NADAUD, Pierre. Decrouxova technika: semiologie konajiciho těla (The Decroux's Technique: Semiology of the Acting Body). In Tereza Konývková. Tendence v současném herectví a herecké pedagogice. 2017th ed. Brno: Janáčkova akademie múzických umění, 2017, p. 52-57. ISBN 978-80-7460-128-6.
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Basic information
Original name Decrouxova technika: semiologie konajiciho těla
Name (in English) The Decroux's Technique: Semiology of the Acting Body
Authors NADAUD, Pierre (250 France, guarantor, belonging to the institution).
Edition 2017. vyd. Brno, Tendence v současném herectví a herecké pedagogice, p. 52-57, 6 pp. 2017.
Publisher Janáčkova akademie múzických umění
Other information
Original language Czech
Type of outcome Proceedings paper
Field of Study 60403 Performing arts studies
Country of publisher Czech Republic
Confidentiality degree is not subject to a state or trade secret
Publication form printed version "print"
Organization unit Theatre Faculty
ISBN 978-80-7460-128-6
Keywords (in Czech) Étienne Decroux, fyzické divadlo, semiologie
Keywords in English Decroux; physical theatre; semiotics
Tags RIV
Links GA106/94/0307, research and development project.
Changed by Changed by: doc. MgA. Marek Hlavica, Ph.D., učo 5202. Changed: 20/3/2018 09:24.
Abstract
Příspěvek představuje kritickou interpretaci Decrouxovy doktríny ve vztahu k primární schopnosti živé bytosti vnímat a sdílet chvíle a jejich kvality. Decroux překonává podle autora antropologickou diskuzi o přirozenosti a univerzálnosti jazyka gest a upozorňuje na Decrouxovu analýzu emoci ve smyslu významu prostých elementů a jeho analýzu konstrukce významu v kompozici.
Abstract (in English)
The debate with the pantomime at the turn of the nineteenth century is indeed accessory in the development of the Decroux's doctrine. Criticising pantomime for being more talkative than speaking actor, he does not build a doctrine. Rather he distinguishes his doctrine form a possible misunderstanding. That is why his criticism of the pantomime is always so pity. Dercroux indeed rather observes the human body in situations of acting and feeling rather than in situations of verbal or para-verbal communication. He never comes to consider that there is something like a natural human expressiveness carrying the sense of human mouvement and enabling the establishment of a language with determined and fixed signs. He is forced therefore to accept that there is a kind of primal ability of the living being to perceive and share movements and their qualities. Decroux cuts short an anthropological debate: against the supporters of a natural and/or universal language of gestures, he decided resolutely to analyse the emotion in terms of meaningless elements and observe the construction of meaning in composition.
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