Mémoire (M.A.) - Université du Québec à Trois-Rivières, 2003. / Bibliogr.: f.121-122.

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.

This thesis explores temporal forms of architectural meaning through the investigation of the dramatic space of "ritual theatre." In particular, it analyzes the thought and several theatrical productions of the twentieth century Polish theatre director, Jerzy Grotowski: Grotowski is of particular interest because he designed a "total dramatic space" that incorporated both the actors and the spectators (although without necessarily integrating them) for each of his dramatic works. In each case, the spatial relationships created by the theatrical architecture were indissolubly connected to the meaning of the drama itself. In this way, space was used as a kind of third protagonist that, along with the actors and spectators, participates in the theatrical ritual.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], iii, 41 p. Includes bibliographical references (p. 36-41).

This thesis describes what the body perception is, how it works, and how it is used in acting. Further the thesis deals with possibilities of development of body perception through drama in education. How is possible to develop the body perception through drama in education. The inspiration is taken from the work of Michail Chekhov and Jerzy Grotowski. .

Orientador: Cassiano Sydow Quilici / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T10:47:33Z (GMT). No. of bitstreams: 1 Carrer_Janaina_M.pdf: 14621857 bytes, checksum: 3bc6cba3d246e8a6a4a1d2c9e8c9f52d (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa investiga a construção de uma qualidade de consciência enquanto atenção e presença no trabalho do ator/performer. Para tanto, num primeiro capítulo, tratamos sobre a noção de consciência no âmbito teatral, bem como os apontamentos necessários a respeito da dicotomia corpo/mente, e, em seguida, encontramos no pensamento de Francisco Varela, Yasuo Yuasa e Philip B. Zarrilli caminhos para se (re)pensar uma outra qualidade possível à consciência. Tendo como eixo norteador a análise do trabalho de Jerzy Grotowski ao final de sua vida (no período denominado Arte como Veículo), o segundo capítulo foca sobre as noções de Verticalidade, Awareness, Performer e o binômio I-I apresentados pelo diretor polonês. Além de uma análise sobre este momento da pesquisa de Grotowski, se apresenta ainda um diálogo com Varela, Yuasa e Zarrilli, a fim de privilegiar a ideia do trabalho do artista sobre si mesmo (sobre a noção de cultivo), relacionando arte e vida, entendendo neste processo a construção de uma qualidade de consciência sutil e refinada. Num terceiro momento direcionamos o foco da pesquisa para processos criativos da autora, relacionando discurso teórico e experiência vivida, a fim de encontrar os próprios caminhos na construção desta qualidade diferenciada de consciência / Abstract: This research investigates the construction of a quality of consciousness as attention and presence in the actor/performer¿s work. For this, in the first chapter, we deal on the notion of awareness in the theatrical context, as well the necessary notes about the dicothomy mind/body, and then, find the thought of Francisco Varela, Yasuo Yuasa and Philip B. Zarrilli, ways to (re)consider an another possible quality for the consciousness. Guided by the analysis the work of Jerzy Grotowski in the end of his life (the period know as Art as Vehicle), the second chapter focuses on the notions of Verticality, Awareness, Performer and the binomial I-I presented by the polish director. Besides an analysis on this momento of Grotowski¿s research, we present a dialogue with Varela, Yuasa and Zarrilli, in order to favor the Idea of the artist¿s work on himself (on the notion of "self-cultivation"), linking art and life, understanding in this process the construction of an subtle and refined quality of consciousness. In a third moment, we direct the focus of the research for creative processes of the author, relating theoretical discourse and lived experience in order to find their own ways in the construction of this particular quality of consciousness / Mestrado / Artes da Cena / Mestre em Artes da Cena

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Ce document témoigne de l'analyse de ma pratique de formateur en développement dans le cadre du processus de mûrissement de l'acteur par l'entraînement intensif du corps et de la voix. En utilisant la forme du récit chronologique, je fais un retour sur ma recherche-formation où je me suis placé comme praticien chercheur en position d'analyse dite à la première personne. À l'aide d'outils d'analyse de pratique que j'emprunte à la psychopédagogie, je tente de formaliser et de théoriser le vécu de ma pratique, laquelle s'inspire directement des ateliers d'entraînement du Théâtre de Recherche le Contre-courant à Québec, des ateliers de maître dirigés par Richard Nieoczym, ainsi que des principes de Grotowski et de la via negativa. En auscultant la réalité et les enjeux intrinsèques de mon agir, j'élucide une problématique majeure dans mon rôle de formateur : la nécessité de développer la capacité à accompagner l'acteur dans un cheminement qui agit essentiellement sur le plan personnel. Je parle alors de la présence du formateur dans l'espace-temps sacré du processus de mûrissement de l'acteur.