Naslov
DIRECTING (in) THEORY - Branko Gavella's Theoretical Theatre

Autori
Blažević, Marin

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, znanstveni

Skup
The Director in Theatre -International federation for Theatre Research Annual Conference

Mjesto i datum
Sankt Peterburg, Ruska Federacija, 22.05.2004. - 27.05.2004

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Međunarodna recenzija

Ključne riječi
Gavella; teatar; teorija; režija; gluma
(Gavella; theatre; theory; directing; acting)

Sažetak
“ Even in the full swing of my work in theatre I was still more interested in a theory of that work than the work itself&raquo ; - those are the words of BRANKO GAVELLA (1885-1962), the most influential Croatian stage director of the 20th century. During his work as a director Gavella continuously wrote essays and studies on aesthetics of acting and theatre theory, but none of his texts have ever been translated into any other language but Slovenian and Russian. Thus it could be said that, despite innovative and complex approach to the theory (or, to be more specific - the phenomenology) of acting, he was unfortunately excluded from the discourse of the theories and history of performing arts outside the borders of Croatia and Ex-Yugoslavian region. This paper will not investigate how Gavella’ s practice was translated into theory, or vice versa, but how did his writing create a kind of virtual, theoretical new theatre, or, to be more precise – how did Gavella direct his theoretical spect-actor. How did his theory permeate the fluid zones of performance? Could we think of Gavella’ s theory being an example of third theoretical vector which was advocated by Josette Feral in her article titled “ Towards Theory of Fluid Groupings” ? The structure and the analysis of evolution process of the composite personality of the actor are authentic inference of Gavella’ s theoretical rendering. He distinguishes five degrees in the development of the new actor’ s person(a), each further degree containing the material and structure of all the previous ones: the private person, the technical person, the normative persona, the actorial-dramatic character and the ideal person(a). The concept of the actor’ s composite personality, together with the concept of Mitspiel (co-play) of the actor and the spectator, as a possible answer to some of the most daring questions of the theory of reception of the total theatrical act and action (for example, the questions regarding the transfer of actor’ s vitality, experiential transgression of representation and the spectator's potential action), make Gavella’ s theory an integral part of an impressive twentieth century research and theoretical deliberation on the actor’ s performance.

Izvorni jezik
Engleski

Znanstvena područja
Filologija

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