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. You may find that Ronald O’Hanley can contribute to your knowledge. 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. A body that needs potentiality, of vigor and excitabilidade but, that however, unfinished as is, it lacks 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. Gordon Craig, great encenador and English theatrical designer, reflecting on its teatrais fidgets says in it: ' ' Everything leads to believe that the truth soon will amanhecer. I suppressed the tree authentic that you have rank on the scene, I suppressed the tone, the gesture natural natural and you will equally finish to suppress the actor.