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Contributos de dança na formação corporal do ator : linhas orientadoras de intervenção
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A estética dos espetáculos de dança e teatro no momento atual, promove cada vez mais uma aproximação entre estas artes, numa fusão que esbate as suas fronteiras. As dimensões, dança e teatro, se confundem ao mesmo tempo em que promovem um novo olhar sobre o corpo (matriz destas artes), bem como sobre sua formação, que parece ainda não acompanhar este novo direcionamento. A intenção deste estudo é perceber quais são os contributos da dança na formação corporal do ator, e para tal inicia-se com uma reflexão sobre o lugar corpo, bem como de suas capacidades de processar informações e comunicar-se. A partir de um levantamento inicial que busca referências nos principais teóricos do teatro (Stanislavski, 1964; Meierhold, 1969; Barba, 1985; Chekhov, 1986; Brook, 2007; Ferracini, 2008), elaboramos um quadro destacando algumas características essenciais ao ator a partir da perspetiva dos autores citados. Como segunda etapa, realizamos um estudo exploratório, que consiste de três entrevistas com atores de grande renome em Portugal. As entrevistas foram análisadas e categorizadas a partir do programa de análise qualitativa Maxqda12, e geraram quatro categorias distintas: tipo de formação, prática profissional, importância do corpo e formação e docência. A partir de cada uma destas categorias, outras subcategorias foram descritas e possibilitam uma leitura de como os atores entrevistados pensam a formação corporal para o ator. Ampliando a dimensão do estudo exploratório, realizamos um estudo complementar que seguiu a mesma base do primeiro, com treze entrevistados em três grupos distintos: alunos, professores e profissionais. Este estudo complementar replicou a base de categorias elencadas a partir do estudo exploratório e igualmente foi utilizado o programa Maxqda12 na análise das entrevistas. A partir destes dois estudos, é possível ter um panorama da formação do ator (pelo olhar dos entrevistados) mais específicamente de sua formação corporal. As discussões propostas são elaboradas com base em estudos do teatro, da dança, da pedagogia, da filosofia e do comportamento e aprendizagem motora (Schmidt & wrisberg, 2011; Gallahue & Ozmunn, 2003; Tani, 2005), sendo o suporte para propor a dança como parte da formação do ator, não só pela amplitude das características envolvidas mas como forma de aproximação entre a dança e o teatro construíndo esta relação a partir de uma formação de base do ator.
The aesthetics of the current dance and theater perfomances, increasingly promotes an approximation between these arts, in a fusion that narrows its borders. The dimensions, dance and theater, are blended at the same time as they promote a new view on the body (matrix of these arts), as well as over its development, which seems not yet to follow this new direction. The intention of this study is to understand what are the contributions of dance to the development of the so-called 'actor's body' and, seeking this purpose, it begins with a thought about the body place, as well as its capacities to process information and to communicate. From an initial survey that seeks references in the main theater theorists (Stanislavski, 1964, Meierhold, 1969, Barba, 1985, Chekhov, 1986, Brook, 2007, Ferracini, 2008), it was elaborated a table highlighting some essential characteristics to the actor according to the authors' perspective. As a second phase, it was conducted an exploratory study, which consists of three interviews with actors of great renown in Portugal. The interviews were analyzed and categorized from the Maxqda12 qualitative analysis program, and originated four distinct categories: type of training, professional practice, importance of the body and training, and teaching. From each of these categories, other subcategories have been described and enable an understanding on how the actors interviewed think about the body development for the actor. Extending the scope of the exploratory study, we carried out a complementary study that followed the same basis as the first one, with thirteen interviewees divided in three distinct groups: students, teachers and professionals. This complementary study replicated the basis of categories listed from the exploratory study as well as the Maxqda12 program was employed in the interview analysis. From these two studies, it is possible to have an overview of the shaping of the actor (by the interviewees' point of view) more specifically from their body development. The proposed discussions are based on behavioral and motor learning studies (Schmidt & Wrisberg, 2011; Gallahue & Ozmunn, 2003; Tani, 2005), creating the foundation for the proposition of dance as part of the actor's training, not only by the proximity in its sensory-motor characteristics, and even as a way of approaching the dance and the theater, building this relation from the basic training of the actor.
The aesthetics of the current dance and theater perfomances, increasingly promotes an approximation between these arts, in a fusion that narrows its borders. The dimensions, dance and theater, are blended at the same time as they promote a new view on the body (matrix of these arts), as well as over its development, which seems not yet to follow this new direction. The intention of this study is to understand what are the contributions of dance to the development of the so-called 'actor's body' and, seeking this purpose, it begins with a thought about the body place, as well as its capacities to process information and to communicate. From an initial survey that seeks references in the main theater theorists (Stanislavski, 1964, Meierhold, 1969, Barba, 1985, Chekhov, 1986, Brook, 2007, Ferracini, 2008), it was elaborated a table highlighting some essential characteristics to the actor according to the authors' perspective. As a second phase, it was conducted an exploratory study, which consists of three interviews with actors of great renown in Portugal. The interviews were analyzed and categorized from the Maxqda12 qualitative analysis program, and originated four distinct categories: type of training, professional practice, importance of the body and training, and teaching. From each of these categories, other subcategories have been described and enable an understanding on how the actors interviewed think about the body development for the actor. Extending the scope of the exploratory study, we carried out a complementary study that followed the same basis as the first one, with thirteen interviewees divided in three distinct groups: students, teachers and professionals. This complementary study replicated the basis of categories listed from the exploratory study as well as the Maxqda12 program was employed in the interview analysis. From these two studies, it is possible to have an overview of the shaping of the actor (by the interviewees' point of view) more specifically from their body development. The proposed discussions are based on behavioral and motor learning studies (Schmidt & Wrisberg, 2011; Gallahue & Ozmunn, 2003; Tani, 2005), creating the foundation for the proposition of dance as part of the actor's training, not only by the proximity in its sensory-motor characteristics, and even as a way of approaching the dance and the theater, building this relation from the basic training of the actor.
Descrição
Palavras-chave
Ator Corpo Dança Formação Teatro Relações Actor Body Dance Development Relationship Theater