"Eu não acredito!" como o lema de Stanislavsky e Vakhtangov. Notas semióticas sobre a verdade no palco do teatro
The founder of the modern theater of the 20th century, Konstantin Stanislavsky, and his student Evgeny Vakhtangov, in rehearsals and in performances, implemented the principle: “as in life”. They believed that an actor should be on stage like a child. The latter, dropping the doll, may treat it like...
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| Format: | article |
| Status: | Published version |
| Publication Date: | 2022 |
| Country: | Brasil |
| Institution: | Universidade de São Paulo (USP) |
| Repository: | Estudos Semióticos |
| Language: | Portuguese |
| OAI Identifier: | oai:revistas.usp.br:article/198587 |
| Online Access: | https://revistas.usp.br/esse/article/view/198587 |
| Access Level: | Open access |
| Keyword: | Teatro Verdade Veridicção Palco de teatro Realismo fantástico Theater Truth Veridiction Theater stage Fantastic realism |
| Summary: | The founder of the modern theater of the 20th century, Konstantin Stanislavsky, and his student Evgeny Vakhtangov, in rehearsals and in performances, implemented the principle: “as in life”. They believed that an actor should be on stage like a child. The latter, dropping the doll, may treat it like a wounded soldier and bandage it quite seriously. So, the actor must relate to untruth (the space of the stage). He must treat this “as if it were truth, that is, turn lies into truth” (VAKHTANGOV, 1918). We propose to consider examples of “truth theater” (school of experiencing, school of representation) through semiotic categories (veridictory modalities, engagement/disengagement), as well as through the prism of Lotman's semiotics of culture, and also ask the question what the truth on the theater stage is today. |
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