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Poétiques de la voix et espaces sonores : la musicalité et la choralité comme bases de la pratique théâtrale.

Abstract : The aim of my research is to demonstrate and put in action on stage - in a conscious and organic way - the similarity of perception and structuring of time in music and theater and propose, from this relation, a solid foundation and a common language for the work of the actor, the musician, the performer and the director.My work will focus on the sound dimension and the musical approach of the theater (listening, rhythm, melodic line, harmony, counterpoint) both in terms of the investigation and interpretation of the text and the dynamics and movements of the scene. The aim is to highlight, by means of multiple experiments that reveal the different possibilities offered by the scene, the essentially musical nature - in particular as regards time-rhythm and "choral" harmony - of the principles structuring organization and accomplishment of the theatrical phenomenon.Taking musicality as the basis of the work of the actor and the stage construction, it will be necessary to decline, through the various practical experiments, the notion/device of chorality. Polyphony interests specifically this work and the mixture of timbres, colors, harmonics, even when it will not necessarily be a question of "musical notes" strictly speaking.Voice is at the center of this research. The wide range of sonorous and expressive possibilities our phoning apparatus can produce - which is multiplied infinitely as we combine the sounds produced by several people vocalizing together - is a door wide open to creation: it is the poetic matter concrete, malleable, elastic, transformable. Whether it is spoken voice, cry, laughter, lyrical, traditional, popular or experimental song, its relationship and the commitment it brings with the body in motion: all this world interests and inspires me. This is the universe in which I intend to work and create as an interpreter, composer, teacher, choirmaster, performer, actor or director.Thinking, exploring and potentiating music - or rather the much broader notion of musicality - as a "concrete" material, inseparable from the work of the actor, inscribed in the present of the scene and the game, that is the purpose of this research project. Much more than a set of formal or academic codes and competences depending on a single possible path of acquisition - namely, Western musical notation - the musical approach, in essence, connects to a much more Intuitive and immediate process. Especially when one notices, by effacing the (current) borders between the arts, that music has always been (and remains) associated with scenic action. Rhythm, dynamics, tempo, phrasing and harmony, for example, are concepts directly applicable to musical practice as well as to theater, even when the latter does not use musical scores and works understood as such.
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Marcus Borja de Almeida Filho. Poétiques de la voix et espaces sonores : la musicalité et la choralité comme bases de la pratique théâtrale.. Art et histoire de l'art. Université Paris sciences et lettres, 2017. Français. ⟨NNT : 2017PSLET041⟩. ⟨tel-02269305⟩



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