Luz-personagem: o jogo de manipulação da iluminação cênica em cenas cômicas

This research has as a central point of discussion the relationship between the action and the stage lighting, directed to scenes in which, from the exchange between actor and professional lighting, you can develop comic situations. The particularity of these scenes is the involvement of lighting as presentification feature a character in the scene, made possible by game created with the actor. In order to develop this discussion, the author divides the text into three chapters, the first being a memorial of his artistic career and his creative processes, enabling the reader to situate the paths taken by the author for the study. Then discusses possible relationship between performance and lighting, pointing situations where the two are directly related. Finally, an analysis and comparison of two comic scenes in which the actor play with the lighting suggests a character through presentification lighting on the scene. Leads the discussion to the conclusion, proposing the term light-character to set the lighting feature, suggesting characters in the scene.

Conduções cênicas: A “Açon” e o movimento através dos princípios e procedimentos metodológicos de Gilles Gwizdek

The research identifies and describes the principles and methodological procedures of the director Gilles Gaetan Gwizdek on the transposition of the dramatic text to the space of representation through action and movement. Besides that, it presents the results of the experiment in two different labor camps and conducting modes: the no-actor student, inserted into the basic education, and the actor-student, inserted in higher education. Through the scenic paths encountered by the director, the individuals were could find their own ways and verify, through the scenic conductions, how such methodological procedures can achieve a pedagogical thinking about the actor's work. As theoretical referential, were studied the artists-educators: Jacques Copeau, in what sensitizes to the use of dramatic text, and Jacques Lecoq, it approaches of the physical use of the actor's body to the theater. The concepts about theater of the scholars in theater: Constantin Stanislavski, Eugênio Barba, Meyerhold, Eugênio Kusnet, Bertold Brecht go through the theoretical revisions of the thinkers: Odete Aslan, Patrice Pavis, Ney Piacentini, Lúcia Romano, Flávio Desgranges e Anne Bogart, in what affects their practical experiences and conceptual about the text, the action and the movement. It was analyzed also the practical experience based on the principles and methodological procedures of Gilles director, in rehearsals and performances of students in the ninth grade of the primary school the Basic School of the Federal University of Uberlândia - ESEBA, as also, of the students of the sixth, seventh and eighth period, of the Theater Graduation in the same university. From this analysis, it was proposed an interrelation between the theoretical and practical works, done by reading of the artists-educators about movement and Gilles Gwizdek in his work process. The research suggests that, from the movement, the student can build autonomously a character through the experience of small movements of the body. Thus, this student would increase his relationship between stage and audience, and consequently, he would cause a possible state of "seduction" of the spectator to the spectacle.