O treinamento do ator: do corpo como instrumento ao corpo como experiência

• Ano de defesa: 2014
• Autor(a) principal: Priscilla de Queiroz Duarte
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Educação somática; Treinamento do ator; Método GDS de cadeias musculares e articulares; Dança clássica indiana Orissi; Movimento (Encenação); Teatro; Atores Estudo e ensino; Performance (Arte); Dança; Corpo e mente; Danca classica India
• Link de acesso: http://hdl.handle.net/1843/EBAC-9TDMC5

This dissertation presents researches about the actor's training, it's objectives, methods and procedures, just as it's possibilities and limits. It's object was the training in the Indian classical dance Orissi at the Italian Teatro Tascabile di Bergamo (TTB), along with the Indian guru Aloka Panikar and at the Brazilian Teatro Diadokai, and this trainings interface with the GDS somatic method of muscular and articular chains, in the professional experience of the researcher. A bibliographic research was made, permeated by sources of the memory's record, by way of a selection of the author's Work Notebooks and Travel Journals, from 1985 until 2014. The interweaving of the theoretical studies on the subject with real-life experiences, has given the possibility to pose the following hypothesis: 1) the training may enhance the expressive capabilities of the actor, through the overcoming of psychophysical limits; 2) the training may compromise the expressive capabilities of the actor, through the violation of psychophysical limits; 3) the awareness of psychophysical limits and capabilities, through somatic methods, may contribute to the actor's training, providing proper self-care; 4) the awareness of psychophysical limits and capabilities, through somatic methods, may not contribute to the actor's training, through excessive self-care. Coming from these hypotheses, there was a possibility to discuss such questions as: what is the objective of the actor's training? Is the body an instrument? What good is the training in Indian dance to western actors? What are the contributions of the somatic methods to the actor's training? Is the body experience? What difference is there between being the body and using the body? The quest for answers to such questions has lead to the settlement of two points of view: the body as an instrument and the body as an experience; the results of the research have revealed the complexity in the settlement of a balance between them, i.e. between art and life. The closing remarks try to contribute to the discussion about the training, bearing in mind these two perspectives: the actor as artist and the actor as human being.