Theatrical action: space of the ambivalence, time of reciprocity
The function of theater, in the imaginary of Mallarmé, can not be understood separately from that of dance. It is through the relation with the exteriority that the interiority is perceived. The traditional metaphysical scission is questioned, when, in the figure of a ballerina, the"woman-angel...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 1994 |
| País: | Brasil |
| Institución: | Universidade de São Paulo (USP) |
| Repositorio: | Psicologia USP (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:revistas.usp.br:article/34493 |
| Acceso en línea: | https://www.revistas.usp.br/psicousp/article/view/34493 |
| Access Level: | acceso abierto |
| Palabra clave: | Theatre Dance Imagination Reciprocity Ambivalence Teatro Dança Imaginação Reciprocidade Ambivalência |
| Sumario: | The function of theater, in the imaginary of Mallarmé, can not be understood separately from that of dance. It is through the relation with the exteriority that the interiority is perceived. The traditional metaphysical scission is questioned, when, in the figure of a ballerina, the"woman-angel", the celestial spheres and the terrestrial interpenetrate. Woman and idea, offer and refuse, she is the metaphor of the polemos heraclidan or of the unity conceived while"struggle of the opposites". The"interval" and the"obscured view" celebrate the"suspended feeling" the dialectic notion that traverses all imaginary. Analogically, in the theatrical sphere, the actor becomes possessed only after he passes through the dispersion of the multiple eye, that is, the audience. The theater only exists in this relationship of reciprocity. Oscilating in time, the theater (together with dance) draws an ascending spiral, lauching a perpetual gesture of escape of a motionless center. |
|---|