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Authors
Advisor(s)
Abstract(s)
Ao explorar o tema da “palavra do corpo” estou a fazer uma investigação sobre a presença do ator, sobre o corpo do ator em cena e sobre a complexidade da sua atuação. Ao estudar o processo de criação de João Mota, participando enquanto assistente de encenação em dois processos criativos de sua autoria: Cyrano de Bergerac e Play Strindberg, tentei esclarecer de que modo o corpo do ator pode comunicar em cena. Procurei, pois, perceber qual é o lugar do corpo num espetáculo sustentado pela palavra e quais os aspetos do trabalho de João Mota que se aproximam das definições de “palavra do corpo”, nome que dei a uma particular qualidade de presença, uma capacidade de tornar possível a comunicação teatral através duma fusão entre o corpo, a voz e o imaginário.
ABSTRACT - By exploring the theme of the “body’s word” I am investigating the actor’s presence, the actor’s body while on stage and the complexity of his performance. By studying João Mota’s process of creation, in which I participated as an assistant director, both in Cyrano de Bergerac and Play Strindberg, I have tried to clarify the subject of how the actor’s body can communicate while on stage. I have, thus, searched to understand the body’s place in a show which is mostly sustained by the spoken word and which aspects of João Mota’s work come close to the definitions of the “body’s word” – the name which I have given to a particular quality of presence, a capacity of making theatrical communication possible through a fusion of body, voice and imagination.
ABSTRACT - By exploring the theme of the “body’s word” I am investigating the actor’s presence, the actor’s body while on stage and the complexity of his performance. By studying João Mota’s process of creation, in which I participated as an assistant director, both in Cyrano de Bergerac and Play Strindberg, I have tried to clarify the subject of how the actor’s body can communicate while on stage. I have, thus, searched to understand the body’s place in a show which is mostly sustained by the spoken word and which aspects of João Mota’s work come close to the definitions of the “body’s word” – the name which I have given to a particular quality of presence, a capacity of making theatrical communication possible through a fusion of body, voice and imagination.
Description
Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Artes Performativas - especialização em Interpretação
Keywords
Teatro Dança Palavra Corpo Acção João Mota Cyrano de Bergerac Play Strindberg Theatre Dance Word Body Action
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema