A formação do palhaço circense
This work is dedicated to analyze the training methods for clowns, especially those who rely on circus matrix. Using material collected in interviews with teachers clowns and clowns, we observed the main elements that make up this training. The careers of two circus clowns: Roger Avanzi and Arlindo...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2015 |
| País: | Brasil |
| Institución: | Universidade Estadual Paulista (UNESP) |
| Repositorio: | Repositório Institucional da UNESP |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.unesp.br:11449/127945 |
| Acceso en línea: | http://hdl.handle.net/11449/127945 http://www.athena.biblioteca.unesp.br/exlibris/bd/cathedra/03-09-2015/000847008.pdf |
| Access Level: | acceso abierto |
| Palabra clave: | Palhaços Circos Representação teatral Artes cenicas Clowns |
| Sumario: | This work is dedicated to analyze the training methods for clowns, especially those who rely on circus matrix. Using material collected in interviews with teachers clowns and clowns, we observed the main elements that make up this training. The careers of two circus clowns: Roger Avanzi and Arlindo Pimenta, serve as a guide to observe how the diffuse education and oral tradition pass o n their knowledge so effectively. The teaching of some clowns teachers of French headquarters and my teaching experience in courses with programs and differents durations, are used across the board in observation procedures and results obtained. They are exposed information about some systematization that repeat through the oral tradition and rely on ambience and everyday circuses of itinerant families in which Avanzi and pepper structured their careers. The concept gift of gab becomes the reference to the way that tread to form a good circus clown, in addition to absorbing several techniques: acrobatics, music, mime, makeup, voice and characterization. Theatricality also comes with its essential elements (dramaturgy, dramatic action, triangulation, effect) for structuring reruns and skits that make oral literature and at the same time, pedagogical tool for training circus clown. |
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