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Abstract(s)
Este relatório de estágio situa-se no âmbito do processo criativo e apresentação de quatro peças teatrais, numa perspetiva mais ampla, não se limitando à análise das ações apresentadas em cena. Parti de uma conceção do processo criativo e organizacional de uma companhia de teatro situada na região de Trás-os-Montes com atividade aberta há 37 anos, com o nome de Filandorra – Teatro do Nordeste, o que me permitiu compreender as etapas em que um encenador se envolve e que contribuem para a qualidade do seu desempenho com os atores.
Para além do processo criativo, de estudo, leitura, interpretação, ensaios e posterior concretização em palco, fiz ao longo deste relatório uma análise mais concisa e profunda às obras que me propuseram e aos seus autores, numa tentativa de encontrar respostas para as dúvidas que ainda existiam e para, de alguma maneira, aprofundar mais os meus conhecimentos teóricos.
Desta forma, o foco deste relatório são as quatro peças onde participei como ator: Auto da Barca do Inferno e Farsa de Inês Pereira, ambas de Gil Vicente, inseridas no “Ciclo de Teatro Vicentino para as escolas”; Histórias da Vermelhinha, de Bento da Cruz, que surgiu de um projeto de verdadeira descentralização designado “O Teatro e as Serras”; por último O Cerejal, de Anton Tchekhov.
Nestes quatro espetáculos interpretei dez personagens, sendo que em Histórias da Vermelhinha foram precisamente sete. Abordei significativamente toda a construção de cada personagem, os métodos que utilizei e recursos que fui absorvendo ao longo de toda a minha formação.
Dei ainda destaque a outros conceitos e abordagens neste relatório final: as “aulas vivas” sobre os textos de Gil Vicente que acontecem sempre no fim de cada espetáculo, nos mais variados palcos por onde a companhia passa (que tanto podem ser grandes salas de teatro e auditórios, com as melhores condições para a prática teatral, bem como os mais peculiares e surpreendentes espaços onde atuamos), as datas e digressões, o número de espetadores, o número de sessões, o público-alvo e o elenco.
Este processo em que estive envolvido ao longo de seis meses de estágio também me permitiu conhecer o trabalho que a companhia desenvolve junto das comunidades, na educação de públicos, no importante papel que traz para a descentralização teatral e como funciona todo o método de trabalho com atores, técnicos, produção e encenação.
ABSTRACT - This internship report is located within the scope of the creative process and presentation of four theatrical plays, from a broader perspective, not limited to the analysis of the actions presented on stage. I started from a conception of the creative and organizational process of a theater company located in the Trás-os-Montes region with activity open for 37 years, under the name of Filandorra – Teatro do Nordeste, which allowed me to understand the stages in which a director gets involved and contributes to the quality of their performance with the actors. In addition to the creative process, study, reading, interpretation, rehearsals and subsequent implementation on stage, throughout this report I carried out a more concise and in-depth analysis of the works proposed to me and their authors, in an attempt to find answers to the doubts that still existed and to, in some way, deepen my theoretical knowledge. Therefore, the focus of this report is the four plays in which I participated as an actor: Auto da Barca do Inferno and Farsa by Inês Pereira, both by Gil Vicente, included in the “Vicentino Theater Cycle for schools”; Histórias da Vermelhinha, by Bento da Cruz, which emerged from a true decentralization project called “O Teatro e as Serras”; finally The Cherry Orchard, by Anton Chekhov. In these four shows I played ten characters, and in Histórias da Vermelhinha there were precisely seven. I significantly covered the entire construction of each character, the methods I used and resources I absorbed throughout my training. I also highlighted other concepts and approaches in this final report: the “living classes” on Gil Vicente's texts that always take place at the end of each show, on the most varied stages where the company passes (which can be large theater halls and auditoriums, with the best conditions for theatrical practice, as well as the most peculiar and surprising spaces where we perform), the dates and tours, the number of spectators, the number of sessions, the target audience and the cast. This process in which I was involved over a six-month internship also allowed me to learn about the work that the company develops with communities, in educating audiences, in the important role it brings to theatrical decentralization and how the entire method of working with actors, technicians, production and staging.
ABSTRACT - This internship report is located within the scope of the creative process and presentation of four theatrical plays, from a broader perspective, not limited to the analysis of the actions presented on stage. I started from a conception of the creative and organizational process of a theater company located in the Trás-os-Montes region with activity open for 37 years, under the name of Filandorra – Teatro do Nordeste, which allowed me to understand the stages in which a director gets involved and contributes to the quality of their performance with the actors. In addition to the creative process, study, reading, interpretation, rehearsals and subsequent implementation on stage, throughout this report I carried out a more concise and in-depth analysis of the works proposed to me and their authors, in an attempt to find answers to the doubts that still existed and to, in some way, deepen my theoretical knowledge. Therefore, the focus of this report is the four plays in which I participated as an actor: Auto da Barca do Inferno and Farsa by Inês Pereira, both by Gil Vicente, included in the “Vicentino Theater Cycle for schools”; Histórias da Vermelhinha, by Bento da Cruz, which emerged from a true decentralization project called “O Teatro e as Serras”; finally The Cherry Orchard, by Anton Chekhov. In these four shows I played ten characters, and in Histórias da Vermelhinha there were precisely seven. I significantly covered the entire construction of each character, the methods I used and resources I absorbed throughout my training. I also highlighted other concepts and approaches in this final report: the “living classes” on Gil Vicente's texts that always take place at the end of each show, on the most varied stages where the company passes (which can be large theater halls and auditoriums, with the best conditions for theatrical practice, as well as the most peculiar and surprising spaces where we perform), the dates and tours, the number of spectators, the number of sessions, the target audience and the cast. This process in which I was involved over a six-month internship also allowed me to learn about the work that the company develops with communities, in educating audiences, in the important role it brings to theatrical decentralization and how the entire method of working with actors, technicians, production and staging.
Description
Relatório de Estágio submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Artes Performativas
Keywords
Filandorra Encenação Personagem Espetáculo Staging Character Show
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema