Sobre uso dos corpos: teatro cômico, teatro anatômico

Using the idea of the anatomical theatre (a specialized structure for chirurgical practices of human body dissection in the first steps of modern science, in the XVII), the contribution analyses the work of Italian author/actor Angelo Beolco (1502-1542), called Ruzante, whom Dario Fo quote as his “maestro”. Misery, famine and exploration are ingredients of grotesques plot with “types” whose humanity is reduced to essential physiology of life and death: perceptions, fears and desires. As it shows human entrails, Ruzante’s theatre is near to a scientific experiment: a human body vivisection looking up to pathological analyses of impulses of characters, in the most cases a miserable’s community provoked by a new strong desire (for sex, food or money). Is it, as well, an anatomical theatre. The architectural structure materialize metamorphoses in perception that interests the modern medical and artistic culture. Human body becomes a scientific object referred to finishness phenomenology, of degeneration and total ruin, dismissed of all metaphysic implications. In the same way, Ruzante’s theatre make a show of human finishness, refunding theatre of his time on physiological bases. Actors as test animal being observed by spectators-surgeons, asked for the necessary cruelty. The methodology is a theoretical essay on a double performance experience (2002, 2012). The second one had a set inspired in the architectural form of anatomic theatre.