For Samuel Beckett, the attention given to vocal performance of performers who acted in his plays was fundamental to the completeness his dramaturgical project. Beckett directed some of his plays showing constant concern for how their words would be emitted on stage. However, for him, clear and logical understanding of what his characters speak was not more important than the relationship between the sounds of words, silences and images on stage. The voice and the speech are plastic elements of composition of Beckett's scene as important as the others, composing a rigorous structure of activity, both corporal and vocal, which submits his interpreters to extreme experiences in their performances. The goal of this research is to investigate how Brazilian performers prepared themselves vocally to play Beckett's short texts. It is based on instances raised from the analysis of his theatrical work, starting from concepts, as the "performative voice" that seek to elucidate the vocality in his theater. Ten artists (directors, actors and actresses) with acknowledged experience in theater for at least ten years and who have professionally staged Samuel Beckett's play in the period from 1980 to 2012 in Brazil are being interviewed. The content of the interviews will be analyzed, Analysis Content's, a qualitative approach looking to establish from the responses, categories/topics witch characteristics be according to the theoretical references previously proposed.
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