Publication: El espectador-intérprete. Aproximación neurocientífica a la comunicación y la recepción teatral
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2018-10-04
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Universidad Complutense de Madrid
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Abstract
Gordon Craig [2011] menciona en el segundo diálogo de El arte del Teatro que antes de llegar a ser director se necesita haber sido actor. Y no sería incorrecto añadir que antes de haber sido actor se tiene que haber sido espectador, pero no uno cualquiera, sino uno que facilite la comunicación teatral más allá del mero intercambio hacer–para–ver. Este trabajo estudia, tanto a este espectador 1 al que se ha llamado activo, intérprete o actante, como su espacio de comunicación desde las ciencias sociológicas, la semiología, la antropología, la neurofenomenología y las neurociencias. Este espectador es el que mantiene una comunicación bidireccional con la escena participando con su presencia activa, esto es, convirtiendo en acción su tarea de observar. Esta observación activa transforma su atención, emoción y percepción en acciones habilitadoras de los canales de comunicación bidireccionales con una dinámica modal hacer–hacer capacitándolo como espectador–intérprete. Estas acciones se originan gracias a la activación de redes neuronales de su sistema nervioso central (SNC) que albergan las llamadas neuronas espejo..
In his second dialogue of The Art of Theatre Gordon Craig mentions that, before becoming a stage director, one needs to have been an actor. It would not be incorrect to add that, even before being an actor, one must have been a spectator, not a regular one though, but one that facilitates the theatrical communication beyond the simple make-to-see exchange. This work studies both, this spectator whom I have called active and his space of communication from the sociological sciences, semiology, anthropology, neurophenomenology and neurosciences. This is the kind of spectator that establishes the bidirectional communication between the scene and the seats participating with its active presence that is, turning into action its task of observing. His active observation turns his attention, emotion and perception into enabling actions of bidirectional communication channels with a modal dynamic to do- to do, enabling him as a spectator-performer. This referred action is carried out by the activation of different neural networks of the central nervous system (CNS) harboring the so-called mirror neurons..
In his second dialogue of The Art of Theatre Gordon Craig mentions that, before becoming a stage director, one needs to have been an actor. It would not be incorrect to add that, even before being an actor, one must have been a spectator, not a regular one though, but one that facilitates the theatrical communication beyond the simple make-to-see exchange. This work studies both, this spectator whom I have called active and his space of communication from the sociological sciences, semiology, anthropology, neurophenomenology and neurosciences. This is the kind of spectator that establishes the bidirectional communication between the scene and the seats participating with its active presence that is, turning into action its task of observing. His active observation turns his attention, emotion and perception into enabling actions of bidirectional communication channels with a modal dynamic to do- to do, enabling him as a spectator-performer. This referred action is carried out by the activation of different neural networks of the central nervous system (CNS) harboring the so-called mirror neurons..
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Tesis de la Universidad Complutense de Madrid, Facultad de Filología, leída el 07-11-2017