O ator no teatro de animação: uma análise dos espetáculos Envelopes e Plural, da companhia de teatro “Nu escuro”, de Goiás

• Ano de defesa: 2014
• Autor(a) principal: Silva, Patrícia Mendes da
• Orientador(a): Reinato, Eduardo José
• Banca de defesa: Reinato, Eduardo José, Vicentini, Albertina, Correia, Paulo Petronilio
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Performance Cultural (EMAC)
• Departamento: Escola de Música e Artes Cênicas - EMAC (RG)
• País: Brasil
• Palavras-chave em Português: Ator-animador; Companhia “Nu escuro”; Envelopes; Plural; Neutralidade; Presença
• Palavras-chave em Inglês: Puppet-actor; Theater company “Nu escuro”; Neutrality; Presence
• Área do conhecimento CNPq: ARTES::TEATRO
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/4632

This dissertation investigated the trajectory of the theater company “Nu escuro”, in Goiânia, since its creation, initialized in the old technical school of Goiás – current IFG -, until its recent show called Gato Negro. Since its first show, Três por três, the company uses the puppet theater, and, over the course of time, it has been developing this language, specifically in the shows Envelopes (2005) and Plural (2012), focused in this research. It aims, therefore, to analyze the work of the animator-actor in the theater company “Nu escuro” in the shows Envelopes, in which the animator-actor is visible, but neutral in the scene, and Plural, in which it is visible and active in the scene. The objective was to investigate, through interviews and living with the group, the work of the animator-actor in its presence and neutrality and in its relation with the puppets and the masks in the puppet theater. Concerning both shows – Envelopes and Plural –, it was possible to observe how the creation of the animator-actor‟s bodywork of the theater company “Nu escuro” happened, being based, initially, on his body and on the animated artifacts – puppets and masks. Finally, it‟s considered the actor‟s body, in which one body is the animator-actor and the other is the character-actor, differentiating one from the other by the technique, that is, by the question of guiding the focus.