Thesis Info

Thesis Title
Anelia Hristova Grigorova
2nd Author
3rd Author
Master of Arts
Number of Pages
New Bulgarian University, Sofia, Bulgaria
Thesis Supervisor
Prof. Vazkresia Viharova
Supervisor e-mail
Other Supervisor(s)
Prof. Arch. Zarko Uzunov (Advisor)
Language(s) of Thesis
Bulgarian / English - partially
Department / Discipline
Master Program "Principles of theatrical research”, NBU, Sofia, Bulgaria
Languages Familiar to Author
Bulgarian / English / French
URL where full thesis can be found
interdisciplinary - theatre, arts, mathematics, linguistics, philosophy etc.
Abstract: 200-500 words
Here presented work aims to describe the scientific-research problems and tasks / exercises, provided (laid down) and taught in the four years-cycle of courses "Technology of formation" at the "Theater" program, New Bulgarian University (NBU). Approaches which implicitly take turns in the master’s thesis are: introspection; empirical approach and benchmarking. "Technology of formation” is analytical-training discipline, which object of study, is the cognition of the human body – of the actor body and his interaction with the environment. The result of this interaction is a form of behavior, viewed as a series of abstract metrics generating concrete images - behavior. Authors of the training system are architect Zarko Uzunov in collaboration with the director Vazkresia Viharova (both from Bulgaria). The main tools that use this cycle of courses are: research from different fields of knowledge, analysis, synthesis, extrapolation, interpolation and transformation, resulting in different actor’s ways to play. Object of studies are also those conditions, which can be described as "external motives (for behavior)”, and which forms behavior so that the human body, according to types of connections and interactions with partner/s, with the environment or with object/s - can reach or fit in an aesthetic or in a frame of idea - an idea of yet uncreated, of yet not listed historically aesthetic. Examples of the application of technological approach to build final student presentations and performances are also outlined. Possible problems in using metric techniques in the field of theater as a basis for the actor to reach "emotion" (empathy) or as a basis for the actor to reach "distance from emotion" (rationalization, intellectualization and generalization of experience)* are also discussed. Thw courses, although providing opportunities for individually, sporadic accumulation of skills are also examined in their ability to be chronologically (logically) linked. This allows to the cycle of courses to be viewed as an overall/ comprehensive educational "system", training skills in the future actors in range: from knowledge of its own professional apparatus, throughout skills of the shaping of stage space, to various ways of communicating and interacting with the audience. In search of evidence of the wide range of tasks for training and the multiple skills effect through the theater-educational system "Technology of formation", examples and comparisons are made primarily with the system of Stanislavski and Meyerhold’s method. Examples from the fields of fine art, cinema, math, linguistics, philosophy and others are also outlined. Examination of the place of “Technology of formation” in view "to further expansion of the concept of artistic practice" is also made as attempt. The conclusions explicitly focuse on the interdisciplinary and the scientific character of the series of courses "Technology of formation”, on the actuality of its language and on the possibility that it can even be seen as a "metalanguage" and of course, the work is focused on the possible perspectives of people trained in system. * The notions are used similarly to those used by W. Worringer in his dissertation " Abstraction and Empathy" and the principle of Brecht described as "defamiliarization / distancing or estrangement effect".