A comunicação do corpo na Mímica e no Teatro Físico

Abstract

Abstract

This work covers an area of studies that counts with little bibliography and conceptual blanks by mapping the various phases of the development of corporeal communication and, consequently the changes that took place throughout this ongoing changing process, within the context of the art of mime, since the Ancient Greece time until our present time up to the point where a characteristic series of movement originated what it is known today as Physical Theatre. It is not the intent of this work to confine the theme to its historical panorama, but rather to address episthemology matters derived from the accelerated diffusion of corporeal training, mainly after the Second World War, in Brazil and in the European Countries. One of the main hipothesis upon which this work has been developed, perhaps the very key of most inaccuracies lies in the underestimation of what is referred to as processes of corporeal communication, that do not specify the fundamental differences among Mime, Pantomime, Commedia dell´Arte, Clown and Physical Theatre, among other corporeal manifestations (artistic and otherwise). For the purpose of clarifying the singularity of the processes, studies have been made in the area of representation of gestures, actions and the construction of thoughts in corporeal images and metaphor. Throughout this process, it has been necessary to visit, transdisciplinarly, the phenomena of communication (Sodré, 2000), the role of the body within cognitive processes (Damásio, 1996, 2000) and its relation with culture, with the objective of analyzing terms such as dramaturgy of the body (Greiner, 2005) and the so called metaphor of the thought based upon the theories of George Lakoff and Mark Johnson (1999, 2001).