La acrobacia dramática en la formación y el entrenamiento actoral

Abstract

The study of natural history and descriptive-comparative design propounds two theories: 1. The origins of dramatic acrobatics were ritual, religious or oracular, and dependent on dance in most Mediterranean cultures. 2. Acrobatics has been an indispensable resource for professional performance artists since their origins, and in the training and education of actors in theatrical schools since the 20th century. To this end it establishes nine objectives: specify a theoretical model; conceptualise dramatic acrobatics and acting training; reconstruct the logical steps of the historical evolution of dramatic acrobatics; analyse the symbolic and anthropological dimension conditioning acrobatic practices to assess their social contribution; examine the channels used by acrobats throughout antiquity for transmitting their knowledge and the technical methods used for educating actors in the 20th century; compare ancient and modern acrobatic practices; establish the roles of dramatic acrobatics in training actors and synthesise a corporal training model for actors; specify the educational framework for dramatic acrobatics; and develop didactic and performance applications from research. Nine final conclusions are drawn as a response to the objectives, in addition to a single inferred conclusion: 20th century actor training diversified along two methodological lines: the Eastern European line, developing the Stanislavski system of physical actions, and the Central European line, which developed Copeau drama of movement and gesture. Keywords: Drama, history, teaching strategies, Higher Education.