Título:	A potência de ser em cena : a recriação pela repetição na personagem contínua.
Autor(es):	Sallas, Paula Renata da Rocha e
Orientador(es):	Castro, Rita de Cássia de Almeida
Assunto:	Personagem Artes cênicas - representação teatral Atuação (Artes) Personagem contínua (Artes cênicas)
Data de publicação:	13-Mar-2017
Data de defesa:	13-Set-2016
Referência:	SALLAS, Paula Renata da Rocha e. A potência de ser em cena: a recriação pela repetição na personagem contínua. 2016. 119 f., il. Dissertação (Mestrado em Artes Cênicas) — Universidade de Brasília, Brasília, 2016.
Abstract:	In this work, I reflect about the concept of continuous character, which would be a way that actor/actress develops throughout his artistic career with no prospect of this out of his personal repertoire. Therefore, the main trail through which I walk is the recreation by repetition in performance, with the actor's purpose to bring freshness to each performance as if it were the first time presented. As a result, every session that the actor performs with the same character and meets with other bodies, ideas and affections, it becomes power to be on the scene through this experience of exchanges. Thus, the first dialogue that I establish is with the philosopher Baruch Spinoza through his work Ethics. He said that the body and mind are producers of knowledge, conceptualized ethics as a way of the individual to act in freedom valuing the “here and now”, and human servitude as impotence of acting for itself when subjected to affection with which the same human being cannot control. Thus, I walk through the key concepts of Spinoza as body, ethics, servitude, feelings, affections, perfection, conatus, adequate and inadequate cause, passions and actions, and relate them directly to the freedom to act on the scene as developer element of presence to the actor who has a continuous character. Through it, I dialogue with concepts that are offshoots of the concepts by Spinoza, ethical body and servant body. These concepts are based on the flow of impermanence within a constant work, in which the actor/actress who has a continuous character comprises states that this fictional being provides. When inserting in different universes, he/she realizes the need to deal with the moment that now allows to act freely, by already knowing the circumstances he/she is in, and now act with servitude, never having handled a certain situation and meet it confusingly. Since everything is constantly changing – the actor, the audience and the character itself –, I believe in the importance of strengthening in the research of the re-creation by repetition in an attempt to understand these metamorphoses and identify some points of intersection through which the actors run to do it.
Unidade Acadêmica:	Instituto de Artes (IdA)
Informações adicionais:	Dissertação (mestrado) — Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes Cênicas, 2016.
Programa de pós-graduação:	Programa de Pós-Graduação em Artes Cênicas
Licença:	A concessão da licença deste item refere-se ao termo de autorização impresso assinado pelo autor com as seguintes condições: Na qualidade de titular dos direitos de autor da publicação, autorizo a Universidade de Brasília e o IBICT a disponibilizar por meio dos sites www.bce.unb.br, www.ibict.br, http://hercules.vtls.com/cgi-bin/ndltd/chameleon?lng=pt&skin=ndltd sem ressarcimento dos direitos autorais, de acordo com a Lei nº 9610/98, o texto integral da obra disponibilizada, conforme permissões assinaladas, para fins de leitura, impressão e/ou download, a título de divulgação da produção científica brasileira, a partir desta data.
DOI:	http://dx.doi.org/10.26512/2016.09.D.22883
Aparece nas coleções:	Teses, dissertações e produtos pós-doutorado

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