Comunicación no verbal en el teatro. El subtexto del vestuario.

Abstract

The following study aims to analyze and verify the importance costumes should have in theatrical scene, based on the strong communication exercised by dressed body in real life, taking as start point the most important historical events in human history. Each stage that human being has passed, has left signs that tell us about historical events that our ancestors went through and give us a reason to each garment they used. This thesis proposes a communication analysis our ancestors generated and we currently generate with others in life when we see a dressed body, to transform and transfer this language to the stage. Theatrical wardrobe does not need to be a living copy of what we see in life because it does not seek plausibility, but depends on the approach given by the director or the group. Not all plays have realistic costumes, but reality can be a great source of inspiration because of the amount of semiotic possibilities that, like it or not, are always being communicated and, like the words we use in verbal communication, it can be used in favor or against of themselves and of the observers in life and, of course, in theatrical scene. It also seeks to expose the influence that wardrobe has on actor's behavior in their daily life, the different readings and stories that observer creates, in addition to the strong capacity it has to show or hide who we are or who we want to be. Unfortunately, in some occasions it is left to the finish of the creative process or it is strongly judged as superficial, and although it is clearly what we see on surface: the costumes go beyond the form and have a big relation with the thinking of the character or who uses it. It should be clarified that creation should not remain only focused on clothing, it is about dressing ideas, the soul that we are creating; as well as throughout life we ​​choose what to use based on our economic condition, life experiences and many aspects that cross through our life: music, religion, climate, etc. The actor must take all these factors into account when dressing his character, since the costumes transmit his psychology to the audience, the job of the actress and the actor is to make the essential of the character visible to all senses of the viewer. In the Faculty of Arts-ASAB, unfortunately there is not a class focused on the study and creation of theatrical costumes, which leaves the actor with this deficiency during the career, so we hope that a course with these characteristics be added to the required curriculum.