THE THEATER DRAMA, A PERCEPTION OF THE BRAIN
Summary
This essay presents the connection between the theater and the interaction of the brain when the process of perception occ imbalance of the various scenic languages. From the stimuli that are generated and the way in which they are projected in a staging, a more crumbled study of the functions of the brain in relation to the theatrical facts that cause them, since the brain acts as a simulator; You can simulate or hide things and the task of staging.
The stimuli and emotion
Theater is a matter of the mind. It is implicitly related to the functioning of the brain. The brain is the main organ of the human being. The study of the brain is immersed in the field of neurosciences and therefore, even on the opposite side of the arts chapter that has nothing to do with the exact sciences.
However, it is the study of the brain that allows us to understand that it is he who generates emotions, and the theater is basically the experience of emotions. Hence the probability that theater is a kind of brain. Theater is an artistic manifestation, which originated hundreds of years ago. It is believed that the first men who made it were the Greeks, approximately in the fourth century BC BC. In fact the word theater comes from the Greek before, which means place where you look, and the word drama, which also comes from the Greek, and means action. The Greeks made representations linked to their own religion.
Normally spectators and actors gathered on the shore of the hills. The former settled on the skirts, in order to listen and see the work without problems. Anyway, the actors wore high shoes (a kind of stilts) so that they can be seen from afar, and spoke using some cones, which increased the volume of their voice. His wardrobe were simple robes. They also put masks representing the mood of the character. From there comes the well -known masks of joy and sadness, which are the symbol of the theater. Over time the theater evolved.
The man built special places for representations, more comfortable and with better conditions of light and acoustics, and the works began to be written before being carried out on stage, as a way of ordering the representation. This is how the dramatic genre emerged. In essence, it is justified that perception is not dramatic or post -dematic but simply born and that the stimuli that cause it are those that have made the difference between dramatic and post -dematic theater. The study of emotions from the point of view of neurosciences is a relatively novel field. “A stimulus triggers an emotion, but we are still in the body. And you affirm that later, through complicated means, a feeling will appear ”(Punset, 2008).
Over time, from the seventies, these "reproductions" begin to get ready and permeate themselves due to experiential aspects that make theatrical phenomena begin to become experiences, collective simulations. This is where an artistic renewal begins to occur with the bases that have sustained the theatrical fact throughout history. The brain is the theater of emotions; It is a shared brain. The public, the people who act, the musicians share the experience within a space. The ideal for concentration is a closed space. But not any closed space, but one that gives everyone that feeling of being inside a brain.
From that perspective, he made the hypothesis that post -dematic theater is the new owner of perception. That is why it seeks in some way that whoever is in the theater experience has the feeling of being inside a brain. The post-dematic theater is born when there is a need to create and re-create the scene, to unfold the folds that had been conceived in the theater until that moment. In this way, it is confronted with the nervous system of those who occupied the place of "spectators" in a sphere of stimuli that generate emotions through the senses. In that direction, the post -dematic theater projects new brain stimulations that now allow those who come to the theater to be involved in an experience. A sense of community is created and there is a sensory communication with the viewer from the body to the word.
The word and the scene
Post-dramatic theater develops a radical reflection about the fact and the possibilities of representation, for which it seeks the confrontation of the representation mechanism with some type of limit. To the extent that the dramatic text has meant the basis for the construction and guarantee of unity and coherence of representation in the western tradition, the post-dramatic theater will be obliged to place in a tension relationship with this textual plane. As an initial work instrument, post-diamatic theater can be defined as a type of scenic practice whose result and construction process is no longer foreseen or content in the dramatic text. (CORNAGO, 2006)
This is how in a theatrical event begins to privilege the experience of the senses and the matter of perception begins to be a task of conversation between those who do theater. The diversity of expressive means such as sound, color, flavor, smell and textures, mental image (imagination and memories) and the emotions that can intertwine these phenomena in the true here and now, the moment of the "presentation".
This post -dematic game space has its purpose not in a theater that arises from the dramatic text, but, rather, in a theater that is dedicated to questioning the text itself. Thus, it is assumed to theater as a presence and not as a representation; as fragmentary experience rather than an organized whole; as a process more than result; more manifestation than significance; More energy than establishing a connection between staging and text.
The dynamics that are presented have a greater component of presentation of something that is being formed in the "here and the now" that of representation of a previous text or structure. […] Scenic construction and communication are diluted, generating a new release space in which traditional canons no longer work in any of the directions. Thus, the scenic action itself becomes the act of writing the work as an open process that replaces the dramatic text as a concluded object. (Savoy, S.F., p. 5) The staging ceases to be the mere illustration of the text to take refuge in the subconscious of the work.
The perception
The brain is an ecosystem. The various neurons and networks participate in an ardent competition to get the stimuli that are received. Networks that manage to process new experiences or behaviors end up being strong members. The structure of the brain becomes the information it receives, and the way it perceives that information will determine its future state. Perception or use or lose it. (Ratey, 2003, P. 41)
According to the Dictionary of the Royal Academy of the Spanish Language, ‘perception’ is the inner sensation that results from a material impression made in every way. If there is any tension between dramatic theater and post -dematic theater, it is due to the mechanisms that both use to suggest stimuli in relation to perception. Post -Ramatic Theater has an imposing force regarding the elaboration of aspects that in the now enhanced the staging. An effort of directors, actors and artists of the theatrical fact is evident for generating various stimuli from the senses to explode in diversity of emotions and sensations. Hence the fact that the spectator’s perception is manipulated by the one who performs the staging and the stimuli sent allow the interpretation of the scene not to be unilateral, but that it is three -dimensional.
That is why the dramatic theater must be put at a disadvantage or in a lower degree because it was he who gave the basis to understand the theatrical, dramatic fact and fiction universes. The dramatic theater has allowed and will allow the world to be understood from another point of view, from another look as a way of communicating. However, what the dramatic theater produces in the viewer with its staging is a consequence of the message that the play wants to communicate. Most likely the public who sees a show as waiting for Godot is altered or upset by that work, by the staging, but above all for his argument. But all the stimuli that are received are in a space of stillness, observation, full conscience, coherence. On the contrary, what the ‘pos’ theater comes to give that indeterminacy, that rejection of reality, escapes coherence to understand the world from sensation and experience, and what happens in the brain is that this begins to Complete the remaining parts that the same work does not give, and little by little it reaches that emotion even sometimes undetermined.
"We are constantly manipulating our perceptions, making the world coincide with what we hope to perceive and, therefore, what we perceive what is" (Ratey, 2003, P. 41).
The question that catapults the post -dematic theater is: what happens to brains during new experiences? The response that strengthens it is that we have to reject the idea that brains are storage deposits of static information. An act of perception is much more than the capture of a stimulus that arrives. It requires a form of expectation, to know what you are going to put us in front, preparation. Without expectations or constructions with which we perceive the world, our environment would be, as William James said, a confusion of explosions and hum. (Ratey, 2003, P. 42)
The creativity
The brain acts as a simulator. Can simulate or hide things. The task of staging, in principle, is simulating. Simulators reproduce sensations and experiences that can happen in reality. Art is the creative expression of the nervous system and the expression has to be creative because otherwise a camera would be artistic and is actually simply an device to record images.
Art is that creative value that the nervous system has to make images that are universal (images that are not only understood by the person who issues them). Art is the ability to make images that represent the rest of the world what one is thinking; For this reason, art is a form of communication, a form that can be communicated by sounds, by colors or communicating with vibrations. Music, literature, painting, all these things are art forms. What we know as creativity are always variations.
Creativity is the possibility of making modifications to what one knows and that, in addition, the result offers aspects not previously recognized. (Llinás in Ayala, 2009, pp. 1-2) Post-dematic theater linked creativity. The staging is immersed in a language where text, characters, time and space are deformed and continuously transformed to feed the spectator’s perception. In this way, the way of perceiving moves. A simultaneous perception and multiple perspectives replaces linear and successive perception. A autonomy of language produced by modifications in the nervous system is reached.
The theatrical act is filled with enthusiasts with stimuli and its task is to separate from an Aristotelian dramaturgy that has a pre -established order. You start playing with the theater bases and little by little what was once a unit fragmented to explode in multiple interpretations. The post -dematic theater catapults an abyss and that abyss produces something new, something that could never be thought. There are no parameters. There are fragmented and open textual proposals, loaded with conflictive meanings, stimuli or devices, capable of generating emotions not before recognized. The destruction of the dramatic leads to absolute freedom.
Theatrical renewal causes in an enriching effect of emotion. It is not unusual that at some point a post-positive theater arrives that significantly influences the new interests of humanity. And despite the fact that each renewal is done and occurs in different times, which will always be linked to all is that organ that allows the world to be interpreted at different ways, time and space. Perception is not dramatic or post -dematic. The perception of each will accept the changes that the theater gives it regardless of its time. The perception is born. And it is the brain the organ that will link those pieces of things that will arrive by different ways. On the ways of a new theater.
conclusion
Acting perception, as mentioned, in its origins loads with a long tradition rooted in social commitment. This is why it should be noted that in addition to being a bridge for the student in involvement and, therefore, in the knowledge of other social realities, it fulfills one of the key functions of the theater, that is, reflecting on social events. Reflection, which for Latin American reality (magical as some have described) cannot ignore the problems of exclusion, due to a strong commercialization of society, which for many sectors is given as an imposition.
The interference with young people in a varied range of social contexts, which can occasionally be of social vulnerability or popular strata, would fulfill the role of giving voice through representation, to voiceless. And this would be fulfilled correctly, if students could reach a true empathic process of the social context they are observing. The actors can be clear social reflection agents, even to demand or make known realities that through action are close. Without raising a predisposition, it is a historical fact that in this course and also right now the people and areas of society that are investigated usually belong to the universe of the popular and the marginal. For this reason it can give voice to those who do not have it and take a character of meditation of the social.
This essay does not seek to know how Social context investigated, because it has clearly not an obligation or imposition of the teacher to reach the popular, this contact occurs from the student’s own motivation, sometimes achieving strong ties that last over time and even sometimes changing his perception of The social.
Another important function is here its testimonial capacity, since the social context and a certain historical moment have been reflected, in addition to the fact that every time the course is carried out there is the possibility of capturing the different forms of identity that are combined in the social network. Thus, the theater when it leads to the scene, reflects the existence of a particular cultural identity. Therefore, he recognizes it and constitutes it, not less if we talk about contexts that are socially visualized. This process in the actor and especially in the actor that is being formed, is embodied in a self-learning, in a sensory self-knowledge, which perhaps and ideally can be at the service of a reality, to which the student will be without prejudice, humbly, to observe, to know and then participate in the deep difficulty and challenge of staging her in her person, learning to know her body and her senses, to know her own identity by recognizing another. Social reality now has a different value.
References
- Ayala, r. (2009, March 29). Interview. "Art is an expression of the brain that is used to communicate". Polemikós. Recovered from http: // contextosacademicos.org/spanish/files/%20art%20s%20una%20Expression%20Del%20cerebro%20que%20se%20 use%20 for%20comunicar_%20llinas.PDF
- Cornago, or. (2006). PostDramatic Theater: Representation resistances. Artea Magazine, 165-179.
- Jiménez, v. (2014, October 5). Interview. Peter Brook: "Theater is a shared brain". The country. Recovered from http: // culture. the country. com/culture/2014/10/04/current/1412421885_218346.HTML
- Punset, e. (2008, May 5). The brain, theater of emotions. Recovered from http: // www. Eduardpunset.ES/419/CATLES-CON/EL-CEREBRO- THEATER-DE-LAS-EMOCIONES
- Ratey, j.J. (2003). The brain: instruction manual. Barcelona: Random House Mondadori.
- Savoy, m. (s.F.). POSDRAMATIC THEATER AND PERFORMANCE. Recovered from https: // mariasaboya.Files.WordPress.com/2012/05/Theater -posdramc3a1tico-y-performance.PDF
- Gelfo, Ana. The dramatic theater, the Cid Editor | Notes, 2009. Proquest ebook central, http: // ebookcentral.Proquest.com/LIB/LibrarySp/Detail.Action?Docid = 3182346.
- http: // contextosacademicos.org/spanish/files/
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