LESSONS IN THE METHOD THEATER-BEAN-WITH-RICE


METHOD THEATER-BEAN-WITH-RICE (1975) – This method maintains the full conscience of which to act is a particle of the individual, demonstrative peculiarities of the effects. In the Theater-Bean-With-Rice, actors do not forget his traineeship and actors' condition.

Actors do not imagine themselves characters, do not change, do not do laboratory, however fail the text and this one, for alone you, it draws and colors the staging. This method does not believe in the realism in the distancing, but in the debauch, in the own irony of the text in the Feijão Com-Arroz Theater Bean com-arroz Rice either. Actors, so, will always be actors theater feijão-com-ar com-arroz rice or actors speak papers.

To what they love the theater, the paper in the method Marcello Ricardo Almeida boards social subjects wants in small pieces or ask synthetic teatro-feijão-com feijão-com-arroz com-arroz rice, he wants in pieces of period superior to an hour. When a piece, in the Theater-Bean-With-Rice it is staged, there can be transmit also messages of philosophical character (or monk) what will be able to act on persons making them modify his way of seeing the things or even his behaviour.

The people themselves which caused the problem, non-conscious of which it caused, are amused of his condition itself of people in the Theater-Bean-With-Rice. In this method the traditional "scenes" and “ acts “ were abolished, of the ancient theater. Because at his places “ phases “ and “ situations “ appeared, respectively.

The division in Situations and Phases, in the Theater-Bean-With-Rice, abolished Acts and Scenes. And with the abolition of the signed initials, improvement to the stage conception of the text. This, in the structure of the theatrical text, helps the conception to what they act and in the set of characters to whom they stage or direct the show.

Being a “ situation “ a short division of the piece, at a place, for example, a street; if the continuation of the piece is in the field, one changes of (Situation One for Situation Two or Situation One for Situation Two and so, successively, up to the Last Situation); the "phases", inferiors to the "situations", are followed, sequentially, by alphabetical letters (Phase To, Phase B etc., or the Only Phase); these are changing to the proportion of the arrival or when it went from the characters to the stage, with the indication to the front (Phase To – an elephant Enters in the bath, v.g., next, the words of the characters and, then, Phase B – the elephant Goes out and, in the sequence, other words). In the classic theater, the "acts" were used like a long division of the piece. Used in order that a street shown several places, for example, a field; changing for this you punish the "scenes".

In the method Marcello Ricardo Almeida, with own structure, according to the opinion of the playwright Fauzi Arap, is based very much on the polarization of the characters; the conflict is always present. The words are always dramatic (in the sense dramatúrgico, theatrical) and the public enjoys himself very much. He laughs at his urbane tragedy itself; this happens in the most varied orchestras: university pupils, pupils secundaristas or even in the basic, public teaching of theater, nocturnal, daytime theater, matinee. Different public of different places, of different classes they are amused a great deal of his urbane tragedy itself.

METHOD METHOD THEATER-BEAN-WITH-RICE – Of Brazilian origin; systematized by Marcello Ricardo Almeida, in the decade of seventy. This playwright – with more than 120 written pieces – received along his run, literary prizes. Recognized by the SBAT (Brazilian Society of Authors Teatrais/RJ) and when 513/2002 was published in the Magazine of Theater, the Method Theater-Bean-With-Rice is not the beginners' theater. It is considered a simple theater. It is not a basic method to the theatrical exercise. The conflicts are presented without showing courses. It re-calculates the size of the contemporaneousness of the theater that is done; they expose masked aspects of the daily life, other re-structures to do theatrical.

If methodu originates Latin, méthodos comes from the Greeks. The Method Theater-Bean-With-Rice is a way to approach to a stage end, in the stage, the paper is fulfilled under the masks of the debauch; it is the orderly way so that one proceeds ironically stage and critical to the sore spots; it is the set of technical proceedings that obey to the text and to the dramatically ironic interpretation. Pedagogic-dramatic method of the order when there is need to orchestra of theater.

Method Theater-Bean-With-Rice is the theater that tries to break with the woof and to maintain actors and orchestra in attitude of critical and ironic wakefulness. Irony in the etymological Greek sense; not irony with synonym of depreciation or free mockery.

The pieces in the Method Theater-Bean-With-Rice maintain conscious audience and not in state of vileness or hypnosis before the facts presented in the theatrical staging. It avoids, so, the immersion in the universe cenicamente built. It shows up in constant state of tension, in constant contradiction between you.