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
Edition
2017. vyd. Brno, Tendence v současném herectví a herecké pedagogice, p. 52-57, 6 pp. 2017
Publisher
Janáčkova akademie múzických umění
Other information
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
Keywords (in Czech)
Étienne Decroux, fyzické divadlo, semiologie
Keywords in English
Decroux; physical theatre; semiotics
Links
GA106/94/0307, research and development project.
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.
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