Atitude extrema e salto: a prática laboratorial de K. Stanislávski no Estúdio de Ópera Bolshói

• Ano de defesa: 2011
• Autor(a) principal: Inaja Neckel
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Pedagogia teatral; Estúdio de Ópera Bolshói; Stanislávski; Teatro Estudo e ensino; Atores; Representação teatral; Bolshoi Opera Studio; Stanislavski, Konstantin, 1863-1938
• Link de acesso: http://hdl.handle.net/1843/JSSS-8ZCER9

This study intends to comprehend the knowledge of K. Stanislávski developed in the Bolshoi Opera Studio: his extreme attitude and jump from the research in a constant theme. Extreme attitude understood as the research from the results that remained in the exercise creator, that is, in practice of the studio and in a proposing idea to be shared among those actor-singers. The time snip is between 1918 and 1922, a period in which he presents the system to the actor-singers, and during which he is the direct leader/conductor of the workers in this studio. Reaching its goal, this work presents that is characterized the advent of the theater studios, spaces dedicated to formation of actor, a brief review which serves to contextualize the importance of these locals for the renewal intended by the theater director-pedagogues. From this survey, the study is focused in particular on the foundation of the Bolshoi Opera Studio, working with a view to addressing the broad lines thought of the Russian master for a studio: the theater community, the master as the only leader/conductor, and the search as a constant theme of work (creative condition). From the comprehension of the students relationship and teacher in the search of a constant theme, the work reaches a point of communion between teacher and students, that is, the revelation of the mysteries creators, appointed by Stanislavsky as the seven steps common all. In front of the investigation of his propositions, the work reaches what is considered a leap and a consequence of that the director-educator work trajectory: from the creative condition to the heroic condition in the actor work, when the research is able to overcome the theater measures. From the research and analysis of the Russian master trajectory with the Bolshoi Opera Studio, it was possible to comprehend and identify the establishment of a internal creative movement of his theater make, in which, the theater make is comprehended as something that precedes and transcends the spectacle.