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Authors
Advisor(s)
Abstract(s)
A voz do actor pode ter diversas utilizações e sentidos de orientação. A confrontação do
pensamento sobre a voz no teatro de alguns especialistas nesta matéria tais como: Clifford
Turner, Kristin Linklater, Enrique Pardo e Sara Pereira Lopes, foi objecto de estudo de uma
parte substancial deste trabalho. Depois de contextualizar a prática da aprendizagem e do
acompanhamento vocal dos actores na realidade teatral portuguesa, foi realizado um exercício
prático e um documentário (que é parte integrante desta dissertação) sobre as diversas formas de
uso da voz na criação cénica e constatadas as suas possibilidades expressivas, potenciando a sua
materialidade sonora, corpórea e emocional, dando à concretização da palavra e do som vocal
uma dimensão cénica, relacionando o corpo, a voz e a emoção.
ABSTRACT - The actor’s voice can span several usages and orientations. The confrontation of the thoughts of various specialists in the field such as: Clifford Turner, Kristin Linklater, Enrique Pardo and Sara Pereira Lopes, was the subject of study for a substantial part of this thesis. After contextualizing the practice of the actor’s vocal learning and coaching in the Portuguese theatrical reality, a practical exercise and a documentary (which is an integral part of this dissertation) focusing on the various forms of usage of the voice in scenical creation were developed, and its expressive possibilities asserted, harnessing its sonic, corporeal and emotional materiality, giving voice and speech a scenical dimension, relating body, voice and emotion.
ABSTRACT - The actor’s voice can span several usages and orientations. The confrontation of the thoughts of various specialists in the field such as: Clifford Turner, Kristin Linklater, Enrique Pardo and Sara Pereira Lopes, was the subject of study for a substantial part of this thesis. After contextualizing the practice of the actor’s vocal learning and coaching in the Portuguese theatrical reality, a practical exercise and a documentary (which is an integral part of this dissertation) focusing on the various forms of usage of the voice in scenical creation were developed, and its expressive possibilities asserted, harnessing its sonic, corporeal and emotional materiality, giving voice and speech a scenical dimension, relating body, voice and emotion.
Description
Keywords
Voz do actor Voz criativa Relação corpo/voz/emoção Relação emoção/intenção/entoação Desenho sonoro Exercícios de voz em cena Actor’s voice Creative voice Body/voice/emotion relationship Emotion/intention/intonation relationship Sonic design Scenic vocal exercises
Citation
Publisher
Mundis - Associação Cívica de Formação e Cultura