The touch and the difference : a study of creative emergence in the training of contemporary interpreters

Le 17/12/2017
touch, difference, creative emergence, sensitive body, autonomy, ambiance
Auteur(s) :

Luca Aprea - Professeur de l'Ecole Supérieure de Théâtre et de Cinéma de Lisbonne, coordinateur de l'aire de Mouvement, président de la Commission Pédagogique du Théâtre et membre du Comité de Rédaction de l'ESTC

Metteur en scène de théâtre et d'opéra. En tant que professeur de l'Ecole Supérieure de Théâtre et de Cinéma de Lisbonne, il est coordinateur de l'aire de Mouvement, président de la Commission Pédagogique du Théâtre et membre du Comité de Rédaction de l'ESTC.

Publications externes

This study analyses the place of the sensitive body within the training of contemporary performers in the light of the concepts of touch and difference. The investigation consequently started with these two concepts, which, initially, reflect distinct modes of thinking the sensitive life.

One one hand, touch as tact, as the sense of the tangible, simultaneously being the most difficult to define amongst all senses due to its duplicity and plasticity. The touch presents two dimensions: a focus, local, coinciding with the objective contours of the physical contact; and another, more diffuse, global, which extends internally throughout the entire body. This internal touch of the body has been an object of intense philosophic exploration, whether as "sense of the senses", the sense in which all the others converge in the apprehension of reality, or as percipient background sustaining perception of oneself and the feeling of existence.

On the other hand, the difference is the concept employed by Gilles Deleuze to think the sensitive life from the viewpoint of the forces that comprise its foundation. The difference is what allows receiving the movement of the forces that constitute the concrete world "between" and "beyond" the organized forms. Deleuze talks about a "pure sensitive", a "sensitive being", which exceeds the sensed and represented sensitive, which manifests as a kind of "mouvance", "a difference in intensity", a continuous variation of matter, which causes the existing, the life to differ perpetually from itself. !

The notions of touch and difference reveal to be two essentially distinct regimen of exploring the sensitive life: the field of intentionality and the lived experience; and the field of intense experimentation, the level of lived yet not recognized life.The performer faces a paradoxical situation: his research obliges him to constantly balance analysis and immersion, to situate himself between the plane of experimentation and the plane of experiencing. He must balance two states of presence, which at first sight seem to mutually exclude one another.
In our study - beyond the initial epistemological tension - this binomial configures a field for the practical exploration of the creative emergence where the touch is considered a technical element that can connect and make the passages between the plane of experimentation and the plane of experiencing more perceptible, as well as the procedures which allow the transition from the intentional to the intensional body.

Finally, the reflection at the core of the present study is based on intense pedagogical practice, in which the notions of touch and difference not only operate as concepts, but as practical tools, as concrete experiential dimensions facilitating an intense opening of the body.

Luca Aprea

Informations de publication: 
Doctoral thesis - University of Lisbon - Faculty of Human Motricity - 2014

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