| Author(s): |
Rodrigo Cardoso Scalari
Total Authors: 1
|
| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2010-08-31 |
| Examining board members: |
Matteo Bonfitto;
Renato Ferracini;
Rogério Adolfo de Moura
|
| Advisor: | Matteo Bonfitto |
| Field of knowledge: | Linguistics, Literature and Arts - Arts |
| Indexed in: | Base Acervus-UNICAMP; Biblioteca Digital da UNICAMP |
| Location: | Universidade Estadual de Campinas. Biblioteca Central Cesar Lattes; T/UNICAMP; Sca42p; Universidade Estadual de Campinas. Biblioteca do Instituto de Artes; T/UNICAMP; Sca42p |
| Abstract | |
This work aims to make a reflection on the actor's training regarding it as a privileged space for its self-creation. For this, we conducted dialogues with the concepts Autopoiesis of Humbero Maturana and Francisco Varela, little Perceptions, taken from Gottfried Leibniz by Jose Gil, and with several researchers of theatrical art such as Constantin Stanislavski, Jacques Copeau, Jerzy Grotowski and others, looking for a wider understanding of actor training and phenomena resulting from this practice. Adds to the theoretical discussion, a practical contribution, from the creation of a body-improvisational training conducted by this researcher to a group of female graduate students in Theatre Arts at UNICAMP. In addition to talks with the theoretical framework of this research, the practice is outlined here and thought from the perspective derived from a logbook of this researcher, diaries of the students involved, and videos of training sessions held. (AU) | |
| FAPESP's process: | 08/01703-7 - The body-game of the actor as contribution from its scenic bios |
| Grantee: | Rodrigo Cardoso Scalari |
| Support Opportunities: | Scholarships in Brazil - Master |