Anatomia da personagem : um estudo da presença cênica sob a ótica da neurociência das emoções

Abstract

This research proposes an interdisciplinary investigation into the nature of scenic presence, grounding it as a phenomenon of profound psychophysical integration. Through the convergence of the Stanislavski System of Acting and the fundamentals of the Neuroscience of Emotions, it seeks to unveil the mechanisms that sustain organicity and authenticity in theatrical performance. The study culminates in the conceptual proposition of "Scenic Flow", defined as a heightened state of readiness where technique transmutes into living biology. To this end, central elements of the Stanislavskian tradition, such as psychophysical action, experiencing (perezhivanie), and embodiment (voploschénie), are analyzed through the lens of António Damásio's Somatic Marker Hypothesis and Norman Doidge’s principles of neuroplasticity. The research expands its boundaries by dialoguing with Stanley Keleman's emotional morphology, David Le Breton's anthropology, and the ritual and compositional dimensions proposed by Gilberto Icle and Matteo Bonfitto for the actor's work. The theoretical foundation is further strengthened by Amy Cuddy's contributions on body language and Mihaly Csikszentmihalyi's psychology of the optimal experience. Methodologically, the work is organized as a systematic bibliographic review of a qualitative and hermeneutic nature, establishing intersections that validate the "Character Anatomy" as a process of deliberate neurosculpting. It is expected that this approach will not only provide scientific tools for actor training but also consolidate theatrical art as an essential field of investigation for applied neuroscience.