O Corpo vivo é um corpo que queima: a dilatação de Eugenio Barba como potencialidade para o ator

Abstract

The present end-of-course research has as object of study the notion of corporal dilatation in parallel to the reflection and discution of its incidence in a scene from the spectacle MAC. In order to carry out this research, it was necessary to review Eugenio Barba's work, especially his research on Theatrical Anthropology. Initially, the work discusses the denomination of Theatrical Anthropology and its origin, to, later, deepen in the concept and application of the corporal dilation in the artistic experience of the student, which leads us to verify which are the possible contributions of a dilated body-mind for the actor. Dilation can be seen as a way of working that contributes to the organic representation and a link to the actor's scenic presence or scenic bios. The intention of this research is to reflect and debate the corporal dilation since its most superficial level, its conceptualization and application in Eugenio Barba's theory, aiming to understand which are the possible contributions of the dilated bodymind to the actor in a situation of organized representation.