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Previous issue date: 2015-03-13 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Esta disserta??o apresentada tem como objeto de investiga??o o trabalho do ator na
constru??o das a??es f?sicas, conforme a metodologia desenvolvida por Constantin
Stanislavski em sua an?lise da a??o dram?tica, denominada ?m?todo da a??o f?sica?,
aplicada ?s quest?es da representa??o c?nica do marginal brasileiro, segundo o olhar
?cruel? e realista/naturalista do dramaturgo Pl?nio Marcos. Partindo das circunst?ncias
dadas pelo universo Pliniano, a inten??o ? contribuir para a reflex?o sobre o trabalho do
ator na cena com as personagens marginais de ?Navalha na carne?, destacando alguns
aspectos importantes, que auxiliem na constru??o deste mundo ficcional. Deseja-se criar
condi??es para a forma??o de um ator que potencialize na cena as contradi??es e
conflitos desta obra. A investiga??o pretende partir do estudo te?rico-pr?tico como
hip?tese metodol?gica, produzindo reflex?o cr?tica a partir do processo criativo do ator
com a realiza??o de um experimento c?nico centrado na t?cnica psicof?sica deste
pedagogo russo. Assim, pretende-se lan?ar um olhar sobre o ?m?todo das a??es f?sicas?
com foco na sua ?ltima grande contribui??o para a atua??o, notadamente o
procedimento da an?lise ativa, ao fazer uma leitura a partir de ?Navalha na carne? por
meio deste exerc?cio c?nico criativo, ampliando os estudos que se ocupam da arte do
ator. Esta pesquisa faz uma explana??o geral sobre a trajet?ria de Stanislavski at? seu
encontro com a a??o f?sica, ao mesmo tempo que, destaca os desencontros de
entendimento do seu trabalho pelo mundo. Stanislavski desenvolveu inicialmente o
?m?todo? tendo como pano de fundo, a est?tica realista - uma rela??o de di?logo entre
realidade e a cena ? atrav?s de uma estiliza??o que cria uma realidade teatral, e
consequentemente, art?stica, e n?o de forma literalmente naturalista atrav?s de um
mimetismo integral. Ou seja, o trabalho de representa??o na est?tica realista do teatro
deve ser elaborado a fim de criar uma realidade teatralizada. Stanislavski entende que
teatro ? conven??o, j? que o trabalho do ator sobre si pr?prio deve estimular essa
segunda natureza, a c?nica. / This thesis presented is to research the actor's work in the construction of physical
actions, according to the methodology developed by Constantin Stanislavski in his
analysis of dramatic action, called "method of physical action", applied to questions of
scenic representation of the Brazilian marginal, according to the look "cruel" and
realistic / naturalistic Plinio Marcos playwright. Based on the circumstances given by
Pliniano universe, the intention is to contribute to the reflection on the actor's work on
the scene with the marginal characters in "Razor in the Flesh", highlighting some
important aspects, to assist in the construction of this fictional world. You want to
create conditions for the formation of an actor that leverages the scene the
contradictions and conflicts of this work. The research aims from the theoretical and
practical study as a methodological hypothesis, producing critical reflection from the
creative process of the agent with the realization of a scenic experiment focused on
psychophysical technique of this Russian pedagogue. Thus, we intend to have a look at
the method of physical actions focusing on his last great contribution to the work,
especially the procedure of active analysis by doing a reading from "Razor in the Flesh"
through this creative scenic exercise, extending the studies concerning the actor's art.
This research is a general explanation about the trajectory of Stanislavski to his
encounter with the physical action, while, highlights the inconsistencies of
understanding of his work around the world. Stanislavski initially developed the
"method" having as a backdrop, the realist aesthetic - a dialogue relationship between
reality and the scene - through a style which creates a theatrical reality, and
consequently, artistic, not literally naturalistic way through an integral mimicry. That is,
the representation of work in realistic theater aesthetics should be developed in order to
create a theatrical reality. Stanislavski believes that theater is convention, since the
actor's work on himself should encourage this second nature, scenic.
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.ufrn.br:123456789/19869 |
| Date | 13 March 2015 |
| Creators | Nino, Berttony da Silva |
| Contributors | 01794681469, http://lattes.cnpq.br/0713971478911464, Coelho, Paula Alves Barbosa, 32292473100, http://lattes.cnpq.br/0048490191207720, Haderchpek, Robson Carlos, 21589603885, http://lattes.cnpq.br/4286695631161068, Fernandez, Ruben Figaredo |
| Publisher | Universidade Federal do Rio Grande do Norte, PROGRAMA DE P?S-GRADUA??O EM ARTES C?NICAS, UFRN, Brasil |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/masterThesis |
| Source | reponame:Repositório Institucional da UFRN, instname:Universidade Federal do Rio Grande do Norte, instacron:UFRN |
| Rights | info:eu-repo/semantics/openAccess |
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