Actor and Character from the Perspective of Uta Hagen’s Method.

Regardless of the type of theatre researched and practiced at the beginning of the third millennium, what remains constant is the aspiration of theatre practitioners to confront texts of the great dramaturgy capable of generating revelation and emotion and in which we find characters structured on the narrow strip between misery and ecstasy. From this perspective, the present work discusses aspects of Uta Hagen’s method according to which the actor creates his own character through series of transfers from his personal experiences to the life of the character in the play. We advance the idea that Hagen’s method makes the connection between K.S. Stanislavski’s method and that of Eugenio Barba, respectively between the creation of the role through affective identification and the creation of the score by weaving characteristics of a mythical or contemporary figure with parts of the actor’s biography. [ABSTRACT FROM AUTHOR]