Detalhes bibliográficos
| Ano de defesa: |
2016 |
| Autor(a) principal: |
Martins, Rose Mary de Abreu
 |
| Orientador(a): |
Ferreira, Leslie Piccolotto |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Fonoaudiologia
|
| Departamento: |
Faculdade de Ciências Humanas e da Saúde
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/19307
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Resumo: |
The contemporary theater productions from Recife have been demanding proposals with methodological definitions at the training and preparation of actors. These proposals must enable advances about the word and the voice at the scene. The aim is to update knowledge from the body and singing techniques from Western tradition and pragmatic, like the Microacting. This technique developed by Silvia Davini considers the influence of new reproduction technologies of sound and image on the patterns of human perception. It also considers the configuration of new notions of body and subject that motivate, in turn, new character ideas. Objective: to implement the Microacting and analyze its effects based on the performance of actors submitted to an audience of children. Method: for this arise three studies. Study 1 – proposes a study on the evolution of communication technologies and its relation to the setting of new standards for voicing, focused on Microacting. Study 2 – describes the Microacting technique implementation process in the scene composition of the theatrical text A Viagem de um Barquinho, by Sylvia Orthof, along with a cast of actors. The result (the spectacle) is presented to a children audience. Study 3 – analyzes the applicability results of the Microacting technique in the scene composition process of A Viagem de um Barquinho, based on the actors’ opinion about the receptivity of the children audience. Results: The analysis showed that the search results responded to the aim of the thesis. Of the total of 33 multiple choice questions submitted to the public (N = 50), (33.3%) included questions about the staging (spectacle), voice (actors' performance) and history (text). The data from the two phases were analyzed descriptively, allowing reflections on approaches focused on advances in the production of voice and word in the scene. It also reveals some theoretical basis for studies of theatrical vocality, focusing on production in the city of Recife. Final Thoughts: the contribution of this study is due to the emphasis given to the recognition of the nature of theatrical vocality. Also the adequate conception of vocal training work through methodological procedures appropriate to the nature of each spectacle. It provides a breakthrough in vocal performance of the actors, such as the Microacting. It is concluded that it is urgent to combine artistic and training research. Expanding them, systematize them and recognizing them in their specificities |
