Este trabalho elege a obra de Jerzy Grotowski como objeto de investigação da Alteridade na construção do sentido do fazer teatral. Seu escopo abrange as formulações do encenador polonês para uma metodologia do trabalho do ator e suas implicações, tanto no que se refere às artes performáticas quanto às artes rituais. Utiliza como ferramenta teórica categorias do pensamento filosófico de Emmanuel Levinas, notadamente suas proposições acerca do encontro face-a-face, da noção de rosto e da idéia de Infinito, no sentido de uma proposição da ética como filosofia primeira. A análise das diversas fases do percurso criativo de Grotowski permite afirmar que a Alteridade se constitui como o eixo conceitual em torno do qual a obra do encenador se estrutura. / This paper elects the work of Jerzy Grotowski as the subject of investigation in the construction of the theatrical practice\'s sense. It beholds the Grotowski\'s frame into a metodology of the actor\'s work and it\'s implications, as in performing arts and in ritual arts. It makes use of the categories of the philosophy of Emmanuel Levinas, as theorical tool, picking out his proposals refering to the face-to-face encounter, the \"face\" notion and the idea of infinity, as a proposal of the ethic as first philosofy. The analisis of the diverse fases of the criative path of Grotowski allows to declare that the Alterity is build with it\'s conceptual focus, that structures all his work.

Este estudo propõe um olhar sobre o surgimento e continuidade de uma tradição criativa, baseada no trabalho do ator sobre si mesmo, a partir do elo estabelecido entre os artistas Konstantin Stanislavski (1963-1938) e Jerzy Grotowski (1933-1999). A produção de Stanislavski, na Rússia do início do século, gerou um Sistema artístico e pedagógico que, difundido por todo o mundo, tornar-se-ia a mais forte referência no campo da criação e da formação do artista da cena teatral. Menos de vinte anos depois, na vizinha Polônia, o diálogo de Grotowski com os fundamentos deixados pelo mestre russo produziria uma poética baseada não na repetição do modelo original, mas na trasmutação desse. Concentrados essencialmente no aspecto artesanal do ofício teatral, os dois artistas exploram, na arte do ator, as fronteiras entre arte e vida. Dessa forma, suas práticas suscitam, no criador e no espectador, questões sobre os mesmos binômios fundamentais, como sujeito individual/coletivo, consciência/inconsciência, mente/corpo, espiritual/carnal. Stanislavski e Grotowski consideram, ainda, partir das perspectivas de épocas e culturas distintas, as relações entre o corpo e a memória como um eixo importante do qual se ramificam elementos de ordem técnica, poética e ética. Este trabalho dedica-se a observar, nas trajetórias dos dois criadores, pontos de convergência ou de divergência na formulação dos conceitos de memória emotiva (de Stanislavski) e de corpo-memória, ou corpo-vida (de Grotowski). Observa, também, outras noções fundamentalmente ligadas ao papel do corpo no ofício do ator, tais como ação, organicidade, impulso, contato e comunicação, à luz da perspectiva de filiação artística que une os dois artistas. / The present study proposes a look at the birth and continuity of a creative tradition based on the actor\'s work about himself, starting from a creative link established between the artists Konstantin Stanilavski (1963-1939) and Jerzy Grotowski (1933-1999). The production of Stanislavski in Russia at the beginning of the 20th century, generated an artistic and pedagogic System which, worldwide spread, became a strong reference in the field of artist\'s creation and training on the theater scene. Less than twenty years later, in neighboring Poland, Grotowski\'s dialogue with the basic teachings left by the Russian master would produce a poetics based, not on the repetition of the original model, but on the transmutation of it. Concentrated mainly on the handmade craft of the theatrical practice, the two artists explore, in the actor\'s art, the boundaries between art and life. Thus, their practices raise in the creator and the spectator questions about the same fundamental pairs, individual subject/group, conscience/inconscience, mind/body, spirit/flesh. Stanislavski and Grotowski also consider, from the perspectives of different ages and cultures, the relationship between body and memory as an important axis, which branches out as elements of technical, poetic and ethical order. This work is dedicated to observe the pathways of the two creators, points of convergence or divergence in the formulation of concepts of emotional memory (Stanislavski) and body-memory, or body-life (of Grotowski). It also notices other aspects fundamentally linked to the role of the body in the actor\'s craft, such as action, organicity, impulse, contact and communication in the light of the prospect of artistic affiliation that unites the two artists.

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T22:00:10Z (GMT). No. of bitstreams: 1 Colombo_EduardoAugusto_M.pdf: 3212243 bytes, checksum: f176a75928338c48ae31c01a6788004d (MD5) Previous issue date: 2014 / Resumo: Essa investigação procura ser espaço de reflexão sobre os processos de descoberta do ator, através de um diálogo entre vivências, encontros e desencontros da singular trajetória do ator-pesquisador e práticas e teorias ligadas ao trabalho de diferentes pessoas e grupos com os quais o artista teve contato durante os últimos anos. O foco da busca direciona-se para a experiência da organicidade e do processo criativo do ator, com ênfase nas influências das investigações de Jerzy Grotowski relacionadas ao trabalho sobre si através da arte / Abstract: This research seeks to be a space for reflection on the discovery processes of the actor, through a dialogue between experiences, encounters and misencounters of the singular trajectory of the actor-researcher and practices and theories related to the work of different people and groups with whom the artist had contact during the past few years. The focus of the search is on the experience of organicity and the creative process of the actor, with emphasis on the influences of Jerzy Grotowski's investigations related to the work on oneself through art / Mestrado / Artes da Cena / Mestre em Artes da Cena

Orientadores: Matteo Bonfitto Júnior, Tatiana da Motta Lima Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T08:11:06Z (GMT). No. of bitstreams: 1 Olinto_Lidia_M.pdf: 11190474 bytes, checksum: bf072815a99c9c0b6f0921043078d66c (MD5) Previous issue date: 2012 / Resumo: Na concepção mais usual da noção de "precisão cênica", o enfoque dado à dimensão formal · mostra-se mais evidente que outros aspectos de ordem não formal, como, por exemplo, as configurações de ordem psíquica do desempenho cênico. Todavia, essa acepção formalista, essencialmente próxima ao conceito tradicional de "coreografia" ou "marcação cênica", não poderia ser aplicada de maneira genérica. As propostas de alguns encenadores exigem do artista em cena (ator/bailarino/performer) uma precisão de caráter psicofísico, ou seja, um tipo de mobilização mais integral e consciente dos recursos atorais, sendo eles físicos e não físicos. Pode-se afirmar ser esse o caso de grande parte das experimentações cê nicas de Jerzy Grotowski, dentre as quais estão os espetáculos Akropolis, O Príncipe Constante e Apocalypsis cum Figuris - o trio de peças mais famoso no repertório do Teatro Laboratório. Esses espetáculos apresentam algumas especificidades em torno da precisão cênica em nível psicofísico e, partindo dessa premissa, a presente pesquisa se propõe a descrevê-las e discuti-las teoricamente / Abstract: The regular use of the notion of "scenic precision" tends to give emphasis to its esthetical dimension, whereas the non formal aspects involved in the concept, as the psychic configuration of the scenic performance, are not taken into consideration. However, the first mentioned formalistic conception of scenic precision, which is close to the notion of choreography, should not be assumed and generally applied to all circumstances. One can consider that some staging propositions require from the artist - an actor, a ballet dancer or a performer - a psychophysical precision, an integral and conscious mobilization of his physical and non physical acting resources. This is the case of most of Jerzy Grotowski's productions as, for example, the famous plays Akropolis, The Constant Prince and Apocalyssis cum Fuguris. Based on this premise, this dissertation describes and discusses the peculiarities of these three plays with respect to the notion of scenic precision / Mestrado / Artes da Cena / Mestra em Artes da Cena

This diploma work entitled The Naked Actor or Adventure Time is not an academic, scientific thesis to all intents and purposes. It is more personal search and enquiry of the motifs of nakedness, exposedness and adventure which further proceeds to more distant, yet relevant ideas as are authenticity, ease, play, states of consciousness, improvisation, sexuality, abashment, corporality etc. Certain parts of the study utilize some ideas of Jerzy Grotowski and the author also uses individual experiences and examples from her own professional career. On that account the form of the work itself is structured to make the best record of the very process of enquiry and thinking.

Submitted by Thiago Miguel Lopes Ribeiro Cunha Sabino null (miguelyaacov@gmail.com) on 2016-10-25T22:20:00Z No. of bitstreams: 1 THIAGO_FINAL com ficha.pdf: 2004598 bytes, checksum: 467f9774e7faf3b12e7a0f29b69218f7 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-11-03T16:13:15Z (GMT) No. of bitstreams: 1 sabino_tmlrc_me_ia_par.pdf: 549209 bytes, checksum: cf448cde87e8ab9ebc00ea104fcf0314 (MD5) / Made available in DSpace on 2016-11-03T16:13:15Z (GMT). No. of bitstreams: 1 sabino_tmlrc_me_ia_par.pdf: 549209 bytes, checksum: cf448cde87e8ab9ebc00ea104fcf0314 (MD5) Previous issue date: 2016-06-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O percurso artístico de Jerzy Grotowski é marcado pela constante transformação e revisão de procedimentos. Ainda na fase em que o artista dedicou-se à elaboração de espetáculos, pode-se identificar esse movimento. Contudo, apesar de transformações e rupturas, é possível encontrar certas constantes. Frequentemente, Grotowski buscou aproximar seu trabalho artístico a questões ligadas ao ritual. Ao adotar, como perspectiva de análise, as temáticas da espiritualidade e do ritual, a pesquisa visa a encontrar as continuidades sob as rupturas em alguns processos de espetáculos de Grotowski. Pautado em Pierre Hadot e Michel Foucault, o trabalho utiliza a noção de espiritualidade em sentido amplo, não restrito a religião. A partir de Victor Turner e Richard Schechner, a pesquisa propõe refletir sobre as relações e as fricções entre cena e ritual nas propostas de Grotowski. Para a compreensão dos trabalhos do artista, além da análise dos textos dele próprio, o estudo embasa-se na pesquisa de Tatiana Motta Lima sobre as "palavras praticadas" do encenador. / The artistic path of Jerzy Grotowski is marked for constant transformation and revision of procedures. Even in the moment that the artist devoted his work to creation of performances, it is possible to identify this movement. However, despite of changes and ruptures, it can be found certain constants. Frequently, Grotowski tried to approximate his artist work to issues related to ritual. Adopting as analytical perspective the themes of spirituality and ritual, this research seeks to find the continuities behind the ruptures in some Grotowski‘s performances. Based in Pierre Hadot and Michel Foucault, the work uses the notion of spirituality in broad sense, not restricted to the religion. From Victor Turner and Richard Schechner, the research proposes to discuss about the relationship and the frictions between scene and ritual in Grotowski‘s proposals. In order to comprehend his works, beyond of the analysis of Grotowski‘s texts, this study was based on the research of Tatiana Motta Lima, about the "Palavras praticadas" of Polish director.

No description available.

En suivant les parcours et les pratiques de l’«art comme véhicule» auprès du Workcenter of J. Grotowski and Thomas Richards je me propose de mettre en évidence les éléments mobilisés dans la formation du Performer, en tant que agent créatif dans un contexte artistique spécifique. Dans le laboratoire du Workcenter, la tradition théâtrale stanislavskienne dialogue avec les pratiques rituels pour expérimenter les possibilités de l’action dramatique réflexive et expressive. L’art performative, envisagé comme véhicule de transformation interhumaine, devient ici un projet chargé de tensions éthiques et culturelles. Cette culture habite le théâtre comme possibilité de formation d’un «homme nouveau», qui maîtrise l’art de la fiction performative pour questionner et expliciter les "fictions" dans la Culture. / Following the practices of «art as vehicle» at the Workcenter of Jerzy Grotowski and Thomas Richards, I focus on the performative elements that are mobilized in the training of the Performers, considered as creative agents in a specific artistic context. At the Workcenter in Pontedera, the theatrical tradition initiated by Stanislavskij dialogues with ritual practices in order to experiment the potentialities of reflexive and expressive dramatic action. Performing art is considered here as a vehicle of human development and transformation.

Cette étude aborde le thème de la quête de vérité menée par l’acteur. Partant du « paradoxe de l’acteur » qui met en lumière la tension qui se joue entre Forme et Spontanéité, ainsi que sa difficulté à être simultanément artiste et œuvre d’art. Or une recherche comparative sur le théâtre Occidental/Oriental, et d’autres sources telles que les pensées de Georges Gurdjieff et de François Delsarte nous ont conduit à considérer le travail du comédien d’un point de vue trinitaire, en prenant en compte les trois éléments essentiels que sont son corps, son émotion et son esprit. La quête de vérité que mène l’acteur tout au long de sa vie doit s’enraciner dans une compréhension de sa propre nature trinitaire et d’un éventuel manque d’harmonie qui peut résulter dans des comportements automatiques et stéréotypés. Cette vision nous a servi de base pour mener une étude de la pensée de certains grands réformateurs du théâtre du XXe siècle. Ainsi, les méthodes de Jerzy Grotowski et d’Etienne Decroux sont analysées à partir des approches de l’organicité et de l'artificialité selon la perspective de Grotowski. Notre but est de trouver une possible complémentarité entre les travaux de ces deux investigateurs, dans la quête de l’équilibre du trinôme corps-émotion-esprit. Finalement, l’acteur doit cultiver simultanément ses trois centres pour unifier le créateur, l’artisan et la matière de son œuvre, et retrouver ainsi sa vraie Présence sur scène. / This study begins with the actor’s quest for truth. Starting from the « actor’s paradox » which shines light on the tension that plays between Form and Spontaneity, and the difficulty of being simultaneously artist and work of art. A comparative research of Occidental/Oriental theatre, and other sources such as the thoughts of George Gurdjieff and François Delsarte led us to consider the work of the actor from the point of Trinitarian view, taking into account the three essential elements that are his body, his emotion and his mind. The quest for the truth that drives the actor has to begin with the comprehension of his own nature of this human trinity; before the understanding of its fragmentation, that is, the lack of harmony that can exist between these three principle functions and the danger of falling into automatic and stereotypic behaviors and reactions. This study allows us to observe the thought of certain great theatre reformers of the 20th century. Therefore, methods of Jerzy Grotowski and Etienne Decroux are analyzed using approaches of organicity and artificiality from the perspective of Grotowski. Our objective is to find a possible complementarity between the works of these two researchers in the quest for balance of the trinity body/emotion/intellect. Finally, the actor must simultaneously cultivate the three centers in order to unify the creator, the artisan and the matter of his work, and find his true presence on stage.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 59-61).