The body-word: a study of the voices that compose the discursiveness of the actor

Author(s)

Aline Nunes

• Document type: Master's Dissertation
• Press: Campinas, SP.
• Institution: Universidade Estadual de Campinas (UNICAMP). Instituto de Artes
• Defense date: 2015-01-29

Examining board members

Mario Alberto de Santana; Renato Ferracini; Flávio Ribeiro de Oliveira

• Advisor: Mario Alberto de Santana

Abstract

The present investigation aims to reflect upon the discursiveness of the actor on the scene based upon the concept of Dialogue. The term discourse is herein understood as the upshot of the dialogic interaction of voices. In order to comprehend this interaction we call upon the philosophers of the Bakhtinian Circle. Besides the mentioned philosophical guidelines, there is also the desire to search within the knowledge produced inside the realm of theatre itself, for foundations that enable further delving into the matter. Conforming to the standpoint adopted in the present study, every word uttered on the scene assumes three distinct and concomitant components: gestural, intonational and verbal. It is from this interaction that arises the meaning of the enunciation and what we shall call body-word. In the perspective of the present investigation, enunciation is something that goes far beyond the Logos of the message; it is present and unfolds itself through the body of the enunciator, transforming the body itself in a concrete enunciation. The preeminent voices that constitute the Body-word are herein defined as: voice of "materiality"; voice of the "imaginary"; voice of "ideology", voice of "intuition". According to Bakhtin, the voices of a dialogic discourse may interact Heteroglossically (or Plurilinguistically) ¿ whereby the power of the voices is unequal and hierarchies are established ¿ and Polyphonically through which voices are put into dialogue in equipotent manner. In order to analyse the compositional process of the mentioned words I chose as object, the discourses put forth by the interpreters in "Primus" by a theatrical company established in Campinas (SP), and "Prometheus ¿ a tragédia do fogo" by "Cia. Teatro Balagan" a company based in São Paulo. I therefore aim to comprehend the actors¿ process of discursive composition stemming from their corporal techniques, the play of imagination, cultural, ethical and theoretical influences and lastly by virtue of their relationship with intuition, with what is instinctive and what is not rationally known (AU)

• FAPESP's process: 13/03573-1 - The body-word: a study of the voices that compose the discursiveness of the actor
• Grantee: Aline Nunes de Oliveira
• Support Opportunities: Scholarships in Brazil - Master