Voz-corpo em movimento: uma proposta de repertório vocal inspirada em Laban
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Data
2017-06-19
Autores
Curti, Luana Mota [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Atualmente há uma preocupação em não dissociar corpo e voz na formação e preparação do ator. Motivada pelos ensinamentos e nomenclaturas da Coreologia de Laban, a presente pesquisa revela uma proposta de experimentação VOZ-CORPO, mostra a possibilidade do ator acessar um vocabulário vasto e versátil baseado nos fatores de movimento e ações básicas de esforço, com o propósito de ampliar as possibilidades expressivas de forma concreta e consciente, o que chamamos aqui de repertório vocal. Objetivo: Verificar a validade da proposta VOZ-CORPO EM MOVIMENTO em ampliar o repertório vocal do ator. Método: 22 estudantes de artes cênicas vivenciaram o processo denominado VOZ-CORPO EM MOVIMENTO em 6 encontros. Foi aplicado questionário pré e pós processo com os tópicos: descrição de voz; descrição do repertório vocal e julgamento de como corpo influencia a voz. Os questionários foram analisados qualitativamente, pareados individualmente quanto às percepções pré e pós processo e categorizados por análise de conteúdo. Resultados: os atores antes dos 6 encontros, tiveram duas tendências claras de respostas: dificuldade em descrever suas próprias vozes e queixas quanto a escassez de possibilidades vocais, mesmo para os que relataram ter trabalhado suas vozes em aulas de canto. A maioria compreendia que o corpo influencia na voz apenas em relação à postura corporal. No pós processo VOZ-CORPO EM MOVIMENTO os alunos-atores relataram repertório vocal ampliado; apropriaram-se de termos para voz, antes usados apenas para movimento. Os estudantes declaram VOZ-CORPO como unidade indissociável, relataram a necessidade de manutenção do trabalho como unidade VOZ-CORPO para maior consciência das suas possibilidades e absoluta maioria descreveu o reconhecimento da associação Laban e Voz como um caminho de exploração e consciência vocal. Conclusão: A proposta de preparação do ator VOZ-CORPO EM MOVIMENTO amplia o repertório vocal do ator, aumenta o vocabulário para acessar possibilidades expressivas voz-corporais e estabelece a relação VOZ-CORPO como unidade.
Currently there is a concern to not separate body and voice in the training and preparation of the actor. Inspired by the teaching and nomenclature of Laban’s Choreology, this research outlines a proposal for voice-body experimentation, and demonstrates the possibility for the actor to access a vast and versatile vocabulary based on the effort factors and the effort actions, with the objective of expanding expressive possibilities in a concrete and conscious manner, which we will call here “vocal repertory”. Objective: Investigate the self-perception of the vocal repertory within the body-voice experimentation process, associated with the concepts of Laban: “Voice in Movement”. Method: 22 dramatic arts students participated in the process denominated “Voice-body in Movement”, over 6 sessions. A questionnaire was given pre and post process with the topics: voice classification, description of the vocal repertory and evaluation of how the body influences the voice. The questionnaires were analyzed qualitatively, individually paired for pre and post perceptions. Results: Before the 6 sessions, the actors showed two clear tendencies in their answers: difficulty in describing their own voices and complaints about the scarcity of vocal possibilities, even those who said that they had previously worked with their voices in singing lessons. The majority understood that the body influenced the voice, but only in relation to posture. After the “Voice in Movement” process, the student actors reported an expanded vocal repertory; they appropriated the terms for the voice, used earlier only for physical actions. The students described the voice-body as an inseparable unity, speaking of the necessity to maintain the work on voicebody unity for greater awareness of their vocal possibilities, and an absolute majority described and recognized the association between Laban and voice as a path for exploration and vocal awareness. Conclusion: The voice body training proposal “Voice-body in Movement” expands the vocal repertory of the actor, broadens the vocabulary to access expressive voice-body possibilities and establishes the relation voice-body as a unity.
Currently there is a concern to not separate body and voice in the training and preparation of the actor. Inspired by the teaching and nomenclature of Laban’s Choreology, this research outlines a proposal for voice-body experimentation, and demonstrates the possibility for the actor to access a vast and versatile vocabulary based on the effort factors and the effort actions, with the objective of expanding expressive possibilities in a concrete and conscious manner, which we will call here “vocal repertory”. Objective: Investigate the self-perception of the vocal repertory within the body-voice experimentation process, associated with the concepts of Laban: “Voice in Movement”. Method: 22 dramatic arts students participated in the process denominated “Voice-body in Movement”, over 6 sessions. A questionnaire was given pre and post process with the topics: voice classification, description of the vocal repertory and evaluation of how the body influences the voice. The questionnaires were analyzed qualitatively, individually paired for pre and post perceptions. Results: Before the 6 sessions, the actors showed two clear tendencies in their answers: difficulty in describing their own voices and complaints about the scarcity of vocal possibilities, even those who said that they had previously worked with their voices in singing lessons. The majority understood that the body influenced the voice, but only in relation to posture. After the “Voice in Movement” process, the student actors reported an expanded vocal repertory; they appropriated the terms for the voice, used earlier only for physical actions. The students described the voice-body as an inseparable unity, speaking of the necessity to maintain the work on voicebody unity for greater awareness of their vocal possibilities, and an absolute majority described and recognized the association between Laban and voice as a path for exploration and vocal awareness. Conclusion: The voice body training proposal “Voice-body in Movement” expands the vocal repertory of the actor, broadens the vocabulary to access expressive voice-body possibilities and establishes the relation voice-body as a unity.
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Artes cênicas, Laban, Rudolf Von, Voz, Linguagem corporal, Voz-corpo, Preparação vocal, Dramatic arts, Vocal repertory, Voice, Voice-body, Expressivity, Voice preparation, Choreology