Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief
In the Western history of acting technique, it is possible to trace founding and constant concerns in spite of the different cultural subjects and the ethics and poetics of theater. Although the Stanislavskian tradition seemed to inaugurate the systematic speculation about the conditions of acting –...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Instituto de Letras Alfredo Veiravé, Facultad de Humanidades, Universidad Nacional del Nordeste
2022-07-01
|
| Series: | Cuadernos de Literatura |
| Subjects: | |
| Online Access: | https://revistas.unne.edu.ar/index.php/clt/article/view/5998 |
| _version_ | 1797995599460564992 |
|---|---|
| author | Aldo Rubén Pricco |
| author_facet | Aldo Rubén Pricco |
| author_sort | Aldo Rubén Pricco |
| collection | DOAJ |
| description | In the Western history of acting technique, it is possible to trace founding and constant concerns in spite of the different cultural subjects and the ethics and poetics of theater. Although the Stanislavskian tradition seemed to inaugurate the systematic speculation about the conditions of acting –as psychophysical conditions suitable for achieving an aesthetic belief in the audience– there are data records, in a variety of forms, that prove an itinerary of reflections on the acting technique, based on a clear isotopy, from which emerges a theatrical purpose and a hypothesis about the achievement of it. That purpose consists in providing the doer with the tools to be believed, to create verisimilitude in his fictional behavior, whereas the hypothesis about how to achieve a seductive theatrical presence is based on the coincidence (whether concrete or aimed at producing an effect) between an “internal” instance and the external somatic theatrical manifestation of that “experience” of the actor-character. |
| first_indexed | 2024-04-11T10:04:10Z |
| format | Article |
| id | doaj.art-9cbd1d0f104e4c0d879ccb783a9dd1ff |
| institution | Directory Open Access Journal |
| issn | 0326-5102 2684-0499 |
| language | English |
| last_indexed | 2024-04-11T10:04:10Z |
| publishDate | 2022-07-01 |
| publisher | Instituto de Letras Alfredo Veiravé, Facultad de Humanidades, Universidad Nacional del Nordeste |
| record_format | Article |
| series | Cuadernos de Literatura |
| spelling | doaj.art-9cbd1d0f104e4c0d879ccb783a9dd1ff2022-12-22T04:30:17ZengInstituto de Letras Alfredo Veiravé, Facultad de Humanidades, Universidad Nacional del NordesteCuadernos de Literatura0326-51022684-04992022-07-0101814415910.30972/clt.01859985408Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial beliefAldo Rubén Pricco0Universidad Nacional de RosarioIn the Western history of acting technique, it is possible to trace founding and constant concerns in spite of the different cultural subjects and the ethics and poetics of theater. Although the Stanislavskian tradition seemed to inaugurate the systematic speculation about the conditions of acting –as psychophysical conditions suitable for achieving an aesthetic belief in the audience– there are data records, in a variety of forms, that prove an itinerary of reflections on the acting technique, based on a clear isotopy, from which emerges a theatrical purpose and a hypothesis about the achievement of it. That purpose consists in providing the doer with the tools to be believed, to create verisimilitude in his fictional behavior, whereas the hypothesis about how to achieve a seductive theatrical presence is based on the coincidence (whether concrete or aimed at producing an effect) between an “internal” instance and the external somatic theatrical manifestation of that “experience” of the actor-character.https://revistas.unne.edu.ar/index.php/clt/article/view/5998actoralidadpresencia escénicacreencia estéticaorganicidadseducción escénica |
| spellingShingle | Aldo Rubén Pricco Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief Cuadernos de Literatura actoralidad presencia escénica creencia estética organicidad seducción escénica |
| title | Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_full | Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_fullStr | Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_full_unstemmed | Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_short | Hidden “dualities” in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| title_sort | hidden dualities in the theatrical performance as a hypothesis of guarantee of an aesthetic expectatorial belief |
| topic | actoralidad presencia escénica creencia estética organicidad seducción escénica |
| url | https://revistas.unne.edu.ar/index.php/clt/article/view/5998 |
| work_keys_str_mv | AT aldorubenpricco hiddendualitiesinthetheatricalperformanceasahypothesisofguaranteeofanaestheticexpectatorialbelief |