Um ator paradoxal, um ator das luzes: um olhar filosófico sobre o ofício do ator, a partir das visões de Denis Diderot e Jean-Jacques Rousseau

• Autor(a) principal: Pires, Helderson Mariani
• Data de Publicação: 2019
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/22689
• topic: Atores; Teatro; Iluminismo; Actors; Theater; Enlightenment; CNPQ::CIENCIAS HUMANAS::FILOSOFIA

Having the actor in the french theater of the Lights, this study analysis Denis Diderot and Jean-Jacques Rousseau's different ideas about the craft of the actor in tha context. Therefore, it seeks to extract contributive elements to the comtemporary aesthetic reflection on the actor's job and his pedagogival instruction. The French theatrical discussions of the eighteenth century - practiced in those even now fire illuminated theaters - up to present time an inspiring source for numberless discussions. Discussions that likewise extends over the figure of the actor - Here reputed as protagonist of the theatrical phenomenon - and the novel artistic media as the nowadays working grounds and that found up to this point unthinkable paths to storytelling ou, simply, do theater. Rising from the philosophycal thoughts of those "Theatrical Men", having the exalted philosophe - and actor - Voltaire as counterpoint, this study advocates an reflection over the enlightened proposal for the aesthetics of the actor, had by itself as an paradoxal been, since that his artistic practice is related to the act of lying, seeks for an scenical truth for beyond the tradicional concept of impersonation - the search for a verisimilitude, highly practiced on the century of the Lights - and consists in the same search that aims to crash or transcend the strict scenic rules that made - and still doing - the actors venture on stage too confortable and safe. The actor's work is seen here as paradoxical in that it aims to affect his audience, but he also worries about breaking away from the clichés that please him, which make him comfortable, secure and relatively passive, in the dark of space that are reserved to you in the spectacle. The purpose of this reflection, based on Enlightenment thought, through its representatives Diderot and Rousseau, is to bring present three attributes of a type of actor proposed from the Lights: constructor, player and citizen. The actor builder is one who rationally builds his capacity for persuasion and persuasion of actor, builds a scenic thought before the scene: the character he will represent from himself. The actor builder gives a scenic form to a thought that fills the gaps of the dramatic text, it brings to the scene the invisible of the text. The player actor brings the question of the scenic game, subtle question that goes beyond the words of the theatrical text and even the exchange of looks between actors on the scene. A game is only played well when in fact something interesting happens among its players; in the theater, something must happen between the actors and between the actors and the audience. The citizen actor rescues from the idea of Greek democracy the concept of citizenship, of extreme importance in the questions of the eighteenth century, the concept of citizen was the primordial factor for the realization of a new state model. And even more, the actor, as a citizen, will also conquer in the society where he exercises his office, a more just and egalitarian political space. This enlightened actor seeks for constant increasement of his impersonation capabilities, to make his communication with the audience a more effective artistic encounter: an actor who is aware that he implies in his scenic performances his aesthetic choices, and also, how not could cease to be, his ethical and political choices, so touted and discussed in that century of Enlightenment