Serestando Mulheres, em palavras

Colla, Ana Cristina

doi:10.7476/9786586253733.0010

Cited by 2 publications

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“…Inscribed within this turbulence and redefinition of the concept/action Colla, 2020) of training, its practices and its displacements of actors' creative processes, LUME Teatro places its wager on the search for good problems, ones with which their training can be understood, not only in the sense of bodily training of the body, but also as a practice of intensifying the self, expanding capacities and qualities of affective force, in a paradoxical terrain (learning of skills X intensification of the self) that generates and expands the concept of training:…”

Section: Discussionmentioning

confidence: 99%

Training as a Path to Ethos in the Formation of the Actor

Péclat

Lopes

Ferracini

2021

Rev. Bras. Estud. Presença

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In this article, the authors discuss training as a way of shaping the ethos of the actor. The laboratory practice developed by the artists of the Odin Teatret and LUME Teatro serves as fundamental reference. Beginning with a historical contextualization of the European theater laboratories of the 20th century, the text moves on to focus on training within the context of the aforementioned groups. From the analysis of their artistic practices, the article proposed an interpretation of the training session as a place for developing and consolidating the ethos of the actor, understood as a catalyst for a set of practices and knowledge that artists acquire by through their work routines. In conclusion, the authors reaffirm the perspective that they offer by explaining how the laboratory practices of these theater groups has been reinvented, in light of the global pandemic restrictions of COVID-19.

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Section: Discussionmentioning

confidence: 99%

Training as a Path to Ethos in the Formation of the Actor

Péclat

Lopes

Ferracini

2021

Rev. Bras. Estud. Presença

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“…Other productions of the author derive from this conceptual system(Ferracini, 2009;2013a;2013b;2014;Rabelo; Reis, 2016, among others).18 Own translation of "[...] um sentimento de algo ilimitado, sem barreiras, como que 'oceânico'"(Freud, 2014(Freud, [1930, p. 14).19 Own translation of "[...] poderia considerar-se religioso, ainda que rejeitasse toda fé e toda ilusão"(Freud, 2014(Freud, [1930, p. 15).20 The presentation and discussion of several Lume plays offer ample material in this regard, i.e Colla (2006;2013)Ferracini (2006);Hirson (2006;2012); chapters 8 and 9 mainly, fromColla (2020).…”

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confidence: 99%

Presence in Lume’s Work as Temporal Enlargement and Oceanic Feeling

Federici

Roble

2021

Rev. Bras. Estud. Presença

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The article combines efforts to read Lume’s aesthetic based on possible philosophical connections supported by the notion of temporal enlargement and the Freudian concept of oceanic feeling. The philosophical-conceptual methodology was used to this end. The ideas of composition, fluctuation and saturation plane, delirium, the dissolution of borders and a sense of holistic connection stood out. Presence was the articulating element of Lume’s aesthetic, which is framed by the aforementioned conceptual principles. By exposing two possible receptions, the text intends the comparison with such knowledge to add layers of expansion to the theatrical aesthetic experience, not aiming to reveal meanings, but rather to propose intelligibilities.

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Serestando Mulheres, em palavras

Cited by 2 publications

References 0 publications

Training as a Path to Ethos in the Formation of the Actor

Training as a Path to Ethos in the Formation of the Actor

Presence in Lume’s Work as Temporal Enlargement and Oceanic Feeling

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