Publication: Evolución de la declamación ilustrada a la declamación romántica: el trabajo del actor español dieciochesco y decimonónico
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2020-03-02
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Universidad Complutense de Madrid
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Abstract
La declamación del actor español sufre constantes transformaciones entre 1750 y 1870. Estudiamos esta franja temporal, porque se suceden en ella constantes publicaciones al respecto. En este momento se perfilan diferentes convenciones para el uso de la voz, cuerpo, gesto y emoción del actor.Durante el siglo XVIII son dispares las unas de las otras. Francesco Riccoboni, Joseph De Resma, su traductor o Ignacio de Luzán plantean una declamación actoral afectada, estilizada, fingida, alejada de cualquier muestra de sentimiento, verdaderamente sentido por el actor. Estas convenciones acercan la representación a la estética que defiende la declamación de la tragedia francesa del siglo XVIII. Otros teóricos defienden unas convenciones teatrales más cercanas al realismo escénico, Francisco Mariano Nipho entre otros. Por su parte Fermín Eduardo Zeglirscosac propone en su ensayo una representación actoral, fingida, aunque basada en la expresión de las pasiones del personaje, involucrando en este proceso creador a la parte emocional del actor, que mostrará al público cada emoción y estado de ánimo de la forma que determina el ensayo...
Spanish actor declamation’s undergoes constant transformations between 1750 and 1870. It is studied this time frame, because there are constant publications thereon. At this moment, different conventions for the use of the voice, body, gesture and emotion of the actor are outlined.During the eighteenth century these concepts differ from each other, Francesco Riccoboni, Joseph De Resma, his translator, or Ignacio de Luzán pose a declamation acting, affected, stylized, feigned, away from any sing of feelings truly felt by the actor. These conventions bring representation to the aesthetic that defends the declamation of the French tragedy of the eighteenth century. Other theorists defend theatrical conventions closer to scenic realism, Francisco Mariano Nipho among others. On the other hand, Fermín Eduardo Zeglirscosac proposes in his essay a feigned acting representation, but based on the character’s passions expression, involving in this creating process, to the actor’s emotional area, that shows to the public every emotion and state of mind as the essay determines...
Spanish actor declamation’s undergoes constant transformations between 1750 and 1870. It is studied this time frame, because there are constant publications thereon. At this moment, different conventions for the use of the voice, body, gesture and emotion of the actor are outlined.During the eighteenth century these concepts differ from each other, Francesco Riccoboni, Joseph De Resma, his translator, or Ignacio de Luzán pose a declamation acting, affected, stylized, feigned, away from any sing of feelings truly felt by the actor. These conventions bring representation to the aesthetic that defends the declamation of the French tragedy of the eighteenth century. Other theorists defend theatrical conventions closer to scenic realism, Francisco Mariano Nipho among others. On the other hand, Fermín Eduardo Zeglirscosac proposes in his essay a feigned acting representation, but based on the character’s passions expression, involving in this creating process, to the actor’s emotional area, that shows to the public every emotion and state of mind as the essay determines...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, leída el 18-11-2019