La percepción de la emoción en la experiencia de formación energética emocional de la voz para el actor teatral. Un estudio etnográfico-interpretativo

Duran Elicer, Solange
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This doctoral thesis emerges after three decades of experience in teaching voice, with a specific focus on vocal training for theater in university spaces. The research proposes a new paradigm, methodological, and practical, for the education of the theatrical voice. We worked with students from the Higher School of Dramatic Art of Catalonia, in collaboration with the Institut del Teatre de Barcelona (onwards IT). The study explores the perception of the emotional component in the vocal training of university theater actors through Emotional Energetic Voice Training (onwards EEEV). This approach allows the student to experience the emotions themselves and critically reflect on their influence on their vocal training as an actor. The main objective is to analyze how students perceive the influence of this emotional component in their vocal training and discuss the implementation of training processes that incorporate experience and the reflection over this emotional component. The research includes case studies with the purpose of evaluating the development of these processes. The methodology of this research is qualitative and is framed in an ethnographic-interpretive approach of a naturalistic, humanistic and participatory nature. Data was collected through various techniques: interviews, discussion groups, logs and emotional biographies. Furthermore, the data were analyzed from participatory observation, transcription of narrative instruments, recording of class videos and field notebooks. Data processing was carried out using the qualitative analysis program Atlas.ti, version 23. The results of the research underline the need to systematically incorporate the emotional component in the vocal training of university theater actors. Moreover, the importance of opening a debate and encouraging reflection on the need for updating both in teaching and learning, despite the resistance derived from tradition in theater training. In summary, this study provides valuable insights into the relevance of the emotional component in theater training (challenging established paradigms) and proposing new perspectives in teaching voice for theater in the university context ​
​ADVERTIMENT. Tots els drets reservats. L'accés als continguts d'aquesta tesi doctoral i la seva utilització ha de respectar els drets de la persona autora. Pot ser utilitzada per a consulta o estudi personal, així com en activitats o materials d'investigació i docència en els termes establerts a l'art. 32 del Text Refós de la Llei de Propietat Intel·lectual (RDL 1/1996). Per altres utilitzacions es requereix l'autorització prèvia i expressa de la persona autora. En qualsevol cas, en la utilització dels seus continguts caldrà indicar de forma clara el nom i cognoms de la persona autora i el títol de la tesi doctoral. No s'autoritza la seva reproducció o altres formes d'explotació efectuades amb finalitats de lucre ni la seva comunicació pública des d'un lloc aliè al servei TDX. Tampoc s'autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant als continguts de la tesi com als seus resums i índexs.