Retrocedendo processo: dissecando a simbologia pessoal do ator no processo de criação do espetáculo "O tudo anexo"

Abstract

The present memorial corresponds to the descriptive part, as much as to the glimpses, that guided poetic options of the scenic monologue O tudo anexo, whose methodological principles of creation correspond to the investigation of a personal symbology of the actor. Such principles, as we have examined, tend to enable the artist of the scene to reach a creative state nourished by a shared symbols located in the collective unconscious. Among the principle, we consider Joseph Campbell's notion of creative mythology. Another methodological or transformative principle is that of the individuation of Jungian analytic psychology, where symbols arising from the unconscious play a fundamental role in the maturation of the individual's psyche. Structurally, the above-mentioned scenic monologue is complemented by pictorial and poetic memorials, both of which raising questions, proposing diagnoses and defining parameters to the use of the actor's personal symbology in the scenic creation. In the case of the poetic memorial, imagistic and written correspondences in the creative process are explored in order to contribute to understanding, through metaphors, the expression of creative principles approached. Concerning the ways of creation, they are based on the symbolic experience, its transformative and numinous pertinences, its nuances in relation to the actor's work and the scenic staging, as well as the specific qualities of its specificities, difficulties and flows that gave light to the dramatic, sonorous, spatial, and scenic composition. Among the theoretical references, we highlight Friedrich Nietzsche (1844-1900), mainly concerning the understanding of this German philosopher about the philosophy of instinct and its criticism of the overestimation of the concept of consciousness, Polish director Jerzy Grotowski (1933-1999) and the creative principles of his experiments with his Laboratory Theater phase, which, altogether, were called the Poor Theater, and Gilbert Durand (1921-2012), when related to his notions of symbolic imagination, an relevant term for this French philosopher, and here drawn upon for its potential for elucidating elementary and urgent symbols, situated in the collective imaginary, in the mythologies and in the individual amplitudes, among other effectuations.