Para um teatro anatómico: O impulso mental e o impulso corporal no trabalho do actor

O presente trabalho congrega, em si, o estabelecimento de uma ligação entre as áreas científica e artística, justificando o trabalho do actor com elementos inerentes à anatomia humana e aos progressos na ciência sobre o estudo do comportamento e cérebro humanos. A arte do actor é, neste estudo, vista como uma ciência de palco desenvolvida a partir do esqueleto e do corpo em vida, atentos aos impulsos psico-fisicos, prolongando a acção quotidiana na acção extra-quotidiana. Se na ciência a menor unidade, viva, do organismo humano é a célula, este estudo reclama o impulso como a unidade mínima do teatro e, por conseguinte, do trabalho de actor. Esta análise complementa-se, perspectivando a célula vivente como o núcleo da relação entre o invisível, como processo mental, e o visível como processo e manifestação física do trabalho do actor dentro e fora do palco. ABSTRACT; The present work congregates the creation of a connection between scientific and artistic areas, justifying the actor's work through characteristic elements of human anatomy and through the scientific advances on the study of the human brain and of human behaviour. ln this study, the actor's art, is viewed as a stage science based on the human skeleton and on the living body, both conscious of the psycho-physical impulses that extend everyday action to the extraordinary action. If in science the smallest living unit in the human body is the cell, then, this study argues that the impulse is the smallest unit in theater and therefore, of the actor's work. This analysis complements itself, envisaging the living cell as the core of the relationship between the invisible, as a mental process, and the visible, as a process of physical manifestation of the actor's work in(side) and out(side) of stage.

“The most artistic lesson I ever heard” - a contribution to the reflection on the comment made by William James regarding a lesson by Ernst Mach

On November the 2nd 1882, William James visited Ernst Mach in Prague, and attended one of his lectures. The conversation with Mach and the lecture were marking events for James. Based, namely, on James’s lectures for teachers and on Mach’s lectures for the general public, we propose a reflection on the defining traits that made that event "the most artistic lesson [James] ever heard". We shall remark on the imaginative joy contained in these texts, which appear to embody some of James' key ideas on Education. The experience of knowledge about the world contained in the texts, reveals that "to experiment" means "not coldly to observe a thing happening outside us, but to undergo, to feel within oneself, to live oneself this or that manner of being".