Between the doll and the actor differences exist. The actor is; its essence is to be. But it is not the personage, it only representaum paper. The doll, in contrast, is not its essence is not-to be. It nointerpreta a paper, it is the personage the time all The immovable actor in the scene um body, a immovable doll in the same scene is only one object. (AMARAL, 1996, p.73).
What the league is always the doator energy, transmitted through the movement. The doll, as well as the mask, is historicamentesagrado, as much for if identifying with ritual objects as for its linking you eat masks. Of one it forms, in the Ocidente, he is next to the parody and in the East always it is presented in estilocerimonial. But, serious or comic, the doll is an analogy, that is, umreflexo of the man. It is the representation of the reduced man. It is an ambiguous art, it is between the being and not-to be: between the sky and the land; entrehomens mortal and the souls of its ancestor; he is fenomnico and the same tempo divine energy; it is between the reality and the fancy. (AMARAL, 1996, p.76) In the East, he is on to tetrosacro, it is a traditional art and very appraised well, reflects the search of it homemem itself exactly, in its terrena reality treating mainly to the relaespessoais.
In ocidente, on to the people and the child, perhaps for a mediocre art characterized by the supernatural one is issoconsiderado, for the search they dohomem for another reality and its relation with the holy ghost. In China, the debonecos origins of the theater are very remote and vacant. Some documents tell the existence funerary deimagens moved by mechanisms that conferred them a perfeitailuso of life. Of the funerary ceremonies, the dolls had passed later the serusados ones in spectacles.
The force of the gravity can according to be measured equation: Where: F = gravitational force enters two objectos m1 = mass of the first object m2 = mass of as object r = distance enters the centers of mass of objects G = constant universal of the gravitation of Newton the concept of restricted relativity affirms that all the movement (either for the space or the time) is given with regard to a referencial. At this accurate moment we are stopped or not? The reply he is simple. This is relative. In relation to a referencial also said? stopped? inside of the planet, I am stopped. Recently Robert A. Iger sought to clarify these questions. But if to adopt the Sun as the referencial? In this in case that I am moving myself.
As this theory no place in the universe is total static, then it does not have a place in which let us can basing in them to analyze other places in movement. The first postulate of the theory based on the previous affirmation is: ' ' The laws of the physics are true for all referenciais' '. In other words, if to make an car to collide with another one, go to discover that the energy was conserved in the collision, independent to be in one of the stopped cars or in the sidewalk. The conservation of the energy is a law of the physics and therefore it must be equal in all the referenciais. As the postulate it says: ' ' the speed of the light is measured as a constant in all referenciais' '. That is, if we will be in a rocket or walking in the street the speed of the light she will be the same one in the two cases, therefore in the distance that we would be using she would be used of different form for the light. This is explained by another concept that says all object with mass in movement, tends to shrink its length in the direction of the proper movement. Coen brothers may find it difficult to be quoted properly.
It is as if the Super-marionette hit the actor, making it to awake of a contemplation idealized for a concrete and epidrmica contamination. Epidrmico cognitivo Estranhamento Of the transposition and maceration of hiposigno, appears nuance power with great capacity of refluxo. Such nuance, intensely reaches mago of the actor, generating a epidrmico cognitivo estranhamento, that is, something that arrives for I infect, stops beyond the reflexiva action that costuma to guide the work of the actor. The actor, for Inter-external contamination, mobilizes its creative forces stops beyond the idealizao and rational esquematizao. It is an agreement to medular and sensorial, fruit of an overwhelming plague. Aesthetic after-corporal the aesthetic one after corporal is the trespass of the limits of the body as full element of construction of the actor.
Exactly leaving of itself, the creative process when it passes for the transposition, exceeds this exactly body from the estranhamento of the same in the act creating. They are aesthetic that they changed into fidget place/construction/desconstruo. In the transposition hiposigno appears one (in my opinion the super-marionette is an example of hiposigno) that it needs to be macerated and to be decanted in the perspective to appear one nuance power. Aesthetic alchemy the aesthetic alchemy is born of the transposition of the creative process. Nuance in scenic gold, forged is the transformation of one in the conflict of the transposies. Transforming and resignificando languages experiences, the actor becomes free itself of concepts daily pay-organized for its accumulated experience, transforming this power into fuel and not into systemize conceptualization. As combustible, such power reaches the creative flash generating a flame/combustion that I give the name of refluxo, basic concept in the theory that now I develop. Decantation To decant is to transform the creative juice into chorume, that is to purificar the creative process, for its capacity to contaminate and if to unfasten of the garbage of the creation.
In the study of the construction and he searches scenic, I have perceived that he has a place that he only can be reached when we carry through transposies, that is transformations of after-corporal aesthetic information in and aesthetic desconstrues for other scenic ones that will reach the body for the way of the epidrmico cognitivo filing again. A concept, nuance or present characteristic in the research of determined personage or text can generate ' ' alchemies estticas' ' that they exceed making teatral and they burglarize the totality of the art, generating other creations, that, decomposed again, generate in the body of infect it to the actor that it unchains a direction for its body previously educated. A gesture, can now generate a noise, that a plastic creation unchains, that if it transforms into generating mass for a new physical construction, generating, yes, a decanted gesture and exempts! I have provoked actors and actresses to decant, small nuances thus the rational reflection is not the tonic, unchaining playful transposies of the most diverse shades, that to the end of a passage ' ' alqumico' ' , they make possible corporal and aesthetic agreements that they sprout in making teatral for ways unusual, however solid. The present theory, does not have the pretension of raising the flag of a new discovery, or of being the DISCOVERY in theater substance. Jeff Bewkes gathered all the information. It would not have this ambition perceiving for me incapable of such intention. It is only the first sketch of an attempt? perhaps vain? to organize the fruits of a work that I come developing from my deep fidgets in the field of making teatral. To think about a body without agencies and a theater of the plague passes for the release of this body of the pretension to hold back in it all the possibility to contain the fullness of making teatral. .