Publication: La improvisación dramática como mecanismo de aprendizaje
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2015-11
Defense date
2016-01-27
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Abstract
Este trabajo trata principalmente del hecho interpretativo entendido como
un conjunto de capacitaciones y de recursos técnicos. En él trato de plasmar mi
labor empírica desarrollada en el aula durante años como profesor de
interpretación. A su vez expongo los contenidos teóricos de los que parto, así
como toda una serie de recursos técnicos cuyo dominio permitirán al alumnoactor
afrontar y resolver diversos problemas, a la vez que le proporcionarán
seguridad a la hora de afrontar el hecho interpretativo. Para ello parto de las
aportaciones de los grandes maestros, así como de mi experiencia como
actor, director y profesor de interpretación.
Si bien es cierto que la verdad escénica es condición sine qua non de
cada espectáculo teatral para alcanzar la categoría de artístico, en esta
investigación trabajamos sobre todo en la dirección de la consecución de la
verdad escénica en el teatro realista, de ahí que uno de los primeros capítulos
trate sobre el modelo interpretativo tomado como referente: la verdad realista.
This work mainly deals about interpretation, understood as a combination of training and technical resources. Here, I try to express years of personal work experience in my lecture room as an interpretation professor. I also expose the theoretical contents that I base myself on, as well as a series of technical resources that will allow the student actor to address any problems and in addition, provide him with assurance to face interpretation performance. This has been accomplished basing my knowledge on the grand master´s contributions and my experience as an actor, director and interpretation professor. Although it is true that scenic truth is a prerequisite to achieve the necessary degree of artistic excellence in any theatrical performance, the work in this investigation mainly concentrates on how to achieve scenic truth in realistic theatre. This, one of the first chapters addressed, as a reference to an interpretative model, isrealistic truth performance.
This work mainly deals about interpretation, understood as a combination of training and technical resources. Here, I try to express years of personal work experience in my lecture room as an interpretation professor. I also expose the theoretical contents that I base myself on, as well as a series of technical resources that will allow the student actor to address any problems and in addition, provide him with assurance to face interpretation performance. This has been accomplished basing my knowledge on the grand master´s contributions and my experience as an actor, director and interpretation professor. Although it is true that scenic truth is a prerequisite to achieve the necessary degree of artistic excellence in any theatrical performance, the work in this investigation mainly concentrates on how to achieve scenic truth in realistic theatre. This, one of the first chapters addressed, as a reference to an interpretative model, isrealistic truth performance.
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Keywords
Actores, Teatro, Técnica artística, Improvisación, Imaginación, Concentración, Espontaneidad, Estereotipo, Acción – reacción, Lógica de comportamiento, Monólogo interno, Acciones físicas, Emoción, Tempo-ritmo, Sentido de la verdad, Improvisation, Imagination, Concentration, Spontaneity, Stereotype, Cliché, Action – reaction, Behavioural logic, Internal monologue, Physical actions, Emotion, Tempo-rhythm, Sense of truth