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AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Rezumat articol ediţie STUDIA UNIVERSITATIS BABEŞ-BOLYAI În partea de jos este prezentat rezumatul articolului selectat. Pentru revenire la cuprinsul ediţiei din care face parte acest articol, se accesează linkul din titlu. Pentru vizualizarea tuturor articolelor din arhivă la care este autor/coautor unul din autorii de mai jos, se accesează linkul din numele autorului. |
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STUDIA DRAMATICA - Ediţia nr.2 din 2014 | |||||||
Articol: |
REGĂSIREA ORALITĂȚII. DIN EXPERIENȚA ACTORILOR ÎN REPETIȚII / THE RETRIEVAL OF ORALITY. ACTORS’ EXPERIENCES IN REHEARSAL. Autori: ANCA HAȚIEGAN. |
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Rezumat: The present paper draws an analogy between oral thought and acting (stage) thought. As Walter J. Ong pointed out in his classic work Orality and Literacy (1982), orality shapes an empathic, relational, situational, operational, concrete, polemic and committed thought, which presents striking similarities with the mental processes of an actor while trying to convert a text into oral communication. Thus the stage becomes the privileged space where the terms of the reconciliation between the written word and speech are negotiated. Could this coexistence of written culture and of orality in theatre allow us to think the stage is the field on which “secondary orality” appeared first, a lot earlier than Ong believes? Doesn’t theatre generate, with the actor’s swing between the written part and the word spoken on stage, “a more deliberate and self-conscious orality, based permanently on the use of writing and print”? In order to sustain the said analogy, the second part of this paper consists of a short presentation and discussion of several testimonies by Romanian actors. Keywords: rehearsal, secondary orality, acting, Walter Ong, Romanian theatre |
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