The studio of actor-director: a pedagogical possibility

Abstract

We start from the “anteparo” and “fingerprint” concepts - introduced by de Silva’s “Oficina da Essência” (SILVA, 2010) - and from the idea that a structure is the foundation of the singularity of theatrical pratics. This article aims to open a new perspective for the actor him or herself be able to create the theatrical scene, by using “anteparos arranges” and by some functions implied in the pratics’ strucuture. The metodological procedures are intersection and creation. Intersection puts the functions of theatrical poetics in different systems: inside speech (Kusnet) side by side with game instruction (Spolin); chaining (Barba); the writing of a personal verb (Stanislavski and Knébel) and the training of imobility (Grotowski); dislocation and replacement (Lacan’s psychoanalysis). By observation, one extracts new functions (framing, exposing, incidence), and also demonstrates its practical implications.