THE VOICE AND ITS TENSIVE CONFIGURATION IN THE STUDY OF THEATRICAL LANGUAGE
This work is an investigation on the use of the theatrical actor's voice and on its specificities as a sound-based object, where we bring together the studies of the theatrical performance language and the tensive model developed by Claude Zilberberg. Through the comparison of two different sce...
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| Autores principales: | , |
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Portugués |
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CASA: Cadernos de Semiótica Aplicada
2012
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| Acceso en línea: | http://seer.fclar.unesp.br/casa/article/view/5271 http://biblioteca.clacso.edu.ar/gsdl/cgi-bin/library.cgi?a=d&c=br/br-048&d=article5271oai |
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| Sumario: | This work is an investigation on the use of the theatrical actor's voice and on its specificities as a sound-based object, where we bring together the studies of the theatrical performance language and the tensive model developed by Claude Zilberberg. Through the comparison of two different scene constructions, both conceived by Antunes Filho for the same tragedy: Euripides' Medea, the description of the selected corpus aims at the meanings produced by the vocal sounds. The analysis is done in two parts. The first one searches for the constitutive units produced in the discourses, which also makes the analysis a reflection on the descriptive criteria and on the relevance of these units in the discourses under investigation. On the second step, there is a discussion on the possible relations between the intonations of the characters in the play and the tensive categories called forth by each of these constructions. |
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