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Master's Dissertation
DOI
10.11606/D.27.2009.tde-31082015-115853
Document
Author
Full name
Carolina Hamanaka Mandell
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2009
Supervisor
Committee
Santos, Maria Thais Lima (President)
Almeida, Marcio Aurelio Pires de
Lopes, Elisabeth Silva
Title in Portuguese
O corpo grotesco como articulador da cena: Meyerhold, Hijikata e os corpos que dançam
Keywords in Portuguese
Construção da cena teatral
Dança
Grotesco
Tatsumi Hijikata (1929- 1986)
V. E. Meyerhold (1875-1940)
Abstract in Portuguese
pesquisa propõe uma reflexão sobre o grotesco como operador e mediador fundamental da cena teatral, visando ao encontro de uma "arquitetura" do grotesco nas imagens do corpo do ator. A análise parte da observação de duas experiências poético-estéticas distintas no tempo e no espaço, que parecem exemplares no tocante à discussão sobre o grotesco e ao trabalho de composição cênica através da dança: o Butô de Tatsumi Hijikata (1929-1986) e parte da produção teórica e artística (das décadas de 1910 e de 1930, respectivamente) do encenador russo V. E. Meyerhold (1875-1940). A transposição das questões observadas sobre o tema do grotesco para o âmbito da criação e construção da cena, nas duas experiências artísticas abordadas, foi orientada por uma pergunta-chave: Pode a dança ser uma espécie de arquitetura corporal do grotesco cênico, ou seja, através das imagens do corpo que dança, podemos observar a operação grotesca na encenação?
Title in English
he grotesque body as an articulator of the stage: Meyerhold, Hijikata and the bodies that dance
Keywords in English
Dancing
Grotesque
Tatsumi Hijikata (1929-1986)
Theatre stage construction
V. E. Meyerhold (1875-1940)
Abstract in English
This research presents a reflection about the grotesque as an operator and a vital intercessor of the dramatic scene, aiming at a grotesque 'architecture' in the images of the actor's body. The analysis is based in two poetic-esthetic experiences distinguished on time and in space, that appear to be examples concerning the discussion about the grotesque and the labor of the stage composition through the dance: the Butoh of Tatsumi Hijikata (1929-1986) and the theoretical and artistic production (particularly in the decade of 1910 and 1930) of the russian V. E. Meyerhold (1875-1940). The transposition of the remarked issues about the grotesque to the field of creation and scene construction, in both artistic approached experiences, had been guided by a central question: could dance be a sort of corporal architecture of the grotesque scenery, in other words, through the images of the dancing bodies, could we observe the grotesque operation on stage?
 
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Publishing Date
2015-09-01
 
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