The Actor on the Street
A chaotic expressiveness
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This work investigated the actor's bodilyvocalenergetic preparation process for the street, developed at the Quem Tem Boca é Pra Gritar Theatre Group. Our main aim was to understand the processes the actor goes through to develop an energy for the street scene. What is this energy that is established and relates to the passers-byspectators? What is it that attracts the attention of the passer-by? Is it the story? The costume or is it a potentialised expressiveness? Is it an energy present in the actor's body that relates to the passer-by? How does the actor relate to the urban space? In an at...
This work investigated the actor's bodilyvocalenergetic preparation process for the street, developed at the Quem Tem Boca é Pra Gritar Theatre Group. Our main aim was to understand the processes the actor goes through to develop an energy for the street scene. What is this energy that is established and relates to the passers-byspectators? What is it that attracts the attention of the passer-by? Is it the story? The costume or is it a potentialised expressiveness? Is it an energy present in the actor's body that relates to the passer-by? How does the actor relate to the urban space? In an attempt to answer these questions, we used some principles of Modern Physics, such as Quantum Theory and the Uncertainty Principle, as well as Chaos Theory and the methodological principle of the Matrix Method. The majority of street theatre goes through long processes of scenic construction, but when it is brought to the public, it is taken over by other causalities, because being on the street, the actor becomes the subject of that space, and cannot deny the eventuality of the facts that may occur there.
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