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O encontro no teatro: Em redor das noções de “momento presente” e “momento de encontro”
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Abstract(s)
Este trabalho tem como objectivo explorar a metodologia de preparação do actor,
centrada nas teorias teatrais do teatro de encontro/contacto, à luz da teoria do momento
presente e do momento de encontro. A investigação consiste num estudo exploratório de
caso que pretende compreender e aprofundar as proximidades existentes entre as teorias
teatrais e psicológicas do encontro. Partindo de uma reflexão teórica pretendeu-se
responder a algumas das questões levantadas, através de uma pesquisa junto de um
grupo de actores. Para isso procurou-se perceber a possibilidade de identificar e
caracterizar “momentos de encontro” durante o treino e desempenho dos actores. Em
paralelo procurou-se indagar, sobre o eventual efeito de facilitação do crescimento
pessoal das técnicas de preparação de actor identificadas. As temáticas desta
investigação foram exploradas através de uma entrevista semi-dirigida Este estudo de
caso contou com a participação de três actores de teatro universitário, do dISPArteatro,
com pelo menos 2 anos de frequência do grupo. Na prática do grupo foram encontradas
as aproximações sugeridas entre as concepções de uma preparação do actor através do
contacto e as características do momento presente/momento de encontro. Todos os
actores experienciaram mudanças na sua vida pessoal, nas áreas investigadas (relação
com o corpo, relação consigo mesmos e relação com os outros). O processo foi sentido
pelos actores como um crescimento pessoal e no global mencionam que se sentem mais
capazes de viver o momento, o aqui-e-agora e que procuram mais relacionamentos com
maior nível de intimidade e partilha.
This paper aims to explore the methodology used in the preparation of an actor, above all the theatrical concept of contact, in light of Daniel Stern’s theories of present moment and moments of meeting. This investigation consists of an exploratory study that proposes a deeper comprehension of the overlaps between theatre studies and psychological theories of encounter. Beginning with a theoretical consideration of these overlaps, we use a group of actors as a test case to develop responses to various exploratory questions. We quizzed these actors in order to try and distinguish moments which demonstrate these psychological theories of encounter. At the same time we enquired about the possible effect that actor training has on the personal development of this specific actors. The fundamental ideas of this investigation were explored through semi-structured interviews, which were based upon interviews with their director. Three members of a university theatre group, dISPAr, who had been part of the group of at least two years, were the focus of our investigation. By studying this group, we encountered these previously stated theoretical overlaps. All the participants experienced a variety of changes in specific areas of interest (in their relationships with their bodies, themselves and others). The participants considered the training to be a process of personal growth, stating that they felt themselves to be more capable of living in the moment and, as a result, they would look for more intimacy in their personal relationships.
This paper aims to explore the methodology used in the preparation of an actor, above all the theatrical concept of contact, in light of Daniel Stern’s theories of present moment and moments of meeting. This investigation consists of an exploratory study that proposes a deeper comprehension of the overlaps between theatre studies and psychological theories of encounter. Beginning with a theoretical consideration of these overlaps, we use a group of actors as a test case to develop responses to various exploratory questions. We quizzed these actors in order to try and distinguish moments which demonstrate these psychological theories of encounter. At the same time we enquired about the possible effect that actor training has on the personal development of this specific actors. The fundamental ideas of this investigation were explored through semi-structured interviews, which were based upon interviews with their director. Three members of a university theatre group, dISPAr, who had been part of the group of at least two years, were the focus of our investigation. By studying this group, we encountered these previously stated theoretical overlaps. All the participants experienced a variety of changes in specific areas of interest (in their relationships with their bodies, themselves and others). The participants considered the training to be a process of personal growth, stating that they felt themselves to be more capable of living in the moment and, as a result, they would look for more intimacy in their personal relationships.
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Keywords
Encontro Momentos de encontro Teatro Actores Psicologia Encounter Moments of meeting Theater Actors Psychology