Tal qual apanhei do pe

This article examines corporal mimesis, a technique created and developed by LUME Teatro. The objective is to explain how, with this technique, the performer poetically embodies different stimuli that are found in everyday life, be they people, images, voices, sounds, animals, or even texts or monuments. The concepts of mimesis, observation, and affectation, which form the basis of this practice, are discussed. Then, different experiences with corporal mimesis are described. Finally, it is concluded that this technique is an open field for exploring acting, which is found in an intermediate place between creation and training based on the sensorial universe of the artists who develop it.

Section: Fieldworkmentioning

confidence: 99%

Section: A Vast Fieldmentioning

confidence: 99%

Corporal Mimesis: creative observation

Buendía

2021

“…LUME is a group of actor-researchers who have devoted themselves to work in the field of the non-acting 3 techniques of the actor (Cf. Burnier, 2009;Ferracini, 2003;Hirson, 2006;Colla, 2013) Over time, the LUME Theater has been researching the various routes that ensure and legitimate the important role of a pedagogical vision that is necessary for and capable of providing the actor with the conditions for developing body and vocal languages at an adequate technical and artistic level. These non-acting techniques (Burnier, 2009;Ferracini, 2003) developed by the LUME Theater have an impact on the methodological axes that serve as guidelines for the following research projects that the laboratory has been devoted to, since its inception: Training Technique and Presence Energy, Personalized Dance and the Clown and Comic Corporeality.…”

Section: Training As a Path To Ethos In The Education Of Actorsmentioning

confidence: 99%

“…In this regard, personal dance deals with the non-predetermined aspects that codified technical training tends to bring out. The difference between Personal Dance and the other technical procedures that LUME works with is that the former emphasizes the quality or direction of more convergent energies, while Energy Training places its emphasis on the divergent (Hirson, 2006), a quicker pace that seeks to overcome physical exhaustion and to release the blockages that separate body and mind:…”

Section: Training As a Path To Ethos In The Education Of Actorsmentioning

confidence: 99%

Training as a Path to Ethos in the Formation of the Actor

Péclat

Lopes

Ferracini

2021

In this article, the authors discuss training as a way of shaping the ethos of the actor. The laboratory practice developed by the artists of the Odin Teatret and LUME Teatro serves as fundamental reference. Beginning with a historical contextualization of the European theater laboratories of the 20th century, the text moves on to focus on training within the context of the aforementioned groups. From the analysis of their artistic practices, the article proposed an interpretation of the training session as a place for developing and consolidating the ethos of the actor, understood as a catalyst for a set of practices and knowledge that artists acquire by through their work routines. In conclusion, the authors reaffirm the perspective that they offer by explaining how the laboratory practices of these theater groups has been reinvented, in light of the global pandemic restrictions of COVID-19.

“…Other productions of the author derive from this conceptual system(Ferracini, 2009;2013a;2013b;2014;Rabelo; Reis, 2016, among others).18 Own translation of "[...] um sentimento de algo ilimitado, sem barreiras, como que 'oceânico'"(Freud, 2014(Freud, [1930, p. 14).19 Own translation of "[...] poderia considerar-se religioso, ainda que rejeitasse toda fé e toda ilusão"(Freud, 2014(Freud, [1930, p. 15).20 The presentation and discussion of several Lume plays offer ample material in this regard, i.e Colla (2006;2013)Ferracini (2006);Hirson (2006;2012); chapters 8 and 9 mainly, fromColla (2020).…”

mentioning

confidence: 99%

Presence in Lume’s Work as Temporal Enlargement and Oceanic Feeling

Federici

Roble

2021

The article combines efforts to read Lume’s aesthetic based on possible philosophical connections supported by the notion of temporal enlargement and the Freudian concept of oceanic feeling. The philosophical-conceptual methodology was used to this end. The ideas of composition, fluctuation and saturation plane, delirium, the dissolution of borders and a sense of holistic connection stood out. Presence was the articulating element of Lume’s aesthetic, which is framed by the aforementioned conceptual principles. By exposing two possible receptions, the text intends the comparison with such knowledge to add layers of expansion to the theatrical aesthetic experience, not aiming to reveal meanings, but rather to propose intelligibilities.