Voz/Corpo em ação: uma experiência vocal/corporal a partir da técnica/filosofia dos Viewpoints
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Data
2020-12-14
Autores
Machado, Marcos Coimbra
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
A presente pesquisa propôs a elaboração, aplicação e reflexão de uma proposta de treinamento vocal/corporal, realizada com estudantes-atores e desenvolvida a partir do estudo dos Viewpoints de Anne Bogart e Tina Landau. A técnica/filosofia dos Viewpoints foi escolhida como principal fundamento teórico e prático por possuir ferramentas que articulam elementos de tempo e espaço capazes de evidenciar e treinar princípios e qualidades inerentes ao ator e fundamentais para o desenvolvimento de uma ação vocal/corporal orgânica. Um desses princípios é o “impulso”, que nessa pesquisa é amparado por conceitos de Jerzy Grotowski, bem como se entrelaça com os ideais elaborados por Eugênio Barba e Antonin Artaud. A proposta de treinamento foi desenvolvida por meio de uma pesquisa-ação com um grupo de 13 estudantes do bacharelado do Instituto de Artes da Universidade Estadual Paulista (UNESP), com13 encontros de quatro horas cada. As atividades práticas da proposta, seus objetivos e suas estratégias foram elaboradas ao longo do processo, conforme as experiências eram vivenciadas e reverberadas pelo pesquisador e pelos participantes. Para realizar as reflexões durante e depois do treinamento, foram gravados e transcritos os feedbacks dos estudantes-atores após cada prática do dia, além de ter sido elaborado um questionário com cinco tópicos-guia, respondidos pelos estudantes-atores no terceiro e no décimo segundo encontro do processo. Esse questionário buscou verificar a autopercepção da voz e do repertório vocal, a relação do trabalho vocal com o corporal, a influência do trabalho vocal em um processo criativo e ao entendimento sobre teatralidade da voz. Os dados coletados foram agrupados em três blocos que se referiram ao percurso do treinamento, o qual sinalizou à presença de um Processo Pressuposto, um Processo elaborado e instaurado; e, por fim, um Processo efetivado durante a experiência. Esses três momentos contemplaram a proposta de treinamento baseado nos Viewpoints que partiu do processo pressuposto ao processo efetivado durante a experiência e permitiram concluir que a trajetória entre a proposta aspirada (pressuposta) e a proposta efetivada revela a possibilidade e a viabilidade de se oferecer para estudantes-atores um treinamento com esses parâmetros.
The current research proposed the elaboration, application and reflection of a proposal of vocal/corporate training, carried out with student-actors and developed from the study of Anne Bogart and Tina Landau’s Viewpoints. The technique/philosophy of the Viewpoints was chosen as the main theoretical and practical foundation for having tools that articulate elements of time and space able to evidence and to train principles and qualities inherent to the actor which are fundamentals to the development of an organic vocal/corporal action. One of these principles is the “impulse”, which in this research is supported by concepts of Jerzy Grotowski, as well as intertwined with the ideals elaborated by Eugenio Barba and Antonin Artaud. The training proposal was developed through an action-research with a group of 13 students of the Bachelor of the Instituto de Artes da Universidade Estadual Paulista (UNESP), with 13 meetings of four hours each. The practical activities proposed, its objectives and strategies were elaborated throughout the process, as the experiences were lived and reverberated by the researcher and the participants. To carry out the reflections during and after the training, the feedback from the student-actors was recorded and transcribed after each practice of the day, and besides that a questionnaire with five guiding topics was elaborated, and it was been completed by the student-actors in the third and twelfth process’s meeting. This questionnaire sought to verify the self-perception of voice and vocal repertoire, the relationship of vocal work with the body, the influence of vocal work on a creative process and the understanding of the voice’s theatricality. The data collected were grouped into three blocks that referred to the course of the training, which signaled the presence of a Presupposed Process, a Process elaborated and established; and, finally, a Process carried out during the experience. These three moments contemplated the training proposal based on Viewpoints that started from the process presupposed to the process carried out during the experience and it allowed us to conclude that the trajectory between the aspired proposal (presupposed) and the proposal carried out reveals the possibility and feasibility of offering to students-actors a training with these parameters.
The current research proposed the elaboration, application and reflection of a proposal of vocal/corporate training, carried out with student-actors and developed from the study of Anne Bogart and Tina Landau’s Viewpoints. The technique/philosophy of the Viewpoints was chosen as the main theoretical and practical foundation for having tools that articulate elements of time and space able to evidence and to train principles and qualities inherent to the actor which are fundamentals to the development of an organic vocal/corporal action. One of these principles is the “impulse”, which in this research is supported by concepts of Jerzy Grotowski, as well as intertwined with the ideals elaborated by Eugenio Barba and Antonin Artaud. The training proposal was developed through an action-research with a group of 13 students of the Bachelor of the Instituto de Artes da Universidade Estadual Paulista (UNESP), with 13 meetings of four hours each. The practical activities proposed, its objectives and strategies were elaborated throughout the process, as the experiences were lived and reverberated by the researcher and the participants. To carry out the reflections during and after the training, the feedback from the student-actors was recorded and transcribed after each practice of the day, and besides that a questionnaire with five guiding topics was elaborated, and it was been completed by the student-actors in the third and twelfth process’s meeting. This questionnaire sought to verify the self-perception of voice and vocal repertoire, the relationship of vocal work with the body, the influence of vocal work on a creative process and the understanding of the voice’s theatricality. The data collected were grouped into three blocks that referred to the course of the training, which signaled the presence of a Presupposed Process, a Process elaborated and established; and, finally, a Process carried out during the experience. These three moments contemplated the training proposal based on Viewpoints that started from the process presupposed to the process carried out during the experience and it allowed us to conclude that the trajectory between the aspired proposal (presupposed) and the proposal carried out reveals the possibility and feasibility of offering to students-actors a training with these parameters.
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Palavras-chave
Treinamento vocal/corporal, Viewpoints, Voz/corpo, Anne Bogart, Impulso, Organicidade, Vocal/body training, Viewpoints, Voice/body, Anne Bogart, Impulse, Organicity, Representação teatral, Voz, Linguagem corporal na arte, Autopercepção, Performance (Arte)