Publication: El saber del actor español en el siglo XVIII. La expresión de las pasiones en los tratados de declamación.
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2020
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Universidad de Oviedo. Instituto Feijoo de Estudios del Siglo XVIII
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Uno de los objetivos del teatro durante la Ilustración fue mejorar la declamación actoral. Su ejercicio, considerado como un arte liberal, se codificó en reglas objetivas difundidas en distintos tratados. Muchos de ellos, escritos por actores, revelan una dependencia de saberes ya consolidados o de otras artes miméticas, como la retórica clásica y la pintura. Los textos incorporaban el estudio de las pasiones, para responder al nuevo drama burgués. El proceso por el que el actor alcanzaba la expresividad emocional está presente en la paradoja diderotiana, y en otros textos publicados y traducidos en el XVIII: "Le comédien", de Rémond de Saint-Albine; "L'art du théâtre", de F. Riccoboni; "An Essay on the Art of Acting", de A. Hill; "Desengaño de los engaños", de Rezano Imperial; "Ideen zu Einer Mimik", de J. J. Engel, etc. Estos ejemplos, como estudiamos en este artículo, confirman las relaciones entre las distintas escenas europeas, en las que predomina el referente francés.
One of the aims in the Enlightenment period stage was to improve player’s delivery. This practice, regarded as a liberal art, was developed into objective rules that were compiled in several treatises on acting. Many of them, written by actors, reveal their dependence on consolidated knowledges or others mimetic arts, like classical rhetoric or painting. Treatises include how to express the passions properly to suit with the new genre: the drame burgeois. The means by which players get emotional expression appear in The Paradox of Acting among others published or translated books through the 18th century: Le comédien, by Rémond de Saint-Albine; L’art du théâtre, by F. Riccoboni; An Essay on the Art of Acting, by A. Hill; Desengaño de los engaños, by A. Rezano Imperial; or Ideen zu Einer Mimik, by J. J. Engel. These examples, as we can verify in this paper, confirm the European stage interrelationships and the predominance of the French paradigm.
One of the aims in the Enlightenment period stage was to improve player’s delivery. This practice, regarded as a liberal art, was developed into objective rules that were compiled in several treatises on acting. Many of them, written by actors, reveal their dependence on consolidated knowledges or others mimetic arts, like classical rhetoric or painting. Treatises include how to express the passions properly to suit with the new genre: the drame burgeois. The means by which players get emotional expression appear in The Paradox of Acting among others published or translated books through the 18th century: Le comédien, by Rémond de Saint-Albine; L’art du théâtre, by F. Riccoboni; An Essay on the Art of Acting, by A. Hill; Desengaño de los engaños, by A. Rezano Imperial; or Ideen zu Einer Mimik, by J. J. Engel. These examples, as we can verify in this paper, confirm the European stage interrelationships and the predominance of the French paradigm.
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Tratados de declamación, Paradoja sobre el comediante, Riccoboni, Rémond de Saint-Albine, Rezano Imperial, Pasiones y emociones, Treatises on Acting, The paradox of acting, Riccoboni, Passions and emotions
Bibliographic citation
CESXVIII, núm. 30 (2020), págs. 567-592