Discardable actor and character in crisis

cast management in experimental cinema

Authors

DOI:

https://doi.org/10.35699/2237-5864.2023.41655

Keywords:

Experimental actor, Cast, Chararcter, Experimental film

Abstract

The fictional character has suffered full emptying and fragmentation processes during the 20th century cinema. Actor/character interchangeability was among the several
experimental cinematic procedures of casting management that laid emphasis on character crisis. This work intends to analyze how these procedures of actor/character interchangeability expressed themselves in experimental film during
four moments in which they appear most prominently: the hardened form of the experimental work of art; several acting styles, loss of the authority of the discourse and the Brechtian estrangement procedure.

Downloads

Download data is not yet available.

References

ABIRACHED, Robert. La crise du personnage dans le théâtre moderne. Paris: Gallimard,

AMIEL, Vincent. Le corps au cinema: Keaton, Bresson, Cassavetes. Paris: Presses

Universitaires de France, 1998.

AMIEL, Vincent et al. (dir.) Dictionnaire critique de l’acteur: théâtre et cinéma. Rennes:

Presses Universitaires de Rennes, 2012.

ASLAN, Odete. O ator no século XX: evolução da técnica/problema da ética. São Paulo:

Perspectiva, 1994. (Col. Estudos #119).

BASSAN, Raphael. Cinéma expérimental: abécédaire pour une contre-culture. Crisnée:

Yellow Now, 2014.

BERGALA, Alain. De l’impureté ontologique des créatures de cinéma. Trafic, Paris, n° 50, p.

-36, Qu’est-ce que le cinéma?, verão 2004.

BERGALA, Alain. L’invention de l’acteur moderne: conférence de Alain Bergala dans le

cadre des séminaires de l’Exception, du Café des images et du CDN, 06/02/2005. Disponível

em: https://www.cineclubdecaen.com/evenement/exception04.htm. Acesso em: 18 abr. 2016.

BOAL, Augusto. Teatro do Oprimido e outras poéticas políticas. 6. ed. Rio de Janeiro:

Civilização Brasileira, 1991.

BOAL, Augusto. O sistema coringa: uma experiência de Augusto Boal no Teatro Arena de

São Paulo. São Paulo: Visual Arte Comunicação, 1970. Disponível em:

http://augustoboal.com.br/wp-content/uploads/2017/11/coringa-port.pdf. Acesso em: 25 out.

BORDWELL, David. Figuras traçadas na luz: a encenação no cinema. Campinas: Papirus,

BORDWELL, David; STAIGER, Janet; THOMPSON, Kristin. The Classical Hollywood

Cinema: Film Style & Mode of Production to 1960. London: Routledge, 2005.

BRESSON, Robert. Notas sobre o cinematógrafo. São Paulo: Iluminuras, 2005.

CARVALHO, Ênio. História e formação do ator. São Paulo: Ática, 1989.

DEVILLE, Vincent. Les formes du montage dans le cinema d’avant-garde. Rennes:

Presses Universitaires de Rennes, 2014. (Col. “Le Spectaculaire”).

DYER, Richard. Stars. London: British Film Institute, 1998.

FERREIRA, Jairo. Cinema de invenção. São Paulo: Limiar, 2000.

GUIMARÃES, Pedro Maciel. Créer ensemble: l’apport des collaborations de création à

l’oeuvre de Manoel de Oliviera. 2009. 459 f. Tese (Doutorado) – Université Sorbonne

Nouvelle Paris 3, Paris, 2009.

LEHMANN, Hans-Thies. Postdramatic theatre. Abingdon: Routledge, 2006.

MITRY, Jean. Le cinema expérimental: histoire et perspectives. Paris: Editions Seghers,

METZ, Christian. L’énonciation impersonnelle, ou le site du film. Paris: Méridiens

Klincksieck, 1991.

NAREMORE, James. Acting in the Cinema. Berkeley/Los Angeles: University of California

Press, 1988.

NATIONAL GALLERY OF SCOTLAND. Disponível em: https://www.nationalgalleries.org.

Acesso em: 25 out. 2022.

NOGUEZ, Dominique. Éloge du cinéma expérimental. Paris: Éditions Paris Expérimental,

PASOLINI, Pier Paolo. Empirismo hereje. Lisboa: Assírio & Alvim, 1982.

PAVIS, Patrice. A análise dos espetáculos. São Paulo: Perspectiva, 2011.

PAVIS, Patrice. Le personnage romanesque, théâtral, filmique. In: PAVIS, Patrice. Vers une

théorie de la pratique théâtrale: voix et images de la scène. 3. ed. Lille: Presses

Universitaires du Septentrion, 2000. p. 143-154.

SARTRE, Jean-Paul. O existencialismo é um humanismo. In: SARTRE, Jean-Paul. Os

pensadores. Tradução de Rita Correia Guedes. São Paulo: Abril Cultural, 1984. p. 04-48.

SGANZERLA, Rogério. Por um cinema sem limite. Rio de Janeiro: Azougue Cultural,

SITNEY, P. Adams (ed.). The Avant-Garde Film: A Reader of Theory and Criticism. New

York: Anthology Film Archives, 1987. (Anthology Film Archives Series n. 3).

_____. Visionary film: The American avant-garde. New York: Oxford University Press, 1980.

SZONDI, Peter. Teoria do drama moderno (1880-1950). Tradução de Luiz Sérgio Repa.

São Paulo: Cosac & Naify, 2001.

THOMPSON, Kristin. Breaking the Glass Armor: Neoformalist Film Analysis. Princeton:

Princeton University Press, 1988.

TYLER, Parker. Underground Film: A Critical History. New York: Da Capo Press, 1995.

VOGEL, Amos. Film as a Subversive Art. New York: Random House, 1974.

WOLLEN, Peter. Semiotic Counter-Strategies: Readings and Writings. London: Verso,

WORTHEN, Willian. The Idea of the Actor. Drama and the Ethics of Performance.

Princeton: Princeton University Press, 1984.

Published

2023-04-06

How to Cite

Discardable actor and character in crisis: cast management in experimental cinema. PÓS: Journal of the Arts Postgraduation Program at EBA/UFMG, Belo Horizonte, v. 13, n. 27, p. 367–392, 2023. DOI: 10.35699/2237-5864.2023.41655. Disponível em: https://periodicos.ufmg.br/index.php/revistapos/article/view/41655. Acesso em: 25 dec. 2025.