O acontecimento da iluminação cênica: experiências estéticas e produção de sentidos em shows musicais
The objective of this research is to analyze the concert lighting as an inseparable component of the spectacle’s sensitive experience and to understand its symbolic and expressive potential through a technological, aesthetic and presential approaches. Therefore, this investigation has as its object...
| Autor principal: | Galhart, Cezar Henrique |
|---|---|
| Formato: | Dissertação |
| Idioma: | Português |
| Publicado em: |
Universidade Tecnológica Federal do Paraná
2022
|
| Assuntos: | |
| Acesso em linha: |
http://repositorio.utfpr.edu.br/jspui/handle/1/29504 |
| Tags: |
Adicionar Tag
Sem tags, seja o primeiro a adicionar uma tag!
|
| Resumo: |
The objective of this research is to analyze the concert lighting as an inseparable component of the spectacle’s sensitive experience and to understand its symbolic and expressive potential through a technological, aesthetic and presential approaches. Therefore, this investigation has as its object of analysis the concert lighting, conceived here as specific and singular component of musical live shows, and its interrelationship of this element of the spectacle as a technological and artistic product, based on the aesthetic experience and production of presence. The methodology was conducted through qualitative approach with bibliographical and documentary research types and a descriptive nature. This master’s dissertation starts by laying down a set of definitions and concepts on the techniques used in the fire production as a technological object as part of the first human experiences and activities related to the performing arts, also linked to the technological evolution of stage lighting from a historical perspective on the four stages identified by Roubine (1998): the Greek amphitheater, the medieval space, the “commedia dell’arte” platforms and the Italian stage. In these stages, the elements of a spectacle stand out that come together from the components of a trichonomy: time, space and action (PAVIS, 2003), elements that justify the interaction that occurs at the time of a show, making the spectacle a everything intelligible and concrete (scenic space and duration of the show) as well as abstract (magic, imaginary and memory). Following those discution, this study explores the contemporary aesthetics that was established in the early 20th century by the principles of Appia, Craig and Reinhardt, fundamental Lighting Designers to the genesis and development of modern stage lighting, that was complemented by the creation of the McCandless method (1932), a reference to the current concerts lighting, whose means of representation of stage lighting was established by the stage map (Light Plot), developed from 1930s onwards within an outstanding contribution from Lighting Designer Jean Rosenthal and it was standardized in the 1960s and updated with new technologies created in the last five decades. In the same section, the aesthetic experience characteristics defined by Marković (2011) (fascination, symbolism and unity) are complemented by the relations of the production of presence in the performance of musical shows, based on the perceptions of Gumbrecht (2010) and Heidegger (2006). Finally and based on these precepts, this study presentes an analysis based on these fundamentals of certain musical shows, especially with regard to the impact of concert lighting in these spectacles. |
|---|