Reflexiones acerca del proceso formativo de un actor desde el campo de la psicotecnia

Abstract

As an acting student when I began my academic journey at the ASAB Faculty of Arts - Universidad Distrital, throughout my studies I encountered, among other difficulties, the constant dispute between various aesthetics or precepts of theater, which in turn framed other theories and conceptions of life and the craft that were very different from each other. These methods, gathered in a single body (that of the acting student), generated shock and confusion in me, because it seemed strange to witness how one trend in theater contradicted another. What was happening to me seeing myself in this situation? What position did I take regarding it? Well, I found myself like the schizophrenic, a mortal who has the little angel advising him on his right ear and the little devil contradicting him on his left; because a teacher would arrive proposing a hypothesis with their respective vision coming from a particular source, and then, according to the academic program, another would come with a different approach and contradict it. The question is: is it possible that different techniques for constructing a character can converge in the same field without the need for conflict, and that, on the contrary, they can enter into dialogue to the point of complementing each other? Is it possible for an artistic education to unfold in a healthy environment where it is not necessary to reject and deny the other, and instead to accept differences and recognize oneself in the midst of diversity, in order to take the characteristics that best serve me to construct and formulate my own concepts, and my own working system?