Revelações da performance da vocalidade: a potência dos treinamentos integrados nos processos atorais
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Data
15-09-21
Autores
Cruz, Érico Nascimento da
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Universidade Estadual Paulista (Unesp)
Resumo
A presente pesquisa tem como tema as ações da voz no teatro, mais especificamente aquelas em que a voz é performada de maneira íntegra, viva - aqui chamadas performances da vocalidade - observando o que pode ser revelado a partir da voz e sobre a própria voz quando esta é posta em ação no espaço/tempo do trabalho do ator ou da atriz. Desse modo, o problema discutido é exatamente como acessar a essa voz, com vistas a investigar sua natureza e apontar possíveis caminhos. Para tanto, o trabalho se orienta por uma perspectiva de treinamentos que enxergam o corpo e a voz de maneira integrada, aos quais chamamos treinamentos integrados. O estudo passa pelas transformações ocorridas nos treinamentos atorais no século XX, guiando se por um percurso histórico que aponta nessa direção, trazendo como referências os teatrólogos Antonin Artaud e Jerzy Grotowski, assim como artistas da performance art e outras linguagens híbridas. O trabalho tem como centro de investigação a vocalidade, segundo o conceito de Paul Zumthor e Adriana Cavarero. A voz é compreendida como ponto de convergência e espaço de trânsito dos elementos a serem trabalhados pelo atuante. Trata-se de um projeto teórico-prático, desenvolvido através de uma pesquisa bibliográfica e da pesquisa-ação, de modo que houve um planejamento e aplicação de práticas relativas ao fazer atoral, com a formação de um grupo para esta finalidade, bem como uma avaliação dessa atividade. As contribuições da pesquisa ocorrem na própria investigação da natureza da voz, elucidando-a como um espaço de trânsito a elementos importantes colocados em jogo pelo atuante e que muitas vezes são negligenciados; no delineamento de um paradigma teórico objetivo para refletir sobre as ações da voz; e numa definição dos treinamentos integrados, em seus objetivos e princípios; além disso, ao apontar possibilidades práticas para a construção de uma maior liberdade criativa e novos caminhos de investigação no trabalho do atuante.
This research is about the actions of the voice in theater, more specifically those in which the voice is performed in an integral, alive way - here called vocality performances - observing what can be revealed from the voice and about the voice itself in action at the space/time of the actor's or actress' work. The problem in discussion is exactly how to access this voice, in view of investigating his nature and pointing out possible paths. Therefore, the work is guided by a training perspective who sees the body and voice in an integrated way, which we call integrated training. The study goes through the transformations that occurred in the acting training in the 20th century, guided by a historical path that points in this direction, bringing as references the playwrights Antonin Artaud and Jerzy Grotowski, among performance art artists and other hybrid languages. The center of the research is vocality, according to the concept of Paul Zumthor and Adriana Cavarero. The voice is understood as a point of convergence and transit space for the elements to be worked by the actor. This is a theoretical-practical project, developed through bibliographic research and research-action, so there was a planning and application of practices related to acting, with the formation of a group for this purpose, as well as an evaluation of this activity. The research contributions occur in the investigation of the nature of the voice itself, elucidating it as a transit space for important elements brought at stake by the actor and which are often neglected; in the design of an objective theoretical support to reflect on voice actions; and a definition of integrated training, in its objectives and principles; in addition, by pointing out practical possibilities for the construction of greater creative freedom and new ways of investigation in the actors work.
This research is about the actions of the voice in theater, more specifically those in which the voice is performed in an integral, alive way - here called vocality performances - observing what can be revealed from the voice and about the voice itself in action at the space/time of the actor's or actress' work. The problem in discussion is exactly how to access this voice, in view of investigating his nature and pointing out possible paths. Therefore, the work is guided by a training perspective who sees the body and voice in an integrated way, which we call integrated training. The study goes through the transformations that occurred in the acting training in the 20th century, guided by a historical path that points in this direction, bringing as references the playwrights Antonin Artaud and Jerzy Grotowski, among performance art artists and other hybrid languages. The center of the research is vocality, according to the concept of Paul Zumthor and Adriana Cavarero. The voice is understood as a point of convergence and transit space for the elements to be worked by the actor. This is a theoretical-practical project, developed through bibliographic research and research-action, so there was a planning and application of practices related to acting, with the formation of a group for this purpose, as well as an evaluation of this activity. The research contributions occur in the investigation of the nature of the voice itself, elucidating it as a transit space for important elements brought at stake by the actor and which are often neglected; in the design of an objective theoretical support to reflect on voice actions; and a definition of integrated training, in its objectives and principles; in addition, by pointing out practical possibilities for the construction of greater creative freedom and new ways of investigation in the actors work.
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Palavras-chave
Voz - Educação - Exercícios, Vocalização, Representação teatral, Performance (Arte)