Construção cênica para a canção: princípios de Stanislavski numa proposta de expressão cênico-musical

• Ano de defesa: 2012
• Autor(a) principal: Aline Soares Araujo
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Canção de Câmara; Teatro; Canto; Construção Cênica; Stanislavski; Musica
• Link de acesso: http://hdl.handle.net/1843/AAGS-8ZUM5Q

In our self-experiences and also dealing with other singers, we perceive that some singers, and specially lyrical singers, frequently come across difficulties to associate bodily work to the vocal work they produce. While performing, they often feel unprepared or short of resources to express themselves the way they really wished. Usually, few enjoy the expressive possibilities which result from the relations either between their body and the music, their body and voice or space and the public. In face of the shortage of a bibliography in Brazil that approaches a scenical-corporal work directed to the singer, this research proposes the development of some principles which could become the basement of technical possibilities that may help the singers in both their studies and performances. For that, we resort mainly on the theatrical bibliography, not only for its already broad availability, but also because it has employed musical elements to elaborate and develop, which evidences the interaction between Music and Theatre. After a wide literature review, based on Constantin Stanislavskis' proposals, we chose a few main themes, specially those concerning his System of Physical Actions. We relate those themes to some other authors' teachings and elaborate a scenic creation path for the Art Songs through which a singer may follow in order to work both expressive and pre-expressive matters. Hence, the scenic construct resultant from the fusion between chamber songs and the hereby proposed schemes, is expected do help the singing performer develop their own scenic-corporal expression possibilities. Considering that this development aims to provide more safety and broader resources, we believe that the singer can rely on those scenic construction paths not only to perform the art song, but also other musical genders which they might execute.