The actor's multiple presences
new relations and innovations in scenic territories
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In this book we intend to reflect on the ways of the actor's presence in the theater from the fusion with the cinematographic language. From the actor's point of view, we researched the new dimension of his presence on stage, characterized by the use of the camera and the microphone. By studying the possibilities of using digital resources in the theater, the focus is directed to the relationships between actor, camera and projection, aiming to investigate the possible forms of presence being explored in the theater. Thus, the study is developed from the staging of: "What if they went to Mosco...
In this book we intend to reflect on the ways of the actor's presence in the theater from the fusion with the cinematographic language. From the actor's point of view, we researched the new dimension of his presence on stage, characterized by the use of the camera and the microphone. By studying the possibilities of using digital resources in the theater, the focus is directed to the relationships between actor, camera and projection, aiming to investigate the possible forms of presence being explored in the theater. Thus, the study is developed from the staging of: "What if they went to Moscow?" by Christiane Jatahy; "King of War" by Ivo Van Hove; "Le Projet Andersen" by Robert Lepage; "The Tempest" by 4DArt; "Eraritjaritjaka" by Heiner Goebbels. The choice of the shows was due to different ways of capturing and projecting the video images, which make possible distinct forms of presence and conviviality between actor-cameraman and spectator.
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