1. Repositorio institucional de CLACSO
2. Colección de los Centros Asociados
3. Brasil
4. Programa de Pós-Graduação em Educação - PPGEDU/UFRGS - Cosecha

Título :	The Guest-Spectator Le Spectateur-Hôte The Guest-Spectator O Espectador-Hóspede
Palabras clave :	Theatre Anthropology;Performer;Art as a Vehicle;Inner Action;Participating Spectator;Antropologia Teatral;Performer;Arte como Veículo;Ação Interior;Espectador Participante;Theatre Anthropology;Performer;Art as a Vehicle;Inner Action;Participating Spectator;Anthropologie Théâtrale;Performer;Art comme Véhicule;Action Intérieure;Spectateur Participant
Editorial :	Brazilian Journal on Presence Studies Révue Brésilienne d'Études de la Présence Révue Brésilienne d'Études de la Présence Revista Brasileira de Estudos da Presença
Descripción :	This text discusses the reflections of an anthropologist who followed for many years the performative activities of Thomas Richards, which are a continuation of Jerzy Grotowski’s research on art as a vehicle. We do not enter into the specifics of techniques and work methods, but we do discuss the effects, or rather the reflexes of a series of works which are not conceived of as spectacles to be seen by a public, but as progressive andpartial outcomes of work based on the indissoluble union between action and vision in the performer’s body and in the field of the autonomous scene. What do spectators see and feel, and how can they feel involved? What form of contact or contagion can be seen in a scene that does not seem like a spectacle? And in the course of successive rehearsals of this art as a vehicle, how and when occurred a change in the role and way of being of the guest-spectator of an inner action, which does not open up to those who watch, but is consummated in the verticality of the Performer’s actions and singing? Ce texte fait part des réflexions d’un anthropologue ayant suivi, durant plusieurs années, l’activité performatique de Thomas Richards, lequel poursuit la recherche développée par Jerzy Grotowski sur l’Art en tant que véhicule. Il ne s’agit pas de vanter le mérite des techniques et des méthodes de travail, mais plutôt de montrer les effets ou les répercutions d’une série d’oeuvres n’ayant pas été conçues en tant que spectacles adressés au public, mas se présentant seulement comme un achèvement progressif et partiel d’un travail fondé sur l’union indissoluble entre l’action et la vision dans le corps du performer et dans le champ de sa scène autonome. Ce qu’il voit et ressent et la manière dont le spectateur peut être interpellé? Quelle forme de contact ou de contagion peut apparaître à partir d’une scène qui ne se donne pas en spectacle ? Tout au long de ces essais successifs où l’art est envisagé en tant que véhicule, comment et dans quelle mesure le rôle et le comportement du spectateur-hôte a-t-il changé au sein d’une action intérieure, qui ne se montre pas à celui qui la regarde, mais qui se consomme dans la verticalité de l’acte et du chant du Performer ? This text discusses the reflections of an anthropologist who followed for many years the performative activities of Thomas Richards, which are a continuation of Jerzy Grotowski’s research on art as a vehicle. We do not enter into the specifics of techniques and work methods, but we do discuss the effects, or rather the reflexes of a series of works which are not conceived of as spectacles to be seen by a public, but as progressive and partial outcomes of work based on the indissoluble union between action and vision in the performer’s body and in the field of the autonomous scene. What do spectators see and feel, and how can they feel involved? What form of contact or contagion can be seen in a scene that does not seem like a spectacle? And in the course of successive rehearsals of this art as a vehicle, how and when occurred a change in the role and way of being of the guest-spectator of an inner action, which does not open up to those who watch, but is consummated in the verticality of the Performer’s actions and singing? O texto trata das reflexões de um antropólogo que seguiu durante anos a atividade performativa de Thomas Richards, que dá prosseguimento à pesquisa de Jerzy Grotowski sobre a Arte como veículo. Não se entra no mérito das técnicas e dos métodos de trabalho, mas se levanta os efeitos, ou ainda, os reflexos de uma série de obras que não são concebidas como espetáculos destinados ao público, mas como desfechos progressivos e parciais de um trabalho baseado na união indissolúvel entre ação e visão no corpo do performer e no campo de sua cena autônoma. O que vê e sente e como o espectador pode sentir-se envolvido? Que forma de contato ou de contágio pode-se verificar frente a uma cena que não se oferece como espetáculo? E, no curso dos sucessivos ensaios dessa arte como veículo, como e quanto mudou o papel e o modo de ser do espectador-hóspede de uma ação interior, que não se abre para quem olha, mas se consuma na verticalidade do ato e do canto do Performer?
URI :	http://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/165811
Otros identificadores :	https://seer.ufrgs.br/index.php/presenca/article/view/33614
Aparece en las colecciones:	Programa de Pós-Graduação em Educação - PPGEDU/UFRGS - Cosecha

Los ítems de DSpace están protegidos por copyright, con todos los derechos reservados, a menos que se indique lo contrario.