A formação do palhaço circense

• Ano de defesa: 2015
• Autor(a) principal: Silva, Pedro Eduardo da [UNESP]
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Estadual Paulista (Unesp)
• Palavras-chave em Português: Palhaços; Circos; Representação teatral; Artes cenicas; Clowns
• Link de acesso: http://hdl.handle.net/11449/127945; http://www.athena.biblioteca.unesp.br/exlibris/bd/cathedra/03-09-2015/000847008.pdf

This work is dedicated to analyze the training methods for clowns, especially those who rely on circus matrix. Using material collected in interviews with teachers clowns and clowns, we observed the main elements that make up this training. The careers of two circus clowns: Roger Avanzi and Arlindo Pimenta, serve as a guide to observe how the diffuse education and oral tradition pass o n their knowledge so effectively. The teaching of some clowns teachers of French headquarters and my teaching experience in courses with programs and differents durations, are used across the board in observation procedures and results obtained. They are exposed information about some systematization that repeat through the oral tradition and rely on ambience and everyday circuses of itinerant families in which Avanzi and pepper structured their careers. The concept gift of gab becomes the reference to the way that tread to form a good circus clown, in addition to absorbing several techniques: acrobatics, music, mime, makeup, voice and characterization. Theatricality also comes with its essential elements (dramaturgy, dramatic action, triangulation, effect) for structuring reruns and skits that make oral literature and at the same time, pedagogical tool for training circus clown.