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On this thesis, I propose new ways for musical education in the theater, based on the belief that the scene can be understood as an event guided and structured on musical foundations, supported by the similarity that exists in the ways of perception of time in music and drama. It is possible to understand the scene on the grounds of the concept of mousike, understood as the organization of sound, silence, movement and the spoken word in time and space. The mousike becomes an organizing principle of the artistic work as a whole. I use the definition of artistic chronotope, as presented by Patrice Pavis, as an instrument for the analysis and elaboration of scenic musicality. On that context, the matter of time becomes essential, and that forces the actor to develop his perception, apprehension and control. That has been a constant concern in the work of many metteurs en scene of the 20 century investigated in this research. The practice of music can be the starting point to find these means and elaborate others, which may be found in new proposals – existing in musical production of the 20 century and analyzed here that have changed existing paradigms on hearing. I propose the education of the actor for the musicality of the scene, based on hearing pedagogy, strictly connected to the conscience and the use of the body as center of musical action. In that way, the actor must become the organizer of scenic temporality. That can be reached through improvisation and games, resources that are present in theater and music pedagogies since the beginning of the 20th century. These concepts provide a kind of net learning in which specific knowledge as well as personal methodology elaboration are built collectively. As means of support for my pedagogical thought, I worked on a model based on the triangle Hearing-Writing-Performing. Improvisation and game in that circumstance are developed simultaneously, establishing a net of actions that benefits collective learning, research and technical learning. The music formation for the theater proposed in here must contemplate the specific needs of the scene and fulfill the actor with autonomy of creation and the building of knowledge in that field.

A musicalidade como arcabouço da cena: caminhos para uma educação musical do teatro