A VOZ NA CRIAÇÃO CÉNICA - Reflexões sobre a vocalidade do actor
DOI:
https://doi.org/10.37334/eras.v2i1.159Keywords:
the actor’s voice, the creative voice, the body/voice/emotion relationship, the emotion/intention/intonation relationship, the sonic design; scenic vocal exercisesAbstract
The actor’s voice can span several usages and orientations. The confrontation of the thoughts of various specialists in the field such as: Clifford Turner, Kristin Linklater, Enrique Pardo and Sara Pereira Lopes, was the subject of study for a substantial part of this thesis. After contextualizing the practice of the actor’s vocal learning and coaching in the Portuguese theatrical reality, a practical exercise and a documentary (which is an integral part of this dissertation) focusing on the various forms of usage of the voice in scenical creation were developed, and its expressive possibilities asserted, harnessing its sonic, corporeal and emotional materiality, giving voice and speech a scenical dimension, relating body, voice and emotion.
