Made available in DSpace on 2016-04-26T18:15:18Z (GMT). No. of bitstreams: 1 Ariane Alves dos Santos.pdf: 1217539 bytes, checksum: 24a2e3b87a20bb61fe3d35a05fd5fca8 (MD5) Previous issue date: 2015-08-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research analyzes the notion of pre-expressiveness of the body, prepared by the theater director and researcher Eugenio Barba, proposing recognize it as a communicative device that explicitly and triggers the singularities of the body. This research part of trying to move its arts under the methodology for communication (corpomidia theory) and biopolitics. Thus, rather than a crosscultural theater actors to training, systematic proposed by Beard becomes a breeding device for testing new body communication processes, significantly increasing its importance as regards the life policy and their resistance networks. The corpus of the survey consists of his books The Secret Art of the actor: a theatrical anthropology dictionary and the paper canoe: treaty theatrical anthropology. These works are analyzed from authors such as Gilles Deleuze and Maurizio Lazzarato, to deepen the notion of uniqueness and individuation process; and Katz and Greiner to clarify the procedural aspects of the relationship between body and environment and culture as cognitive network. As a result, the dissertation proposes a different reading Beard methodology, interpreting it as a good example of what a communications professor Muniz Sodre has identified as sensitive communication strategies, not restricted to discursive practices and coded messages a priori / A pesquisa analisa a noção de pré-expressividade do corpo, elaborada pelo diretor e pesquisador de teatro Eugenio Barba, propondo reconhecê-la como um dispositivo comunicativo que explicita e aciona as singularidades do corpo. Esta pesquisa parte da tentativa de deslocar a sua metodologia do âmbito das artes para o da comunicação (teoria corpomídia) e da biopolítica. Desta forma, ao invés de um treinamento teatral transcultural para atores, a sistematização proposta por Barba torna-se um dispositivo de criação para testar novos processos de comunicação do corpo, ampliando de maneira significativa a sua importância no que se refere às políticas da vida e suas redes de resistência. O corpus da pesquisa é composto por seus livros A arte secreta do ator: um dicionário de antropologia teatral e A canoa de papel: tratado de antropologia teatral. Estas obras são analisadas a partir de autores como Gilles Deleuze e Maurizio Lazzarato, para aprofundar a noção de singularidade e de processo de individuação; e Katz e Greiner para explicitar o aspecto processual das relações entre corpo e ambiente e a cultura como rede cognitiva. Como resultado, a dissertação propõe uma leitura diferenciada da metodologia de Barba, interpretando-a como um bom exemplo do que o professor de comunicação Muniz Sodré tem identificado como estratégias sensíveis de comunicação, não restritas às práticas discursivas e mensagens codificadas a priori

À l’aube du XXe siècle, le metteur en scène russe Vsevolod Meyerhold nourrit une réflexion féconde sur le théâtre et plus particulièrement sur le jeu de l’acteur. La traduction en Europe occidentale des écrits de ce réformateur donne la possibilité au metteur en scène contemporain Eugenio Barba d’en revisiter la pensée et d’en reconsidérer l’héritage. Ainsi, notre étude se propose de montrer dans quelle mesure l’approche du jeu meyerholdien peut servir de référence pour les pratiques actuelles d’Eugenio Barba. Malgré les années qui les séparent, une mise en confrontation nous permettra de relever les points communs et les différences de leur démarche. Hommes érudits en culture théâtrale, ils n’ont de cesse de réinterroger le jeu, notamment par l’intérêt qu’ils accordent à diverses traditions, telle la commedia dell’arte, les masques ou encore les sources asiatiques. Nous analyserons comment chacun en puise les principes nécessaires en vue d’un enrichissement du jeu (voix, diction, mouvement, gestuel, corps). Il sera intéressant de saisir la portée d’un tel renouveau du jeu de l’acteur, et de voir dans quelle perspective celui-ci contribue à donner une identité à leur théâtre. / At the dawn of the 20th century, Russian stage director Vsevolod Meyerhold fruitfully reflected on theatre and particularly on acting. The translation of this reformer’s writings in Western Europe enabled contemporany stage director Eugenio Barba to revisit its depths and reconsider its heritage. Thus this thesis aims to show how the Meyerholdian approach to acting can be used as a reference for Eugenio Barba’s current practices. Despite the years that separate the two individuals, comparing them will allow us to identify the similarities and differences in their processes. These two theatre scholars have kept on questioning acting, especially through their interests in various traditions, such as commedia dell’arte, masks or other Asian sources. We will analyze how each of them used those sources to draw necessary principles to enrich acting (through movement, gesture, body, voice, diction). It will be interesting to understand the impact of such an acting revival and to see in which perspective it helps give an identity to their theatre.

This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor. / Masters Thesis

While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis of physical trainings that work with the zero point in theater, dance and performance arts. Primary output of this work is then analysis of physicality as culturally encoded construct and the practical part of disseration is focused on the realisation of the point zero symposium.