RESUMO -O Ator Estrangeiro ou oOutro no Teatro -Este artigo propõe uma reflexão sobre um fenômeno que, depois dos anos 1968, contamina progressivamente a cena europeia: o ator estrangeiro. Sintoma das mutações sociais -permeabilidade das fronteiras, maior liberdade linguística -, o ator vindo de longe acaba rompendo com o etnocentrismo que até então caracterizava o teatro. A partir dessa constatação, examina-se notadamente a formação dos grupos pluriétnicos, o plurilinguismo em cena e o uso que os encenadores fazem dele. Trata-se em seguida da questão do sotaque estrangeiro, dos efeitos produzidos na língua de acolhimento e da maneira como o público o percebe. Analisa-se isso levando em conta também a relação com o corpo estrangeiro, frequentemente utilizado como um elemento perturbador, ao trazer à cena uma nova corporeidade, uma presença e um engajamento diferentes. Por fim, aborda-se particularmente o percurso de dois atores vindos de longe: Sotigui Kouyate e Yoshi Oida. Palavras-chave: Ator Estrangeiro. Língua. Sotaque. Dicção. Atuação.
ABSTRACT -The Foreign Actor or the Other in Theatre -This article proposes a reflection on a phenomenon that, after 1968,has gradually contaminatedtheEuropean scene: the foreign actor. A symptom of social mutations -porosity of borders, greater linguistic freedom -, the actor comingfrom far away disrupted the ethnocentrism which until thencharacterized the theatre. From thisobservation, we examine the formation of multi-ethnic groups,multilinguism on stage and how directors make use of it. Then we dealwith the issue of foreign accents, their effects on the host languageand how thepublic sees it. This is analysed also
Ariane Mnouchkine
Why a Theatre Laboratory? It includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium.
The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations.
Peter Brook
Why a Theatre Laboratory? It includes the programme of a three days’ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, Théâtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium.
The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.