O corpo da cena no balé clássico: entre técnicas, expressividade e imitações prestigiosas
<p class="western" align="justify">Considered as one of the possibilities of performing arts, the classical ballet can be understood as a way in which stories depend on characters who, without the use of words, enact stories which are typical of the traditional repertoire....
| Main Authors: | , , |
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| Format: | Article |
| Language: | English |
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Instituto Federal de Educação, Ciência e Tecnologia da Paraíba
2020-03-01
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| Series: | Revista Principia |
| Subjects: | |
| Online Access: | https://periodicos.ifpb.edu.br/index.php/principia/article/view/3519 |
| Summary: | <p class="western" align="justify">Considered as one of the possibilities of performing arts, the classical ballet can be understood as a way in which stories depend on characters who, without the use of words, enact stories which are typical of the traditional repertoire. This text aims to discuss issues related to the body of the scene, the scenic body of the artist in classical ballet. In order to do so, we conducted a qualitative investigation and used the observation of ballet shows and ten semistructured interviews with Brazilian professional dancers as investigation techniques. The testimonies of the classical professional dancers were the material that allowed the analyzes of the speeches. Based on the analyzes, we highlight the following results: the existence of a prestigious imitation among the dancers who were interviewed; the existence of an “extracotidiano 1” body in classical ballet; the existence of explicit and implicit techniques in ballet. The study is based upon a theoretical perspective that takes not only the body of classical ballet and its techniques, but the human body itself and its techniques as sociocultural reality, produced in culture, according to rules and values defined by this reality and the social field that builds them.</p> |
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| ISSN: | 1517-0306 2447-9187 |