D 2017

Decrouxova technika: semiologie konajiciho těla

NADAUD, Pierre

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

Language

Czech

Type of outcome

Stať ve sborníku

Field of Study

60403 Performing arts studies

Country of publisher

Czech Republic

Confidentiality degree

není předmětem státního či obchodního tajemství

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.
Změněno: 20/3/2018 09:24, doc. MgA. Marek Hlavica, Ph.D.

Abstract

ORIG EN

V originále

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.

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.
Displayed: 23/12/2024 11:54