Entrenamiento, vehículo del potencial creativo

Abstract

The exercises carried out by an actor or actress to build a stage body, are a set of practices that serve to prepare and transform, educate and arrange your body, voice and emotions for the practice of a scenic activity. In this way, training has been its vehicle of learning.

It is relevant that every actor and actress knows that in his personal and / or collective essay is where he can achieve the preparation, practice, exploration and improvement of his body as a work tool and thus achieve energy, vitality, strength and dexterity necessary to captivate with his work on stage. The technique learned and / or sought after that each actor finds to appropriate his work would be a process that is unknown to the viewer, although his path and purpose is related to it. Barba (1992) would call it pre-expressiveness, which means the vocal and corporal activity that takes place without even thinking about a spectator. In this way, what it is for the scene and of course for the show, is the presence of the actor and the life that it gives to a character, it can be said that a large part of the conquest of an audience on stage is given to how the actor achieves that the theater is an experience extracted from reality but enriched in such a way that they feel living a different experience and likewise the public appreciates it.