scene, namely: the veil, knife, candle and
derbake. These elements are typically used in belly dance, language
that leads the music and the aesthetics of the spectacle. The cards are
randomly chosen by the public at three different times and the
character follows the path defined by the element drawn. Thus, we
tested four possible starts, where the character thinks she sees the
aggressor in the audience; four possibilities of the medium, when the
character engages in a ritual of cleansing and purification and four
finals completely differents, ranging from the happy ending, without
exploring the cliché that this title bears, to the tragic
ending. To color the show and make it clear to the public that their
choices interfere in the plot, it was necessary to differentiate what
would be seen on stage each card drawn, not only in textual and
choreographic aspects, which are also different, but in the quality of
movement of the character .Therefore, for each card of our deck, we
developed a definition of the expressive qualities, stating: focus,
whether direct or indirect; flow, which could be continuous or
restrained; time, fast or slow and weight, strong or mild. The
combination of these factors was also generating new impulses, which
ultimately define the character’s relationship with each
element of the scene. This study has enhanced the work of the actress,
developing specific qualities for each element in a subtle way, without
taking off the characteristics of the character previously built.
Keywords: expressive factors, character building, belly dancing, game
of chance, the theater.
ABSTRACT
Professor Alice Stefânia taught the discipline
Interpretação e Montagem (Interpretation and
Mounting), at the Department of Scenic Arts – University of
Brasília, Brazil in 2010. After presenting the play Malva
Rosa by author, director and actor Newton Moreno to the group of
students, the group chose to work with Agreste (Malva Rosa). The show
is the result of a collaborative process of constructing body
dramaturgies oriented by procedures of the physical theater,
theater-dance, viewpoints, construction of music scores and gestural
matrices, among others. Besides those strategies, the dramatic, poetic
and epic dimensions of the text were valued through the acting transit
between the narrative and the fictional, the musicality of the scene
and the sinking scenic conception that generates images (through the
choreographic intervention and manipulation of objects).
Keywords: MalvaRosa, Body, Actors’ Dramaturgies
RESUMEN
Trata de la presencia de la memoria en las prácticas de
Stanislavski y Grotowski, como un elemento que afecta a la
construcción técnica, estética y
ética de sus obras, que tiene lo actor como eje. Reproduce
de manera concisa algunas terminologías familiares
acuñadas por los dos que se refieren directa y
explícitamente a lo concepto en cuestión, tales
como “memoria de las emociones” y
“memoria del cuerpo”. Indica la complejidad y el
dinamismo que el concepto de memoria tiene en sus trabajos, incluso la
adopción de diversas facetas y desdobramientos en las
distintas etapas de sus carreras. Entonces, busca pistas sobre la
presencia de la memoria también en otros materiales
creativos y operadores de estas prácticas, como en los
trabajos sobre la acción física (que ambos se
dedicam), la noción de vivência (que habla
Stanislavski) y los cantos de tradición
afro-caribeñas (eje principal de la investigación
de Grotowski en su fase final, del arte como un veículo).
Palabras-clave: Stanislavski, Grotowski. Interpretación
teatral. Memoria.
RÉSUMÉ
Une étude développée de ma
thèse intitulée Cena e Jogo: o
imaginário na carne (2009, développé
en PPGAC / UFBA, sous la direction du professeur Meran Vargens Muniz da
Costa). Le champ d’investigation sont les processus de la
création théâtrale de Companhia de
Teatro Engenharia Cênica. Actuellement est
installé dans la région de Ceará
Cariri se développe là où deux
perquisitions simultanées pour la création de
spectacles. La première a lieu au Laboratório de
Criação e Recepção
Cênica, Universidade Regional do Cariri- URCA, avec les
élèves et les enseignants du cours de Licence en
plein théâtre, basée à
Research Project Du plateau à la scène, avec un
accent sur l’adaptation travail scénique de La
Divine Comédie de Dante Alighieri de
l’improvisation et la création de dramatiques
originales. La seconde est entrepris avec leGroupe de
Théâtre’s Nest, composé
d’artistes professionnels dans la région,
basée sur l’étude panoramique de la
culture populaire. Bien que développé dans des
espaces différents, les deux ont poiesis comme une matrice
pour l’installation d’une image pour propulser le
développement du processus de construction.
Mots-clés: Théâtre.
Création.Improvisation.Propulseurs Images.
RESUMEN
Se trata de un artículo científico que propone
una reflexión sobre la presencia de lo grotesco en
Dorotéia de Nelson Rodrigues, como un fenómeno
estético, cuyo enfoque, combinado con las expresiones
hiperbólicas, exageradas e irónicas de sus
personajes podría presentar una propuesta de
subversión artística de los patrones que regulan
y definen lo femenino dentro de las estructuras de poder imperantes,
revelando su carácter absurdo y fantástico. Para
apoyar esta hipótesis, la investigadora hace un
diálogo con la filósofa Judith Butler, quien
promueve la discusión sobre el género partiendo
de un enfoque político y filosófico, y con las
ideas de la maestra Mary Russo que analiza la relación entre
los dos conceptos presentados en el articulo. Partiendo de un
rápido análisis sobre la puesta en escena de
Dorotéia realizada por el grupo de teatro
Panacéia Delirante (de lo cual es miembro fundadora) bajo la
dirección de la profesora Dra. Hebe Alves, la autora
presenta los caminos estéticos elegidos para abordar estos
dos conceptos a través de las propuestas subversivas
existentes en el texto de Nelson.
Palabras-clave: Grotesco. Feminino. Dorotéia. Nelson
Rodrigues.
ABSTRACT
The present text aims to analyze two scenic creations performing the
theatrical project “On the margins of the feminine: the
textures theatrical edge” conducted in 2008 by the Consortium
in Minas Gerais theatrical research, called Obscena. Such clustering
approach to study physics between the spectator and passerby
contemporary theatrical scene in the streets of Belo Horizonte (MG).
The objective was to identify certain procedures scenic Grouping
concerned that sought to build dialogue with the audience of
passers-Belo Horizonte. For this crop, two procedures were selected
plays, inserted in the aforementioned project, working directly in the
central streets of Belo Horizonte. They are: the scenic performances
“Baby Dolls” and “Classifieds”.
The analysis of the procedures was based on observation of these, the
survey of audiovisual recordings of the obscene, in interviews with
investigators, the statements posted on the blog about the processes of
artistic creation of the grouping. From this analysis, we reached the
conclusion that the search Obscena absorb the physical practice of
narrowing the viewer with passerby.
Keywords: Society. Grouping Obscena.Spectator passerby.Closer
physical.Contemporary scene.
ABSTRACT
The present article deals with reflections about creative processes in
dance, which has as methodology the dialogical exercise between the do
and the reflect upon, transforming artistic researches in Knowledge
Nets. By the dialogue and connection of diverse areas of knowledge,
both in the individual sphere and the public one, this method allows
possible openings for the dance artist to generate discoveries,
ensuring products of numerous direct or indirect influences, in the
practical-theoretical way. It will start from the proposals of Edgard
Morin about “Knowledge Nets” and of Ivani Fazenda
about “Interdisciplinarity”; to discuss the
importance of this complex net actuation on creative processes.
Keywords: Creative Processes. Dance. Interdisciplinarity.Nets.
ABSTRACT
This article has been implicated in the continuing search for the
multiplicity of ways of seeing, relating and creating spaces and times
in the field of improvisational art. In contemporary times, ways of
dealing with knowledge and information to do so prismatic, fragmented
and subjective. The same issues can, should and earn developments
through distinct pathways varied. This observation and studies for the
real-time Scenic Improvisation born intersemiotic seeking clues to
trace a route dramaturgical’s relations with the audiovisual
improvisation, the video in particular. In this way, the Drama of the
clashes between body and environment, interacting in the scene in real
time, producing layers of semiosis, term conceptualized by the American
philosopher Pierce as a sign of intelligent action. These layers are
then the idea of organizing such scenes on a timeline: image-editing
program. The way the video deals with the picture and possibilities of
its use are presented, the conceptual metaphor of the timeline as a way
of thinking on the Dramatic Improvisation. Articulates with the
researchers Edgar Morin, Antonio Damasio, Ivan Santana, Jorge Vieira
Roubine J.Lehmann, Aumont, Dubois, Machado and; Paxton, Nelson, Smith,
Duck by practical and theoretical studies in improvisation.
Keywords: Improvisation, Playwriting. Body.Video.Timeline.
ABSTRACT
The pedagogical experiment conducted in elective course offered to
students of the School of Theatre UNIRIO, Body:What Really Matters? is
founded on principles and therapeutic practices as: Aligning Energy or
Holy Fire, inspired on shamanic work, which includes the eastern
knowledge, Psychology and Quantum Physics (Moniica Oliveira), Body
Reading, conceived as the the language of emotion inscribed on the body
as Nereida Fontes Vilela, Organic Language, that enables the
practitioner to recognize himself, in a an attitude of loveliness,
method created by Alex Fausti; Yoga du Son, iun which emission of
vowels made with a conscience, elevates vibrational frequency; Suksma
Vyayama Yoga, which mobilizes energies around the chakras, with
resonance throughout all the body. Maintaining the methodologies of
Somatic Education, and taking Movement as guaranteed access to
sensitive or as a factor of connection between the Physical, Emotional,
Mental and Etheric Bodies, which is based on an well established belief
system, the goal is to make the actor a presence potent, capable of
generating between the stage and the audience what Spinoza calls good
meeting. The intention is that the simultaneous activation of a
harmonized state, connected with the fifth dimension of Being, produce
an action that occurs as a conscious trance. The research, started in
March this year, is still begining, but the events observed and the
statements of actors encourage the continued pursuit towards the
establishment of a scene generated by the body status involving the
four Bodies mentioned above.
Keywords: Movement. Subtle Bodies.Body Language.
ABSTRACT
This paper intends to discuss the terms subtext created by Constantin
Stanislavski, and subscore appointed from recent studies of ISTA
(International School of Theatre Anthropology). By provoking this
discussion the paper aims to discuss the possible evolution of the term
subtext to subscore raised by theater anthropological studies in order
to remove the term from a literary medium, assuming that the first
terminology is on the notion of text and action vocal, while the second
covers the largest area of physical and vocal score of the actor. The
general definition of both concepts is the provision of support points
for which the actor claims and fills his role, and creates an interior
space in the action that is populated by all sorts of elements that may
be established to make the inside track of their role . It comprises a
coating so that it becomes alive and pulsating to the extent that the
actor builds on the relationship between the repertoire of its own
elements and impulses arising from the external scenario. The relevance
of this discussion lies in the act to clarify the distinction between
the terms and promote reflection on this creation of the actor who is
so helpful when doing theater over time.
Keywords: subtext; subscore; actor;
ABSTRACT
Listen and enter into the life stories of everyday people can be a way
of investigating qualities of traditional and contemporary? Question
that generates a pulse for theoretical research and practical with a
main theoretical reference the work of Walter Benjamin. This attaches
to the act of narrating the capacity to generate a profound experience
that changes the relationship with time and space. It reveals that
through a living relationship with the past can upgrade the memory in a
move that stops this by removing the bottom that was submerged and
leave what has happened to emerge again in a lively, breaking the
chronological time. A profound experience linked with the intensity
that dialogue between tradition, experience and narration.
The contemporary art often also looking for ways to generate the most
profound experiences, making use of qualities that can generate such an
experience. At this meeting point between tradition and art is this
research that is dedicated to creating ways to intervene in everyday
life to hear stories of people in everyday life. A challenge to make
memories, make up a collection of
life stories, try to resist the imperative of our time seeking to
understand society and the affirmation of Benjamin that the narration
is in danger of extinction. Reviver is something that can have great
intensity and to allow a flyby in the Blue Mountains, it told me to
remember Your Jair mountains of his childhood. Pessoas e
histórias que encontrei, ouvi e narrei. I met people and
stories, narrated and heard.
Keywords: Life story. Narrativity.Experience.Tradition.Contemporary.
LIMA,
Elaine Cardim. A singularidade vocal na
composição do ator. Salvador: Programa de
Pós-Graduação em Artes
Cênicas da UFBA; CNPq; bolsista; mestranda; atriz e
professora; Linha de pesquisa: Poéticas e Processos de
Encenação; Or. Prof.ª Dr.ª Hebe
Alves da Silva.
RESUMO:
O artigo tem por objetivo fornecer os elementos de uma
reflexão sobre o exercício vocal cênico
integrado aos reflexos
corpóreos-imagéticos-emocionais do ator,
desenvolvidos ao longo do processo de elaboração
de um desempenho teatral. A investigação de
natureza teórica e prática sobre as
potencialidades e apropriação dos
princípios da arte do ator, se projeta para além
da quebra de automatismos na expressão cênica,
versa ainda sobre produção e uso de suas
qualidades singulares que seriam originadas por uma matéria
não consciente e poderiam apoiá-lo na
construção de seu papel. Através de
uma trajetória acadêmica e profissional, buscam-se
aproximações e distanciamentos deste estudo junto
aos métodos sugeridos por Stanislávski, Artaud e
Grotowski para a composição cênica. .
Palavras-chave: Voz. Composição do ator.
Stanislávski. Artaud. Grotowski.
ABSTRACT:
The article aims to provide the elements of a reflection on the vocal
scenic exercise integrated with tangible bodyness-imaging-emtional
actor's reflexes, emotional actor, developed during the process of a
theatrical performance preparation. Investigation of theoretical and
practical nature of the potentialities and appropriation of the actor's
art's principles, protrudes beyond the break of the automatisms in the
scenic expression, also concerns about the production and use of his
unique qualities that would be caused by a substance not knowingly and
could support him building his character. Through academic and
professional career, it seeks similarities and differences between this
study and the methods suggested by Stanislavsky, Artaud and Grotowski.
Keywords: Voice. An actor prepares. Stanislavsky. Artaud. Grotowski.
ABSTRACT
Part of the author Master research, this is a study of two pillars of
the process of creating the Bando de Teatro Olodum’s
spectacle Bença (2010): a transcultural relations and native
discourse. For that, an approach was made about the group research
sources and ideological-discursive elaborations in scenic laboratories
for the spectacle said, linking them with a theoretical-epistemological
about cross-cultural field that involves the
“Bando”. The product of discussions raised here
reveals the theatricality of a group whose creations are the fruit of
their experience and references in the territory of Brazilianness, a
field of cross-cultural hybrid.
Keywords: Bença. Bando de Teatro Olodum. Native
Discourse.Transculturality.
ABSTRACT
It is known that from the 50s of the twentieth century with the
development of new theories and new theatrical ideas of artistic dance,
it is necessary recognition of these artistic forms in the context of
media and new possibilities of perception. Thus, it is urgent to think
Theatre / Dance from the point of view of their approaches to narrative
audiovisual further research, discuss and reflect on new directions
that the aesthetics of our time is going. This study is based on
processes of creating artistic work you turned off your webcam? Student
Luka Severo’s Degree in Theatre from the University Cariri
Regional – URCA, which is part of the research group Theatre
/ Dance and New Technologies coordinated by Prof. Nd Ms. Marcela Lima
dos Santos. You hung up your webcam? Questions related hazards in the
new relations established through the Internet and their
interdependence. The student-artist makes use of projected images and
the Internet in real time during the performance. This study also
reflect how these images functioned as modifier element of space and
inter-relationships between visual, body, and scene viewer.
Keywords: Creative processes. Visual.Body.
ABSTRACT
In PhD (UNICAMP), under the thematic project of the Center for
Anthropology, Drama and Performance (USP), the researcher developed a
complex for creating scenic entitled Mythodology in Performing Arts,
using as inputs aspects of the Anthropology Experience studied by the
anthropologist Victor Turner and Anthropology of the Imaginary, by the
sociologist Gilbert Durand. This complex has been experienced by
artists under the guidance of the researcher, creating the drama and
the staging of the show Warriors, as part of her doctorate. The
Mythodology in Performing Arts handles personal forces at work in
moving the relationship with yourself and otherness in feedback, seeks
to give vent to one of the Depths Theatre, reaching layers of personal
and collective psyche, clear perception of the social margins. This
paper aims to present Mythodology in Performing Arts, proposing an
epistemological change in the Performing Arts, which is a distance of
vertical transmission of knowledge to approach certain Gnostic
Pedagogy, restorer imarginal a reality.
Keywords: Anthropology of Experience. Anthropology of the
Imaginary.Mythodology in Performing Arts.
ABSTRACT
This paper propose to reflect the body actor constrution for develop
his habilities to play and to improvise. It is a teorique, practice and
reflection of authoress description about her experience a long time
doing exercices and putting into practice on BMC (School Body Mind
Centering, by Bonnie Cohen, US), and actually, studying for somatic
educator formation. These studies are associate to others pratices
knowledge about the body using to conduct improvisation and moviment
forward to construct a comic body and to explore the clown language.
These bodies practices are being articulated with the scientific
literature of Cognitive Sciences whith make available to uderstand the
relationship about BMC and the actor body construction for
improvisation and for play a clown. This paper can offer a reflexion
about the density articulation try body conception, methodology for
actor body construction and artistic creation.
Keyword : Body Mind Centering. body construction. Improvisation.clown
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MARQUES, Lílith de Moraes. Proposta de mapeamento de Gestos
Psicológicos (GPs) para perfis femininos encontrados na
dramaturgia de Nelson Rodrigues. Salvador: Universidade Federal da
Bahia; mestranda; Hebe Alves. Atriz.
RESUMO
Estudo de personagens femininas da obra de Nelson Rodrigues, apoiado na
categorização das peças do dramaturgo
e na proposição de Stanley Keleman, no livro
Anatomia Emocional, da existência uma resposta às
agressões sofridas pelo indivíduo, organizada
corporalmente e desenvolvida em sucessivos movimentos, formando o
continuum do reflexo de susto. No artigo, encontra-se a
reflexão sobre o processo de
investigação prática, no qual,
Ações Físicas utilizadas pela
pesquisadora articulam os elementos do continuum com o conceito de
Gesto Psicológico (GP), desenvolvido por Michael
Chékhov. A indagação acerca da
análise das linhas motoras de cada Gesto
Psicológico abordado se desenvolve por meio da
verificação da possibilidade de
associá-lo à estrutura de caráter das
personagens esboçadas e encontra suporte nos pressupostos
que orientam a pesquisa de mestrado em curso no Programa de
Pós-Graduação em Artes
Cênicas da Universidade Federal da Bahia.
Palavras-chave: Gesto Psicológico. Nelson Rodrigues.
Anatomia Emocional. Ação Física.
RESUMEN:
Estudio de personajes femeninas de la obra de Nelson Rodrigues, apoyado
en la categorización de las obras del dramaturgo y en la
propuesta de Stanley Keleman, en el libro Anatomía
Emocional, donde existe una respuesta a las agresiones sufridas por el
individuo, organizada corporalmente y desarrollada en sucesivos
movimientos, formando el Continuum del reflejo de sobresalto. En el
artículo, se encuentra la reflexión sobre el
proceso de investigación practica, en lo que, Acciones
Físicas utilizadas por la pesquisidora articulan elementos
del Continuum con el concepto de Gesto Psicológico (GP),
desarrollado por Michael Chékhov. La indagación
acerca del análisis de las líneas motoras de cada
Gesto Psicológico abordado se desenvuelve por medio de la
verificación de la posibilidad de asociarlo a la estructura
de carácter de los personajes esbozados y encuentra suporte
en los presupuestos que sitúan la pesquisa de postgrado
(Maestría) corriente por el Programa de
Pós-Graduação em Artes
Cênicas da Universidade Federal da Bahia.
Palabras-clave: Gesto Psicológico. Nelson Rodrigues.
Anatomía Emocional. Acción Física.
RESÚMEN
El artículo trata de las transformaciones ocurridas en el
teatro del siglo XX desde la perspectiva de Konstantin Stanislavski y
sus propuestas pedagógicas elaboradas durante toda su vida
dedicada al arte teatral y su desarrollo, en particular la
condución del proceso creativo del actor a través
de lo que al final de su vida fue llamado Método del
Análisis Activo. Su trabajo debe ser entendido como um todo
complejo y que fue transformado y adaptado a lo largo de sus
años de trabajo y se compone de dos partes distintas, pero
inseparables: el trabajo interior y exterior del actor sobre
sí mismo. La asimilación y adquisición
de los conocimientos referentes a los dos aspectos del trabajo del
actor sobre sí mismo se observo em este estudio de su
aplicación en el currículo del Curso de
Bacharelado em Direção Teatral de Universidade
Federal de Santa Maria/RS, introducido desde el año 1994 y
en vigor hasta el año 1997, que repercutió en las
turmas de graduados que saliran de esta instituición hasta
el año 2005.
Palavras-clave: Análisis Activo; Stanislavsky; trabajo del
actor.
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MONTEIRO, Gabriela Lírio Gurgel. Titulo:
“Espaços cinéticos, imagens
teatrais”. Prof. Adjunto ECO/UFRJ. Pesquisadora CNPQ:
“A teatralidade cinematográfica e o uso de novos
dispositivos na criação de
imagens”(FAPERJ/PIBIC/PIBIAC)
RESUMO
Refletir sobre as relações entre o teatro e o
cinema contemporâneos significa ampliar as bases da
discussão ancoradas na tentativa de delimitar
espaços específicos de
representação ocupados por uma ou outra arte. Em
um momento de convergência tecnológica, imagens
antes restritas a espaços contíguos e demarcados
deslocam-se, ampliando zonas fronteiriças, provocando no
espectador a impressão de que tais imagens sobrevivem para
além do suporte escolhido. Notamos isso em
inúmeros espetáculos que fazem uso de trechos de
filmes, videoclipes, imagens-documentais, imagens caseiras, fotos,
slides, imagens criadas in loco com o uso de retroprojetor, imagens
irreconhecíveis, borrões, letterings, entre
muitas outras. Este estudo pretende investigar como tais imagens
corroboram para refletirmos sobre novas dramaturgias que se
caracterizam por delinear vias de escape, compondo lugares de passagem
híbridos, flutuantes.
Há de se pensar o destino das nouvelles images, a que se
propõe Raymond Bellour (2002). Imagens que aparecem e
desaparecem, sem deixar vestígios, que existem somente na
articulação/conexão com outras tantas
imagens e que, juntas, compõem espaços
estratégicos, porosos e, de certo modo, independentes
daquilo que, inicialmente, foi pensado como destino possível
para elas. Imagens imprevisíveis porque em sua mobilidade,
na composição com outras, em redes,
avançam indefinidamente.
PALAVRAS-CHAVE: Teatro. Cinema. Imagem
ABSTRACT
Reflecting on the relationship between theater and contemporary cinema
means to broaden the base of the discussion anchored in an attempt to
define specific spaces occupied by each art. At a time of technological
convergence, images previously restricted to contiguous and demarcated
spaces are moving, expanding border areas, causing the viewer the
impression that such images survive beyond the support chosen. We note
that in many shows that make use of film clips, video clips,
documentary images, home images, photos, slides, images created in situ
with the use of overhead projector, unrecognizable images, blurs,
letterings, among others. This study aims to investigate how such
images corroborate for thinking about a new drama that is characterized
by outlining avenues of escape, forming hybrid and floating passageways.
One has to think about the future of ‘nouvelles
images’, which proposes Bellour Raymond (2002). Images that
appear and disappear without trace, that only exist in the joint /
connection with other images and so many that together make up
strategic spaces, porous and, in a sense, independent of what initially
was thought possible as a destination for them. Images unpredictable
because of its mobility advance indefinitely in composition with others
in networks, advance indefinitely.
KEYWORDS: Theatre. Cinema. Image
ABSTRACT
The art of the actor is not about what he says, but how he says. It is
therefore necessary to know how to say, to fill the words with all
possibilities and seductions that transform them into action, live
gesture and clear intention. To say in theater, being a poetic
vocality, is closer to singing than everyday speech. Thus it is
important for the actor to know the parameters that rule singing in
order to improve his vocal work. This paper reports briefly a master
research in progress, a path that is being walked, an experience
connecting theory and practice, moved by the desire to pursue a voice
that is realized as living and transforming movement. The
actress/researcher investigates ways to utilize musical parameters as
tools for the vocal work of the actor in a play and suggests an
specific notation with rhythmic, melodic and expressive appointments,
symbols that are useful to “visualize” the sound
and register vocals scores built during a creative process. There is
also the report of pedagogical experiences, in which the
actress/researcher explore pedagogical strategies to teach the
appropriation of musical parameters in creating the vocal work of the
actor.
Keywords: Voice. Actor.Musical parameters.
RÉSUMÉ
À partir de fragments des journaux écrits pendant
dix ans de processus de création de l’espectacle
“Rosário”, cet articlepoursuit, selon la
critique génétique, révéler
la construction de la figure “Cabocla”.
Créé en tant que un des brouillons de personnage
qui conduisent l’oeuvre en question, la
“Cabocla” a été
inspirée par Mestra Margarida, une maitre de Guerreiro
originéé en Juazeiro do Norte – CE, et
par son vaste répertoire de chançons. En
investigant des traces qui impliquent une recherche vocale-creative et
l’expérience continuéé des
manifestations da la culture populaire et del’art du clown,
il y a l’intention de mettre en évidence les
chemains de la mémoire qui ont conduit à la
corporéité physique et vocale de cette figure.
L’archéologie du processus
révèle comment ces voies souterraines ont permis
le rassemblement de processus de création aussi
diférents, qui ont composé un chemin singulier de
la scène.
Mots-clés: critique génétique.
processus de création. manifestations da la culture
populaire . corporéité. clown.
RÉSUMÉ
Au cours du second semestre de 2010, la compagnie Teatro da Travessia,
de laquelle la chercheuse est membre fondatrice et également
actrice, a été lauréate de la Bourse
Funarte de Résidence en Arts pour. L’initiative de
la troupe a été de réaliser un
échange de procédures de créations
scéniques narrative et burlesque; un contact entre les
littératures française et brésilienne,
et une diffusion de spectacles théâtraux des deux
nationalités. Le Brésil a
été représenté par la
troupe elle-même et aussi par l’Institut
d’Arts de l’Universidade Estadual Paulista, pendant
que la France a été personnifiée par
l’entremise de l’artiste et docteur en
théâtre burlesque, Philippe Goudard, et de
l’Université Paul-Valéry Montpellier
III. Cet article retrace la période française de
cette expérience et analyse quelles ont
étés et comment se sont
développées les approches entre les langages
recherchés pour la création du nouveau spectacle,
Colloque international sur l’Amour. Il propose aussi la
réflexion sur comment la liaison entre ces
procédés a aidé à la
découverte des chemins pour atténuer les
frontières entre acteurs et public. De la même
manière que la réunion scientifique à
laquelle cet article se destine, ce texte a comme axes principaux: la
création de liens et de moyens de
dévéloppement d’un nouveau spectacle;
l’événement
théâtral, résultat des relations
pendant la représentation, et la recherche de textes,
langages et ressources de communication.
Mots clés: échange culturel. Teatro da Travessia.
théâtre burlesque. théâtre
narratif. relation directe avec le public.
RESUMEN
La relación entre los sujetos que forman parte de un
colectivo teatral es un fuerte elemento de la composición de
la obra del grupo. Por lo tanto, la cuestión central de este
estudio es cómo las acciones de los artistas son capaces de
armonizar en lo colectivo. La investigación se
llevó a cabo a través de la
observación participante del proceso de creación
de la serie Primeiro Amor (2010), con el grupo Neelic –
Núcleo de Estudos e Experimentação da
Linguagem Cênica, Porto Alegre. Desde el pensamiento de
Mijail Bajtín, sobre todo el reflejo de su concepto de la
polifonía, el estudio analiza los procedimientos del grupo,
los mensajes sobre la propuesta bajtiniana existencia entre lo general
y lo particular, la vida y el arte, una reacción
interconstituição no favorecer a ninguno de estos
términos, sino que integra en la producción de
acciones y obras de arte.
Palabras clave: Polifonia. Acto ético. Grupo de teatro.
————————————————————-
RIBEIRO, Cibele. A dança pós-dramática
do Judson Dance Theater. Natal : Universidade Federal do Rio Grande do
Norte; Mestranda em Artes Cênicas;
Orientação: Profa. Dra. Karenine de Oliveira
Porpino. Bailarina, preparadora corporal e diretora
artística.
RESUMO
O Judson Dance Theater estabelece um marco e uma zona de
indiscernibilidade na história da dança. Formado
por artistas de diversas formações e
atuações que não só a
dança, este grupo tem ainda outras
características marcantes: constituiu um coletivo de
dança independente sem a figura de um diretor, evidenciando
a ideia de um intérprete criador, além de ser
influenciado por considerações
não-convencionais sobre composição
musical resignificadas na composição
coreográfica. Seus integrantes alargaram as fronteiras da
dança e a reterritorializaram como ponte, juntura, zona de
indiscernibilidade, noções tão caras
aos filósofos Gilles Deleuze e Felix Guattari, provocando
interações entre
informações e formações que
raramente interagiam, explicitando uma noção de
dramaturgia do corpo. Tais características fazem recordar
ainda o conceito de “teatro
pós-dramático” sustentado por
Hans-Thies Lehmann, para quem o teatro deve ser configurado
não pela temporalidade
histórico-filosófica trazida pela
noção de “teatro
pós-moderno”, mas por suas próprias
particularidades criativas – uma vez que esse fazer
artístico não nega a modernidade, mas fecunda e
explode questões trazidas pela modernidade.
Palavras-chave: Dança pós-moderna. Teatro
pós-dramático. Processos criativos. Zona de
indiscernibilidade.
RESUMEN
El Judson Dance Theater establece un marco y una zona de
indicernibilidad en la historia de la danza. Formado por artistas de
distintas formaciones y actuaciones que no sólo la danza,
este grupo aún tiene otras marcantes
características: constituyó un colectivo de danza
independiente sin la figura de un director, mostrando la idea de un
intérprete creador, además de ser influenciado
por consideraciones no convencionales sobre composición
musical resinificadas en la composición
coreográfica. Sus integrantes ampliando las fronteras de la
danza y la reterritorializaram como puente, unión, zona de
indicernibilidade, nociones tan queridas a los filósofos
Gilles Deleuze y Félix Guattari, provocando interacciones
entre informaciones y formaciones que raramente hacían
interacción, explicitando una idea dramaturgia del cuerpo.
Esas características hacen todavía acordar el
concepto de “teatro posdramático”
sustentado por Hans-Thies Lehmann, para quién el teatro debe
ser configurado no por la temporalidad
histórico-filosófica interpuesta por la idea de
“teatro posmoderno”, sino por sus propias
particularidades creativas – una vez que ese hacer
artístico no nega la modernidad, pero fecunda y explode
cuestiones traídas por la modernidad.
Palabras-chave: Danza posmoderna. Teatro posdramático.
Processos creativos. Zona de indicernibilidade.
ABSTRACT
Post-dramatic theater is a polemic term, its acceptance is not a
consensus among researchers and artists. This
“umbrella” concept was created by professor Lehmann
to help people talk about their contemporary experience. Therefore,
it’s used here to think about acting in the contemporary
theater. Considering some parameters presented by Lehmann in his book
of the same title as well as some aspects of the Performative Theater
Studies of Fèral, the article aims at discussing the work of
the contemporary actor, regarding expectations on acting and
possibilities for his/her preparation.
Key-words: acting – preparation – post-dramatic
– performative
————————————————————-
SANTOS, Manhã Chagas. O corpo no jogo da
improvisação teatral. Salvador: PPGAC UFBA;
Mestrado; Capes; Orientadora: Prof.ª Dr.ª Suzana
Martins. Atriz e prof. subs- Ufba.
RESUMO
Esta pesquisa apresenta uma investigação acerca
da improvisação como método criativo
do ator. Tem como objeto o improviso com enfoque no corpo, no
movimento, na ação física. A partir da
experiência com jogos de improvisação
propostos por Keith Johnstone, da comicidade do corpo desenvolvida em
formação de Clown com o LUME (Grupo
Interdisciplinar de Pesquisa do Ator/UNICAMP) e jogos criados pela
autora em experiências diversas de
condução e também como atriz ao longo
de 20 anos, propõe-se uma reflexão sobre
possíveis regras para o improviso corporal que dá
origem a cenas que prescindem da palavra. Além das regras,
são também investigadas as habilidades
desenvolvidas pelo ator no jogo do improviso, assim como as
relações estabelecidas entre o corpo e os outros
corpos, o espaço, o tempo, a musicalidade e a comicidade da
cena. A pesquisa tem como intuito elencar jogos, regras e caminhos
possíveis para atores que desejem encontrar na
improvisação uma via de desenvolvimento de
potenciais expressivos, tendo em vista que o ator pode e deve propor e
criar dramaturgias em muitos processos criativos na atualidade. Esta
investigação poderá também
servir de guia para a condução de processos
criativos que se utilizem da improvisação como
provocador, assim como incentivo e instrumento de
desconstrução da ideia de que a
improvisação teatral é para poucos
corajosos e inventivos atores.
Palavras-chave: Improvisação. Corpo.
Princípios.
ABSTRACT
This research work presents an investigation about the improvisation as
an actor’s creative method, taking as object the impromptu
with a body, movement and physics’ action focus. Starting of
the experiences with Keith Johnstone’s improvisation games,
the comic body developed on the LUME’s (Actor’s
Interdisciplinary Research Group / UNICAMP) formation, games created by
the author in diverse conduction experiences and 20 years’
experience as an actress, it proposes a reflection about possible rules
for the corporal improvisation that origins no-talking scenes. Beyond
the rules, the abilities developed by the actor in the improvisation
game are investigated too, as the relations established between
different bodies, the space, the time, the musicality and the
scene’s comic. The research has the intention of make a
games’, rules’ and possible ways’ for
actors that desire to find on the improvisation a develop expressive
potentials path survey, considering that the actor can purpose
directions and create dramaturgies on various nowadays creative
processes. This investigation will serve as a creative process
conduction guide, when it’s uses the improvisation as
provocation, as incentive and instrument for the deconstruction of the
idea that improvisation is for a few courage and inventive actors.
Keywords: Improvisation. Body. Principles.
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SCHIOCCHET, Michele Louise. Site what? Reflexões a respeito
da arte site-specific. Florianopolis: UDESC; Doutorado; bolsista CAPES;
Orientadora Beatriz Angela Cabral.
RESUMO
Este artigo focaliza processos artísticos em
espaços urbanos, ditos alternativos. O estudo concentra-se
no uso do termo site-specific, contextualizando-o historicamente. Nesta
análise são citadas diversas
acepções atribuídas a este termo
durante as quase quatro décadas de seu surgimento, gerando
além de uma polissemia, uma série de termos
alternativos que buscam redefinir possíveis
relações entre obra x site. A abordagem parte
deste quadro geral para a análise de algumas teorias
relacionadas ao espaço urbano e a seu uso cotidiano,
servindo-se de conceitos como os de produção do
espaço, terceiro espaço e espaços de
fluxos encontrados nas obras de Henri Lefebvre, Michel de Certeau,
Edward Soja e Manuel de Castells. Em seqüência
relacionam-se tais princípios, avaliando de que maneira uma
mudança na compreensão da idéia de
espaço poderia ter alterado a arte site-specific. Levam-se
em consideração os diversos níveis de
inter-relação obra x site, buscando avaliar
não somente a relação da obra com um
espaço geográfico, mas também com
espaços e entre espaços sociais, conceituais e
suas varias intersecções. O estudo pretende
apontar como o uso de determinadas terminologias pode denotar
intencionalidades específicas, inerentes a um comportamento
politico e/ou estético também especifico;
questionando que tipo de propósitos poderia ter a arte
site-specific e de que maneira este embate obra x site poderia ser
simbiótico.
Palavras-chave: Site-specific. Espaços alternativos.
Performance.Quotidianidade.Interdisciplinaridade.
ABSTRACT
This article researches the creation of performances and art works in
urban spaces, known as alternative. Contextualising it historically the
study points to several variations on the use of the term
site-specific, generating not just a polysemy, but also alternative
terms which tried to redefine the relationship site x work, throughout
almost four decades of its origins. Using some concepts such as: the
production of the space, the third space and the spaces of the flows
from: Henri Lefebvre, Michel de Certeau , Edward Soja e Manuel de
Castells, the study reflects about how the changes on the perception of
the space could have influenced on the way the artwork interacts with
the urban spaces. Understanding the space not just as geographic, it is
possible to consider spaces and in between spaces such as social spaces
and conceptual spaces as well as its overlapping and intersections. The
paper finally investigates how the use of specific terms could accuse
intentions, related to also specific politic and aesthetic behaviours;
questioning what sort of purposes could have a site-specific art and in
which way the confrontation work x site could be symbiotic.
Keywords: Site-specificity. Alternative Spaces.Performance.Everyday
live.Cross-disciplinary.
RÉSUMÉ
Dans la construction du spectacle, les lois de la composition
artistique sont prises en totalité ou subverties dans
certains aspects. La pratique de l’art dramatique
à l’École de
Théâtre UFBA est une confirmation de
l’idée que l’espace
d’élucidation de la relation entre
“connaissance” et “faire”
artistiques est l’Université. Dans cette
institution, les étudiants du premier cycle en
interprétation théâtrale assimilent la
dynamique du jeu scénique à travers
l’appropriation des concepts et des principes
inhérents au faire théâtral, par la
réalisation de mises en scène didactiques. Ainsi,
les séquences textuelles ou scéniques,
composées d’une succession
d’instantanés, sont articulées, ce qui
entraîne le développement d’une nouvelle
scène. C’est alors que la connaissance implicite
cède la place à l’explicite et ils
découvrent que la découverte est aussi une
construction.
Mots-clés: École de théâtre
à UFBA. Spectacle. Interprétation
théâtrale.
RÉSUMÉ
L’article cherche à identifier la relation entre
l’action de l’acteur de V. Meierhold et
l’utilisation d’une base
extra-théâtral: la Musique. Faits saillants de
certains principes fondamentaux dans le processus de construction
d’action à partir de
éléments et paramètres musicales dans
le théâtre de Meierhold. A partir de la
réflexion profonde qui Meierhold effectue sur la production
d’opéra, à travers les
écrits d’Appia, Craig, après Fuchs,
Wagner et Hagemann, nous cherchons à comprendre les
spécificités du théâtre
d’opéra et plus largement du
théâtre de la convention pour la
création d’un théâtre
où la musique a été conçue
comme la substance de l’action, comme un courant qui
accompagne les mouvements de l’acteur sur l’espace
scénique et les moments statiques de leur jeu. Ainsi, cette
étude vise à élaborer un concept
d’action musicale à partir du travail de
l’acteur de Meierhold, envisagent
d’élargement de les possibilités
d’utilisation des bases qui génèrent
des actions proposées par ce directeur.
Mots-clés: Interaction Music-Théâtre.
Action. Vsévolod Meierhold.
ABSTRACT
This research aims to study the processes of creation recorded by Jerzy
Grotowski and his collaborators at the Laboratory-Theatre. For the
Grotowski acting is a solemn act of collective self-knowledge. To
articulate how this requires a “full action”. This
phenomenon is expressed when the actor repeats his score and through
this naked, accessing their inner impulses. At this point the viewer
knows he has found a genuine phenomenon and irradiation of the show
comes from two opposites: objective – subjective score
– the act. The actor’s work focuses on the paradox
between spontaneity and discipline, working with the idea of
subjectivity of objective actions, the core of physical action.
Keywords: Creation Process. Physical Action.Organicity.