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Abstract(s)
A presente dissertação configurou-se no estudo dos procedimentos metodológicos de treinamento e elaboração do clown: uma reflexão sobre o conceito de clown e a exposição de processos de criação e formação na prática do clown, enfocando princípios técnicos e didáticos que possam servir de orientação para o clown/aprendiz em sua formação, a partir do contato com a literatura.
É possível ensinar a um ator o ofício do clown? Que princípios esse ator precisa dominar para dar início ao processo de criação e elaboração do seu clown? Do que consiste esse processo? Muitos atores ainda carregam dúvidas sobre a arte do clown, concluíram sua formação técnica e/ou acadêmica sem um mínimo contato com as teorias e práticas clownescas, ou seja, não vivenciaram um treinamento, não passaram por um processo de iniciação de elaboração e criação do clown, e não tiveram contato com práticas circenses. Despreparados e sem orientação, apostam no trabalho de “representação” de um clown, constroem “personagens clownescos”, e acabam por se tornarem pouco eficazes artisticamente, apelando para fórmulas já prontas, pré-fabricadas (piadas, estórias, personagens, gestual estereotipado). “Num primeiro olhar, poder-se-ia pensar que o clown é um personagem, e, como tal, criado por um ator que o desempenha como caricatura separada de si, submetida ao crivo e coordenação deste sujeito pensante que está por trás das ações que desenvolve (DORNELES, 2003, p. 17).” Segundo Luís Otávio Burnier (2001, p. 209): “O clown não representa, ele é. Não se trata de um personagem, ou seja, uma entidade externa a nós, mas da ampliação e dilatação dos aspectos ingênuos, puros e humanos, portanto ‘estúpidos’, do nosso próprio ser.”
Muitos atores, recém formados, desejosos de aprender o ofício do clown, se matriculam em Oficinas, Workshops ou Cursos de formação. Todavia, esses contatos “provisórios” com a linguagem do clown, oferecidos como “cursos intensivos”, nem sempre garantem o crescimento pessoal, acima e além do nível profissional, ou seja, o tempo de aprendizado assegura a qualidade de um treinamento. Ainda assim, esse primeiro contato com a linguagem do clown pode representar o “pontapé inicial”, o “despertar de uma paixão” e, consequentemente, um importante acréscimo na construção desse ator. No entanto, o autoaperfeiçoamento, num treinamento específico e contínuo, seria a estratégia ideal para o entendimento do clown.
Pretendemos que este material venha servir de “bússola” para nortear o ator aprendiz na busca do seu clown, e servir também de estímulo criativo e criador, para que o mesmo, a partir do contato com este estudo, se sinta em condições de se auto-gerir e dar continuidade às suas pesquisas, adaptando o que pode ser útil aos seus trabalhos pessoais.
Não temos a pretenção de sugerir um “manual de trabalho” e sim, propor uma reflexão sobre o conceito de clown e expor procedimentos de criação e formação na prática do clown, enfocando princípios técnicos e didáticos que sirvam de orientação e de “trampolim” para um clown/aprendiz.
Esta dissertação não pretende esgotar as reflexões acerca da temática, tampouco dar respostas ou tirar conclusões definitivas. O estudo, ora proposto, deve servir como um “primeiro olhar” para aqueles que desejarem fazer uma reflexão sobre a linguagem do clown.
ABSTRACT - This dissertation set itself in the study of the methodological procedures of training and preparation of the clown: a reflection on the concept of clown and the display of processes of creation and training in the practice of the clown, focusing on technical and educational principles that can serve as guidance for the clown/apprentice in his/her formation, upon contact with the literature. Can you teach an actor the craft of the clown? What principles does he need to master in order to initiate the processes of creating and producing his clown? What are these processes? The answers to these questions can be found in this study. Many actors still carry doubts about the art of the clown. They have completed their technical or academic training without the slightest contact with the theories and practices of the clown, that is to say, they have not experienced training, have not gone through an initiation process of elaboration and creation of the clown, and had no contact with circus practices. Unprepared and without guidance, betting on the work of “representation” of a clown, they construct “clownish characters” and eventually become artistically ineffective, appealing to ready, prefabricated formulas (jokes, stories, characters, stereotyped gesture). “At first glance, it may be thought that the clown is a character, and as such, created by an actor who plays him as a caricature apart from himself, subjected to the scrutiny and coordination of this thinking subject who is behind the actions the clown develops (DORNELES, 2003, p. 17). ” According to Luís Otávio Burnier (2001, p. 209): “The clown does not perform, he is. This is not a character, i.e., an entity external to us, but the expansion and dilation of the naïve, pure and human, therefore ‘stupid’ aspects of our own being.” Many actors, recently graduated, willing to learn the art of clowning, enroll themselves in workshops, training courses, clown acting classes. However, these “provisional” contacts with the clowning language, offered as “crash courses” does not always guarantee personal growth, above and beyond professional level, i.e., learning time ensures the quality of training. Even so, this first contact with the language of the clown may represent the “kick-off”, the “awakening of a passion” and therefore an important addition in the construction of these actors. However, self-improvement through specific and continuous training would be the ideal strategy for the understanding of clowning. We intend that this material will serve as a “compass” to guide the learning actor in search of his inner clown, and will also operate as creative and creating stimulus so that him, from the contact with this material, feel able to self-manage and to continue his research, adapting what can be useful to his personal work. We do not intend to suggest a “labor manual” and yes, propose a reflection on the concept of clown and present training and creating procedures in the clown practice, focusing on technical and educational principles as a guide and a “springboard” for a clown/apprentice. This paper does not exhaust the reflections on the theme, nor provides answers nor draws definitive conclusions. The study, now proposed, should serve as a “first look” to those who wish to reflect on the language and the art of clowning.
ABSTRACT - This dissertation set itself in the study of the methodological procedures of training and preparation of the clown: a reflection on the concept of clown and the display of processes of creation and training in the practice of the clown, focusing on technical and educational principles that can serve as guidance for the clown/apprentice in his/her formation, upon contact with the literature. Can you teach an actor the craft of the clown? What principles does he need to master in order to initiate the processes of creating and producing his clown? What are these processes? The answers to these questions can be found in this study. Many actors still carry doubts about the art of the clown. They have completed their technical or academic training without the slightest contact with the theories and practices of the clown, that is to say, they have not experienced training, have not gone through an initiation process of elaboration and creation of the clown, and had no contact with circus practices. Unprepared and without guidance, betting on the work of “representation” of a clown, they construct “clownish characters” and eventually become artistically ineffective, appealing to ready, prefabricated formulas (jokes, stories, characters, stereotyped gesture). “At first glance, it may be thought that the clown is a character, and as such, created by an actor who plays him as a caricature apart from himself, subjected to the scrutiny and coordination of this thinking subject who is behind the actions the clown develops (DORNELES, 2003, p. 17). ” According to Luís Otávio Burnier (2001, p. 209): “The clown does not perform, he is. This is not a character, i.e., an entity external to us, but the expansion and dilation of the naïve, pure and human, therefore ‘stupid’ aspects of our own being.” Many actors, recently graduated, willing to learn the art of clowning, enroll themselves in workshops, training courses, clown acting classes. However, these “provisional” contacts with the clowning language, offered as “crash courses” does not always guarantee personal growth, above and beyond professional level, i.e., learning time ensures the quality of training. Even so, this first contact with the language of the clown may represent the “kick-off”, the “awakening of a passion” and therefore an important addition in the construction of these actors. However, self-improvement through specific and continuous training would be the ideal strategy for the understanding of clowning. We intend that this material will serve as a “compass” to guide the learning actor in search of his inner clown, and will also operate as creative and creating stimulus so that him, from the contact with this material, feel able to self-manage and to continue his research, adapting what can be useful to his personal work. We do not intend to suggest a “labor manual” and yes, propose a reflection on the concept of clown and present training and creating procedures in the clown practice, focusing on technical and educational principles as a guide and a “springboard” for a clown/apprentice. This paper does not exhaust the reflections on the theme, nor provides answers nor draws definitive conclusions. The study, now proposed, should serve as a “first look” to those who wish to reflect on the language and the art of clowning.
Description
Dissertação submetida 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
Clown Palhaço Bufão Bobo Commedia dell'Arte Treinamento do clown Clown Bouffon Fool Clown training