Lume Interdisciplinary Research Center   Research lines   1.   Theatrical Anthropology and Brazilian Culture. The particularity of the work carried out at LUME in relation to other similar Research Centers lies precisely in the study of the problem of the actor who represents and does not interpret, making use of a technique elaborated in tune with elements of Brazilian Culture. The actor, in the system of the theatrical community, is the sender of the codes, the spectator is the receiver who reads and interprets. At the moment he emits, the actor dilates, presents twice, and performs once. For his art as a communication system to function, the actor needs at least two fundamental elements: technique, the operative and objective, which establishes direct and rational communication, and the creative, which It is alive and constantly changing and establishes a subliminal, unconscious, sensorial communication with the viewer. (Approved by the Department/Scientific Council in 1993).   2.   Personal Dance. This line of research seeks to find a methodology for elaborating, coding and systematizing a personal technique of representation through the dilation and dynamization of the actor's potential energies; and how to transpose this personal technique into a show production process. (Approved by the Department/Scientific Council in 1993).   3.   Corporeal Mésis. It consists of the process of coding everyday physical and vocal actions, obtained by the actor through observation and subsequent imitation. The way this material is transposed to the scene is also studied. (Approved by the Department/Scientific Council in 1993).   4.   The Study of the Clown and the Comic Sense of the Body. For Lume, the Clown is not a character, but the expansion of the naivety and ridiculousness of each one of us, revealing the comedy contained in each individual. Therefore, every clown is personal and unique. In this way, through a methodology in constant development by LUME, this study allows aspiring clowns to come into contact with "ridiculous and stupid" aspects of their person, normally not exposed during everyday life. It is a research process that allows an experience of the economic use of the body, which is particular and different for each person; the discovery of personal rhythm (time) and an initial contact with each clown's logic, that is, their way of acting and reacting to the world around them. (Approved by the Department/Scientific Council in 1993).   5.   Musicalization and Theatricalization in Non-Conventional Spaces. Research into the possibilities of theatricalizing unconventional spaces, through the use of music, the exploration of the body/musical instruments relationship and the clown technique. This research has been carried out since 1995, through annual exchanges with musician-actor Kai Bredholt, from Odin Teatret based in Holstebro/DK. (Approved by the Department/Scientific Council in 1995).   6.   Daily Actor Training. Actor Technical Training: Works on the various technical elements that make up the daily training of LUME actors, providing concrete methodologies for the actor's instrumentalization. Navigates through basic themes of the actor's work, such as the transformation of weight into energy, the dynamics of physical actions in time and space, the relationship with tea nature, the relationship with the air, the work of joints and body segmentation, animal energy and the relationship between actors. Voice and Vocal Action: Its basic themes are: the voice and vocal actions; the body resonators; the images and color of the voice; the modeling of voice energy in space; the voice and the ceiling. From Energy to Action: The art of acting focuses on two essential elements: presence and presence. Presence concerns something intimate, a pulsation that permeates and runs through the entire conical space. The action, like the train track, is the structure through which the actor's energy manifests itself. Through the materiality of the action it is possible for the actor's intimate energy, his presence, to reach the spectator. Dynamics with Objects: It works on the actor/object relationship, seeking an exchange between the dynamics inherent to each one. Part of work that puts the actor in touch with their own rhythms and dynamics, that is, their intimate universe. Subsequently, the relationship with the external space is sought via the object, acting on it and letting the object also propose dynamics and influence the actor's actions. (Approved by the Department/Scientific Council in 1993).