CORPORATURA

Abstract

The scribbling of this article aims to share a poetic experience that is based on the Personal Kata training - a systematized psychophysical training based on the Japanese martial struggle - Judo. The research is at the dialectical confluence of psychophysical and active training during the creative process. The genealogy of this training is provided and directly linked to the practical-theoretical studies of psychophysical training of practitioners established throughout the 20th century and with its unfolding in the 21st century. In this tradition are located the research and experiences of some visionaries: Constantin Stanislavski with the physical actions, Jerzy Grotowski and the Laboratory Theater, Eugênio Barba and Theatrical Anthropology, Peter Brook and the intercultural training, Phillip B. Zarrilli with the training with martial arts and meditative and Luís Otávio Burnier with the training developed at Lume Teatro. This poetic construction called “Corporatura” started from practical experiences and theoretical reflections triggered in order to verify what contributions the training offers to the creative process of a scenic work, in the theater actor. Psychophysical training, for having a great reach in the fields of research, it sometimes carries ambiguities and misunderstandings, especially when it is displaced from its original context or treated as a closed model of investigation in theatrical making. In this sense, this investigation contextualizes, historically and conceptually, a practice of psychophysical training, built from the systematization of Kata Personal training, within a process of creation carried out by the martial artist-researcher herself, pointing out which theoretical references support it and what The procedures used in each stage of work influence the dramaturgical composition and staging of the solo-spectacle, which is being built by the researcher, in question.