戏剧的pancroniques动物:关于智利大学戏剧中先前表演技巧的持久性的注释(1910-1962)

IF 0.1 3区 艺术学 0 THEATER LATIN AMERICAN THEATRE REVIEW Pub Date : 2021-11-03 DOI:10.1353/ltr.2021.0030
Andréa Pelegrí Kristic, A. Isla
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引用次数: 0

摘要

摘要:许多戏剧学者和艺术家将20世纪40年代智利大学剧院的诞生视为智利现代戏剧和表演的奠基之举。大学戏剧学院培养了一种新型的演员,通常被描述为“戏剧”或“有文化的”,而不是另一种被称为“民族”的表演者。戏剧演员虔诚地遵循自己的台词,将自己的作品服从于作者的想法,掌握了外国的朗诵风格,并为受过教育的中产阶级表演。国家演员更注重即兴表演,他们的灵感来自马戏团和其他身体表演传统。在这篇文章中,我们认为这两种类型的演员之间的区别实际上更微妙。事实上,许多通常与“民族”表演者相关的表演技巧在20世纪60年代及以后仍然存在,并对“有文化”的表演者产生了影响。此外,我们的研究挑战了一个广为流传的神话,即智利戏剧黄金时代的伟大明星和女主角是直观的“舞台动物”,缺乏任何有组织的表演技巧。
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Animales pancrónicos del teatro: Notas sobre la persistencia de técnicas actorales previas en el teatro universitario chileno (1910-1962)
Abstract:Many theatre scholars and artists regard the birth of university theatres in Chile during the 1940s as the founding act of modern Chilean theatre and performance. University drama schools produced a new type of actor/actress, often described as "dramatic" or "cultured," as opposed to another kind of performer known as "national." Dramatic actors religiously followed their lines and subordinated their work to the author's ideas, mastered a foreign declamatory style, and performed for an educated middle class. National actors, more focused on improvisation, drew their inspiration from the circus and other physical acting traditions. In this essay, we suggest that the difference between these two types of actors is actually more subtle. Indeed, many acting techniques commonly associated with "national" performers still existed during the 1960s and onwards and had an impact on "cultured" performers. Moreover, our research challenges a wide-spread myth according to which the great stars and divas from the golden age of Chilean theatre were intuitive "stage animals" who lacked any organized acting technique.
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