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Master's Dissertation
DOI
https://doi.org/10.11606/D.27.2012.tde-13052013-094200
Document
Author
Full name
Maria Amélia Bethovem Farah
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2012
Supervisor
Committee
Lopes, Elisabeth Silva (President)
Telesi, Silvia Fernandes da Silva
Vieira, Jorge de Albuquerque
Title in Portuguese
O ator e a emoção em Escuro
Keywords in Portuguese
afetos
ator
emoção
processo colaborativo
processo criativo
Teatro
Abstract in Portuguese
Este estudo pretende investigar como se processam os sentimentos e as emoções, sob a perspectiva do ator, dentro de uma realidade teatral - no caso, o espetáculo "Escuro". Pretende-se abordar o jogo dos afetos que o ator se propõe nesse trabalho ao emprestar sua história, sua mente, sua corporeidade entre as bordas do real e do ficcional, em paradoxo. Para tanto, utilizaremos a filosofia dos afetos de Espinosa, os estudos sobre emoção e sentimento - principalmente na visão do neurocientista Antonio Damásio - e também as investigações de Charles Darwin sobre a expressão das emoções. Como experimentação prática, elegemos o processo de criação dos atores do espetáculo "Escuro", buscando hipóteses de técnicas pessoais ao lidar com as emoções na cena atual. Ao confrontar a pesquisa teórica com a experiência artística no processo de criação de "Escuro", o presente estudo escapa do campo metafórico para tratar de um tema abstrato de forma direta, concreta e prática. Ao refletir sobre um processo criativo e sobre como o ator gera estados emocionais em cena, a pesquisa acadêmica produz conhecimento a partir de uma experiência real. Percebe-se que a relação afetiva é um dos motores principais do aprendizado, da memória e do fazer artístico.
Keywords in English
actor
affection
collaborative process
creative process
emotion
Theatre
Abstract in English
The current study intends to investigate how do feelings and emotions, under the perspective of the actor at the play "Escuro", process on the theatrical reality. The study approaches the work on the affections that the actor does in this work, "lending" his history, mind and corporality, between the borders of the real and the fictional, in paradox. The work makes use of the Espinosa's philosophy of affections, the studies about emotion and feeling by neuroscientist Antonio Damasio and the expression of emotions to Charles Darwin. On the practical field, we take the creative process of the actors of the play "Escuro" to search for personal techniques elaborated to deal with emotions on the theatrical contemporary scene. Confronting the theoretical research with the artistic experience on the creative process of the play "Escuro" helps the current work to avoid the metaphorical field to elaborate about such abstract theme in a direct, concrete and practical way. While reflecting about creative processes and how an actor springs out emotional states on the scene, this research produces knowledge from practical experience. So to finally conclude that affective relation is one of the main via of learning, memory and the artistic creation
 
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Publishing Date
2013-05-14
 
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