تدريبات جسد الممثل في المسرح المعاصر : "تجربة قاسم بياتلي انموذجا"

الملخص EN

Research laboratories and theatrical workshops, through temporal transformations in the theater space, provided a set of concepts and laboratory mechanisms for the work of the theatrical actor in order to reach out followed systems and methods resulting from scientific data and acquired experiences that function to formulate a theatrical actor capable of working within the theatrical role assigned to him.

Those experiences have emerged through directors and actors who formulated their training according to a laboratory field subject to a series of practical procedures carried out on the actor and his body in particular.

This series of experiences, especially in the contemporary theater, has passed through intellectual and practical changes seeking new areas in societies and convergence among them, to be a starting point to achieve those physical exercises enjoyed by the theatrical actor, so the experiences of directors and actors or (the actor director) on the preparation of his tools in general, and physical training in particular, require a set of procedures, methods and techniques to achieve the act of building the body, hence the two researchers addressed the training of the theatrical actor's body in contemporary theatre, particularly the experience of Qasim Bayatli as an actor and director, who experimented with European directors such as Eugenio Barba and took from Grotowski's experience in poor theater, besides his anthropological and cultural references as oriental ones on which he relied to train his body and his actors in the Corners Theatre, in which he was working.

According to the above mentioned, the two researchers divided the research into four chapters: the first one tackled the research problem, importance, goal, and limitations, concluded by determining the terms and defining them procedurally, the second chapter included the theoretical framework, having two sections: first, the actor's body education and its requirements, second, body training among contemporary directors.

The research concluded with the indicators resulted from the theoretical framework and previous studies.

As for the third chapter, it included the research procedures comprising the study of the research sample, which is the experience of the actor and director Qasim Bayatli, concluding with the results and their discussion.

As for the fourth chapter, it included the most significant conclusions, recommendations, proposals, margins referrals and a list of sources and references