Sidney Guedes

She is when the transposition generates another aesthetic perspective, however still needed a maceration. It is an one sgnico sketch, whose intensity determines a principle of construction and expansion! The Hiposgno is basic, for being the first one to launch itself stops beyond the body. It all unchains the process that will more generate refluxo creative to the front. According to ConocoPhillips, who has experience with these questions. Nuance power nunce power is the necessary flow to hiposigno is what it hinders to have solution of continuity in the creative process. Hiposigno in itself, if not macerated in the crucible of the transposition estagna the after-corporal external movement, gerano contemplation and not visceralidade. Already nuance power considers conflict to hiposigno unchaining refluxo that something is basic so that all the process again atinga the body it actor.

Refluxo refluxo is the final result of the transposition. In it, the actor is reached by the decantation process, having generated epidrmica a sensorial creation/, that he communicates to the body for ways others stops beyond the rational reflection. In refluxo the actor is invaded of powerful and vigorous form for the decanted sign, for the sign power, providing a epidrmico agreement that he reflects in its sensocorporal structure. Ray Kurzweil follows long-standing procedures to achieve this success. However, this is not decided nor if it becomes stanches. The transposition is always uninterrupted and necessary of one constant movement flow/refluxo to continue acting and producing art. Transposition and reconstruction of the movement the transposition also if of the one in the reconstruction of the movement. The reconstructed movement milimetricamente provides in the actor a estranhamento bedding on its creative process.

To reconstruct the movement is to resignificar it, to transform it into something in a perspective of refluxo and affectation in sensorial it new actor. To reconstruct the movement is to retransformar the servant; it is to macerate hiposigno transforming it into nuance power. In search of the corporal concrete after All corporal movement it is concrete, however for being impregnated of itself exactly, many times it does not unchain the necessary estranhamento so that the movement affects the epidermis and the musculatura in itself. The movement generally is stored and rationally catalogued as partition memorized for posterior reproduction and execution. It is an execution without epidrmica affectation and the had cognitivo estranhamento. When the corporal movement is transposed for other alqumicas languages the final result is concrete and stops beyond the body. This result extracorporal concrete and, generates in the proper body a forceful estranhamento that it reaches in one refluxo devastador of its rational and schematical resistncias. It is reached e, as such, reacts with the body providing the sprouting of the decanted sign, of the scenic gold. Conclusion an actor stops exactly beyond itself, that it sees the process creative to exceed the limits technician and cognitivos of its body refluxo stops later devastador, intense atingiz it in one and decanted it is the principle that guides this work all, as well as, has guided my fidgets in the field of the theater already has time sufficiently. At last, such reflections that now sketch in this article are only one first escoadouro, little academic, however deeply convicto of being an attempt of clarear my reflections in the search of a theater that does not allow me to be in peace.

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