Parte da história da atorialidade liminar (do teatro e do cinema)

em foco, o elemento voz

Abstract

This article aims to analyse the path of the actor's voice - regarding the actors who are in liminal position, from theater to cinema -, as a guarantee of their permanence in the field of cinema. Therefore, we seek to briefly trace the historiographical movements of this relationship, considering the ancestry of the actor training based for a long period on the preparation of the voice dedicated to the operability of the actor in the theater, the subsequent assimilation into cinema and the respective responsibility for adapting his oral expressiveness, during the transition from the pre-synchronous sound to the post-synchronous sound period, addressing the prevalent relationship of realism, demanding from the actors the materialization of the scenic truth – Stanislavski's postulate, notably unfolded at cinema as verisimilitude by Pudovkin -, which, in short, seeks to materialize in the staging the aesthetic illusion and the effect of immersion in the spectator. At the end, we aim to shed some further light on these reflections about the relation between the actor's vocal performance and the impression of reality in the mise en scène.