Petite concept very interesting text on the theater (and even more so, on what would be appropriate to call the spectacular text) taken from an article written by Josette Feral , critic, theorist and professor at the School of Theatre at the University of Quebec at Montreal ( text spectacular scene and text) and published in the journal Degrees, numbers 97, 98 and 99. Concept a bit complex, however, opens up many avenues of thought.
Eugenio Barba, recalls, outset that the word "text" before designating the text spoken or written, printed or manuscript, meaning "weaving." [...]
Taking the definition provided by Barba, Franco Ruffini proposes to advance the issue, a distinction that seems interesting and splits the text into two components: the "text text" and the "scene text. [...]
The text of the text, said F. Ruffini, is "rigid, oriented, programmed. That conflict and the fable "and it would feature the sequence of events, a certain predictability intended by the original text is a certain rigidity of the shares. Reports linking a piece would be identifiable primarily through the plot. [...]
It is not the same for the "scene of the text" that is represented "by the character and everything that relates to (replicas, micro-situations), above, in margin of the "direction" imposed by the conflict and the fable. " The scene of the text would feature some simultaneity and unpredictability unleashing the director and actor. It would be "flexible element, not oriented, non-programmable "show. [...]
So there duality in the character. Part of its operation falls within the "text text" and the other from the "scene of the text" (the two comprising the dramatic text); part would be predictable and some would not. It is in this unpredictability that belongs to the character that fits the actor. It is precisely this unpredictability that makes the "interpretation" that this actor makes such a character. It is this unpredictability that even a space between the narrative and action which fits the vision of a director Directed and creativity of the actor in the role he must embody.
With some time to start my real doctoral research, this article gives some impetus to the theoretical clutter in me.
Eugenio Barba, recalls, outset that the word "text" before designating the text spoken or written, printed or manuscript, meaning "weaving." [...]
Taking the definition provided by Barba, Franco Ruffini proposes to advance the issue, a distinction that seems interesting and splits the text into two components: the "text text" and the "scene text. [...]
The text of the text, said F. Ruffini, is "rigid, oriented, programmed. That conflict and the fable "and it would feature the sequence of events, a certain predictability intended by the original text is a certain rigidity of the shares. Reports linking a piece would be identifiable primarily through the plot. [...]
It is not the same for the "scene of the text" that is represented "by the character and everything that relates to (replicas, micro-situations), above, in margin of the "direction" imposed by the conflict and the fable. " The scene of the text would feature some simultaneity and unpredictability unleashing the director and actor. It would be "flexible element, not oriented, non-programmable "show. [...]
So there duality in the character. Part of its operation falls within the "text text" and the other from the "scene of the text" (the two comprising the dramatic text); part would be predictable and some would not. It is in this unpredictability that belongs to the character that fits the actor. It is precisely this unpredictability that makes the "interpretation" that this actor makes such a character. It is this unpredictability that even a space between the narrative and action which fits the vision of a director Directed and creativity of the actor in the role he must embody.
With some time to start my real doctoral research, this article gives some impetus to the theoretical clutter in me.
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