Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief
In the Western history of acting technique, it is possible to trace founding and constant concerns in spite of the different cultural subjects and the ethics and poetics of theater. Although the Stanislavskian tradition seemed to inaugurate the systematic speculation about the conditions of acting –...
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Universidad Nacional del Nordeste. Facultad de Humandiades. Instituto de Letras
2022
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| Acceso en línea: | https://revistas.unne.edu.ar/index.php/clt/article/view/5998 |
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I48-R154-article-59982023-08-02T15:30:30Z Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief “Dualidades” ocultas en la actuación teatral como hipótesis de garantía de creencia estética expectatorial Pricco, Aldo Rubén actoralidad presencia escénica creencia estética organicidad seducción escénica conditions of acting theatrical presence aesthetic belief body-mind unity theatrical seduction In the Western history of acting technique, it is possible to trace founding and constant concerns in spite of the different cultural subjects and the ethics and poetics of theater. Although the Stanislavskian tradition seemed to inaugurate the systematic speculation about the conditions of acting –as psychophysical conditions suitable for achieving an aesthetic belief in the audience– there are data records, in a variety of forms, that prove an itinerary of reflections on the acting technique, based on a clear isotopy, from which emerges a theatrical purpose and a hypothesis about the achievement of it. That purpose consists in providing the doer with the tools to be believed, to create verisimilitude in his fictional behavior, whereas the hypothesis about how to achieve a seductive theatrical presence is based on the coincidence (whether concrete or aimed at producing an effect) between an “internal” instance and the external somatic theatrical manifestation of that “experience” of the actor-character. En la historia técnica actoral de Occidente es posible rastrear preocupaciones fundantes y constantes, a pesar de los diferentes sujetos culturales y de las éticas y poéticas teatrales. Aunque pareciera que la tradición stanislavskiana inauguró la especulación sistemática sobre la actoralidad, en tanto condición psicofísica para una creencia estética en el auditorio, existen registros, en varios soportes, que atestiguan un itinerario de reflexiones sobre la técnica actoral, fundado en una clara isotopía de la que emerge un propósito escénico y una hipótesis sobre la consecución del mismo. Ese propósito consiste en dotar al actuante de herramientas para ser creído, para construir verosimilitud en su conducta de ficción, mientras que la hipótesis acerca de cómo obtener una presencia escénica seductora se fundamenta en la coincidencia (concreta o buscada como efecto) entre una instancia “interna” y la manifestación externa, somática escénica, de esa “experiencia” del actorpersonaje. Universidad Nacional del Nordeste. Facultad de Humandiades. Instituto de Letras 2022-07-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares application/pdf https://revistas.unne.edu.ar/index.php/clt/article/view/5998 10.30972/clt.0185998 Cuadernos de Literatura; Núm. 18 (2022): Julio; 144-159 2684-0499 0326-5102 spa https://revistas.unne.edu.ar/index.php/clt/article/view/5998/5701 Derechos de autor 2022 Cuadernos de Literatura |
| institution |
Universidad Nacional del Nordeste |
| institution_str |
I-48 |
| repository_str |
R-154 |
| container_title_str |
Revistas UNNE - Universidad Nacional del Noroeste (UNNE) |
| language |
Español |
| format |
Artículo revista |
| topic |
actoralidad presencia escénica creencia estética organicidad seducción escénica conditions of acting theatrical presence aesthetic belief body-mind unity theatrical seduction |
| spellingShingle |
actoralidad presencia escénica creencia estética organicidad seducción escénica conditions of acting theatrical presence aesthetic belief body-mind unity theatrical seduction Pricco, Aldo Rubén Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| topic_facet |
actoralidad presencia escénica creencia estética organicidad seducción escénica conditions of acting theatrical presence aesthetic belief body-mind unity theatrical seduction |
| author |
Pricco, Aldo Rubén |
| author_facet |
Pricco, Aldo Rubén |
| author_sort |
Pricco, Aldo Rubén |
| title |
Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_short |
Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_full |
Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_fullStr |
Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_full_unstemmed |
Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_sort |
hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| description |
In the Western history of acting technique, it is possible to trace founding and constant concerns in spite of the different cultural subjects and the ethics and poetics of theater. Although the Stanislavskian tradition seemed to inaugurate the systematic speculation about the conditions of acting –as psychophysical conditions suitable for achieving an aesthetic belief in the audience– there are data records, in a variety of forms, that prove an itinerary of reflections on the acting technique, based on a clear isotopy, from which emerges a theatrical purpose and a hypothesis about the achievement of it. That purpose consists in providing the doer with the tools to be believed, to create verisimilitude in his fictional behavior, whereas the hypothesis about how to achieve a seductive theatrical presence is based on the coincidence (whether concrete or aimed at producing an effect) between an “internal” instance and the external somatic theatrical manifestation of that “experience” of the actor-character. |
| publisher |
Universidad Nacional del Nordeste. Facultad de Humandiades. Instituto de Letras |
| publishDate |
2022 |
| url |
https://revistas.unne.edu.ar/index.php/clt/article/view/5998 |
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2022-08-19T12:07:28Z |
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2024-08-21T22:37:49Z |
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