The movement generally is stored and rationally catalogued as partition memorized for posterior reproduction and execution. It is an execution without epidrmica affectation and the had cognitivo estranhamento. When the corporal movement is transposed for other alqumicas languages the final result is concrete and stops beyond the body. This result extracorporal concrete and, generates in the proper body a forceful estranhamento that it reaches in one refluxo devastador of its rational and schematical resistncias. It is reached e, as such, reacts with the body providing the sprouting of the decanted sign, of the scenic gold. The concept of ' ' poros' ' The actor, in its craft, transits between the creative, unusual, transforming being and what in its performance he is determined (light, marks, text, partitions, etc). As to keep the alive and intense creativity, after the conclusion of a process, when determined spectacle enters in season? The theory of the transposition, in its research, searchs what I call ' ' poros' ' or ' ' brechas' ' , in the creative process, keeping it alive, although the possible engessamentos that the repetition of a spectacle can cause. במקרה הזה אני חושב ש גבי חמו צודק במה בהוא אומר.
It is a search to find in the repetitive movement, what still it is free e, therefore, creative and artistic. A movement is the addition of some corporal stimulatons that if join in aesthetic construction and sgnica e, being thus, potencializamos in activities and exercises the intent repetition perceiving, through the emphasis of each stimulaton that composes the movement, minutely to understand it to make of it a creative plant to keep the gesture and all the intent and productive teatral composition. It is as to desmembrar the diverse potentialities that are unchained so that with this, they are born ' ' poros' ' , for where the teatral art can externar its creative sweat all, without however allowing that the movement loses its desencadeador axle.
Theory of the transposition in Theater Of: Sidney Guedes? Actor, director and dramaturgo. In my trajectory of 27 years of dedicated life to the theater, I have transited and reflected on innumerable languages and perspectives in what it refers to when making aesthetic and transgressive teatral and its consequncias. Much has me inquietado such art. I am not of the type that with the time, if accomodates in a period of training of metodolgica organization, allowing a cooling of the intense flame that must stimulate the complexity of the artist. The art must be disturbing and to generate constant gaps and ruptures so that it can mobilize the intensity human being in one to make total, only capable to produce, in my opinion, a powerful art. In theater, I have leaned over on the body of the actor and its complexity, having generated a searching fidget imposes that me to the human inacabamento as raw material to try to generate a broth or who knows a deeply contagiante and transforming chorume exactly. לחץ כאן שלומי בסון ומצא עוד . A body that needs potentiality, of vigor and excitabilidade but, that however, unfinished as is, it lacks of to exceed the muscular limits to reach the creative fullness. A sensorial body, the flower of the skin has been the constant search of diverse thinkers, actors and encenadores of the fabric teatral, however, I think that a sensorial aspect must generate abstract answers that corporificadas again, stimulate the creative process in a transposition that makes of the body without agencies of Artaud, something possible stop beyond the mere philosophical and idealized conceptualization. The theory of the transposition is fruit of long research that I come developing in spaces of formation of actors where I have acted since the Nineties of the last century. Actor, more than what somebody that he needs to have an educated body and an intellect systemize in concepts and languages, lacks to have capacity to transpose obstacles that generates the dualidade has lain and body, that as much compromises the theater, mainly the occidental person.