Detalhes bibliográficos
| Ano de defesa: |
2016 |
| Autor(a) principal: |
Soares, Leônidas Garcia |
| Orientador(a): |
Bargueño Gómez, Eugenio,
Fragoso, Suely Dadalti |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
spa |
| Instituição de defesa: |
Não Informado pela instituição
|
| Programa de Pós-Graduação: |
Não Informado pela instituição
|
| Departamento: |
Não Informado pela instituição
|
| País: |
Não Informado pela instituição
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Link de acesso: |
http://hdl.handle.net/10183/151191
|
Resumo: |
The present research objective is to verify the existence of the Transformation of the Performer’s Appearance in live spectacles. The transformation is understood as a process resulting from the continuous interchange between scene light and visual characterization of the performer (consisting of costumes, makeup, hairstyle and accessories). Spectacles from the XX century are discussed, with special attention to theatre and dance. Initially, secondary objectives were defined in order to contribute to the thesis final result. These goals helped to determine some central aspects of the thesis, and to complement knowledge related to the theme. Therefore, the research aims: to make a literature review and understand the study subjects; to acknowledge process and technologies of the scenic design (light, visual characterization, scenario) through declaration of experts of the area; to verify differences and similarities of scenic design between eastern and western cultures; to verify scenic design evolution in the time rage defined; to define method to analyze the available material. Thus, from the thoughts developed during the knowledge formation (structured in three steps), we present the following research question: Could the interchange between the scenic light and the visual characterization of the performer result in a transformation of the performer’s visual appearance to the public? In other words, this study is a theoretical research with empirical approach. Some examples of the subject of study are qualitatively analyzed using the Content Analysis method. A content analysis methodology was used as a way of exploring images and text documents. The results from these analyses are registered at the end of the three parts (who are called here Route Methodological) of the thesis: literature review; empirical analysis – part one; empirical analysis – part two. The first empirical analysis contextualises the subject; it is composed of examples of experimentation of visual transformations in spectacles, and testimonials from professional artists of scenic design. The second empirical analysis is the central focus of the study. It investigates the Transformation of the Performer’s Visual Appearance in the trajectory and work of eight western artist of the XX century (who are called here Investigators Artists). The investigated artists are: Adolphe Appia, Edward Gordon Craig, Loïe Fuller, Mariano Fortuny y Madrazo, Josef Svoboda, Ariane Mnouchkine, Robert Wilson and Pina Bausch. The conclusion of the research indicates the existence of the Transformation of the Performer’s Visual Appearance. The transformation occurs in a predetermined short range of time, and is composed of a sequence of images in continuous transformation. This process starts in the initial appearance of the performer and ends with this appearance modified. The resulting visual characterisation of the performer, which happens in real time, may be permanent until the end of the spectacle or might come back to the original appearance. The Transformation of the Performer’s Visual Appearance, led by the light and the visual characterisation of the performer, was verified in this research mostly in the work developed by the scenic artists Loïe Fuller e Robert Wilson. The conclusion inferred in the present research is that visual changes in the performer are and have always been part of the scenic design of live spectacles during the time range studied. Nonetheless, the visual transformation of the performer has not always been a visual resource taking into account in the scenic design and plastic production. This study demonstrates that the visual appearance of the performer, influenced by the interchange between light and visual characterization, can be a live scenic element being active part of the dramatic proposal and work’s aesthetics. |
