Los lenguajes no verbales en el montaje Todo a su tiempo de David Ives, dirigido por Hernando Parra

Abstract

The document focuses on the study of nonverbal communication, particularly within the theatrical context. It explores how the actor’s body functions as a fundamental expressive tool that complements, reinforces, or even replaces verbal language. Key elements such as proxemics (use of personal space), kinesics (body movements), and paralinguistics (tone, pitch, and silences) are analyzed for their role in meaning-making and stage interaction. The work also discusses codified gestures (emblems), involuntary tics, and posture, all of which convey emotional or intentional information about the character.

The text further reflects on the relationship between the actor’s body and the spectator, proposing that the body becomes a sign the moment it is perceived as “extracted” from everyday reality. Theories of performance are referenced, such as Eugenio Barba’s concept of the “dilated body,” which refers to a trained body capable of communicating beyond words. Ultimately, the author emphasizes the importance of understanding the different modes of corporeal meaning production on stage and the actor’s need for technical and conscious preparation so that body language can be clear, intentional, and effective in conveying the theatrical message.