Beckett, Craig, Zumthor: uma investigação vocal como prática da atuação
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Data
2020-03-27
Autores
Andrade, Manuel Fabricio Alves de [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
A partir de paralelismos conceituais e poéticos entre o teatro de Samuel Beckett e o conceito de Über-marionette de Edward Gordon Craig, no que se referem ao trabalho atoral, à luz das reflexões de Paul Zumthor acerca da “poesia sonora” e da performance vocal, formulamos o objetivo desta pesquisa: investigar uma prática da atuação vocal alicerçada na poética beckettiana, em diálogo com o pensamento de Craig sobre o ator e a atriz organizadas em torno de seu “über- marionette”, de Zumthor, acerca da “poesia sonora”, e do que ela propõe a um corpo/voz que se cria em performance. Trabalhamos aplicações práticas de estratégias numa pesquisa individual e, ainda, com alunos e alunas do curso do bacharelado em Artes Cênicas, os encontros foram registrados em vídeo, áudio e em diários de bordo. Os resultados foram observados a partir do referencial teórico sobre a preparação vocal para o teatro: Beuttenmüller e Laport (1974); Behlau (2001); Gayotto (1997; 2002); Guberfain (2004; 2005); Märtz (2002); Master (2005; Viola (2006). Percebemos que a prática nos proporcionou um entendimento mais aprofundado dos recursos vocais. Os alunos e as alunas que colaboraram conosco, relataram uma apropriação desse material e demonstraram que a aplicação das estratégias resultou na realização de performances vocais mais ricas em nuances. Para nós, as peças de Beckett podem ser encaradas como estruturas ou dispositivos inventados para colocar o ator e a atriz em um “estado” de atenção curiosa, tornando sua realização um processo autoinvestigativo acerca desse corpo e dessa voz que atuam.
Based on conceptual and poetic parallels between Samuel Beckett's theater and Edward Gordon Craig's “Über-marionette” concept, regarding performer work, in the light of Paul Zumthor's reflections on “sound poetry” and vocal performance , we formulate the aim of this study: investigate a practice of vocal performance based on beckettian poetics in dialogue with Craig's thought about the actor and actress organized around his “über-marionette” and Zumthor about “sound poetry”, and than what it proposes to a body / voice that is created in performance. We work on practical applications of strategies in an individual research and also with students of the Bachelor's degree in Performing Arts, the meetings were recorded on video, audio and in logbooks. The results were observed from the theoretical framework on vocal preparation for the theater: Beuttenmüller and Laport (1974); Behlau (2001); Gayotto (1997; 2002); Guberfain (2004; 2005); Märtz (2002); Master (2005; Viola (2006). We realized that the study provided us with a deeper understanding of vocal resources. The students who collaborated with us, reported an appropriation of this material and demonstrated that the application of the strategies resulted in the realization of vocal performances richer in nuances. For us, Beckett's plays can be seen as structures or devices invented to place the actor and actress in a “state” of curious attention, making their realization a self-investigative process about this body and the voice in performance.
Based on conceptual and poetic parallels between Samuel Beckett's theater and Edward Gordon Craig's “Über-marionette” concept, regarding performer work, in the light of Paul Zumthor's reflections on “sound poetry” and vocal performance , we formulate the aim of this study: investigate a practice of vocal performance based on beckettian poetics in dialogue with Craig's thought about the actor and actress organized around his “über-marionette” and Zumthor about “sound poetry”, and than what it proposes to a body / voice that is created in performance. We work on practical applications of strategies in an individual research and also with students of the Bachelor's degree in Performing Arts, the meetings were recorded on video, audio and in logbooks. The results were observed from the theoretical framework on vocal preparation for the theater: Beuttenmüller and Laport (1974); Behlau (2001); Gayotto (1997; 2002); Guberfain (2004; 2005); Märtz (2002); Master (2005; Viola (2006). We realized that the study provided us with a deeper understanding of vocal resources. The students who collaborated with us, reported an appropriation of this material and demonstrated that the application of the strategies resulted in the realization of vocal performances richer in nuances. For us, Beckett's plays can be seen as structures or devices invented to place the actor and actress in a “state” of curious attention, making their realization a self-investigative process about this body and the voice in performance.
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Representação teatral, Poesia sonora, Voz, Performance (Arte), Atores