The art of performance and the paradox of Diderot: Bringing the musician closer to the actor and to the interpretive practice(s) of theatrical arts
Denis Diderot, a prominent figure of the eighteenth-century French Enlightenment and the main organizer of the Encyclopédie, presents in his Paradox of acting an important reflection about the craft of the actor, the attitude he should take to represent different roles and the social function of his...
Guardado en:
| Autor principal: | |
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Portugués |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2013
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7077 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7077_oai |
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I28-R145-7077_oai |
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dspace |
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Universidad de Buenos Aires |
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I-28 |
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R-145 |
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Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| language |
Portugués |
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por |
| topic |
paradoja del actor Denis Diderot interpretación y/o performance musical artes escénicas teoría de la performance paradoxo do ator Denis Diderot interpretação e / ou performance musical artes cênicas teoria da performance paradox of acting Denis Diderot musical interpretation and / or performance theatrical arts performance theory |
| spellingShingle |
paradoja del actor Denis Diderot interpretación y/o performance musical artes escénicas teoría de la performance paradoxo do ator Denis Diderot interpretação e / ou performance musical artes cênicas teoria da performance paradox of acting Denis Diderot musical interpretation and / or performance theatrical arts performance theory Kuehn, Frank Michael Carlos The art of performance and the paradox of Diderot: Bringing the musician closer to the actor and to the interpretive practice(s) of theatrical arts |
| topic_facet |
paradoja del actor Denis Diderot interpretación y/o performance musical artes escénicas teoría de la performance paradoxo do ator Denis Diderot interpretação e / ou performance musical artes cênicas teoria da performance paradox of acting Denis Diderot musical interpretation and / or performance theatrical arts performance theory |
| description |
Denis Diderot, a prominent figure of the eighteenth-century French Enlightenment and the main organizer of the Encyclopédie, presents in his Paradox of acting an important reflection about the craft of the actor, the attitude he should take to represent different roles and the social function of his performance. As opposed to Rousseau and the romantics who succeeded him in the XIX century, Diderot argues that a good actor should be guided by an attitude of emotional detachment rather than by compulsive raptures of feelings and passions. Without intending to eclipse the specific differences existing between the profession of the performer and that of the actor, their affinities are evident in the domain of performance, as well as in the attitude and social role both adopt on the stage to render a work previously conceived and encoded. Considering that the performative character of musical practice –exceptions apart– is still relegated in school music teaching, we focus on the importance of the performance elements in relation to bodily categories such as appearance, mimicry and body language. In short, in the year of the tercentennial of Diderot, our aim is to show that the theatrical arts have something important to contribute to the understanding and improvement of musical performance. |
| format |
Artículo publishedVersion |
| author |
Kuehn, Frank Michael Carlos |
| author_facet |
Kuehn, Frank Michael Carlos |
| author_sort |
Kuehn, Frank Michael Carlos |
| title |
The art of performance and the paradox of Diderot: Bringing the musician closer to the actor and to the interpretive practice(s) of theatrical arts |
| title_short |
The art of performance and the paradox of Diderot: Bringing the musician closer to the actor and to the interpretive practice(s) of theatrical arts |
| title_full |
The art of performance and the paradox of Diderot: Bringing the musician closer to the actor and to the interpretive practice(s) of theatrical arts |
| title_fullStr |
The art of performance and the paradox of Diderot: Bringing the musician closer to the actor and to the interpretive practice(s) of theatrical arts |
| title_full_unstemmed |
The art of performance and the paradox of Diderot: Bringing the musician closer to the actor and to the interpretive practice(s) of theatrical arts |
| title_sort |
art of performance and the paradox of diderot: bringing the musician closer to the actor and to the interpretive practice(s) of theatrical arts |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2013 |
| url |
https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7077 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7077_oai |
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I28-R145-7077_oai2025-11-17 Kuehn, Frank Michael Carlos 2013-08-05 Denis Diderot, a prominent figure of the eighteenth-century French Enlightenment and the main organizer of the Encyclopédie, presents in his Paradox of acting an important reflection about the craft of the actor, the attitude he should take to represent different roles and the social function of his performance. As opposed to Rousseau and the romantics who succeeded him in the XIX century, Diderot argues that a good actor should be guided by an attitude of emotional detachment rather than by compulsive raptures of feelings and passions. Without intending to eclipse the specific differences existing between the profession of the performer and that of the actor, their affinities are evident in the domain of performance, as well as in the attitude and social role both adopt on the stage to render a work previously conceived and encoded. Considering that the performative character of musical practice –exceptions apart– is still relegated in school music teaching, we focus on the importance of the performance elements in relation to bodily categories such as appearance, mimicry and body language. In short, in the year of the tercentennial of Diderot, our aim is to show that the theatrical arts have something important to contribute to the understanding and improvement of musical performance. Denis Diderot, filósofo prominente del Iluminismo francés del siglo XVIII y principal organizador de la Encyclopédie, presenta en su Paradoja sobre el comediante una importante reflexión sobre el oficio del actor, la actitud que este debe tomar para representar diferentes roles y la función social de su actuación. En oposición a Rousseau y a los románticos que lo sucedieron en el siglo XIX, Diderot sostiene que un buen actor debe guiarse más por una actitud de distanciamiento emocional que por un arrebatamiento compulsivo de sentimientos y pasiones. Sin querer eclipsar las diferencias específicas que existen entre el oficio del músico-intérprete y el del actor, sus afinidades se evidencian sobre todo en el campo de la performance, así también como en la actitud y el papel social que ambos asumen en el escenario para interpretar una obra previamente concebida y codificada. Considerando que el aspecto performativo de la práctica musical, excepciones aparte, aún constituye una dimensión relegada en la enseñanza de la música, destacamos la importancia de los elementos de la performance en relación con las categorías corporales de la presencia, mímica y gestualidad. En síntesis, a trescientos años del nacimiento de Diderot, se trata de demostrar que las artes escénicas pueden contribuir de un modo relevante al entendimiento y al perfeccionamiento de la performance musical. Denis Diderot, filósofo proeminente do Iluminismo setecentista francês e o principal organizador da Encyclopédie, apresenta, em seu Paradoxo sobre o comediante, uma importante reflexão sobre o ofício do ator, a atitude que este deve assumir ao representar diferentes papéis e a função social da sua atuação. Em oposição a Rousseau e aos românticos que o sucederam no século XIX, Diderot argumenta que o bom ator deve se pautar antes por uma atitude de distanciamento emocional do que pelo arrebatamento compulsivo de sentimentos e paixões. Sem querer eclipsar as diferenças específicas que existem entre o ofício do músico-intérprete e o do ator, suas afinidades se evidenciam sobretudo no campo da performance, bem como na atitude e papel social que ambos assumem no palco ao interpretar uma obra previamente concebida e codificada. Considerando que o lado performativo da prática musical, exceções à parte, ainda está constituindo um aspecto relegado no ensino da música, destacamos a importância dos elementos da performance no que respeita às categorias corporais da presença, da mímica e da gestualidade. Em suma, no ano do tricentenário de Diderot, trata-se de demonstrar que as artes cênicas podem contribuir de forma relevante para o entendimento e o aprimoramento da performance musical. application/octet-stream https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7077 por Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7077/6333 El oído pensante; Vol. 1 No. 2 (2013): Agosto 2013 - Enero 2014 El oído pensante; Vol. 1 Núm. 2 (2013): Agosto 2013 - Enero 2014 El oído pensante; v. 1 n. 2 (2013): Agosto 2013 - Enero 2014 2250-7116 paradoja del actor Denis Diderot interpretación y/o performance musical artes escénicas teoría de la performance paradoxo do ator Denis Diderot interpretação e / ou performance musical artes cênicas teoria da performance paradox of acting Denis Diderot musical interpretation and / or performance theatrical arts performance theory The art of performance and the paradox of Diderot: Bringing the musician closer to the actor and to the interpretive practice(s) of theatrical arts El arte de la performance y la paradoja de Diderot: aproximando el músico al actor y a la(s) práctica(s) interpretativa(s) de las artes escénicas A arte da performance e o paradoxo de Diderot: aproximando o músico do ator e a(s) prática(s) interpretativa(s) das artes cênicas info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7077_oai |