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They are the most traditional and common that currently exist, just think of the space model of traditional auditoriums and theaters you know. The Italian stages spread throughout the world, including Brazil. We have in Curitiba, capital of Paraná, the influence of this model stage, the construction of the Teatro Guaira, a symbol of the Paraná theater. Still today, but mostly in the 50s, to go to the theater, as usual tinhase mandatory use by viewers of "costume" specific, which served to affix the social class to which they belonged. For men, a suit and tie and long dress for women. The theater poor, not poor From the late 1950s, Polish Jerzy Grotowski (1933-1999) begins his research on the work of the actor in his theater laboratory in Wroclaw, Poland, which ultimately lead to a revolution in the accident scenographic tradition. According to him, the theater must act directly on some individuals, for this, you must decrease the distance between actors and spectators. This process is called "proximity of living organisms." In it, the exchange of glances of actors and spectators, breathing, perspiration will take active part during the performance. Grotowski renounces split between two spaces, reserved and separated by an impenetrable boundary (stage and audience). As your goal is to research and test hypotheses about the role of the actor, the presentation used for the experiment. For this, Grotowski disregards the number of viewers, but not its presence. He has a preference for smaller spaces (60 viewers). This theatrical form is called a Poor Theatre, Grotowski because by refusing help from any resource machinery or technology that is not under the control of the actor. For Grotowski, the Contemporary Theatre is very rich, rich in defects, it gives too much importance to the viewers give the other elements of the piece. For him, theater is essential in the physical presence of the actor in front of the spectator, the theater exists even without scenarios (area), costumes, music, makeup and even without text. For this type of representation, one needs to only a bare space (empty), that can be arranged. Thus the theater can be done anywhere: a shed, a block, outdoors, in a classroom or exactly where you are. The scenic area turn to be flexible and transformable from one assembly to another.
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Oni su tradicionalni, a uobičajeno da trenutno postoje, samo mislim o svemirskoj modela tradicionalnih dvoranama i kazalištima koje poznajete. Talijanske fazama proširila po cijelom svijetu, uključujući i Brazil. Imamo u Curitibi, kapital Paraná, utjecaj ovog modela fazi, izgradnja Teatro Guaira, simbol Paraná kazališta. Još i danas, ali uglavnom u 50-tima, ići u kazalište, kao i obično tinhase obvezno korištenje od strane gledatelja emisije "kostim" specifična, koja je služila za staviti na društvene klase kojoj su pripadali. Za muškarce, odijelo i kravatu i duga haljina za žene. kazališta loše, nije loše Od kasnih 1950-ih, poljski Jerzy Grotowski (1933-1999) započinje svoje istraživanje o radu glumca u svom kazališnom laboratoriju u Wroclawu, Poljska, što u konačnici dovesti do revolucije u tradiciji nesreće scenographic. Prema njegovim riječima, kazalište mora djelovati izravno na neke pojedince, za to, morate smanjiti udaljenost između glumaca i gledatelja. Ovaj proces se naziva "Blizina živih organizama." U njemu, razmjena pogleda glumaca i gledatelja, disanje, znojenje će aktivno sudjelovati tijekom izvedbe. Grotowski odriče podijeljen između dva prostora, rezerviran i odvojeni neprobojnom granica (pozornica i publika). Kao što je vaš cilj je da se istraživanja i ispitivanja hipoteze o ulozi glumca, prezentacije korištena za pokuse. Za to, Grotowski zanemaruje broj gledatelja, ali ne i njegova prisutnost. On ima sklonost za manje prostore (60 gledatelja). Ova kazališna forma se zove Slabo kazalište, Grotowski jer odbijajući pomoć iz bilo kojeg izvora strojeva ili tehnologije koja nije pod kontrolom glumca. Za Grotowskog, Suvremena Kazalište je vrlo bogat, bogat nedostataka, daje previše važnosti da su gledatelji dati druge elemente u komadu. Za njega, kazalište je bitno u fizičkoj prisutnosti glumca ispred gledatelja, kazalište postoji čak i bez scenarija (područje), kostime, glazbu, šminka, pa čak i bez teksta. Za ovu vrstu reprezentacije, jedan treba samo prazan prostor (prazno), koji može biti uređen. Tako kazalište može obaviti bilo gdje: drvarnicu, blok, na otvorenom, u učionici ili točno gdje se nalazite. Scenski prostor pretvoriti u biti fleksibilan i promjenjiv iz jednog u drugi okupljanja.