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Master's Dissertation
DOI
https://doi.org/10.11606/D.27.2020.tde-09012020-163224
Document
Author
Full name
Livia Vilela Taveira
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Coutinho, Eduardo Tessari (President)
Brasil, Ana Clara Cabral Amaral
Neves, Neide
Title in Portuguese
Imagens corporificadas: Variações de qualidades de movimento nos processos criativos em Técnica Klauss Vianna com o uso de disparadores imagéticos.
Keywords in Portuguese
Corpo
Movimento
Preparação do ator
Teatro
Técnica Klauss Vianna
Abstract in Portuguese
A presente dissertação apresenta um estudo teórico-prático sobre o movimento em processos criativos teatrais alicerçados na Técnica Klauss Vianna (TKV), com auxílio de disparadores imagéticos provenientes do Sistema Laban. São investigados caminhos para estimular o ator durante a criação, exploração e apropriação dos movimentos de partituras corporais e, também, para ampliação de repertório de qualidades de movimento. O corpo é entendido, aqui, como um sistema amplo, em constantes transformação e trocas com o ambiente. Enfatizam-se aspectos como a atenção focada e a repetição consciente na (re)construção do movimento. É apresentada a origem desta pesquisa, que foi a experimentação vivenciada em sala de ensaio durante a criação do espetáculo teatral "A Dor". A pesquisa também desenvolve uma prática, composta por um experimento cênico, a partir do qual são suscitadas as reflexões sobre o processo criativo solo.
Title in English
-
Keywords in English
Body
Klauss Vianna Technique
Movement
Preparation of the actor
Theater
Abstract in English
This dissertation presents a theoretical and practical study about the movement in theatrical creative processes based on the Klauss Vianna Technique, with the aid of imagery triggers from the Laban System. Paths are investigated to stimulate the actor during the creation, exploration and appropriation of body movements routines and, also, to expand the repertoire of movement qualities. The body is understood here as a broad system, constantly changing and exchanging with the environment. Aspects such as focused attention and conscious repetition in the (re)construction of movement are emphasized. The origin of this research is presented, which was the experimentation experienced in the rehearsal room during the creation of the theatrical show "The Pain". The research also develops a practice, composed by a scenic experiment, from which the reflections on the solo creative process are raised.
 
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Publishing Date
2020-01-09
 
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