Discardable actor and character in crisis
cast management in experimental cinema
DOI:
https://doi.org/10.35699/2237-5864.2023.41655Keywords:
Experimental actor, Cast, Chararcter, Experimental filmAbstract
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.
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.
Downloads
Published
Issue
Section
License
Copyright (c) 2023 Sandro de Oliveira
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal agree to the following terms:
- Authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under the a Creative Commons Attribution-NonCommercial 4.0 International License that permits sharing of the work with acknowledgement of authorship and initial publication in this journal;
- Authors are permitted to enter into additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (e.g., the Creative Commons Attribution License).
- Authors are permitted and encouraged to publish and distribute their work online (e.g., in institutional repositories or on their home page) at any point before or during the editorial process, as this may generate productive changes as well as increase the impact and citation of the published work.
- It is the responsibility of the authors to obtain written permission to use in their articles materials protected by copyright law. Revista PÓS is not responsible for copyright breaches made by its contributors.
| 
