Strategies of power in the actor-dancer's body

"Strategies of power in the actor-dancer's body" offers a study of the preparation made by actor-dancers in order to be able to approach the stage. To specify in some way the moments prior to the actor's presence on stage involves analysing the stages that an actor or group of actors go through in order to gain the stage, and it is therefore necessary to acquire the principle of the resultant of the different approaches to the actor's training. Strategies of power in the body of the actor-dancer goes into recognising the different methodologies to which actors and dancers have access in order to undertake the experience in the performing arts, configuring a theme in which the body is the support of practice, unique, its own and unrepeatable. Without falling into the excessively technical or the superficially spontaneous, these pages lead us to study, interpret and support the different sensory-expressive nooks and crannies of the actor-dancer.

Autorentext

María José Sesma: Director of the Municipal School of Dance and Performing Arts "Ernesto de Larrechea" of the City of Rosario, Argentina. University Professor in Performing Arts (National University of Rosario). National Superior Teacher of Corporal Expression.

Klappentext

"Strategies of power in the actor-dancer's body" offers a study of the preparation made by actor-dancers in order to be able to approach the stage. To specify in some way the moments prior to the actor's presence on stage involves analysing the stages that an actor or group of actors go through in order to gain the stage, and it is therefore necessary to acquire the principle of the resultant of the different approaches to the actor's training. Strategies of power in the body of the actor-dancer goes into recognising the different methodologies to which actors and dancers have access in order to undertake the experience in the performing arts, configuring a theme in which the body is the support of practice, unique, its own and unrepeatable. Without falling into the excessively technical or the superficially spontaneous, these pages lead us to study, interpret and support the different sensory-expressive nooks and crannies of the actor-dancer.