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2016 Impulsos Interior.Pdf (5.964Mb) COL·LECCIÓ ESCRITS TEÒRICS 16 Raimon Àvila IMPULSOS Emoció i qualitat de moviment en l’intèrpret escènic Institut del Teatre de la Diputació de Barcelona Directora general: Magda Puyo Escrits Teòrics © Raimon Àvila Propietat d’aquesta edició: Institut del Teatre de la Diputació de Barcelona Tel. 932 273 900 [email protected] www.institutdelteatre.cat Gener de 2016 Disseny gràfic i maquetació: Artefacto Producció: Direcció de Comunicació de la Diputació de Barcelona Impressió: Agpograf, SA Dipòsit legal: B 4995-2016 ISBN: 978-84-9803-733-3 Il·lustracions: Ada López Il·lustració de coberta: Esboç escenogràfic. Ramón Trabal Altés Fons: Institut del Teatre MAE. Centre de Documentació i Museu de les Arts Escèniques IMPULSOS SUMARI 17 Introducció 27 1. Què és una emoció? 28 De què parlem quan parlem d’emocions? 33 Emocions primàries, secundàries i sentiments 34 Les emocions i l’inconscient 37 2. Emoció escènica: realitat i representació 38 Emocionar-se per emocionar o emocionar sense emocionar-se: la paradoxa del comediant a la llum de la neurociència 40 S’han d’interpretar, les emocions? 41 Veritat o mentida 43 Per a qui sap llegir-lo, el cos no menteix 47 3. Cos-emoció: un corrent de doble sentit 47 L’inconscient es manifesta a través del cos 49 La por: una emoció útil per a la supervivència, però no sempre 53 La ràbia tensa, la tristesa apaga 53 La reacció de l’ensurt i els seus efectes posturals 54 Un cos permeable és un cos vulnerable 56 Relaxar la musculatura per connectar amb les emocions 58 Educació somàtica 60 Emmotllables, polièdrics i camaleònics 61 Autoconeixement, estructura, precisió i qualitat de moviment 65 4. Tècniques corporals de l’emoció escènica 65 Com atènyer l’emoció a partir del cos: dues tècniques multidisciplinàries d’entrenament actoral 65 Rasaboxes 69 Alba Emoting 74 El mètode de les accions físiques 76 Accions físiques i impulsos interns 78 Accions físiques i improvisació 79 Qualitat de moviment i sentiment 80 Les accions bàsiques d’esforç de Rudolf Laban 82 Esquerdes per a l’emergència de l’inconscient 83 Viewpoints 85 5. Laban i les qualitats de moviment 85 Rudolf Laban 91 Monte Verità 94 Una escola per a l’art de la vida 104 Què és el moviment per a Laban? D’on prové i amb què connecta? 106 Esforç 107 Qualitats de moviment: teràpia i educació 107 Qualitats de moviment a l’empresa 109 L’emergència de l’inconscient a través dels moviments ombra 111 De Monte Verità a Dartington Hall 116 Rudolf Laban, Rudolf Steiner, Mikhaïl Txèkhov: coincidències, influències i confluències 126 Rudolf Laban, Lea Daan, Alfons Goris i Mudra 131 Canvis, millores i transformacions 133 Aclariments sobre el concepte «esforç» 134 L’entrenament de l’intèrpret performatiu basat en els esforços 138 Les vuit accions bàsiques d’esforç · impacte (10,10,10) · vibrat (10,10,1) · estirada (10,1,10) · planada (10,1,1) · copejat (1,10,10) · balbuceig-titubeig (1,10,1) · premsada (1,1,10) · relliscós (1,1,1) 151 Visualització 151 Transicions 152 Taula de contraris 153 Composició d’esquetxos combinant qualitats de moviment 154 Elements per a la composició escènica 158 Exercicis sobre els esforços. Un nou llenguatge 159 Gest i postura. Emoció i moviment 161 Espai, plans de moviment i emoció 162 Ritme i emoció 164 El ritme com a seqüència d’esforços 166 Les actitud interiors 171 6. Tipus caracterològics, emocions i moviments predominants 171 Les estructures de caràcter 176 Caràcter esquizoide 178 Caràcter oral 180 Caràcter masoquista 181 Caràcter psicopàtic 183 Caràcter rígid 184 Com desbloquejar el cos utilitzant l’eneagrama · Caràcter rígid fal·liconarcisista obsessiu: eneatip 1 · Caràcter rígid histèric: eneatip 2 · Caràcter psicopàtic histèric: eneatip 3 · Caràcter oral: eneatip 4 · Caràcter esquizoide: eneatip 5 · Caràcter psicopàtic obsessiu: eneatip 6 · Caràcter rígid passiu-femení: eneatip 7 · Caràcter rígid fal·liconarcisista obsessiu: eneatip 8 · Caràcter masoquista: eneatip 9 197 7. Síntesi 203 8. Bibliografia A l’Anna, el Nil i el Marcel Agraïments 13 A Jordi Fàbrega, pel seu seguiment curós i persistent del procés de correcció i revisió del manuscrit, pels seus consells, l’afinat esperit crític i les seves recomanacions. A Jaume Mascaró, pels seus suggeri- ments i per la profunditat conceptual dels seus comentaris. A Jaume Cardona per les seves orientacions. A Antonio Ruiz de Azúa, per les seves sàvies paraules sobre el caràcter subjectiu de l’experiència emo- cional. A Lluís Masgrau, per les seves observacions sobre les traduc- cions de Konstantin Stanislavski i Mikhaïl Txèkhov. A Agustí Ros, pel seu suport i acompanyament, i per les opinions sobre Laban i la seva biografia. A Mercè Saumell, pel seu recolzament. A Antonio Simón, per les seves esmenes sobre les tipologies caracterològiques. A Laura Jou, pels consells relatius al títol del llibre. A Víctor Obiols, pel seu assessorament lingüístic. A Margarida Barbal, per l’atenta lectura de l’original, les seves correccions i els comentaris. A Núria Legarda, per les seves esmenes i revisió del text. A Josep Arenas, per les seves recomanacions, observacions i cura en el procés d’edició i publicació. A Anna Sabaté i els meus fills Nil i Marcel, per la seva paciència, amor i suport. Poc abans de morir, el dramaturg alemany Heiner Müller va visitar la 15 Columbia University per parlar amb els estudiants d’art dramàtic. Des- prés d’una llarga, brillant, eloqüent i complexa conferència, un jove es- tudiant d’ulls brillants va aixecar la mà i va preguntar: «Senyor Müller, ¿té cap consell per a un jove actor?». Hi va haver un moment de silenci. «Sí», va respondre generosament, «com que tens un cos, no necessites transicions». Anne Bogart1 Què són les emocions? Emoció és el que et passa pels òrgans. Com quan estàs amb el teu estimat i ho sents a l’estómac. O quan tens por, que et penses que et moriràs o que la teva mare morirà, i són els ronyons els que pateixen. O quan no aconsegueixes allò que vols i sents constants frustracions, el problema es concentra al coll. Sidi Larbi Cherkaoui2 1. The Viewpoints Book, p. 185. 2. «Reflexions entorn de la dansa 5». Dossier Com ballem? Mercat de les Flors, temporada 2010-2011, p. 59. Hi ha una vitalitat, una força vital, una energia, un impuls que a través teu es transforma en acció, i aquesta expressió és única, ja que tu ets únic. I si la bloqueges, mai no existirà a través de cap altre mitjà i es per- drà. El món no la coneixerà. No et correspon a tu determinar com és de bona o valuosa, ni com és en comparació amb altres formes d’expressió. A tu et correspon fer-te-la teva d’una manera clara i directa, i conservar el canal obert. Ni tan sols cal que creguis en tu o en el teu treball. T’has de mantenir obert i conscient pel que fa als impulsos que et motiven. Martha Graham3 16 3. De Mille, Agnes. Martha: The Life and Work of Martha Graham, p. 264. IMPULSOS INTRODUCCIÓ Moviment i emoció tenen alguna cosa més en comú que l’arrel etimo- 17 lògica. En certa manera són dues cares de la mateixa moneda. De fet, tots experimentem o podem experimentar el lligam entre el movi- ment i l’emoció cada cop que, per exemple, ens movem enèrgicament per aixecar el nostre estat d’ànim (causa: moviment; conseqüència: emoció) o quan, imaginant alguna cosa que ens provoca alegria, rà- bia o tristesa, notem que fem un moviment no premeditat (causa: emoció; conseqüència: moviment). En el camp de les arts escèniques conèixer i dominar el lligam que existeix entre el moviment i l’emoció és clau per a una bona gestió dels estats emocionals que travessa l’intèrpret abans, durant i després de l’acte performatiu, així com al llarg dels períodes de formació o entrenament. Essent el lligam tan fàcil d’experimentar, podria semblar, aleshores, igualment fàcil d’establir una tècnica que permetés viatjar a través de l’emoció durant la interpretació escènica. La realitat, però, ho des- menteix: la gran diversitat de tècniques d’interpretació i els llargs i complexos debats que han suscitat els diferents punts de vista sobre l’emoció dels intèrprets escènics així ho demostren. L’origen de la paraula emoció cal anar-lo a buscar, de fet, en el terme «moviment». El llatí emotio -onis significa moviment cap enfora (o IMPULSOS INTRODUCCIÓ impuls que indueix a l’acció). Experimentem, efectivament, les emo- cions com la manifestació d’un moviment intern que ens sorprèn, trasbalsa, commou, sense que ens sigui possible –almenys d’entrada– evitar-ho. El moviment que les caracteritza és, per tant, un moviment que té lloc, en la majoria de casos, a pesar nostre, un moviment que ens arrossega i se’ns emporta, i del qual som més agents passius que no pas actius (passions). Sense entrar en contradicció amb aquesta definició, la neurociència ens ensenya que les emocions són respostes automatitzades enfront de determinats estímuls que amenacen, o bé afavoreixen, la nostra existència. S’han generat, establert i codificat al llarg de centenars de 18 milers de generacions amb la finalitat de facilitar la supervivència de l’espècie. Per bé que educables, les anomenades emocions primàries (por, ràbia, alegria, tristesa i fàstic4) són, en conseqüència, genètica- ment predeterminades i universals. El circuit neuronal que va de la recepció de l’estímul al desencadenant de la resposta física no pas- sa, d’entrada, per les parts més conscients (i, evolutivament parlant, més modernes) del cervell humà. En general les emocions flueixen, doncs, malgrat nosaltres mateixos, malgrat la nostra consciència, però els canvis tensionals, posturals i dels ritmes respiratori i cardíac que les acompanyen i caracteritzen són, almenys fins a un cert punt, controlables.
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