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Master's Dissertation
DOI
10.11606/D.27.2013.tde-06032014-151151
Document
Author
Full name
Carlos Eduardo de Souza Brocanella Witter
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2013
Supervisor
Committee
Martins, José Batista Dal Farra (President)
Eikmeier, Martin
Lopes, Elisabeth Silva
Title in Portuguese
O ator musical: a musicalidade na composição cênica
Keywords in Portuguese
Formação do ator
Meyerhold
Multiplicidade
Música
Musicalidade
Pedagogia Teatral
Teatro
Teatro Musical
Abstract in Portuguese
Esta pesquisa teórico-prática realiza um estudo do pensamento e dos princípios de trabalho de Vsévolod Meyerhold a partir da musicalidade no trabalho do ator, utilizando princípios de Murray Schafer e Dalcroze, para a compreensão da musicalidade no corpo do ator e no espaço cênico, com vistas à uma formação mais global do ator. Neste sentido buscamos traçar princípios pedagógicos e fundamentos artísticos sobre os quais investigamos teórica e praticamente. Sua contribuição pode ser útil para que o ator vislumbre possibilidades de trabalho exploratório sobre si mesmo, passando por um processo de incorporação da musicalidade enquanto elemento constitutivo de sua prática e organizador do tempo no espaço. Traça ainda breves comentários sobre um teatro múltiplo, no qual dialoguem todas as linguagens artísticas de maneira não disjuntiva. Busca, finalmente, uma formação integral do ator enquanto humano e enquanto artista.
Title in English
The Musical Actor: The Musicality at the Scenic Composition.
Keywords in English
Actor's formation
Meyerhold
Multiplicity
Music
Musical Theater
Musicality
Theater Pedagogy
Theatre
Abstract in English
This research makes a theoretical and practical study of thinking and working principles of Vsévolod Meyerhold from the musicality at the actor's work using Murray Schafer's and Dalcroze's principles for the understanding of the musicality in actor's body and at the scenic space, looking for a global training of the actor. In this sense, we try to describe pedagogical principles and artistic elements on wich we study theoretical and practically. Its contribution can be useful for the envision possibilities of the actors on their exploratory work, through himself, passing through a process of incorporation of the musicality while constitutive element of their practice and a time organizer at the space. It also makes short comments about a plural theater in wich all the artistic languages can dialogue in a non-disjunctive way. Finally, it tries to find an integrate training of the actor as human and as an artist.
 
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Publishing Date
2014-03-10
 
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