Corpo-voz-imaginação: a meditação ativa de Osho no processo criativo da atriz
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Data
2020-10-27
Autores
Ribeiro, Vera Lúcia
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Esta pesquisa é desenvolvida e relatada a partir da experiência de vinte e cinco estudos de criação de cenas para a construção de um experimento cênico como trabalho prático e concluído como teatro performativo. O processo criativo dá ênfase à investigação da tríade corpo-voz-imaginação, ou seja: corpo, voz (canto, articulações sonoras e fala) e imaginação (imagens), tendo como alicerce a prática de Meditação Ativa de Osho como uma ferramenta que “ativa” o estado criativo da atriz. A evolução da trajetória é relatada com integridade e a mais aprofundada transparência dos estados sensíveis e criativos gerados pelos ensaios nos diferentes momentos imersivos. Descreve, com detalhes, as observações dos efeitos psicofísicos, insights, imagens (imaginação) e a transmutação desses elementos para a criação das cenas. O reconhecimento destes aspectos cênicos abre diálogo com diferentes autores, sustentando-se nos escritos do mestre indiano Osho e traçando relações com os preceitos dos autores Jerzy Grotowski, Constantin Stanislavski e Antonin Artaud, contando, ainda, com embasamento nos estudos dos autores Mark Olsen, Cassiano Sydow Quilici, David Lynch e Nancy Qualls-Corbett em reforço ao pensamento oriental no desenvolvimento corporal, psicofísico e espiritual para a atriz na criação das cenas. A pesquisa aborda algumas questões sobre a vida do mestre Osho, em especial, as polêmicas relacionadas à sua postura controversa ante as religiões, e expõe o detalhamento de doze Meditações Ativas criadas por ele, praticadas aqui com um mestre sannyasin. Apresenta alguns exercícios vocais e fecha o estudo com a descrição de uma oficina de teatro ministrada pela pesquisadora, baseada na aplicação orientada da Meditação Ativa como dispositivo de criação.
This research was developed and reported grounded on the expertise acquired in twenty-five scenic studies that had the objective of building a theatrical experience as a practical and finished performative theatre creation. The creative process gives emphasis to the investigation of the triad body-voice-imagination: that is voice (singing, sound articulations and speech) and imagination (images), having The Active Meditation of Osho as its basis and as a tool that “activates” the creative state of the performer. The evolution of the path is reported with integrity and the most profound transparency of the sensitive and creative states produced at rehearsals in different moments of immersion. It describes, in detail, the observation of the psychophysical effects, insights, images (imagination) and the transmutation of these elements to the creation of the scenes. The recognition of these scenic aspects opens the dialog with different authors and is based on the writings of the Indian master Osho tracing relations with the theories of Jerzy Grotowski, Constantin Stanislavski and Antonin Artaud. It also counts with the studies of the authors Mark Olsen, Cassiano Sydow Quilici, David Lynch and Nancy Qualls-Corbett, strengthening the eastern thinking which is related to the physical, psychophysical and spiritual development of the actor in his creative process. The research approaches some issues of the life of master Osho, particularly those concerning his controversial attitudes towards religions and it exposes in detail twelve Active Meditations created by him, put in practise here with a sannyasin master. It presents some vocal exercises and closes with the description of a theatre workshop to be taught by the researcher based on the use of the Active Meditation as a means of creation.
This research was developed and reported grounded on the expertise acquired in twenty-five scenic studies that had the objective of building a theatrical experience as a practical and finished performative theatre creation. The creative process gives emphasis to the investigation of the triad body-voice-imagination: that is voice (singing, sound articulations and speech) and imagination (images), having The Active Meditation of Osho as its basis and as a tool that “activates” the creative state of the performer. The evolution of the path is reported with integrity and the most profound transparency of the sensitive and creative states produced at rehearsals in different moments of immersion. It describes, in detail, the observation of the psychophysical effects, insights, images (imagination) and the transmutation of these elements to the creation of the scenes. The recognition of these scenic aspects opens the dialog with different authors and is based on the writings of the Indian master Osho tracing relations with the theories of Jerzy Grotowski, Constantin Stanislavski and Antonin Artaud. It also counts with the studies of the authors Mark Olsen, Cassiano Sydow Quilici, David Lynch and Nancy Qualls-Corbett, strengthening the eastern thinking which is related to the physical, psychophysical and spiritual development of the actor in his creative process. The research approaches some issues of the life of master Osho, particularly those concerning his controversial attitudes towards religions and it exposes in detail twelve Active Meditations created by him, put in practise here with a sannyasin master. It presents some vocal exercises and closes with the description of a theatre workshop to be taught by the researcher based on the use of the Active Meditation as a means of creation.
Descrição
Palavras-chave
Corpo-voz-imaginação, Meditação ativa, Osho, Estado criativo, Teatro performativo, Processo criativo, Body-voice-imagination, Active meditation, Osho, Creative state, Performance theatre, Creative process