Revelación y develación del actor danzante. Presencia viva, emergencia del espíritu y rutas de trabajo para la escena

Abstract

The project Revelation and develation of the dance actor, arises as a need to inquire about references for the corporal preparation of the actor / dancer, which would enable a live presence in the scene, in order to establish through these, an analysis, from the incarnated experience of studying the curricular project of danzario art in the deepening of dance theater, in the Faculty of Arts ASAB. Analysis itself that allows to recognize the qualities that must be apprehended, understood and applied through phases, stages and levels; from which a kind of shite can radiate, term used by Zeami, whose meaning translates the one who does, the one who executes (Zeami 1999 P.103), that is, Shite, as the notion of communicating and / or transmitting through of body plastic. The analysis of the dancing actor and living presence categories that emerge from the experience, take on expanded meaning in the scene and with which I intend to answer the question: what are the working methods, active supports, and structural components that make possible the living presence of the actor / dancer? Live presence means a series of elements and / or components of the performing artist, for that matter, the actor / dancer, who make an emergency when a state of concentration and consciousness is reached that allows the energy to be condensed and emanated, including the latter as mentioned by Eugenio Barba citing the Vocabulary of the Italian language (Barba 1987, p.66) "The physical vigor, especially of nerves and muscles, active power of the organism (...), firmness of character and resolution in action (...), dynamic force of the spirit that manifests itself as will and ability to act (...). In physics, energy of a system, ability of a system to perform a job. " In order to clarify and direct the present investigation, it has been divided into three key moments, which articulated offer a structural map: first of the dance theater category, its history and foundation; The second part is the focus of the deepening of dance theater in the Curricular Project of Danzario Art. The latter offers us a proposal on the findings made in this inquiry, which propose a route on the ideas of spirit that accompany the living presence of the dancing actor in his interpretation. Actor who has founding foundations as an individual; routes traced by those who preceded it; tours of spaces that have rules and laws that have left their imprints on it. Finally the academy as a field of knowledge, is a place that draws lines of action, which materialize in the specific and complementary disciplinary areas, from which it is tried to offer possible ways that can potentiate the scenic practice. The first point of the project Revelation and develation of the dancing actor is the look that directs the Dance Theater as an epistemological exercise from the specific disciplines of Dance; where I will analyze, conceptualize and articulate, themes, components, and aspects concerning the methodological and pedagogical processes of the deepening of dance theater. Based on the analyzes and reflections gathered in the previous moments, the different identified components will be related, which constituted my training process as an Actor / Dancer, to determine its influence within me performance in the scene, analyzing in this category the live presence , both from a theoretical order, and from the practical order. The practical and theoretical-conceptual components of the Dance Theater, were generated in foreign historical-geographical contexts, processes that were installed in our territory, were activated and dynamized according to needs, problems, and questions, of the groups of the dance sector , who sought to broaden our methodological, pedagogical and compositional spectrum, resorting to components and factors of the placement of the body in the theater's own space. In the field of academia we enter into processes of interaction, both as peers, as well as teachers, agents who, in addition to having training methods and models, have a discourse, crossed by their training processes, which are loaded with ideas, techniques, currents and schools, whose references come from other latitudes as well as from the place itself. These configure a pedagogical and artistic task, related to the objectives of the Dance Art curriculum project, installing a look and position regarding the specific disciplines of dance and in terms of the specific disciplines of the theater, as in its movement dynamics: Dance -Teatro, given that you can assimilate a series of codes belonging to different systems, oriented to be a dancer actor in the scene, and that reminds us of the meaning shite, the one who does, the one who executes. This series of factors that intervene in the laying of body.