Maturidade do ator: ofício e cultivo de si

Abstract

The present research is a reflection on the artistic maturity, from the experience of four European actors, all over sixty years old, who formed between the years 1960-1970, and who work in a laboratory dimension, that relates to the work on oneself. A connection between this maturity and the tensions that arise with the contemporary “rithmless” times is established. The four actors are: Iben Nagel Rasmussenen, Odin Teatret (Denmark), Beppe Chierichetti and Luigia Calcaterra, Teatro Tascabile di Bergamo (Italy) and François Kahn (France). The theme of the research is related with the scenic experiment O Cântaro (The Pitcher), performed by the researcher, from the novel A Caverna (The Cave), by José Saramago, under the guidance of François Kahn. In the first chapter, a discussion on the relationship between fiction and reality unfolds, and also on the question of the Subject as self and of self-cultivation. The concepts of artist and craftsman in Mario de Andrade, and of craftsman and well-done work, in Richard Sennett are posed. The artistic maturity by Constantin Stanislavski is highlighted, as well as the concept of flower in the various stages of the life of a nō actor, from Motokyio Zeami. Finally, the notion of presence of the actor in the contemporary scene is discussed. In the second chapter the historical contexts around Theatre Laboratories of the 1960s and 1970s in Europe, and specifically that of the groups or realities in which the actors participating in the research worked is highlighted: Odin Teatret (Denmark), Teatro Tascabile di Bergamo (Italy) and the several activities of François Kahn, from parateatro (Poland), with Jerzy Grotowski to Camera Theatre (Italy and France). The third chapter presents four proposals for the maturity of the actor in the third millennium, associated to the subjects participating in the research: Iben Nagel Rasmussen, transparency; François Kahn, silence; Beppe Chierichetti, vulnerability and Luigia Calcaterra, abandonment. The fourth chapter presents the feeling as a possible quality that guides the trajectory of the researcher and the choice of the word as the main expressive vehicle for the scene. Finally, the adaptation of the novel A Caverna (The cave), from José Saramago to the scenic experiment O Cântaro (The Pitcher), under the guidance of François Kahn, is discussed, reflecting on the option for fiction.