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Master's Dissertation
DOI
10.11606/D.27.2008.tde-05072009-235136
Document
Author
Full name
Gina Maria Monge Aguilar
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2008
Supervisor
Committee
Martins, José Batista Dal Farra (President)
Lopes, Elisabeth Silva
Souza, Luiz Augusto de Paula
Title in Portuguese
Princípios para o treinamento vocal do ator: vozes que chamam, perguntam e dialogam
Keywords in Portuguese
Princípios
Teatro
Treinamento
Treino-criativo
Voz
Abstract in Portuguese
Esta pesquisa tem como objetivo formular, descrever e compreender princípios gerais para o treinamento vocal do ator. Para chegar a estes princípios, partiu-se de experiências, tanto na Costa Rica quanto atualmente no Brasil, do contato com o trabalho de Roy Hart, por meio de Richard Armstrong, e das pesquisas feitas com sete especialistas e professores de voz brasileiros. Após revisão bibliográfica sobre o tema, foram feitas entrevistas individuais com os sete pesquisadores escolhidos, participação em aulas e treinamentos, assim como assistência a espetáculos apresentados por eles. Finalmente, a realização de um processo de treinamento-encenação completou as ferramentas para a postulação dos princípios. Eles confluem em dois pontos fundamentais: voz é energia, que pode ser transformada, por meio do treino-criativo, em poética teatral.
Title in English
Principles for the actors vocal training: voices that call, ask and converse
Keywords in English
Creative-training
Drama
Principles
Training
Voice
Abstract in English
This research aims to formulate, describe and understand the general principles for the actors vocal training. In order to reach such goals, I started up from my own experiences not only in Costa Rica but also in Brazil nowadays; from the contact I had with Roy Harts work, through Richard Armstrong and through the research done with seven Brazilian voice specialists and researchers. After a bibliographic review on the theme, several interviews have been done, as well as attendance to drama performances performed by them. Finally, the achieving of a training-creation process completed the tools to postulate such principles. They converge into two fundamental points; first, voice is energy; second, it can be transformed through creativetraining in theater poetry.
 
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5738109.pdf (476.85 Kbytes)
Publishing Date
2009-07-13
 
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