Dissertationen zum Thema „Politisk teater“
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Falcone, Maria Giovanna. „Verso una nuova (?) definizione di teatro politico: Strategie di scrittura scenica nelle creazioni multidiscilplinari di Motus“. Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/328412.
Der volle Inhalt der QuelleIn this investigation we propose to explore the definition about the notion of “politic” in theatre, by his application on the entire accomplished of Motus, an italian experimental theatre group. The assumption is to recover in the work of this collective the “politcal level” inherent in the differents fields of his productions: in primis the organizational one, explored since the debut in the theatral contemporary scene ( phase that we define as “islands in the net”) till the late occupation of spaces as the Valle theatre in Rome and Macao in Milano. In the first segment of our analisys we explore the beginning works (1995-2002), with an essential characteristic: the strong research about languages and the disaffirmation of the mimetic dimension, that describes the politic magnitude of this first segment. The second one is emblematized by instances where the politic speech is becoming more explicit: from project Pasolini to the scenic construction about the mythe of Antigone (2004-2010), the ideologic item and the theme of rebellion appear preponderancly, determining the group in the patterns that we define as “poetic terrorism”.
Rocha, Roberto Ferreira da. „Politics and performance“. Florianópolis, SC, 2003. http://repositorio.ufsc.br/xmlui/handle/123456789/86271.
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O tópico desta tese é o contexto político e estético de três produções contemporâneas de Coriolano (circa 1608), última tragédia romana de William Shakespeare (1564-1616). O principal enfoque da análise é o contexto político e estético da encenação, pelo Berliner Ensemble (1964), da adaptação feita por Bertolt Brecht do texto de Shakespeare, da montagem brasileira (1974), dirigida por Celso Nunes e estrelada e produzida por Paulo Autran durante o período da ditadura militar, e da produção da Royal Shakespeare Company, de 1994-95, que se tornou grande êxito de público e crítica. As questões políticas presentes no original shakespeariano são tratadas em capítulo à parte. Os pressupostos teóricos que norteiam a análise das ditas montagens - a relação entre texto dramático e texto teatral, o interculturalismo teatral -também são expostos em capítulo próprio. Baseado nas teorias desenvolvidas de Marco de Marinis, Terry Eagleton, J. L. Halio, Patrice Pavis e W. B. Worthen, bem como os procedimentos da análise espetacular, proponho a tese de que o texto teatral não deva ser entendido como simples leitura ou interpretação do texto dramático, mas como obra autônoma, a exigir avaliação de suas qualidades intrínsecas. O texto teatral, no entanto, mantém com o texto dramático, que lhe serve de ponto de partida, relações complexas.
Baumgärtel, Stephan Arnulf. „Body politics between sublimation and subversion“. Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101974.
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Zamperini, Enrica. „Politica e corporeità sulla scena del teatro tragico: prospettive storico-religiose e antropologiche“. Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3426332.
Der volle Inhalt der QuelleL’idea che tra il corpo umano e la polis vi sia una relazione analogica che si esplica nell’immagine della città come corpo politico è presente nei primi testi greci antichi epici e lirici. Questa ricerca ha prestato particolare attenzione a quelle opere tragiche in cui tale rapporto si concretizza e dove l’analogia assume le forme del corpo malato dell’eroe tragico e del corpo della polis corrotto dalla stasis. Un intreccio tra dimensione politica e medicina reso visibile dall’uso di un lessico medico comune che si carica via via di significati e sensi diversi che concorrono a delineare la complessa figura dell’eroe tragico, la cui malattia (nosos), conseguenza di una colpa, si ripercuote sullo stato di salute dell’intera città. L’analisi degli eroi tragici (Prometeo, Aiace, Eracle, Edipo, Filottete e Oreste), condotta in una prospettiva pluridisciplinare, ha messo in rilievo non soltanto gli scambi linguistici tra lessico medico e lessico politico, ma anche le implicazioni concettuali che ne derivano, senza tralasciare gli aspetti di carattere antropologico e storico-religioso contenuti nel testo tragico.
Monforte, Enric. „Gender, Politics, Subjectivity: Reading Caryl Churchill“. Doctoral thesis, Universitat de Barcelona, 2000. http://hdl.handle.net/10803/1659.
Der volle Inhalt der QuelleThe main objective of this dissertation is to demonostrate how a gender and politics-oriented approach to theatre can help to subvert some of the patriarchal and conservative assumptions implicit in traditional theatre. In this respect, the three plays analysed share the presence of recurrent themes: patriarchal society, the nuclear family, colonisation at several levels (race, gender, sexuality), and the capitalist system.
Vaccaro, Luca <1987>. „ e : Francesco Maria Vialardi, fra filosofia, storia, politica e teatro“. Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amsdottorato.unibo.it/8614/1/Luca%20Vaccaro.%20Tesi%20di%20dottorato%20in%20Culture%20letterarie%20e%20filologiche.%20Ciclo%20XXX.pdf.
Der volle Inhalt der QuelleThe objective of this doctoral thesis is to trace, by using new and unpublished documents, the less-known biography and literary work of Vercelli’s writer Francesco Maria Vialardi. The work is presented in three main Parts: Part 1. A life in the glory of imperial heraldry, Part 2. The years before and after imprisonment, and Part 3. Lei che «spia sin quel che si fa nel globo della Luna». An explorer of the social and political life. The first Chapter covers the author’s life from his birth to his transition to adulthood. The second five-Chapter Part elaborates the period when the author was accepted in the prestigious Accademia della Crusca and his comment to the Tasso’s Conquistata, closing up with the period of his imprisonment in the Rome’s Santo Ufficio Prison. The second and third Chapters of the last part are dedicated to the analysis of Vialardi’s political and literary work. Faithful to the literary context of the Accademia degli Umoristi, his latest contribution «AMOR SOL MERTA Amore». Among the letters of Ridolfo Campeggi to Maffeo Barberini, the revision of the poem of the Lagrime di Maria Vergine and the wonderful theatrical representation in Bologna of the Quattro elementi (Four Elements) is a distinguished piece of work that creates a literary bridge between the settings of Rome and Bologna. Key elements of this last chapter are the unpublished correspondence between Cardinal M. Barberini and the poet R. Campeggi, as well as the Bologna’s play Quattro elementi (Four Elements).
Said, Ana Maria. „O projeto politico-pedagogico do Teatro de Arena de São Paulo“. [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252232.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Mestrado
Hackman, Julia. „"We're none of us at peace" : Creating resistance through theatre“. Thesis, Försvarshögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:fhs:diva-4501.
Der volle Inhalt der QuelleMinor Field Studies, SIDA
Fonseca, Alexandre Torres. „Paulo Francis, do teatro à politica: "perdoa-me por me traíres"“. Universidade Federal de Minas Gerais, 2001. http://hdl.handle.net/1843/VCSA-6UZQQ4.
Der volle Inhalt der QuelleEsta dissertação analisa, dentro de um enfoque político, a atuação de um intelectual brasileiro, Paulo Francis, no final dos anos 50 e início dos 60, especificamente até o Golpe de 1964. Um intelectual que escrevia diariamente em um jornal da grande imprensa, o Última Hora. É feita inicialmente uma discussão sobre o que é um intelectual. Depois, mostram-se três momentos da atuação do intelectual Paulo Francis. No primeiro, apresenta-se o começo da sua carreira como jornalista que, como crítico teatral, ergueu um modelo cultural a ser seguido e por meio da crítica conseguiu influir com sucesso na mudança do panorama teatral brasileiro. Em um segundo momento, demonstra-se como, após o sucesso com a crítica teatral, Francis tentou aplicar o mesmo modelo à política, com resultados muito pouco satisfatórios para ele e para o Brasil. Aponta-se ainda o descaso deste intelectual com a defesa das liberdades democráticas, e a influência negativa de interesses econômicos-financeiros na linha do jornal Última Hora e, aparentemente, também na atuação de Paulo Francis. Por fim, busca-se apontar como Francis, ao construir uma memória desses anos 50/60, distorceu alguns fatos. Essa tentativa teria como finalidade amenizar, ou mesmo desvirtuar, o seu comportamento e de seus companheiros de esquerda, tentando criar um novo passado que os redimiria de seus erros e enganos. Com isso, ele acabou por ajudar na criação de um lugar de memória.
Rodríguez, Morales Verónica. „Globalisation in David Greig’s Theatre Space, Ethics and the Spectator“. Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/401097.
Der volle Inhalt der QuelleEl objetivo principal de la presente tesis, titulada “Globalisation in David Greig’s Theatre: Space, Ethics and the Spectator”, consiste en llevar a cabo un extenso estudio monográfico de la dramaturgia de David Greig y su imbricación con el fenómeno de la globalización, poniendo un énfasis particular en cuestiones de espacio, ética y espectador. El corpus de este estudio engloba aproximadamente dos décadas, desde los años 1990 hasta el momento actual. Específicamente, las obras estudiadas en relación al tema delineado son Europe (1994), One Way Street (1995) [ambas en la parte titulada “Europe Plays”], The Architect (1996), The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union (1999) [ambas en la parte titulada “Vertical Plays”], Outlying Islands (2002), San Diego (2003) [ambas en la parte titulada “Bird Plays”], The American Pilot (2005), Damascus (2007) [ambas en la parte titulada “Encounter Plays”], Fragile (2011) y The Events (2013) [ambas en la parte titulada “Here Plays”]. Tras introducir la globalización de la mano de David Harvey, Zygmunt Bauman y Jean-Luc Nancy, el marco teórico-metodológico se centra en posicionar el trabajo de Greig en el contexto del teatro británico contemporáneo de corte político a través de la utilización de enfoques crítico-teóricos provenientes tanto de corrientes éticas (Emmanuel Levinas, Judith Butler) y estéticas (Nicolas Bourriaud, Claire Bishop, Jacques Rancière) como de estudios de afecto (Gilles Delleuze) que permiten enmarcar de un modo adecuado la forma dañada y porosa que revelan las obras de Greig. Se trata no tan solo de explicar la entrada del mundo real en las obras, lo cual provoca rupturas en su forma, sino también de examinar y explicar la retroalimentación que se produce entre el mundo, el dramaturgo, la obra, el espectador y, de nuevo, el mundo, en un movimiento afectivo circular que puede, potencialmente, conducir a la creación de ese mundo en el sentido que le da Nancy. La conclusión principal del trabajo apunta a que el teatro de Greig responde a la realidad de la globalización mediante complejas articulaciones del espacio que subrayan cuestiones éticas, dado que sugieren continuamente al espectador la profunda interconexión que nos une y nos hace corresponsables.
Geipel, Andrea [Verfasser], Jan-Hendrik [Akademischer Betreuer] Passoth, Massimiano [Gutachter] Bucchi, Jan-Hendrik [Gutachter] Passoth, Sabine [Gutachter] und Maasen [Gutachter]. „"Don't Act Like a Teacher" - How Science YouTubers become Experts / Andrea Geipel ; Gutachter: Massimiano Bucchi, Jan-Hendrik Passoth, Sabine, Maasen ; Betreuer: Jan-Hendrik Passoth“. München : Universitätsbibliothek der TU München, 2021. http://d-nb.info/1230552812/34.
Der volle Inhalt der QuelleCardoso, Letícia Conceição Martins. „O TEATRO DO PODER: Cultura e Política no Maranhão“. Universidade Federal do Maranhão, 2008. http://tedebc.ufma.br:8080/jspui/handle/tede/612.
Der volle Inhalt der QuelleFUNDAÇÃO DE AMPARO À PESQUISA E AO DESENVOLVIMENTO CIENTIFICO E TECNOLÓGICO DO MARANHÃO
Analysis of the cultural management of the governments of Roseana Sarney in Maranhão (1995-1998/1999-2001), designed by Maranhão Culture Secretary (SECMA) and Maranhão Culture Foundation (FUNCMA). It s searched to identify the field of cultural relations between actors and the State, taking as reference the speeches of those actors through interviews, analysis of the Activities Reports of SECMA/FUNCMA and reports in local newspapers. The Government of Roseana Sarney is located on the discussion of culture public policy in Brazil and a study about the culture state policies in the country which manufactured national symbols until José Sarney government as President of Brazil (1985 -1980), when was created the first Law of the Encouragement Culture (Sarney Law). It s observed that in the first time of the cultural management of Roseana Sarney (1995- 1997) a conception of culture identified with the heritage was predominated. And, in a second time (1998-2001), state interventions focused on a concept of popular culture . In both moments theatrical strategies are created, leading to a symbolic capital accumulation on the protagonist: the governor. But the cultural actors are active subjects in this play, also creating their visibility strategies. Thus, power dispute is developed through stage of power acts. In this context, the media is an important scene for the acquisition of symbolic power and can serve both as a group or another. The intention, therefore, is to explain how the relations between the State and culture are established; to know what strategies are used, why and by whom are developed, trying to identify if these relations can be considered a public policy of culture.
Análise sobre a gestão cultural dos Governos de Roseana Sarney no Maranhão (1995- 1998/1999-2001), concebida pela Secretaria de Estado da Cultura do Maranhão (SECMA) e pela Fundação Cultural do Maranhão (FUNCMA). Busca-se identificar o campo de relações entre atores culturais e o Estado, tomando como referência os discursos desses atores, através de entrevistas, da análise dos Relatórios de Atividades da SECMA/FUNCMA e notícias veiculadas em jornais locais. Para situar o Governo de Roseana Sarney na discussão sobre as políticas públicas culturais no Brasil, constrói-se uma trajetória das políticas estatais de cultura no país, que tenderam à fabricação de símbolos nacionais, até o Governo de José Sarney na Presidência da República (1985- 1980), quando foi criada a primeira Lei de Incentivo à Cultura (Lei Sarney). Observa-se que na primeira fase da gestão cultural de Roseana Sarney (1995-1997), predominou uma concepção de cultura identificada com o patrimônio . E, na segunda fase (1998-2001), as intervenções estatais concentraram-se naquilo que o órgão de cultura concebeu como uma cultura popular . Percebe-se que nos dois momentos são criadas estratégias teatrais, que levam a um acúmulo de capital simbólico na figura de uma protagonista: a governante. Mas os atores culturais são sujeitos ativos nessa encenação, criando também suas estratégias de visibilidade. Assim, a disputa pelo poder se desenvolve por meio da teatralização dos atos de poder. Neste contexto, a mídia constitui um cenário importante para a aquisição de poder simbólico, podendo servir tanto a um grupo como a outro. A intenção, portanto, é explicar como são estabelecidas as relações da cultura com o Estado; saber que estratégias são usadas, por que e por quem são desenvolvidas, tentando identificar em que medida essas relações constituem uma política pública de cultura.
Hallström, Camilla, und Nina Tegar. „Skolan i Dagens Nyheter : Specialpedagogik, politiska intentioner och mediaspråk - en textanalys“. Thesis, Stockholm University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8182.
Der volle Inhalt der QuelleVårt examensarbete skrivs inom specialpedagogik som fördjupningsspecialisering, därför ligger fokus på specialpedagogik som verksamhetsfält, diskurs och som synsätt.
I Sveriges största morgontidning Dagens Nyheter har det länge förts en livfull diskussion angående skolan och dess aktörer. De flesta människor har någon koppling till skolan och därför också åsikter om verksamheten. Blivande lärare får ibland anstränga sig för att inte tappa fokus inför olika viljeyttringar. I det skenet är det viktigt att studera debatten närmare för att se vad som skrivs och inte skrivs.
Syftet med uppsatsen är att granska dagens samhällsdebatt angående skolan, företrädesvis specialpedagogiken, i Dagens Nyheter, liksom att relatera debatten till tidigare forskning om skolans verksamhet.
Det empiriska materialet utgörs av ett antal artiklar från Dagens Nyheters avdelningar DN Debatt och Insidan. Utifrån dessa har en textanalys gjorts med inspiration från bland annat diskursanalys men även en hermeneutiskt tolkande ansats ligger till grund för uppsatsen.
Resultatet visar att specialpedagogikens verksamhet är ett oprioriterat område, istället fungerar de politiska och mediala arenorna som slagfält där ordet maktkamp väger tyngre.
Jonsson, Fanny, und Sarah Svensson. „Läroplanen som politisk styrning : En idéanalys och intervjustudie av begreppet undervisning i relation till förskolan“. Thesis, Södertörns högskola, Lärarutbildningen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-35391.
Der volle Inhalt der QuelleBESIA, VALENTINA. „Il Tricolore alla ribalta. Teatro drammatico e politica nel Risorgimento tra Italia e Francia“. Doctoral thesis, Urbino, 2018. http://hdl.handle.net/11576/2662490.
Der volle Inhalt der QuelleCain, Christine Lee. „Literacy, politics and power in California classrooms: Media, journalist, and educator ideologies“. Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/279934.
Der volle Inhalt der QuelleBrashier, Rachel Nicole. „Identity Politics and Politics of Identity| A Semiotic Approach to the Negotiation and Contestation of Music Teacher Identity among Early Career Music Teachers“. Thesis, University of Rochester, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978840.
Der volle Inhalt der QuelleIn this dissertation, I addressed early career music teacher identity as it relates to d/Discourse in the narratives of three second-year teachers. I drew on existing narrative research in the field of music education (Barrett & Stauffer, 2006, 2009; Bresler, 2006; McCarthy, 2007). I used Critical Discourse Analysis (CDA; Gee, 1990; Fairclough, 1992, 2012; Wodak, 1996) to identify the three main themes that emerged from data: (1) Official Expectations, (2) Encountering Music Teaching, and (3) Negotiation and Contestation. I then overlaid the Irvine and Gal (2000) model of language ideology onto the three themes drawn from data. This model is comprised of three linguistic processes: Iconicity, Recursivity, and Erasure. Finally, I discussed the process of how music teacher identity co-construction operates within the context of both identity politics and the politics of identity. I used these concepts to propose a possible explanation for how music teacher identity co-construction is affected by how d/Discourse flows through the socio-linguistic domain.
Kanyane, C. M. B. „The politics of resistance in the implementation of integrated quality management system“. Pretoria : [s.n.], 2010. http://upetd.up.ac.za/thesis/available/etd-04062010-154900.
Der volle Inhalt der QuelleGodoi, Rodrigo Camargo de 1980. „Entre comedias e contos = a formação do ficcionista Machado de Assis (1856-1866)“. [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270265.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem
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Resumo: Este estudo investiga, por meio de uma perspectiva histórica, os anos de formação do ficcionista Machado de Assis que, seguramente impelido pelo grande sucesso da estética teatral realista entre a jovem intelectualidade fluminense, a época reunida em torno do Teatro Ginásio Dramático, primeiro experimentou expressar-se por intermédio do teatro. Assim sendo, serão analisados neste trabalho, além de suas comédias, seus escritos críticos, suas traduções/imitações dramáticas, bem como sua atuação como censor do Conservatório Dramático Brasileiro. Contudo, a partir dos sinais patentes de enfraquecimento da "escola realista" frente à emergência dos gêneros teatrais ligeiros e musicados e da pouco calorosa recepção crítica de suas comédias encenadas, observaremos como Machado de Assis é impelido a traçar novos rumos para seu projeto literário, intensificando a produção de seus primeiros contos. Mas, comédia ou conto, a ficção machadiana deste período é profundamente marcada pelos princípios políticos liberais visivelmente presentes em sua produção jornalística
Abstract: This study investigates, through a historical perspective, the Machado de Assis' years of formation. Surely impelled for the great success of the realistic theater between the young intellectuality of Rio de Janeiro, by that time congregated around the Teatro Ginásio Dramático, he also tried to express itself by the stage. Thus, the objects of this work, beyond Machado's comedies, will be his critical writings, his translations and imitations of French comedies, as well as his performance as censor of the Conservatório Dramático Brasileiro. However, from the signals of weakness of the "realistic school" in front of the great success of popular sorts of theater and the disappointing reception of his staged comedies, we could observe how Machado de Assis will be impelled to trace new routes for his literary project, intensifying the writing of short-stories. But, comedy or short-story, the Machado's fiction of that period was deeply marked by politics principles, those evident mainly on his journalistic writings
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
Ulian, Eduardo Salles. „Teatro e transformações sociais: arte e política semeando a cena periférica“. Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-30112016-131639/.
Der volle Inhalt der QuelleThe art is the result of historical and social development, overall it has always been combined to the social transformations, especially the theater and its expression forms. Understand this process of formation and itself unfoldings, is essential to understand, how and what are the ways the dramatic art, which pursued in each historic time and how these changes have impelled new expression forms somehow, tightly in an international context marked by deepening of neoliberal politics, the advances of the named globalization and its consecutive dispute for speeches and space of performance from the peripheries. Amongst these protagonists groups which fight for acknowledgement, the theatrical movement has placed itself in a bruising way seeking out acknowledgement spaces and affirmation of the peripherical identities. Many are the proposals of artistic groups, however, the theater practice in community which presupposes to build and conceive a space that valorize the social, the reinsertion, the team labor, the communal practice and the social justice have raised large interests, specially, on Latin American groups, because have increased the perspectives of groups from empowerment idea and networking labor. From this sphere, the historic and social development of theater, its transformations and the consecutive appropriation of the groups from peripherical regions, from towns before a practice denominated theater in community that we lean over trying to explain the important character of this labor accomplished on towns peripheries in Latin American, to direct this sight to the São Paulo City periphery, in Cidade Tiradentes district for Pombas Urbanas Group, its history and actions, seeking out to perform along this process the significant transformations occurred on theater shape along the history, the possible unfoldings, seeking out for aesthetics concept until the appearance of the theater in community practice; the Pombas Urbanas touch to this practice and the results obtained in last years, as of a radical contextualization lightened of Cultural Studies Theories and the Latin American critic thought, seeking out to understand how the peripherical perfoming can make significant social transformations from theater in community practice
GENÚ, Luiz Felipe Batista. „O Teatro de Cultura Popular em três atos: articulações entre o teatro e a política em Pernambuco (1960-1964)“. Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/19421.
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FACEPE
Tomando como ponto de partida a ideia de que a cultura e a política estão ligadas de muitas maneiras, o presente trabalho teve por objetivo investigar a relação entre o teatro e a política em Pernambuco, durante o primeiro quatriênio da década de 1960. Para isto, selecionamos como referencial de pesquisa a trajetória do Teatro de Cultura Popular (TCP). Grupo teatral pertencente ao Movimento de Cultura Popular do Recife (MCP), o TCP estava ligado às forças progressistas e de esquerda que apoiaram as gestões de Miguel Arraes como prefeito do Recife (1960-1962) e, em seguida, como governador de Pernambuco (1963-1964). Iniciamos nossa narrativa pelo mapeamento das articulações entre intelectuais e artistas locais com as referidas forças políticas – aliança que proporcionou a existência do MCP/TCP. Em seguida, baseados nas reflexões do sociólogo Pierre Bourdieu, nos voltamos para os efeitos sobre o campo teatral do Recife da fundação do Teatro de Cultura Popular e de sua prática teatral, que se propunha a explorar manifestações culturais populares e a tratar de temáticas como o latifúndio, a exploração sofrida pelo camponês e pelo operário e o analfabetismo. Por fim, investigamos as construções de sentido urdidas em torno do TCP tendo como base a sua recepção por membros do campo teatral, da imprensa, de órgãos de segurança pública locais e por funcionários dos Estados Unidos da América. Igualmente, procuramos esclarecer as implicações relacionadas ao golpe civil-militar de 1964 para os membros do Teatro de Cultura Popular.
Taking as its starting point the idea that culture and politics are linked in many ways, this study aims to investigate the relationship between theater and politics in Pernambuco during the first four years of the 1960s. Thus, we have selected as a benchmark for research the trajectory of the Teatro de Cultura Popular (TCP). A theater group that was part of the Movimento de Cultura Popular (MCP), the TCP was linked to the progressive and leftist forces that supported the administrations of Miguel Arraes as mayor of Recife (1960-1962) and then governor of Pernambuco (1963-1964). We begin our narrative by mapping the connections between intellectuals and local artists and those political forces - an alliance that led to the existence of the MCP/TCP. Then, based on the reflections of sociologist Pierre Bourdieu, we turn to the effects of the foundation of the TCP and its theatrical practice – which aimed to explore expressions of popular culture while also dealing with issues such as land ownership, exploitation of peasants and blue-collar workers, and illiteracy – over Recife’s theatrical field. Finally, we investigate the construction of meaning around the TCP by members of the theatrical field, the press, local public security departments, and officials of the United States. Also, we try to clarify the implications of the 1964 civil-military coup for members of the Teatro de Cultura Popular.
Orozco, Lourdes. „El impacto de la politica teatral en el teatro de la ciudad de Barcelona (1980-2000)“. Thesis, Durham University, 2004. http://etheses.dur.ac.uk/3099/.
Der volle Inhalt der QuelleZavagnin, Anthony Joseph. „Politics in the classroom: teacher political disclosure and the decision-making of secondary social studies teachers“. Thesis, Boston University, 2012. https://hdl.handle.net/2144/12695.
Der volle Inhalt der QuelleSocial studies teachers face a dilemma when addressing controversial issues in the classroom. Research supports the incorporation of controversial issues into the social studies curriculum as a means of encouraging authentic debate and deliberation among students. While research supports student engagement with controversial issues, the literature is far from consistent as to the role that teachers should play during these lessons. An important question remains unresolved: should teachers divulge their personal opinions to students when teaching lessons involving controversial issues? To examine disclosure, this study asks what underlies teacher decision-making regarding teacher disclosure of personal political beliefs during social studies lessons that involve controversial issues. This multiple case study interviewed twenty secondary social studies teachers across seven suburban schools about how they made disclosure decisions. 15 of the 20 teachers in this study practiced some form of teacher disclosure. For the majority of teachers, disclosure depended upon contextual factors that included the age of students, personal connection to the topic, perceptions of the school and greater community, and the nature of the topic under discussion. While the teachers in this study discussed many factors that guided classroom practice, the most prominent factor involved personal understandings of the appropriate role of the teacher during class lessons. This study involved teachers with a variety of teaching experiences, and found that teaching experience had relatively little impact on how teachers practiced disclosure. Teachers also provided best practice recommendations involving disclosure. Those who did practice disclosure recommended that teachers share their personal beliefs when the topic related to the curriculum, and towards the end of the class lesson. Participants also believed that teachers should balance controversial issues and expressly covey their beliefs to students so that there is no confusion between the teacher's personal beliefs and the curriculum. This study concluded that instead of a focus on whether teachers should practice disclosure, the conversation should shift to how teachers should practice disclosure based on the best practice recommendations voiced by participants.
Botelho, Letícia Olano Morgantti Salustiano. „Engajamento e refuncionalização social do teatro: um debate entre Benjamin e Brecht“. Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-13072018-130157/.
Der volle Inhalt der QuelleThis work aims to reconstruct the debate between Benjamin and Brecht in the 1930\'s on the relation between formal resources and political engagement in Brecht\'s theatre works during the end of the Weimar Republic. To achieve so we will carry out a study of texts and staging of plays, with a view to surface then issues present in theoretical comments and interpretations by the authors. The path followed by this work is divided in four parts. In the first two parts we will deal with Brecht\'s critique to theatre as institution in its ideological content and with the beginning of the development of his project for social \"refunctioning\" of the theatrical production apparatus, in addition to the role of technique within this context, which is valued by Benjamin. In order to do so we will firstly reconstruct the aesthetical and political panorama of the historical period and consider the experiments with The Threepenny Opera and Rise and Fall of the City of Mahagonny. Subsequently, we will focus on the radio play and on The Threepenny Lawsuit, as well as on his \"learning play\" The Measures Taken. On a third part we will study the play Man equals Man, capital to such debate and understood by Benjamin as \"a model for epic theatre\". Finally, we will tackle the author debate as regards the use of parables by Kafka, which is to be compared to the use of parables by Brecht himself. It is intended to show that if at first there is a great approach of the authors\' prospects, in the last two parts of this work, different interpretations of the critical potential and the political effectiveness of epic theatre appear, especially around a tension, linked to a conflict of understandings between the gestural sphere and the form of the parable. The divergences are related, ultimately, to the different understandings of links between art and politics, as well as to the different notions of dialectics.
Teitle, Jennifer Rebecca. „Theorizing hang out: unstructured youth programs and the politics of representation“. Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2998.
Der volle Inhalt der QuelleKon, Artur Sartori. „Da teatrocracia: estética e política do teatro paulistano contemporâneo“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-18012016-135022/.
Der volle Inhalt der QuelleThis work attempts to investigate a certain theatrical body of works created in São Paulo since 2009, that is, after what was seen as an exhaustion of the cycle of politicization of the stage that began with Movimento Arte Contra a Barbárie (Art Against Barbarism Movement) in the nineties. Establishing simultaneously a continuation and a critique of a certain political theatre of Brechtian influence, the works here analysed are characterized by their scenic self-reflection, by the questioning of dramatic and text-centered theatre, and by the confrontation with the political and artistic avant-gardes failure. In the endeavour to comprehend critically the relationship between aesthetics and politics in this frame of contemporary plays, we try to promote the debate between these works and theoretical formulations by Jacques Rancière, Theodor Adorno, Hans-Thies Lehmann and other thinkers who localize and discuss a political sense in art beyond engagement.
Carneiro, Alexandre Soares 1963. „A cena admoestatoria : Gil Vicente e a poesia politica de corte na baixa idade media“. [s.n.], 1997. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269893.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo deste trabalho é evidenciar o modo de constituição de significados políticos de uma vertente ainda pouco estudada da obra de Gil Vicente. Para isto, buscamos rastrear os modelos de composição da poesia política de fim da Idade Média, implicados no quadro mais amplo e complexo da civilização de corte. Foi recuperando elementos deste âmbito mais extenso - desta Cultura do Poder à qual originalmente aquele conjunto de obras se integrava - que procuramos tornar manifesto o modo como um conjunto de textos vicentinos adquire um sentido político particular. Pois, tal como tantos outros autores do período, Gil Vicente construiu uma obra em que a problemática da instituição monárquica esteve presente de maneira vital. Esta vitalidade só pode ser apreciada se considerarmos as referências de que se nutriu, mediata ou imediatamente: por um lado, mostrando a importância, na cultura do período, de uma reflexão de natureza ético-política; por outro, indicando a recuperação inventiva dos temas, modelos e lugares-comuns da poesia política da Baixa Idade Média operada pelo autor português
Abstract: This thesis intends to point out the constitution of political meanings in the works of Gil Vicente. For this purpose, the patterns of composition of the political poetry of the late Middle Ages, within a broader and more complex background - the Court Society - were tracked. Thus, it was possible to show how a certain group of GV's texts acquires an specific political meaning. As for several other authors of the same period, in GV's works the subject of the monarchical institution was strongly present. This presence can only be appreciated if the references underneath it are to be considered. On the one hand, they show the importance, for the culture of the period, of an ethical¬political thought. On the other hand, they indicate an inventive remaking of the temes, models and common-places of the political poetry of the late Middle Ages accomplished by the portuguese author
Doutorado
Teoria Literaria
Doutor em Letras
Allwood, Charlie. „The Gran Teatre del Liceu in Catalan culture : history, representation and myth“. Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/7869.
Der volle Inhalt der QuelleLahann, Randall. „Teach First's Theory of Teacher Education for Social Justice: Distributive Justice and the Politics of Progressive Neoliberalism“. Thesis, Boston College, 2010. http://hdl.handle.net/2345/2929.
Der volle Inhalt der QuelleIn this critical ethnography I examined Teach First, the U.K. teacher education program modeled after Teach For America (TFA). Teach First described itself as "a unique business-led programme dedicated to addressing educational disadvantage by placing elite graduates in the schools that need them most" (Teach First, 2010). Teach First was thus problematically positioned at the crossroads of both neoliberal and progressive ideologies. My research addressed this problem by uncovering Teach First's theory of teacher education for social justice by applying a framework developed by Marilyn Cochran-Smith (2010) to interviews, observations, and artifacts that I collected at the 2008 Teach First Summer Institute. I then critiqued this theory using the tools of "Policy Sociology," a British research tradition that examines the political, ideological, and economic assumptions that drive education policy. My research led me to identify Teach First as a "progressive neoliberal" (Lahann and Reagan, in press) organization which is driven entirely by a theory of teacher education for social justice based on the idea of justice as distribution. This theory explains why the staff of Teach First appreciated the organization to have a mission of social justice while at the same time endorsing and promoting neoliberal policies which conflict with many theories of teacher education for social justice that draw from theories of justice as recognition
Thesis (PhD) — Boston College, 2010
Submitted to: Boston College. Lynch School of Education
Discipline: Teacher Education, Special Education, Curriculum and Instruction
Ceccato, Maria. „Teatro vocacional e a apropriação da atitude épica/dialética“. Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-20052009-134418/.
Der volle Inhalt der QuelleThis paper critically records the experiment of implanting and coordinating the Projeto Teatro Vocacional do Departamento de Teatro da Secretaria Municipal de Cultura de São Paulo from 2001 to 2004. For that, it analyses action principles approaching theoretical and practical assumptions. This analysis is guided by the assessment of factors involved in the effectiveness of the projects artistic and pedagogical proposal, mainly in that it regards the process to be held by the called artists in the aesthetic production field through the articulation of a scenic speech from an emancipating pedagogy and aiming the occupation of the public space. It is strongly believed that these goals can be achieved through the understanding of an epic and dialectic attitude concerning the scenic topic.
Marucci, Francesca <1980>. „I luoghi della politica - la politica dei luoghi : la topografia della comunicazione negli anni della 'Rivoluzione Romana'“. Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1119.
Der volle Inhalt der QuelleThis dissertation focuses on the topography of communication during the “Roman revolution” (133-31 B.C.) and investigates the semiotic value of some public sites where highly significant political actions took place. The different strategies of communication at the time of the late Roman Republic are analysed by matching the memory of ancient sources to the investigation of the cultural value of four Roman sites. Chapter 1 reconstructs the political debate concerning the worship, the symbol and the site of the Dioscuri (from its association with an aristocratic gens to a symbol for the factio popularis). Chapter 2 revolves around the Temple of Concord, which constitutes as an actual place, as well as a political virtue and a slogan, a permanent endowment of the factio of the optimates. Chapter 3 examines cases of relationships developed in or on the theatre. The domus rostrata (Chapter 4) is taken as a legitimising element in the ideology of Pompeius, and one which was also appropriated by the subsequent proprietors of the house of Pompeius
Larsson, Maria, und Anna Andersson. „Samhällskunskapsläraren: Praktikern men framförallt taktikern : En kvalitativ studie av samhällskunskapslärares förhållningssätt till kontroversiella frågor inom politik“. Thesis, Högskolan Kristianstad, Fakulteten för lärarutbildning, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-18717.
Der volle Inhalt der QuelleHow do social science teachers handle controversial political issues in their teaching and how are those difficulties affecting their ways of teaching? What kind of role does the teacher adapt into while entering the classroom and what does teachers in general think of the fostering assignment that has been given to them? This study investigates what approach six social science teachers in the municipality of Helsingborg think of controversial policy issues in the classroom. The method of this study is based on a qualitative study where observations and interviews are the main sources to the following investigation in the problematic area. Several different components have been used to analyse the results of our collected empirical data. The conclusion is that teachers handle controversial political issues in their teaching situations in different ways. Difficulties mainly arises within situations where student are encouraged to unreservedly express themselves without violating anyone or when controversial issues are dealt in ways that students experiences as offensive. The survey contains examples of different roles and approaches and the effects after dealing with controversial issues. A conclusion of the survey is that there is no consensus on how the teacher should act. In assumption, the survey suggests, despite the fact that controversial political issues are often considered as a complex area in educational contexts, they are not to be avoided. This is because it is a contributing factor in the students developing process of becoming understanding and good citizens in our society.
Jonsson, Alex. „”Jag har aldrig trott på censur och kommer aldrig att göra” : En studie om samsynen mellan lärare och elev gällande politisk objektivitet i undervisningen“. Thesis, Linnéuniversitetet, Institutionen för statsvetenskap (ST), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85583.
Der volle Inhalt der QuelleMiranda, Rita Alves. „O teatro experimental de Brecht“. Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11641.
Der volle Inhalt der QuelleConselho Nacional de Desenvolvimento Científico e Tecnológico
This master s thesis aims to approach the passage of Bertolt Brecht through the theater history and the influence of his proposal for the contemporary art. Initially, we analyzed Brecht s criticism towards some traditional conceptions of theater and the path taken by the author to think the crisis of drama that had settled times before. Along the way were considered some references and possible objections from Brecht to Aristotle and the Aristotelian model of theater. In this controversial debate, we analyzed the references to the Greek philosopher, to clarify weather Brecht really wanted to reject Aristotle, or he proposed an appropriation of that formal model. It is known that the Aristotelian model of theater was removed from the Poetics of Aristotle and suffered different appropriations in different epochs, one of them being the bourgeois reading. This view is refuted by Brecht, when he analyzes the reality of bourgeois drama and realizes that it was necessary that it be revised immediately, because the theater is no longer affecting the people, in the sense that their willingness depended on a relationship of passivity on the part of viewers. Facing this crisis of drama, some artists tried to reformulate it without however succeeding. Brecht, when began his work, had knowledge of these attempts and facing their failures, the goal was to make theater inaugurate a new place in society. In search of the best place he has in mind a place of production of consciousness, radically opposed to the bourgeois-capitalist logic that sought the alienation of individuals. So, now located outside the debate of reckoning with the past, Brecht focuses on your present and faces the ideas of György Lukács which oppose Brecht by thinking art in a different manner and attributing to him the image of Formalist. We also deal whit defending Brecht from these charges. This dissertation, different from common aspect of texts on Bertolt Brecht is not intended to scrutinize the techniques developed by the playwright in the formulation of the Epic Theater, or talking about the formal aspects of his work, but it is based on a philosophical approach, passing briefly through a few moments of the author s thought until it reaches the stage considered as a mature conception of theater, which is also the last phase of his career, when he revised many of his previous positions. This phase is one in which he writes pieces like The Good Soul of Setsuan (1939-1942) and Life of Galileo (1938-1939). Being so, our focus was this mature conception of the author s work and the characteristics of his thinking at that time, thinking that we take as very Brechtian itself. We focus at this moment of his work, to show the compatibility of his thought and a contemporary conception of theater
Este trabalho tem por objetivo abordar a passagem de Bertolt Brecht pela história do teatro e a influência de sua proposta na fase contemporânea da arte. Inicialmente, analisamos a crítica de Brecht dirigida a algumas concepções tradicionais de teatro e o caminho percorrido pelo autor para pensar a crise do drama que se instalara tempos antes. Nesse percurso foram consideradas algumas referências e possíveis objeções de Brecht a Aristóteles e ao modelo aristotélico de teatro. Nesse debate polêmico, analisamos as referências ao filósofo grego, a fim de esclarecer se o que Brecht pretendia era rejeitar mesmo Aristóteles, ou mais uma apropriação daquele modelo formal. Sabe-se que o modelo aristotélico de teatro foi retirado da obra Poética de Aristóteles e que sofreu apropriações segundo as épocas, sendo uma delas a leitura burguesa. Essa leitura é rebatida por Brecht que revê a realidade do drama burguês e percebe que era preciso que ele fosse revisto imediatamente, pois o teatro já não atingia mais as pessoas, mas sua disposição dependia de uma relação de passividade por parte dos espectadores. Frente a dessa crise do drama, alguns artistas, tentaram reformulá-lo sem, no entanto, obter sucesso. Brecht, quando deu início a seu trabalho, já tinha conhecimento dessas tentativas e diante desses fracassos, o objetivo era fazer o teatro inaugurar um novo lugar dentro da sociedade. Em busca do melhor lugar, ele tem em mente um lugar de produção de consciências, opondo-se radicalmente à logica burguesa-capitalista que buscava a alienação dos indivíduos. Assim, localizado já fora do debate de acerto de contas com o passado, Brecht concentrase em seu presente e enfrenta György Lukács que se opõe a Brecht ao pensar a arte de uma forma diferente, atribuindo a este a imagem de Formalista. Nos ocupámos de defender Brecht também dessas acusações. Esta dissertação, diferente do aspecto comum de textos sobre Bertolt Brecht não se propõe a analisar minuciosamente as técnicas desenvolvidas pelo dramaturgo na formulação do Teatro Épico, ou a falar dos aspectos formais de sua obra, senão que se apoia numa abordagem filosófica, que passa rapidamente por alguns momentos do pensamento do autor até chegar à fase considerada como fase de uma concepção madura de teatro, que é também a última fase de sua carreira, quando ele reviu muitas de suas posições anteriores. Esta fase é aquela em que ele escreve peças como A Alma Boa de Setsuan (1939-1942) e Vida de Galileu (1938- 1939). Neste momento do trabalho nosso foco foi essa dada concepção madura da obra do autor e as características de seu pensamento nessa época, pensamento que tomamos como próprio brechtiano. Concentramos nossa atenção neste momento da obra, a fim de mostrar a compatibilidade desse pensamento e uma concepção de teatro contemporânea
Pennell, Beverley. „English K-6 syllabus and support document (1994) : imperilled by politics and paradigm shifts“. Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/119.
Der volle Inhalt der QuellePennell, Beverley, of Western Sydney Nepean University und Faculty of Education. „English K-6 syllabus and support document (1994) : imperilled by politics and paradigm shifts“. THESIS_FE_XXX_Pennell_B.xml, 1997. http://handle.uws.edu.au:8081/1959.7/119.
Der volle Inhalt der QuelleMaster of Education (Hons)
Pennell, Beverley. „English K-6 syllabus and support document (1994) : imperilled by politics and paradigm shifts /“. View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030818.091646/index.html.
Der volle Inhalt der QuelleLavoura, César Augusto Vargas. „A tradição do teatro amador em Lages e as disputas das posições de poder político“. Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87499.
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Ao estudarmos a história do campo artístico em Lages - SC, percebemos que manifestações de artes cênicas acompanham a formação social da cidade, perpetuando-se até os dias atuais. O reconhecimento da expressividade artística, obtido pelo Grupo de Teatro Galha Azul, considerado, em 1980, como um dos três melhores grupos de teatro de bonecos do mundo, no International Puppet Theater de Bielsko-Biala, na Polônia; a constância e o permanente resgate da memória das manifestações do passado e, sobretudo, a existência do Festival de Teatro de Lages - "FETEL" há trinta anos, asseveram a tradição do teatro amador nas atividades culturais da cidade. Interpretando as mudanças sócio-formais transpostas no discurso cênico, emergem subjacentes as impressões de auto imagem e as diversas perspectivas sobre a cidade. Ao analisarmos o conteúdo das peças produzidas e reproduzidas em Lages, identificamos a estrutura de sentimentos e significados condicionantes de cada período ideologicamente compartilhado. De outro lado, a condição de permanência do teatro amador esteve ligada a determinada teia de relações sociais que estabeleceram nestas manifestações diferenciadas atribuições de capital simbólico, que, tanto engendraram a caracterização das expressões artísticas, quanto influenciaram as posições de poder político na cidade.
Neves, Maria Aparecida Sanches Cardoso. „Práticas educativas de relevância no processo de ensino e aprendizagem em escolas públicas“. Universidade do Oeste Paulista, 2011. http://bdtd.unoeste.br:8080/tede/handle/tede/94.
Der volle Inhalt der QuelleData for the System of Evaluation of Educational Achievement of São Paulo (SARESP) revealed us that school indexes in some schools presented consecutive situations of successful in the students learning, standing themselves above the regional and state average, which allowed us a questioning about the practices of relevance that would have contributed to the possibility of success. So, the search aimed to examine the educational practices of teachers favoring significant results in students learning, developed in a school in the region of Jales, which was successful in the external evaluation of the official network of the State of São Paulo. Search subjects were teachers and students of that school. The search presented itself in a qualitative approach that involved gathering data through semi-structured interviews, questionnaires application, classrooms observation and documentary analysis of the pedagogical proposal and educational plans. In this aspect, the analysis of the school routine, especially educational practices of teachers practices that ensured the effectiveness of the school curriculum and problem-solving learning, has raised the comprehension and understanding of alternative teaching actions performed with a view to significant results. It was hoped to find in teaching activity relevant and responsible factors by the culture of success, as well as contributing to the dissemination of these data.
Os dados relativos ao Sistema de Avaliação do Rendimento Escolar do Estado de São Paulo (SARESP) nos revelavam que os índices escolares de algumas escolas apresentavam consecutivas situações de sucesso de aprendizagem dos alunos, situando-se acima da média regional e estadual, o que nos possibilitou um questionamento acerca das práticas de relevância que teriam contribuído com a possibilidade de acerto. Assim, a pesquisa teve como objetivo analisar as práticas educativas docentes favorecedoras de resultados significativos na aprendizagem dos alunos, desenvolvidas em uma escola da região de Jales, que foi bem sucedida na avaliação externa da rede oficial do Estado de São Paulo nos anos de 2007 a 2009. Foram sujeitos da pesquisa os professores e alunos da referida escola. A pesquisa se configurou numa abordagem qualitativa que envolveu o levantamento de dados por meio de entrevistas semiestruturadas, aplicação de questionários, observação de aulas e a análise documental da proposta pedagógica e planos de ensino. Neste aspecto, a análise do cotidiano escolar, em especial das práticas educativas docentes que asseguravam a efetivação do currículo escolar e a resolução de problemas de aprendizagem, suscitou a compreensão e o entendimento das ações docentes alternativas realizadas com vistas a resultados significativos. Esperava-se encontrar na ação docente fatores relevantes, responsáveis pela cultura de sucesso, assim como contribuir com a divulgação destes dados.
Canda, Cilene Nascimento. „Todo mundo pode fazer teatro: o teatro do oprimido e a formação político-estética de trabalhadores da indústria“. Escola de Teatro, 2013. http://repositorio.ufba.br/ri/handle/ri/27317.
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A pesquisa, de caráter qualitativo, visa a analisar o processo de formação estética e política de trabalhadores da indústria pelo viés do Teatro do Oprimido. Para tanto, foram estudadas as características do contexto social contemporâneo, ressaltando o campo do trabalho e da estética contemporânea, com vistas a delimitar a importância do Teatro do Oprimido para a formação de trabalhadores na atual conjuntura social. A coleta de dados foi norteada pela abordagem qualitativa de pesquisa, tendo como método a pesquisa-ação. Nos procedimentos metodológicos, o jogo foi identificado como principal estratégia de formação estética e política, sendo ressaltado em diversas pesquisas no âmbito da Pedagogia do Teatro e do Teatro do Oprimido. O trabalho apresenta as etapas do processo formativo do Grupo Embasart, composto por trabalhadores da Empresa Baiana de Águas e Saneamento, ressaltando desde a aplicação de jogos e exercícios, os desafios de inserção do Teatro do Oprimido em uma indústria, o processo de encenação de Teatro-fórum, até a análise das intervenções produzidas pelos espect-atores do espetáculo Cresça e Apareça. Os dados empíricos foram analisados à luz da mediação do processo formativo de trabalhadores, dos depoimentos coletados sobre a experiência e da observação das intervenções dos espect-atores em um espetáculo de Teatro-fórum, procurando compreender o lugar do sujeito como cocriador da experiência teatral. A descrição detalhada dos dados obtidos e os resultados da pesquisa ampliam a compreensão de uma Pedagogia do Teatro do Oprimido como experiência complexa, pelo seu caráter estético, político e educativo. No texto, a técnica do Teatro-fórum é analisada em uma perspectiva de formação de atores e de espect-atores, de cunho crítico e improvisacional, destacando-se a mediação do curinga, visto como educador que provoca reflexões e estimula a participação ativa da platéia, como ensaio para novas ações cotidianas. A pesquisa revelou a influência da prática do Teatro do Oprimido para a ampliação do olhar estético, para a aprendizagem improvisacional e para um maior empoderamento do trabalhador em seu contexto do trabalho. Em virtude dos parcos estudos sobre Teatro do Oprimido, no âmbito da Pedagogia do Teatro, o trabalho aponta novas direções de pesquisa, especialmente a estimulação sensorial do corpo e da voz dos participantes de um processo de formação estético-político.
The research, qualitative, aims to analyze the aesthetic and politic training process of industrial workers by the Theater of Oppressed. For both, the characteristics of the contemporary social context were studied, highlighting the work and contemporary aesthetic field, with a view to delimit the Theater of Oppressed importancefor the workers training in the current social conjuncture. The data collect was guided by the research qualitative approach, having the research-action like a method. In the methodological procedures, the game was identified like the main strategy of aesthetic and politictraining, been highlighted in several researches in the Pedagogy of Theater and Theater of Oppressedscope. The work presents the steps of the GrupoEmbasart‟straining process, compounded by EmpresaBaiana de Águas e Saneamento‟sworkers, highlighting since the application of games and exercises, the challenges of Theater of Oppressed insertion in an industry, the process of theater-forum staging, to the analyze the interventions produced by spect-actors of the spectacle Cresça e Apareça. The empiric data were analyzed by the mediation of the workers training process, by testimonials collected about the experience and by the observation of the espect-actors interventions in a theater-forum spectacle, searching to understand the site of subject like theatrical experienceco-creator. The detailed description of the obtained data and the research results expand the comprehension of a Theater of Oppressed Pedagogy like a complex experience, by its aesthetic, politic and educational character. In the text, the theater-forum technique is analyzed in an actor and espect-actorstraining perspective, by critical and improvisational essence, highlighting the wildcard mediation, seemed like the educator that provokes reflections and stimulates the audience active participation, like a test to new everyday actions. The research demonstrates that the Theater of Oppressed practices influence to aesthetic viewexpansion, to the improvisational learning and to a more worker empowerment in his work context. Because the scant studies about Theater of Oppressed, in the Pedagogy of Theater scope, the work appoint to new researches directions, especiallythe participants‟ body and voice sensorial stimulation of the aesthetic-politics training process.
Torres, Samantha. „Mídia e política : o teatro de rua como meio de comunicação radical“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/165474.
Der volle Inhalt der QuelleThis study aims to reflect about the work of the street theater groups, considering its as a means of radical communication, and to analyze what kind of discourse and actions are made by these groups and what the political effects of this practice. The idea of "political" concerns the origin of the word polis (city), and Ithka, (that which refers to ...), that is political in the sense of all that refers to the city, understood as a social life, and the human being constructed by such means and in constant relation with the same. The focus was the analysis of groups aimed at making art with a social debate function by placing alongside practices and discourses against hegemonic. This study universe, relates to the theory of Radical Media. The methodology used was cartography, and the materials used were: interviews with the public, interviews with group members, materials provided by groups and materials collected from observation of the presentations, in addition to the field diary. The groups of theather analyzed: A Tribo de Atuadores Ói Nóis Aqui Traveiz, Cambada de Teatro em Ação Direta Levanta Favela and the Grupo Trilho de Teatro Popular, all situated in the city of Porto Alegre in the state of Rio Grande do Sul. Finally, this study gives opportunity to visualize other forms of communication and stocks amid a city that is engendered from certain discourse that create exclusions and inequalities.
Nilsson, Christian. „Skoldisciplin, hjälp eller stjälp Den politiska debatten och forskning School discipline, help or hindrance Political debate and research“. Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32573.
Der volle Inhalt der QuelleOliveira, Fabiana de Paula Lessa. „Teatro e política na obra de Almeida Garrett: do setembrismo ao cabralismo (1838-1843)“. Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4036.
Der volle Inhalt der QuelleAlmeida Garrett was engaged as a liberal participating in political events of his country. After the Revolution of September 1836, Passos Manuel invited him to structure the Portuguese theater, a view which is considered a means of civilization. Garret drew up a plan based on three fundamental points: the construction of a building (future Queen Maria II National Theater, opened in 1846), a school for artistic training and the creation of a national drama and modern repertoire. Approved by Queen Maria II Decree of 15 November 1836, appointed inspector General of the Theaters, to coordinate activities, developed the project to be dismissed in July 1841. The purpose of this paper is to analyze garrettiano theater under the political point of view, the period from 1838 to 1843, as this is a phase of intense activity in the authors attempt to restore the Portuguese scene. As a corpus, we have: Um auto de Gil Vicente (1838), O alfageme de Santarém (1841), Frei Luís de Sousa (1843)
Gutowski, James Arthur. „Politics and Parochial Schools in Archbishop John Purcell's Ohio“. Cleveland State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1254177639.
Der volle Inhalt der QuelleEgeland, Helene. „Det ekte, det gode og det coole : Södra teatern og den dialogiske formasjonen av mangfoldsdiskursen“. Doctoral thesis, Linköpings universitet, Tema Kultur och samhälle, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-10033.
Der volle Inhalt der QuelleAvhandlingen analyserer hvordan mangfoldsdiskursen formes på det kulturpolitiske området ved å studere hvordan denne formes i så vel Södra teaterns virksomhet som i den statlige kulturpolitikken. Mens den statlige mangfoldsorienterte kulturpolitikken preges av en spenning mellom på den ene siden å forsvare kulturens autonome stilling og på en andre siden å forsvare det man kan kalle for integrasjonspolitiske hensyn, så uttrykker Södra teaterns arbeid med kulturelt mangfold en lignende kompleksitet. Denne kompleksiteten uttrykks gjennom de tre ulike aspekter av den mangfoldsdiskursen avhandlingen analyserer – det ekte, det gode og det coole mangfoldet. De tre aspektene uttrykker hver for seg både en søken etter autentisitet og en motstand mot autentisitet; en opplysningstro så vel som en selvrefleksivitet i forhold til hva det opplyses om; og til slutt at etnisitetsforskjeller i visse situasjoner forsterkes gjennom ytringer som vektlegger tradisjon, mens andre ytringer snarere hyller det som oppfattes som hybride uttrykk. Disse tre delanalysene visere hvordan kulturelt mangfold fungerer som et hyperkomplekst begrep innenfor kulturpolitikken da tilsynelatende ulike og motsigelsesfulle tolkninger kan eksistere side ved side. Således argumenterer avhandlingen for at mangfoldsdiskursen uttrykker et hyperkomplekst problem.
Curiel, Sandra Y. „El Teatro Dominicano: Instrumento Político y Voz de una Identidad“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849781/.
Der volle Inhalt der QuelleKlafke, Mariana Figueiró. „Heróis e coringas no palco : o teatro da arena prega a resistência“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143093.
Der volle Inhalt der QuelleThis dissertation has as central subject the musicals Arena conta Zumbi (1965) and Arena conta Tiradentes (1967) and aims to investigate how the Teatro de Arena handled the post-coup situation. Both performances are staged between the coup and the AI-5, corresponding to a period of attempt to resistance to a new repressive situation that stagnated a modernizing and democratic project which had importance in the imaginary of the group. The Teatro de Arena had great importance in the history of brazilian theater of the 1950s and 1960s, staging plays that showed social and political issues in the stage, and the civic-military dictatorship brought the need to recast the group's work. To analyze the plays, we build a path that passes through the historical and cultural context of the period in question and draw a series of theoretical articulations that illuminate the relationship between theater and political and the aesthetic debates with which Arena was dialoguing, nationally and internationally. We also propose a contrastive reading with the play O rei da vela, staged by the Teatro Oficina in 1967, and the films O desafio (1965), by Paulo Cesar Saraceni, and Terra em Transe (1967), by Glauber Rocha. We seek to discuss the aesthetic and ideological dilemmas that Arena faces when had to deal with the idea of criticizing a revolutionary movement unsuccessful without, however, rule out the idea of revolution. Creating the Sistema Coringa, which combine disparate theories such as Stanislavski and Brecht, Augusto Boal and the Teatro de Arena presents interesting problems that clarify their reading of the period and demonstrate an important course of debate accumulation at the national theatre.
Alves, Syntia Pereira. „Teatro de García Lorca: a arte que se levanta da vida“. Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/3363.
Der volle Inhalt der QuelleConselho Nacional de Desenvolvimento Científico e Tecnológico
Was Federico García Lorca a political agent? This is the question that frames the research here presented. However, this question must be split in two in order to be properly answered: first, who was García Lorca, taking into account his life and work; second, the several possibilities for political action. Politics is not restricted to the institutional realm, but permeates individual and societal relationships, being present both in public and private affairs, touching and being touched by art. A tragic artist, Federico García Lorca constitutes the main focus of this research. To find the politics in Lorca, it is essential to understand the relationship between his art and his life and society. With that in mind, the investigation starts from both external and internal analyses of Lorca's works. The external analysis explores Spain before its Civil War, given the importance of the period which is mirrored in Lorca's works. For internal analysis, the theatrical pieces Yerma and The House of Bernarda Alba were analyzed to investigate both the relationships among characters, and the social conventions shown in these works. Furthermore, a number of conferences and interviews with the author are employed in a dialogue with the theatrical works, with the goal of understanding his relationships with art and society. García Lorca's art, voiced by flamenco, communicated with his society and received an answer: death by firing squad. Lorca wasn't limited to his own time and space, but survives today, be it through his deeply disquieting art, or be it through his still mystery-shrouded death
Federico García Lorca foi um agente político? Sobre este questionamento se desenvolve a presente pesquisa. Porém, para responder a essa pergunta, é fundamental dividi-la em duas, voltando um olhar para quem foi García Lorca levando em consideração sua vida e obra e outro olhar para as diversas possibilidades de atuação da política. A política não está apenas no âmbito institucional, mas permeia as relações dos indivíduos e sociedades, se faz presente nos âmbitos público e privado, alcançando e sendo alcançada pela arte. Artista trágico, Federico García Lorca é o foco central deste estudo. Para buscar a política em Lorca, é fundamental entender a relação de sua arte com a sociedade e a vida do escritor. Para tanto, a investigação parte de uma análise externa e uma análise interna a obra de Lorca. A análise externa mapeia a Espanha que antecede a Guerra Civil Espanhola, tendo em vista a importância desta época que se encontra refletida na obra de Lorca. Para análise interna foram escolhidas as obras teatrais Yerma e A casa de Bernarda Alba, sobre as quais é feita uma análise das relações das personagens entre si e os códigos sociais que essas obras expõem. Além disso, são usadas para dialogar com as obras teatrais algumas conferências e entrevistas do autor, com a finalidade de entender sua relação com a arte e com a sociedade. A arte de García Lorca, entoada pelo flamenco, dialogou com sua sociedade e recebeu resposta desta: seu fuzilamento. Mas Lorca não coube em seu tempo e espaço e transborda para os dias de hoje, seja por sua arte, profundamente inquietante, seja por sua morte, até hoje envolta em mistérios
Laloumi-Vidali, Evangelia. „Social and professional foundations of teacher education in Greece : a comparative study of the politics of reform of pre-primary and primary teacher education with special reference to the 1982 law“. Thesis, University College London (University of London), 1988. http://discovery.ucl.ac.uk/10006550/.
Der volle Inhalt der QuelleSilva, Lajosy. „Historicidade, representação e sexualidade: uma leitura crítica das contradições do teatro contemporâneo em \'Bent\' de Martin Sherman e \'Amor e restos humanos\' de Brad Fraser“. Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-31102007-151206/.
Der volle Inhalt der QuelleThis work aims to discuss the historical concerned to the representation of homosexuality in the theater based on the reading of two plays: Bent by American playwright Martin Sherman and Unidentified Human Remains and The True Nature of Love by Canadian playwright Brad Fraser. These two plays were performed in 1979 and 1989 and allow us to develop an interpretation of time and space as historical representation of the contradictions of contemporary society. This work also aims to discuss the notion of genre and its limitations towards the representation of minorities as well as the homosexuality would be connected to wider issues such as social, economic, political and ideological issues.