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A Atracção Dramatúrgica pelo Real-Etnografias do Actor-não-Actor
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| 70.47 MB | Adobe PDF | |||
| 7.94 MB | Adobe PDF |
Orientador(es)
Resumo(s)
Nesta investigação tomo como ponto de partida a presença de não-actores na cena
teatral contemporânea para colocar a seguinte questão: o que levará certos encenadores
a prescindirem de séculos de aperfeiçoamento do trabalho técnico do actor profissional
para o substituir por alguém não treinado, tido como real, por ser recorrentemente
chamado a representar-se a si próprio? Esta atracção dramatúrgica pelo real, instaura
formas de ruptura artística assentes na busca da autenticidade em cena. Uma ruptura que
valoriza a natureza performativa específica do actor-nãoactor e que participa de um
processo mais vasto de retorno do real que emergiu ao longo do século XX, instaurando
novas convenções na produção artística. Assim, àquela primeira questão, pode juntar-se
uma outra: o que acontece quando um indivíduo, que nunca pisou o palco antes, aceita
participar num espectáculo profissional que depende da sua fragilidade e exposição?
Procuro então, aceder à natureza da experiência que envolve o acesso à cena por parte
dos actores-nãoactores, constatando que a sua biografia atravessa permanentemente a
dramaturgia. Para tal utilizei a etnografia resultante de trabalho de campo realizado em
vários contextos cénicos na zona da grande Lisboa entre final de 2007 e meados de
2015.
This dissertation examines the presence of non-actors in contemporary theater scene, asking the following question: why would a director dispense centuries of accumulated technical work on acting to replace it by untrained performers? As we acknowledge that these performers are considered to be representing the real, as they are asked to represent their self, we realize that a dramaturgical attraction for the real is established, introducing an artistic rupture based on the pursuit of new forms of staging authenticity. A rupture that values the specific performative nature of the actor-nonactor and is part of a wider process: the return of the real that emerged throughout the twentieth century, establishing new conventions for the artistic production. Another question, then, should be added to the first: what happens when an individual, who never entered on a stage before, agrees to participate in a professional performance that depends on his fragility and exposure? One of the main issues that will be addressed in this dissertation is the nature itself of the experience involved in the access by these actors-nonactors to the stage, noting that their biography is permanently crossing the dramaturgical dimension of the performance. To pursuit this goal I will be using data from ethnographic fieldwork conducted in the Lisbon area between late 2007 and mid 2015
This dissertation examines the presence of non-actors in contemporary theater scene, asking the following question: why would a director dispense centuries of accumulated technical work on acting to replace it by untrained performers? As we acknowledge that these performers are considered to be representing the real, as they are asked to represent their self, we realize that a dramaturgical attraction for the real is established, introducing an artistic rupture based on the pursuit of new forms of staging authenticity. A rupture that values the specific performative nature of the actor-nonactor and is part of a wider process: the return of the real that emerged throughout the twentieth century, establishing new conventions for the artistic production. Another question, then, should be added to the first: what happens when an individual, who never entered on a stage before, agrees to participate in a professional performance that depends on his fragility and exposure? One of the main issues that will be addressed in this dissertation is the nature itself of the experience involved in the access by these actors-nonactors to the stage, noting that their biography is permanently crossing the dramaturgical dimension of the performance. To pursuit this goal I will be using data from ethnographic fieldwork conducted in the Lisbon area between late 2007 and mid 2015
Descrição
Esta tese contém mais 4 CD´s com videos anexos, podem ser consultados na Biblioteca Mário Sottomayor Cardia.
Palavras-chave
Corpus ethincum Teatros do real Irrupção do real Actor-nãoactor Dramaturgias da fragilidade Atracção dramatúrgica pelo real, Descida da cena Ideologias da autenticidade Actor-nonactor Theatres of the real Corpus ethnicum Irruption of the real Dramaturgy of failure Dramaturgical attraction for the real Descending the stage, Ideologies of authenticity