The research Body Universe: a poetic of the compositive constellations as study and reflection
of the body in theatrical acting has as objective understand what happens in my Body/Me
along the moment of acting. To do so, I venture myself as a artist-researcher, I come to
understand that acting is phenomenon experienced by the actor during their creative works,
that occurs inside and outside the scene. The search for this comprehension took me to dive in
lived artistic memories and experiences as actor, also I had to observe, in terms of equivalent
feelings, what goes on with other people that I work with and others that I have watched. The
investigation is fundamental, theoryc-methodologicaly, in Phenomenology, the science the
investigate the experience of consciousness since its basic levels, the sensitive, the most
elaborate, and the conscious itself. Tooked as authors in this field of knowledge, the German
Georg Hegel(1770-1831) and the French Gaston Bachelard (1884-1972), because he was
interested in conscience of the phenomenon of creation and scenic acting immersed in the
field poetic artistic, the Merleau-Ponty (1908-1961) to reflect about the present space of my
Body/Me and its scenic significance from the relationship with other bodies actors/spectators,
the French philosopher and sociologist Henri-Pierre Jeudy (1945-) for discussion of body as
object or artistic support. On the creative processes, the Brazilian professor Sonia Rangel
(1948-) helps me to understand the process as an fountain of recreation and fomentation of
several layers in creation, having the memory as propeller of revisitations. In The study about
the art of the actor, the Russian actor, pedagogue and director Constantin Stanislavski (1968-
1936), the also Russian actor Richard Boleslavski (1989-1967) and the director and actor
Eugenio Kusnet (1898-1975) they contribute for the discussion where technique and
sensibility, conscious and unconscious walk helping handing each other during the act of
acting, the Italian director Eugenio Barba (1995) for the processes and rules the influence the
culture and daily in which the actor is living, the polonaise director Jerzy Grotowski (1933-
1999) and the Brazilian actor Carlos Simioni (1958-) for the understanding of the importance
of training as continuous preparation of the body as foundation to the creation. I decided to
focus on a methodology based on the research phenomenon. with allows the construction and
reflection of the poetical work starting from the multiple internal experiences, focusing on the
material that comes from the conscience in front of the practices and trajectories on plays,
articulating with the psychophysical training.
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