Dissertations / Theses on the topic 'DAS DA-Theater'
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OLTOLINI, MARIA CHIARA. "Da romanzi per l'infanzia a serie animate per la TV: il giapponese "World Masterpiece Theater"." Doctoral thesis, Università Cattolica del Sacro Cuore, 2020. http://hdl.handle.net/10280/70987.
Full textThis thesis focuses on the Japanese practice of adapting foreign literary works into animation, considering the case of World Masterpiece Theater (WMT), an anthology of TV series produced by Nippon Animation since the mid-1970s, which epitomises a trend—Japanese studios approaching novels for children from the whole world, to turn them into long-running anime for television—started at least a decade before. The analysis of the historical context, as well as of the ties between the anime industry and the publishing system, allows to identify WMT as the televisive heir of zenshū (“collected works”) of foreign children’s books published in the country since the prewar period. Both zenshū and WMT series associate western literature with serialisation, have an educational function, and are marked with the cultural reputation of “classics” accessible to all thanks to popular medias. The adaptations of "Anne of Green Gables" and "A Little Princess"—as, respectively, "Akage no An" (1979) and "Shōkōjo Sēra" (1985)—have been given detailed consideration. Results of the examination are useful to pinpoint some patterns of the WMT as a genre, but also the role of the staff working on the series, and the increasingly importance of girls’ culture in Japanese animation.
Haderchpek, Robson Carlos. "A poetica da direção teatral : o diretor-pedagogo e a arte de conduzir processos." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284693.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa de doutorado se deu a partir de uma investigação sobre a arte da direção teatral. Nosso objetivo principal foi averiguar a possibilidade de se estabelecer um modelo referencial que pudesse ser utilizado como base na condução de um processo criativo. A partir de uma metodologia empírica, que se utilizou da análise de experiências práticas - espetáculos teatrais e atividades docentes -, e de rigorosa pesquisa bibliográfica, pudemos investigar a figura do diretor-pedagogo e propor o que chamamos de poética da direção teatral.Palavras-chave: Teatro; Poética da Direção Teatral; Pedagogia Teatral; Diretor-Pedagogo
Abstract: This PhD research happen since then an inquiry on the art of the theater direction. Our main objective was to inquire the possibility of establishing a reference model that could be used as base in the conduction of a creative process. From an empirical methodology, that it was used of the analysis of practical experiences - theaters spectacles and teaching activities -, and of rigorous bibliographical research, we could investigate the figure of the directorteacher and consider what we call poetical one of the theater direction.Key Words: Theater; Poetical of Theater Direction's; Education of Theater; Director-Teacher
Doutorado
Doutor em Artes
Merkin, Ros. "The theatre of the organised working class 1830-1930." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/4166/.
Full textChallinor, Jennie Rose. "Staging the court : the theatrical season of 1670-71." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6963/.
Full textClifford, Catherine Rebecca. "Performance spaces in English royal palaces, 1509-1642." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4658/.
Full textFrancis, Michael Barrie. "Victorian values and the Victorian theatre." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/59427/.
Full textTames, Elizabeth A. "Playing Monopoly : actor/manager Robert William Elliston (1774-1831) and the struggle for a Free Stage in London 1802-32." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19403/.
Full textCattell, Tracy Catherine. "The living language of stage management : an interpretative study of the history and development of professional stage management in the United Kingdom, 1567-1968." Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/70968/.
Full textFracalanza, Narahan Dib. "O teatro experimental da Socìetas Raffaello Sanzio: percurso e linguagem. Da palavra-imagem ao corpo-palavra." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-19082015-144315/.
Full textThis dissertation is part of the research that aims to investigate the discourse of materiality scenic of the Italian group Socìetas Raffaello Sanzio. The central focus in this first time is its history and experiences resulting. Through analysis of its trajectory, it aims to establish this research a study of the contemporary practice of the show that marks a dramatic break with the traditional model to propose new paradigms in the construction of the writing stage.
Barnett, David. "'Literatur ist dazu da, dem theater widerstand zu leisten' : textual problems and theatrical realizations in the later plays of Heiner Mueller." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307561.
Full textTrovo, Maria Caroline [UNESP]. "Um estudo das [possíveis] contradições da cultura no capitalismo do pós-guerra: uma abordagem do teatro da vertigem." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/99021.
Full textConselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O presente trabalho busca estabelecer as diretrizes de uma política estética eficaz na pós-modernidade, entendida aqui como o estágio mais avançado do capitalismo (e não como um conceito meramente estético). Para tanto, parte-se do esmiuçamento de um fundamental capítulo da história da modernidade estética - qual seja, o 'debate sobre o expressionismo'- bem como da relação entre Walter Benjamin, importante teórico da modernidade, e Bertolt Brecht, dramaturgo alemão vanguardista. Com isso, extrai-se ensinamentos e categorias interpretativas fundamentais à prática da crítica cultural, que são pensadas em relação ao grupo Teatro da Vertigem - manifestação cultural com origem na década de 90, na cidade de São Paulo (Brasil). Tal grupo apresenta como principal característica um tratamento diferenciado à categoria espaço, permitindo assim sua contraposição com a estética do mapeamento, tal como entendida pelo teórico Fredric Jameson em seu Pós-Modernismo: a lógica cultural do capitalismo tardio. Por outro lado, verifica-se também a presença, no grupo, de características que o aproximam da lógica da indústria cultural, fenômeno caracterizador da cultura na atualidade. Portanto, por meio da análise do grupo Teatro da Vertigem, que desponta como a manifestação cultural atual que mais se aproxima de uma estética emancipatória, adentra-se no universo das contradições culturais da contemporaneidade.
The present work aims to establish the directives of an efficient political aesthetic in the post-modernism, here defined as the most advanced stage of the capitalism (and not merely an aesthetic concept). Therefore, it departs from a detailed and fundamental chapter of the history of the aesthetic modernity - that is, the 'debate of the expressionism' - as well as the relation between Walter Benjamin, an important theoretician of modernity, and Bertold Brecht, a vanguard German dramatist. With this, lessons and interpretative categories fundamental to the practice of culture criticism are extracted, based on the relation to the Vertigo Theater - a cultural manifestation originated in the nineties, at São Paulo city (Brazil). This group presents as main characteristic a distinctive treatment to the category of space, permiting your contraposition with the aesthetic of special-cognitive mapping, as point the theoretician Fredric Jameson in his Post-Modernism: the cultural logic of tardy capitalism. Nevertheless, it is also verified in the group the presence of characteristics that approaches it to the logic of cultural industry, a characterizing phenomenon of the culture in the actuality. Hence, through the analysis of the Vertigo Theater group, which emerges as an actuality manifest culture closer to an emancipating aesthetic, it is possible to enter into the universe of culture contradictions of the contemporaneity.
Araújo, Rita de Cássia Lamino [UNESP]. "As crônicas portuguesas de D. João da Câmara na Gazeta de Notícias (1901-1905)." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94021.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
No fim do século XIX e início do século XX, o Rio de Janeiro passou por profundas transformações políticas, econômicas, sociais e culturais. Neste contexto, a colônia portuguesa desempenhou um importante papel, estando sempre presente de forma ativa nas principais decisões da cidade, por meio de suas instituições culturais e de benemerência, suas atividades sociais, artísticas, políticas e, em especial, jornalísticas. Faz-se necessário destacar, nesse período da cidade do Rio de Janeiro, a Gazeta de Notícias, fundada em 1875, por Ferreira Araújo, Manuel Carneiro, Elísio Mendes e pelos redatores portugueses, Henrique Chaves e Lino de Assumpção. A folha dava principal atenção às atividades literárias e, entre elas, a crônica que com uma linguagem leve e subjetiva, ganhou divulgação e se difundiu no Brasil com a modernização da imprensa, em meados do século XIX, popularizando-se entre os jornais cariocas. D. João da Câmara, dramaturgo e jornalista português, colaborou na A Gazeta de Notícias durante cinco anos, de 1901 a 1905, enviou de Lisboa crônicas sobre a sociedade e a cultura portuguesas, atingindo aproximadamente duzentas crônicas. Estes textos são uma rica fonte de estudos portugueses e da relação Portugal-Brasil no início do século XX. Em vista disso, esta dissertação tem por objetivo coletar, recuperar, comentar e divulgar esse material, praticamente desconhecido. Após a leitura e transcrição dos textos, abordamos o diálogo entre cronista e leitor; e o modo como o autor expressava...
In the late nineteenth century and the early twentieth century, Rio de Janeiro had radical changes in the economic, social and cultural aspects. In these circumstances, the Portuguese community played important role. It was extremely active in practically every field of city through its cultural and eminent institutions, its social, artistic, political activities, especially in the journalistic area. During this period of Rio de Janeiro city, it is necessary to point out Gazeta de Notícias which was founded by Ferreira Araújo, Manuel Carneiro, Elísio Mendes and by the Portuguese editors, Henrique Chaves and Lino de Assumpção in 1875. The newspaper put emphasis on literary activities among them, the chronicle with its subjective and soft language. The modernization of the press of Brazil in the middle of nineteenth century collaborated to promote the popularization of chronicle between the newspapers from Rio de Janeiro. From 1901 to 1905, D. João da Câmara, Portuguese journalist and playwright, collaborated on Gazeta de Notícias with his chronicles about the society and culture in Portugal. He wrote approximately two hundred chronicles, which were sent from Lisboa. These texts are an extraordinary information source for Portuguese studies and for the relation Portugal-Brazil in the beginning of twentieth century. Therefore, this master dissertation aims to collect, restore, comment and make public this material, practically unknown. After reading and transcription the texts, we approach the dialogue between writer and reader, and the way how the feelings’ writer... (Complete abstract click electronic access below)
Garcia, Rodolfo Vazquez. "As formas de escritura cênica e presença no Teatro Expadido dos Satyros." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-15052017-160040/.
Full textThis research discusses the possibilities of playwright and presence that the new technologies of the Digital Age offer to the theatrical phenomenon, based on the observation and thinking of the creation process of the augmented theater performances developed by the theater company Os Satyros during 2014. Following the action research methodology proposed by Michel Thiollent, the empirical investigations resulted in the dramaturgy and mise-en-scène of the seven performances of the project \"And so was the Cyborg Mankind made in seven days\". From the bibliographic review based on theater thinkers such as Béatrice Picon-Vallin, Josette Féral, Silvia Fernandes, Marcelo Denny and Jeniffer Parker-Starbuck, as well as social scientists such as Slavoj ?i?ek, Jürgen Habermas, Zygmunt Bauman, Manuel Castells and Shanyang Zhao, a series of scenes and investigations made in the project are analysed. The research aims to contribute to the discussion of the potentialities of contemporary theater. It adresses stage arts graduation and post-graduation students, theater directors interested in stage technology and hybrid stage artists.
Barbosa, Laura Melamed [UNESP]. "Relações entre escutar e dizer no processo de criação da interpretação: a influência da audibilidade na percepção dos recursos expressivos orais." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141882.
Full textRejected by Ana Paula Grisoto (grisotoana@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: Inserir a data de defesa na folha de aprovação. Corrija estas informações e realize uma nova submissão contendo o arquivo correto. Agradecemos a compreensão. on 2016-07-19T18:39:58Z (GMT)
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Por intermédio desta pesquisa pretende-se apresentar e fazer refletir, a partir dos resultados obtidos por meio de um processo pedagógico desenvolvido com estudantes do curso de Licenciatura em Arte – Teatro do Instituto de Artes da UNESP. O objetivo da reflexão e pesquisa desenvolvidas nessa pesquisa consiste em estudar a relação entre a estimulação das habilidades do processamento auditivo e a percepção auditiva da própria fala. Sendo assim, buscou-se verificar, ao estimularmos as habilidades do processamento auditivo e de processos correlatos, se modificamos a percepção auditiva a respeito dos recursos expressivos utilizados durante a gravação de uma leitura dramática, realizada por cinco estudantes de Teatro. Para complementar o conjunto de dados a serem analisados, incluímos as respostas de um questionário, a respeito do comportamento auditivo e de seus correlatos, aplicado no início e reaplicado seis meses após o término da pesquisa. Também contamos com informações relacionadas à elaboração da proposta expressiva para a leitura dramática. Os resultados indicaram uma pluralidade de respostas entre as (os) estudantes, o que nos permitiu refletir a respeito do processo pedagógico de cada uma (um), a partir de diversas relações comparativas. Apesar das (os) estudantes terem mobilizado para a leitura dramática diversos recursos expressivos relacionados à emoção e à intenção, poucas (os) os reconheceram auditivamente na gravação feita no início do processo. A partir de resultados, foi possível relacionar o proposto para a leitura dramática com o que foi percebido nas duas análises perceptivo-auditivas feitas pelas (os) estudantes, uma no início e outra no final da pesquisa. De modo que nos permitiu inferir conclusões propositivas, dentre as quais, destacamos o reconhecimento do quanto integrar a ação de produzir sonoridades orais, com a ação de “sentir algo”, pode ser relevante para atrizes e atores aumentarem a consistência em perceber auditivamente os recursos expressivos relacionados à emoção e à intenção que, geralmente, propõem, mas sem ouvirem-se, comumentemente. Ao término da pesquisa reconhecemos que de nada valeria realizá-la se não pudéssemos nos modificar a cada dia.
The present research aims to present and reflect from the results obtained through a pedagogical process developed with students of Arts and Drama degree of the Arts Institute of UNESP. The goal of the study consists of the relation between the hearing process abilities stimulation and the auditory perception of the own speech. This way, it will be verified if as long as the hearing process abilities and related processes are stimulated the auditory perception is modified concerning the significant resources used during a dramatic reading recording made by five drama students. In order to complement the data set to be analyzed, survey answers about the hearing behavior and related ones were included and applied at the beginning of the research and other ones six months after the end of the research as well as information related to significant proposal elaboration to a dramatic reading. The students were analyzed individually and the results indicated the plurality of answers among them which allowed us to reflect on the pedagogical process of each one from several comparative relations. Although the students have proposed to the dramatic reading many significant resources related to their emotion and to their intention, only few recognized, aurally, during the recording made at the beginning of this research. Based on results like this one, it was possible to relate what was proposed to the dramatic reading to what was understood in both auditory perceptive analysis made at the beginning and at the end of the research by the students. So, it allowed us to infer proposal conclusions which we would like to emphasize the recognition of how much we integrate the action of making oral sounds to the action of feeling something could be relevant to actresses and actors in order to make them more aware of increasing the consistence of auditory perception of significant resources related to the emotion and intention which they are only used to propose and not to hear. At the end of the research, we recognized it would not be worth making it if we could not modify ourselves each day.
Burg, Jason Ashmore. ""Remember where you are!" : the use of English cathedrals as sites of theatrical performance, 1928-2015." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7662/.
Full textBomfim, Fabiana de Souza. "História da matemática e cinema: o caso da criptografia na introdução do ensino de álgebra." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/45/45135/tde-14112017-150631/.
Full textThe present work describes a meaningful, socially and culturally contextualized learning approach in the introduction of Algebra teaching through the use of the movie The Imitation Game (2014), which brings elements of the History of Mathematics, especially the History of Cryptography. The proposal described presents the cinema as a previous organizer for Mathematics classes, in particular Algebra, with the purpose of promoting meaningful learning, in the sense of Ausubel, Novak and Hanesian (1980). The paper also describes activities in which there is an intentional use of the History of Mathematics in the construction of knowledge for the formation of a creative, critical, responsible and participative citizen, involving mathematics teachers and Elementary School students from a private school in Sao Paulo City. The paper also describes the conception of teaching of this school, in which the activities were carried out, in order to give them the due context.
Santana, Katiuscia Cristina. "As personagens-tipo na oralidade representada: um estudo da peça O juiz de Paz da roça, de Martins Pena." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8142/tde-28112013-103707/.
Full textBy focusing on the comedy O Juiz de Paz da roça, by Martins Pena, from the Romantic period of the Literature, we aim to present the relation between representation of the spoken language and the characterization of stock characters. Stock characters represent a society or a social group, which are presented in literary fiction in general. Based on the theoretical framework of Conversation Analysis, Pragmatics and Interactional Sociolinguistics, we start from the hypothesis that, just like actions in a play, spoken language plays a crucial role for the characterization of these characters, which are very common in the comedy of manners, which had Martins Pena as its precursor in Brazil. The construction of social types is possible because of the authors work of representing the spoken language at that specific time along with an environment where several stock characters interact. As well as lexical choices, forms of address and other linguistics elements feature the stock characters, taking into consideration the significance of the words and various relationships between the locutors and interlocutors, such as gender, age, degree of formality, politeness and intimacy in the context of the authors work. Thus, this dissertation presents an analysis of each characters role in the play, by analyzing non-verbal and verbal elements such as lexical forms, forms of address and phonological aspects in order to reveal how the typification and the hierarchy of the characters is constructed in the given play.
Barbara, Rodrigo Peixoto. "(Des)dobrando o teatro da crueldade: Nietzsche, Artaud, Deleuze e outros pensadores rebeldes." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7354.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The Theater of Cruelty is an Artaudian artistic manifestation that shook the representative Western aesthetic bases by returning the ritual, magic and life suppressed by Western theater to the performing arts, also highlighting controversial subjects / themes silenced by a ruling class, similarly as Friedrich Nietzsche and Gilles Deleuze did with their philosophical thoughts. In view of this, it is proposed with this Master's Dissertation, to (un)fold this Theater of Cruelty having as a theoretical subsidy, besides the studies of Antonin Artaud, the investigations of Nietzsche, Deleuze and some other rebellious thinkers. Through this unfolding, one studies the possible cruel plot given by the Philosophy-Art-Life conjunction and of that, the link between Tragedy, Dionysus and the Artaudian Theater. In view of this panorama, one wonders: what unites these cruel-artist thinkers? What do Nietzsche's Tragedy and the god Dionysus lend to the Theater of Cruelty of Artaud? To this end, the theoretical clause presented here rests on the attempt to account for a study that shows the rhizomatic agreement between these three thinkers and subversive thoughts having as central axis the Theater of Cruelty. Therefore, this theater is staged to propose a connection between Artaudian Cruelty and the revolutionary powers of the Nietzschean and Dionysian tragic.
O Teatro da Crueldade é uma manifestação artística artaudiana que estremeceu as bases estéticas representativas ocidentais devolvendo às artes cênicas o ritual, a magia e a vida suprimida pelo teatro ocidental, evidenciando, também, assuntos/temas polêmicos silenciados por uma classe dominante, similarmente como fizeram Friedrich Nietzsche e Gilles Deleuze com seus pensamentos filosóficos. Diante disso, propõe-se com essa Dissertação de Mestrado, (des)dobrar esse Teatro da Crueldade tendo como subsídio teórico, além dos estudos de Antonin Artaud, as investigações de Nietzsche, Deleuze e alguns outros pensadores rebeldes. Por intermédio desse desdobramento, estuda-se a possível trama cruel dada pela conjunção Filosofia-Arte-Vida e, a partir dessa, o enlace entre Tragédia, Dioniso e o Teatro artaudiano. A partir desse panorama apresentado, pergunta-se: o que une esses pensadores artistas-cruéis? O que a Tragédia de Nietzsche e o deus Dioniso emprestam ao Teatro da Crueldade de Artaud? Para tanto, o recorte teórico que aqui se apresenta repousa na tentativa de dar conta de um estudo que mostre o acordo rizomático entre esses três pensadores e pensamentos subversivos tendo como eixo central o Teatro da Crueldade. Logo, esse teatro se faz palco para propor uma ligação entre a Crueldade artaudiana e as potências revolucionárias do trágico nietzschiano e do dionisíaco.
Leite, Rodrigo Morais [UNESP]. "A (moderna) historiografia teatral de Décio de Almeida Prado." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154486.
Full textRejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize correções na submissão seguindo as orientações abaixo: - o item "resumo" deve ser apresentado em folha única. As mesmas regras servem para o item "abstract". Caso seja necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2018-06-27T00:23:40Z (GMT)
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Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize correções na submissão seguindo as orientações abaixo: - o item "resumo" deve ser apresentado em folha única. As mesmas regras servem para o item "abstract". Ou seja, o “resumo” deve constar em uma página e o “abstract” na próxima. Caso seja necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2018-07-05T12:59:42Z (GMT)
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A pesquisa apresenta uma reflexão sobre a historiografia teatral de Décio de Almeida Prado, importante crítico e historiador do teatro brasileiro. Intelectual ligado à terceira fase do movimento modernista, que alguns autores designam como a “Geração de 1945”, seu pensamento estético e historiográfico possui laços estreitos com uma certa concepção de mundo moderna, donde se explica o título conferido ao trabalho. A tese defendida objetiva demonstrar os diferentes imbricamentos existentes entre os ensaios de Prado sobre o passado cênico nacional e semelhante cosmovisão, procurando deslindá-los à luz de certos parâmetros como, por exemplo, a filosofia da história e algumas noções estético-teatrais que conformariam essa vertente de sua obra. Em que pese, contudo, o foco mais concentrado nos ensaios historiográficos, informe-se que suas críticas de espetáculos, produzidas ao longo de anos, não foram ignoradas, na medida em que fazem parte do escopo deste estudo, cujo projeto, dentro de suas possibilidades, é analisar o pensamento de Prado como um todo. Tendo isso em vista, para uma melhor compreensão do assunto, empreendeu-se uma comparação, que atravessa a pesquisa do início ao fim, entre o ensaísmo teatral de Prado e o ensaísmo literário de Antonio Candido, lembrando que ambos começaram suas carreiras juntos ao fundarem, em parceria com outros nomes, como Paulo Emílio Salles Gomes e Ruy Coelho, a revista Clima (1941-1944). Pelo fato de suas respectivas historiografias apresentarem muitos vínculos entre si, a ponto de ser possível afirmar que elas pertenceriam a um mesmo projeto intelectual, tal cotejo acabou se mostrando fundamental para as pretensões embutidas na tese, fazendo com que este trabalho se tornasse, à sua maneira, uma obra de historiografia comparada.
This research presents a reflection on the theatrical historiography of Décio de Almeida Prado, an important critic and historian of Brazilian theater. As an intellectual associated with the third phase of the modernist movement, which some authors call the “Generation of 1945”, his aesthetic and historiographical thinking has close ties with a certain conception of the modern world, which explains the title given to this paper. The thesis defended here aims to demonstrate the different overlaps existing between Prado’s essays on the country’s theatrical past and similar worldviews, aiming to address them in the light of certain parameters, such as the philosophy of history and some aesthetic and theatrical notions that shape this aspect of his writings. However, despite the more concentrated focus on his historiographical essays, the reviews of performances he penned over the years have not been ignored, to the extent that they are included within the scope of this paper, which is intended, as far as this is possible, to analyze Prado’s overall thinking. That said, in order to provide a better understanding of the topic, a comparison has been made, throughout the research from start to finish, between Prado’s theatrical essays and the literary essays of Antonio Candido, recalling that they both started their careers together when they founded, in partnership with other names such as Paulo Emílio Salles Gomes and Ruy Coelho, the magazine Clima (1941-1944). Given that their respective historiographies are related in many ways, to the point that it is possible to say that they belong to the same intellectual tradition, this comparison proved to be instrumental for the aspirations of this thesis, turning this paper, in its own way, into a comparative historiography.
Robilliard, Marie-Amélie. "Le répertoire du « Teatro da Cornucopia » [1969-1979]. Miroir d'une oeuvre théâtrale en période révolutionnaire." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030162.
Full textFrom 1969 to 1979, Lisbon’s directors’ theater Luis Miguel Cintra and Jorge Silva Melo shape a repertory that, first of all, is a response to the context in which their action takes place. In spite of their binding material conditions, their theater group is able to put forward a coherent programming which reflects the evolution of Portuguese society: bypassing censorship with classic authors until 1974, revolutionary euphoria between 1974 and 1975 (Brecht, Gorki) then, until the late seventies, an opening to Europe, through German and French playwriting (Chartreux and Jourdheuil, Théâtre du Quotidien, Horváth, Büchner and Karl Valentin). Their repertory combines engagement in the world, artistic exigency and the desire to educate the spectator. Just like Théâtre d’art, it is based on the renewal of repertory and on a dynamic programming. It is also the mirror of their theatrical work, reflected both in the texts chosen and in th! eir discorso (Strehler). Their artistic quest revolves three constantly reformulated aspects: criticism of society, representation of the revolutionary period and a language that emphasizes the detour and intercultural crosses to say the world
Conceição, Osvanilton de Jesus. "Do jongo ao jogo = uma proposta de treinamento popular para atores." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284933.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Essa pesquisa consiste na elaboração de uma proposta de treinamento popular para atores a partir da junção dos elementos musicais e movimentações presentes no Jongo desenvolvido no Quilombo São José da Serra, situado no Município de Valença no Estado do Rio de Janeiro, com aspectos metodológicos e teatrais presentes no sistema de jogos teatrais desenvolvido pela arte-educadora norte-americana Viola Spolin (1906 - 1994). Com a realização dessa proposta, visamos criar ambientes favoráveis para o desenvolvimento do potencial criativo, o alargamento da expressividade corporal e o aprimoramento vocal de atores, utilizando como parâmetro teatral os aspectos comuns ao teatro de rua brasileiro
Abstract: This research project aims at working up a proposal of popular training for actors by the junction of the musical and movement elements presented in the Jongo developed in the Quilombo São José da Serra, located in Valença, Rio de Janeiro, with the methodological and theatrical aspects presented in the system of the games developed by Viola Spolin (1906 - 1994).We aim at generating a propitious space for the development of the creative potential, the improvement of the body expression and the vocal enhancement of actors. In order to achieve this goal, we will use as a theatrical parameter the common aspects found in the Brazilian Street Theater
Mestrado
Artes Cenicas
Mestre em Artes
Saldanha, Marcelo Ramos. "Teatro da encarnação: contribuições do Teatro de Animação para a Teoloda Missão." Faculdades EST, 2012. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=373.
Full textEsta dissertação apresenta um princípio de teorização acerca do Teatro da Encarnação, uma prática artística e missionária desenvolvida pelo autor em seu la- bor pastoral, e sua relação com a teologia da Missão Integral. Sob a visão de uma dupla encarnação na figura do boneco, o Teatro da Encarnação é uma manifestação corporeificada do lúdico infantil, onde o adulto e a criança transformam-se em seres que dialogam num espaço de significados compartilhados. Como esse teatro encar- nado é uma apropriação missionária do teatro de animação, sendo uma manifesta- ção artística que mantém enorme semelhança com o ato de brincar, o abordaremos inicialmente como técnica, falando do ator, do boneco e da criança, a partir do en- contro do mundo concreto do adulto com a hermenêutica lúdico-sincrética da crian- ça. E posteriormente, a partir da filosofia da Vida de Michel Henry e da teologia da Missão Integral, o abordaremos como um potente meio de apreensão dos saberes próprios da Vida, que, em sua auto-doação a nós, constrói um universo simbólico rico em experiências, onde ambos podem ver-se como seres nascidos na vida, num espaço kenótico de múltiplas possibilidades de interação e transformação.
This dissertation presents an introduction to the theorization on the Incarna- tion Theater, an artistic and missionary practice developed by the author in his pasto- ral labor, and its relation with the theology of Integral Mission. Under the notion of a double incarnation by the puppet, the Incarnation Theater is a bodily manifestation of children's ludic or playful behavior, where the adult and the child become beings who dialogue in a space of shared meanings. As this incarnated theater is a missionary appropriation of animated theater, and as an artistic manifestation has great similari- ties with the act of playing, we will approach it initially as a technique, speaking of the actor, the puppet and the child, starting from the encounter of the concrete world of the adult with the ludic-syncretic one of the child. After, starting from the Philosophy of Life of Michael Henry and the Integral Mission theology, we will approach it as a powerful means of apprehension of knowledges of life itself, which, in its self-giving to us, builds a symbolic universe rich in experiences, where both adult and child can see themselves as life-borne, in a kenotic space of multiple possibilities of interaction and transformation.
Filho, Carlos Augusto de Oliveira Azevedo. "EstÃgio curricular: tensionamentos da racionalidade tÃcnica na formaÃÃo de professores de teatro." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=20083.
Full textA presente dissertaÃÃo consiste em um estudo relacionado à Racionalidade TÃcnica no processo de FormaÃÃo de Professores de Teatro, tendo como ponto de partida experiÃncias de EstÃgios referentes ao curso de Licenciatura em Teatro do Instituto Federal de EducaÃÃo, CiÃncia e Tecnologia do Cearà (IFCE-CE), em Fortaleza. Para a realizaÃÃo desta dissertaÃÃo foi efetivada aproximaÃÃo com reflexÃes inerentes à Racionalidade TÃcnica, em especial Ãs crÃticas desenvolvidas por Theodor W. Adorno e Max Horkheimer na obra DialÃtica do esclarecimento (1985). Como este estudo trata da anÃlise de uma FormaÃÃo Docente na Ãrea de Teatro, tambÃm houve aproximaÃÃo com estudos voltados a discussÃes relacionadas à FormaÃÃo de Professores, como artigos de Selma Garrido Pimenta (1995, 1996, 2005 e 2010) e de Dermeval Saviani (1991, 1994, 2005, 2007a, 2007b, e 2009), assim como ensaios de autores provindos do campo do Teatro, como Augusto Boal (2012) e Bertolt Brecht (2005), entre outros estudos. Foi adotado o materialismo histÃrico dialÃtico marxista como metodologia para a realizaÃÃo desta dissertaÃÃo que reÃne questionamentos voltados à FormaÃÃo de Professores de Teatro, com Ãnfase na formaÃÃo do citado curso, tendo como suporte documentos que orientam tal curso, reflexÃes a respeito da FormaÃÃo Docente, do Trabalho e da EducaÃÃo, destacados a partir de tensionamentos da Racionalidade TÃcnica identificados por meio de experiÃncias de EstÃgio curricular, expondo fatores relacionados Ãs condiÃÃes de FormaÃÃo e AtuaÃÃo de Professores de Teatro na educaÃÃo bÃsica da atualidade, negando resoluÃÃes inconsistentes e impulsionado pelas experiÃncias inerentes ao estÃgio curricular apontando alternativas.
The present academic paper consists of a study that analyzes the presence of Technical Rationality in the process of Teacher Training in the Theater, starting from the experiences offered by the undergraduate course in Instituto Federal de EducaÃÃo, CiÃncia e Tecnologia do Cearà (IFCE-CE) â in Fortaleza. In order to accomplish this work, it was made an approximation with reflections inherent to Technical Rationality, especially the criticism developed by Theodor W. Adorno and Max Horkheimer in the Dialectic of Enlightenment (1985), and the valorization of some aspects about the experiences derived from the Teachersâ Training Course, as a student. Since this study deals with teacher education in the Theater area, there was also an approach to works related to Teacher Training such as studies by Selma Garrido Pimenta (1995, 1996, 2005 and 2010) and Dermeval Saviani (1991, 1994, 2005, 2007a , 2007b, 2007c and 2009), also writers from theater, like Augusto Boal (2012) and Bertolt Brecht (2005).This paper also had the art educator Ana Mae Barbosaâs book (2008a, 2008b) âAnalyzes on the importance of art in education. The methodology adopted for the accomplishment of this case study was a mix of questions aimed at the Theater Teachersâ Training, focusing on the formation of that course. The reflections were supported on teacher education, work and education, and it brought to discussion some aspects derived from Theater Teaching and Theater as a Language, starting from the experiences and readings related to the Theater Teachersâ formation for the concrete picture of the work of theater teaching, guided by Marxist dialectical historical materialism.
Santos, Daniele Queiroz dos. "Entre montagens e constelações: um estudo sobre a mobilidade das imagens." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16132/tde-12122017-154113/.
Full textThis research presents a study about architecture\'s representations and imaginary, and its constructed space through the point of view of the mobility of images, from analysing and interpreting three cinematographic works that constitute the objects of study: Alice in the Cities (1974), Dogville (2003) and Solaris (1972). Each film is approached as to its characteristic presentation of space: the real (Alice in the Cities), the suggested (Dogville) and the imagined city (Solaris). Throughout the text, theoretical paths are drawn from connections between cinema and architecture, cinema and imaginary, and lead us to the technique of montage, showing how it can serve not only to the film narrative but also as a formative process of constructing images and meanings through the juxtaposition of pictures and the process of collision between them. By transforming frames of the cinematographic works into photographic reproductions, the Atlas Mnemosyne, panels of images by the German historian Aby Warburg, is called as a guide in the construction of constellations of images. Understanding the Mnemosyne process as a montage technique, photographic reproductions are transformed into other narratives through the constellations and galaxies of images, working with the concepts of scale, sizing, interval, approximations and jumps of images; movements that find parallel not only in cinema - closes, travelling, jumps in time and space - but also in the course within constructed space and in representations of architecture.
Machado, Bernardo Fonseca. "Iluminando a cena: um estudo sobre o cenário teatral nas décadas de 1990 e 2000 em São Paulo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-26022013-124848/.
Full textAt the end of the 20th century, the research theater as an artistic practice became theatrically plausible, culturally acceptable and economically viable in the city of São Paulo. This masters dissertation tries to investigate what were the conditions that enabled the consolidation of such theater resource. A generation of creators young people graduated at the end of the 1980s helped introduce new scenic production techniques in the city. To analyze the São Paulo scene in the last decade of the 20th century, I focus on two groups from the period: Teatro da Vertigem and Cia. de Teatro os Satyros. I analyze the trajectory of each group and try to show how they contributed, each in its own way, to the organization of certain theater practices in the capital city of São Paulo: the theater group Teatro da Vertigem, coming from the university environment, and the theater group Cia de Teatro os Satyros, engaged in the business management of its activities. Over the years 1990 and 2000, a structure was developed so that research could be done: public funding policies; creation of colleges in performing arts; definition of an agenda for language research and so on. Social experience and theatrical conventions were then combined to form a system that is continuously changing and generating new patterns of creation and artistic production.
Delgado, Lucindo Israel Dias. "Uma nova casa da cultura para o Mindelo, Cabo Verde." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/19191.
Full textO cineteatro Éden Park foi durante décadas a referência central na vida cultural e social do Mindelo e também de Cabo Verde, sendo considerada a sua capital cultural. Fechou em 2006, quando a cultura do cinema definhou, face à concorrência da televisão, e hoje encontra-se em deplorável estado de abandono e degradação, na “Praça” do Mindelo. Agora que a cultura da televisão também está a passar, no momento em que os poderes públicos se mostram – corretamente – sensíveis para a necessidade de desenvolver as indústrias criativas, em contexto em que música, Carnaval, dança e teatro são ativos cada vez mais importantes, em que o desenvolvimento social exige espaços em que a sociedade se encontre e reconheça enquanto tal, em que faltam espaços para a criação e apresentação das artes do espetáculo, em sintonia com exigências atuais da criação, é chegado, pensamos, o momento de pensar seriamente em devolver o Éden à economia, sociedade e cultura cabo-verdiana. Nesta investigação percorre-se a história urbana e cultural de São Vicente, necessariamente também do Éden, percorremos um leque alargado de equipamentos culturais (em Paris, Nantes, Estocolmo e Montemor-o-Velho), estudamos programas e observamos diferentes estratégias de entrosamento dos equipamentos na vida das comunidades que servem, observamos estratégias de que a componente arquitetónica é parte importante, mas nem sempre a essencial, estratégias que têm associados envelopes financeiros muito diversificados, estudamos – em processo de trabalho em que pudemos trocar impressões com Rui Horta e com Marlene Monteiro Freitas – os requisitos de centros de espetáculos com valências de criação e apresentação. Tudo isto foi ponderado na perspetiva da realidade cabo-verdiana e da área de intervenção, investigando diversas hipóteses morfológicas, tipológicas e construtivas. A proposta que emerge deste percurso de pesquisa reconhece a singularidade do Éden, salienta a sua importância enquanto lugar de memória, mas obstina-se em colocar a sua recuperação sob o horizonte do equipamento de criação e apresentação adaptado a exigências atuais das artes performativas, sob o horizonte de um equipamento que possa prestar à cultura, sociedade e economia serviços culturais-artísticos relevantes, que possa sustentadamente ambicionar a constituir o foco da vida social no Mindelo. A vida cultural e social já gravitou no passado em torno ao Éden Park e deseja-se que tal possa a vir acontecer de novo. Mas para que tal aconteça, o programa sempre será outro e exigirá profunda reestruturação do Éden do passado. Apesar de baseada em sistemático percurso de estudo e exploração projetual, não se encara a proposta como o preâmbulo dos aprofundamentos projetuais ao nível das especialidades e, de seguida, a passagem à obra. Uma proposta que se quer para as pessoas não pode furtar-se ao escrutínio por essas mesmas pessoas. Assim, encaramos a proposta como a base para um processo participado, em que a comunidade teria a oportunidade de pronunciar-se em relação a programa e forma, ao lugar que quer para as artes performativas no seu seio.
ABSTRACT: The Éden Park cinema theatre was for decades the central reference in the cultural and social life of Mindelo and Cape Verde, being considered its cultural capital. Closed in 2006, when cinema culture was unable to face the competition of television, the cinema was left in a deplorable state of neglect and degradation, in the "square" of Mindelo. Nowadays, even if the culture of television is also happening, the public authorities seems to be -correctly -sensitive to the need of developing the creative industries, in terms of the rising influence of music, carnival, dance and theater. The lack of spaces for creation and representation of the performing arts required by the social development, in which they can find themselves represented in harmony with current demands of creation, make us believe that it is time to think seriously in returning Eden to the Cape Verdean economy, society and culture. In this research we go through the urban and cultural history of São Vicente, necessarily of Éden as well, we cover a wide range of cultural equipment (in Paris, Nantes, Stockholm and Montemor-o-Velho), we study their programs and observe different ways how equipment’s can belong and engage the community it serves, we also remark strategies where the architectural components are an important part, but not always essential, in which are associated a very diverse financial envelope. Besides, we studied -in a working process in which we exchange impressions with Rui Horta and Marlene Monteiro Freitas -the requirements of entertainment centers with creation and presentation skills. Parallel to all this, was the consideration of the Cape Verdean reality and the intervention area, exploring various morphological, typological and constructive hypotheses. The proposal that emerges from this research trajectory recognizes the uniqueness of Eden, emphasizes its importance as a place of memory, but it is determined to place its recovery under the horizon of an equipment of creation and presentation adapted to the current demands of the performing arts, an equipment that can provide culture, society and economy with relevant cultural and artistic services, which can be ambitious enough to constitute the focus of social life in Mindelo. Cultural and social life was, in the past, highly centered around Eden Park and it is hoped that this may happen again. Éden Park has played, in the past, a significant role in terms of cultural and social life and it is hoped that this may happen again, however with a different program together with a profound restructuring process of the old Eden it used to be. Although based on a systematic study and project exploration, the project proposal is not simply considered as the preamble of a more detailed project regarding the specialties and then, the construction. A proposal that one wants for people cannot shy away from scrutiny by these same people. Therefore, we see the proposal as the basis for a participatory process, in which the community would have the opportunity to express itself in relation to program and form, as well as integrating the performing arts within it.
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Mippo, Daniela Manami [UNESP]. "O trágico e o cômico em A visita da velha senhora." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141454.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
É inegável que a sociedade com o passar dos anos tenha sofrido constantes transformações de ordem tanto social quanto econômica, o que não só promoveu uma mudança no homem moderno, como também passou a se refletir nas artes, possibilitando assim o surgimento do drama moderno como forma de representação desse homem em transformação e suas inquietações. Com o advento do drama moderno não se pode mais pensar em uma única maneira de se conceber o teatro, mas passa-se a considerar a existência do drama em sua pluralidade, na qual suas diversas manifestações buscam ora refletir o homem moderno tal qual ele se apresenta, submetido a um sistema cada vez mais desumano e mesquinho, ora propor um teatro engajado, cujo objetivo seria despertar o homem para que, saindo da inércia em que se encontra, comece a agir contra as injustiças veladas que se tornam cada vez mais frequentes. Friedrich Dürrenmatt, dramaturgo suíço, viveu em um período marcado pela guerra e suas consequências. Tal atmosfera somada a uma tendência de composição híbrida própria ao drama moderno resultaria em uma série de peças que refletem de forma crítica e irônica o homem de seu tempo. O dramaturgo em sua visão sobre a sociedade moderna defendia que nenhum gênero seria mais adequado para representá-la do que a comédia. Ainda que não excluísse a possibilidade do trágico, entendia que esse só seria possível em sua forma híbrida, a tragicomédia. Tomando uma de suas obras mais expressivas, o presente trabalho tem por objeto sua peça tragicômica A visita da velha senhora, publicada pela primeira vez em 1956, buscando analisar de que forma o trágico e o cômico manifestam-se dentro da peça, bem como a maneira como tais aspectos interagem entre si e com as demais características da peça, como, por exemplo, o grotesco. Ademais, se observou também o diálogo estabelecido entre Dürrenmatt e o Teatro Épico de Brecht, seu contemporâneo.
It is undeniable that the society over the years has undergone constant changes in both social and economic aspects, which not only promoted a change in modern man, but was also reflected in the arts, allowing the emergence of modern drama as a way of representation of the man in transformation and their concerns. With the advent of modern drama it is not possible to think of a single way of conceiving the theater, since now we can consider the existence of the drama in its plurality, in which its various manifestations now seek to reflect the modern man as it is. Therefore, some now propose a committed theater, whose goal would be to awaken the people out of the inertia that they are, urging them to begin to act against the veiled injustices that become more frequent. Friedrich Dürrenmatt, Swiss playwright, lived in a period marked by war and its consequences. This atmosphere coupled with a tendency to a hybrid composition in modern drama would result in a series of plays that reflect critically and ironically the man of his time. The playwright in his vision of modern society argued that no genre would be more appropriate to represent it than comedy. Although he does not exclude the possibility of the tragic, he understood that this would only be possible in a hybrid form, the tragicomedy. Taking one of his most significant plays, this work is focused on his tragicomic play The visit of the old lady, first published in 1956, seeking to examine how the tragic and the comic are manifested within the play, as well as how such features interact with themself and with the other features, such as, for example, the grotesque. Furthermore, it also noted the dialogue between Dürrenmatt and the epic theater of Brecht, his contemporary.
Nespoli, Elizabeth Maria. "Teatro da vertigem: construção poética e recepção. Estudo do campo de tensão que se instaura no encontro da proposição artística com seus receptores." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-26062015-161758/.
Full textThe object of the present research is theatrical reception. The methods and techniques employed here, like the study of case, participative observation and inductive and deductive analysis, aim to an approach of theoretical and empirical character of the tension field established when a play is updated, as an event in the perception of the spectators. The field research was accomplished between September 2010 and April 2013 through the monitoring of the creation process of the spectacle named Bom Retiro, 958 metros [Bom Retiro, 958 meters], by Teatro da Vertigem [Vertigo Theater], followed by a prospecting receptive activity throughout the season. It inquires about the possible power of theater to trigger some degree of destabilization in the cultural repertoire of urban men and women exposed to multiple stimuli from \"excited society\" (TÜRCKE), of subjectivities colonized by capitalism (CRARY) and relations organized around consumption (BAUMAN). The analysis and problematization of the procedures and principles invested by the group in creating the scenic apparatus, in conjunction with issues captured on listening to reception and elements taken from the horizon of expectation of artists and receptors of the play, may contribute to the debate about the place theater occupies and its relevance in contemporary society. This hypothesis is reinforced by the recognition that the link between theater and city, or the quest for \"intervention in the public imagination\" (ARANTES), mark the identity of the theater group movement (trend of contemporary scene to which belongs Teatro da Vertigem), responsible for the latest Brazilian theater renewal cycle started in the 1990s.
Rodrigues, Gabriela Rocha. "A recepção da tragédia Antígona, de Sófocles, na montagem de Luiz Paulo Vasconcellos." Universidade Federal de Pelotas, 2013. http://repositorio.ufpel.edu.br/handle/ri/2164.
Full textThis Master s Thesis uses the assumptions of Aesthetics of Reception as a tool for the analysis of the assembly of Antigone, by the director Luiz Paulo Vasconcellos, held in Porto Alegre in 1979, under the oppression of a military dictatorship. Hans Robert Jauss, the highest exponent of this theoretical thinking, conceives the relationship between the reader and literature based on the aesthetic and historical character of the same. The author directs his research having as guiding idea the reconstruction of the historical process of each work; in this process, the reader is an indispensable piece because it portrays as responsible for the mediation between the past and the present. For Jauss, it is in constant change of the horizon of the reader s expectation that the evolution of the history of literature inscribes itself. Thus, the literary work enables the reader to develop a critical awareness in relation to their usual values and perspectives, in addition to enabling the expansion of its horizons in historical praxis. To this end, it was hold a bibliographical and documental research. The theoretical basis of the work contemplates names such as Hans Robert Jauss, Luiz Costa Lima, Junito Brandão de Souza, Albin Leski, Gerd Bornheim, Clovis Dias Massa, and others. In addition, it is made a qualitative approach through the analysis of interviews with the director Luiz Paulo Vasconcellos and the actress Sandra Dani, as well the analysis of critiques, reports and interviews published by the press at the time. The resulting analysis of this study verifies the position of the interviewees and journalistic critics and delineates the relationship between their horizon of expectation and the reception of the sophoclean work. In this sense, this research reveals that the theatrical performance in times of exception provides a unique moment of reflection and resistance, because it gives the opportunity to the public to widen the view and understanding of the historical time which it is a part of.
Esta dissertação de mestrado utiliza os pressupostos da Estética da Recepção como instrumento de análise da montagem de Antígona, do diretor Luiz Paulo Vasconcellos, realizada em Porto Alegre, em 1979, sob o jugo de uma ditadura militar. Hans Robert Jauss, expoente máximo dessa corrente teórica, concebe a relação entre leitor e literatura baseando-se no caráter estético e histórico da mesma. O autor dirige suas pesquisas tendo como ideia norteadora a reconstrução do processo histórico de cada obra; nesse processo, o leitor é peça imprescindível, pois figura como responsável pela mediação entre o passado e o presente. Para Jauss, é na mudança constante do horizonte de expectativa do leitor que se inscreve a evolução da história da literatura. Dessa forma, a obra literária possibilita ao leitor desenvolver uma consciência crítica em relação a seus valores e perspectivas habituais, além de possibilitar a ampliação de seus horizontes na práxis histórica. Para tanto, realizou-se uma pesquisa de ordem bibliográfica e documental. A base teórica do trabalho contempla nomes como Hans Robert Jauss, Luiz Costa Lima, Junito de Souza Brandão, Albin Leski, Gerd Bornheim, Clóvis Dias Massa, entre outros. Além disso, realiza-se uma abordagem qualitativa mediante análise das entrevistas com o diretor Luiz Paulo Vasconcellos e com a atriz Sandra Dani, bem como a análise de críticas, reportagens e entrevistas publicadas pela imprensa da época. A análise resultante deste estudo verifica qual a posição dos entrevistados e da crítica jornalística e demarca a relação entre o horizonte de expectativa destes e a recepção da obra sofocleana. Nesse sentido, a pesquisa revela que a encenação teatral em tempos de exceção proporciona um momento único de reflexão e resistência, pois oportuniza ao público ampliar a visão e a compreensão do tempo histórico do qual faz parte.
Rogers, Jami. "Shakespeare and the thirties : representations of the past in contemporary performance." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2855/.
Full textAlmeida, Vanessa Silva. "Lamento e Luto na TraduÃÃo de Suplicantes de EurÃpides." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19836.
Full textEste trabalho tem o objetivo de analisar o luto e as lamentaÃÃes fÃnebres das personagens da tragÃdia Suplicantes, de EurÃpides, no contexto do teatro, da religiÃo e da polÃtica grega. Para isso, proponho a traduÃÃo da peÃa citada para o portuguÃs brasileiro, observando, por meio dela, o modo como os aspectos concernentes ao luto na GrÃcia antiga podem ser compreendidos por nÃs. A traduÃÃo proposta à feita a partir da ediÃÃo do texto grego estabelecido por Paley (2010), e apoiada em traduÃÃes existentes em lÃnguas modernas, como a portuguesa de Josà Ribeiro Ferreira (2012), a inglesa de David Kovacs (1998), a espanhola de Josà Luis Calvo MartÃnez (1995), entre outras. O primeiro capÃtulo apresenta algumas definiÃÃes gerais de teatro e discute o papel do tradutor de teatro em face dessas definiÃÃes; o segundo trata de modo mais especÃfico do teatro grego em si; o terceiro traz a traduÃÃo proposta com as notas e uma breve apresentaÃÃo de Suplicantes; e o quarto apresenta o estudo da peÃa-objeto no que tange Ãs aÃÃes dos personagens nas cenas que mostram as lamentaÃÃes, o luto e os ritos fÃnebres em suas implicaÃÃes teatrais, religiosas e polÃticas. Baseio-me, principalmente, em Loraux (1994), Alexiou (2002) e Storey (2008). Por fim, concluo com uma reflexÃo sobre o processo de traduÃÃo e sobre a contribuiÃÃo da traduÃÃo da peÃa-objeto para os Estudos ClÃssicos, bem como para os Estudos da TraduÃÃo no Brasil.
This work aims at analyzing the mourning and funeral lamentations of the characters in Euripidesâ Suppliants in the context of the Greek theater, religion and politics. For this, I propose the translation of the mentioned play into Brazilian Portuguese, observing throught it the way the aspects regarding to mourning in Ancient Greece can be comprehended by us. The proposed translation starts from the Greek text edition established by Paley (2010), and is supported by translations into modern languages, such as the Spanish one by Josà Luis Calvo MartÃnez (1995), the Brittish one by David Kovacs (1998), the Portuguese one by Josà Ribeiro Ferreira (2012), among others. The first chapter presents some general notions of Theater and discusses the theater translatorâs role in light of these definitions; the second one regards more specifically to the Greek Theater itself; the third one brings the proposed translation with the notes and a brief presentation of the Suppliants; the fourth one presents the study of the play regarding to the charactersâ actions in scenes of lamentations, mourning and funeral rituals in its theatrical, religious and political implications. In this chapter, I am mainly based on Lourax (1994), Alexiou (2002) and Storey (2008). Finally, I conclude with a reflection upon the translation process as well as the contribution of the translation of the play to the Classical and Translation Studies in Brazil.
Mate, Alexandre Luiz. "A produção teatral paulistana dos anos 1980: rabiscando com faca o chão da história: tempo de contar os prejuízos em percursão de andança." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-04122008-152310/.
Full textThis analysis focus on the theater made for adults in the city of São Paulo, Brazil, between the years of 1980 and 1990. Until now many researchers think that this was a lost decade in the theater realm, because they do not recognize the immense aesthetic value of the Brazilian drama in this period. Nevertheless, based on an extended documentation and statements of many artists who were active during those years, I affirm that the period was of a rich, polemic, and diversified production. On political terms, it corresponds to the end of a long and recent-ended dictatorship and to the first steps of new democratic era, which certainly are interconnected. At that time the artists lived an intense fight not only against the censorship, but also against the political and aesthetic prejudice from many leftists, and asked for an openly political agenda also in theater field. The groups under scrutiny are TUOV Teatro Popular União e Olho Vivo, (Popular Theater Union and Live Eye) that started in 1966 leaded by the director César Vieira (Idibal Pivetta); and Apoena/Engenho that started in 1979 leaded by its radical director, Luiz Carlos Moreira. Both groups are still active nowadays. In this work, I focus mainly on the epic and political treatment of their polemic performances of the play \"Apoena l.\" At the end I publish an extensive list of 2.042 performances of the period
Marques, Priscila Nascimento. "O Vygótski incógnito: escritos sobre arte (1915-1926)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-06102015-161300/.
Full textFrom all Vygotsky\'s works on art, two of them were edited and translated into several languages: the essay on Hamlet from 1915-6 and Psychology of art, from 1925. Both came to light in Russian in a single edition only in 1965. Between them, the author has produced extensively as a theatrical and literary critic. This production has appeared only in bibliographical listings, but remained, until very short ago, unpublished even in Russian. Thus, the objective of the present thesis is to contribute to overcome this gap in the divulgation of Vygotsky\'s initial work (1915-1926). The investigated corpus comprises a vast number of reviews and articles, mainly on literature and theater, plus a brief incursion in the field of plastic arts. From the survey and exam of this production, a selection of texts previously unpublished in Portuguese was translated directly from Russian. This material was thematically and chronologically grouped in eight axes: 1) theater and revolution; 2) literary criticism; 3) theatrical criticism on Solovtsov troupe; 4) theatrical criticism on Rubins Jewish theater; 5) theatrical criticism overview; 6) dance; 7) children\'s theater; 8) plastic arts. The thesis is divided in two main parts: the first is dedicated to the production of the known Vygotsky (essay on Hamlet and Psychology of art), while the second provides comments on the selected unpublished texts, whose translations are presented in the appendix. The Vygotsky-critic that we get to know from the examined material is someone with great aesthetical sensibility and a militant for the development of a qualified scene in the provincial stage. His perspective on art seeks to overcome the reductionism of a strictly formal approach as well as vulgar Marxist aesthetics.
Cabral, Judson Forlan Gonzaga. "Antonin Artaud: a vida e sua dimensão política." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2537.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
Antonin Artaud was a french artist that lived on 20th century. With his theater and lifestyle, he shattered several moral institutions and rules that guided life. Made his life and art a combat. For this same reason, was subject of several reprimands. Artaud, man of theater stage, worked as a film actor, playwright, costume designer, scenographist, illustrator, art critic, an active man among his peers. Begun threading the path of historical avant-garde, and his ideals, especially those connected to surrealism, were aimed at revive theatrical art so it could be used as the place of action on life. Theater as practice of itself. Artaud s works were crucial so he could draw a life that was beyond or earlier of a certain life perspective consonant with its standardizing mechanisms. Beyond Artaud and his theater, this research focus on Nietzsche and Foucault, addressing some concepts dear to those authors. The life of those three were lives that to a certain extent drawn over existence other ways to be part of it. They established an aesthetic of existence from designing their lives as art pieces. Therefore, the research focuses on life and its political dimension seen through quality of life and its experiments. In this sense, draws the authors thoughts for different kinds of political actions
Antonin Artaud foi um artista francês que viveu no século XX. Ele com seu teatro e estilo de vida abalou os diversos programas morais e instituições pelas quais a vida era balizada. Fez de sua vida e arte um combate. Por isso mesmo sofreu diversos tipos de correções. Artaud, homem de teatro, trabalhou como ator de cinema, foi dramaturgo, figurinista, cenógrafo, desenhista, crítico de arte, foi um ativo entre seus contemporâneos. Trilhando inicialmente a esteira das vanguardas históricas e de seus ideais, especialmente o dos surrealistas tinhacomo projeto revivificar a arte teatral para que a mesma fosse usada como o lugar de ação sobre a vida. O teatro como prática de si. A obra de Artaud foi fundamental para que ele pudesse traçar uma vida que se colocava além ou aquém de certa perspectiva de vida vigente com seus mecanismos normalizadores. Além de Artaud e seu teatro a pesquisa enfatiza Nietzsche e Foucault com alguns conceitos caros a esses autores. A vida dos três foram vidas que de certa forma traçaram sobre a existência maneiras outras de estar nela. Instituíram uma estética da existência àmedida que fizeram das suas vidas uma obra de arte. Portanto, a pesquisa enfatiza a vida e sua dimensão política entendida aqui na qualidade de uma vida no e pelos seus experimentos. Para tanto, busca pensar à luz dos autores outros tipos possíveis de politização
Torres, Carla Michele Ramos. "Em Cena: o teatro no Centro Popular de Cultura da União Nacional dos Estudantes (CPC da UNE) 1961-1964." Universidade Estadual do Oeste do Paraná, 2008. http://tede.unioeste.br:8080/tede/handle/tede/1740.
Full textThis study purposed to analyze the Popular Center of Culture of the national Union of the Students (CPC of the UNE) through the theater, in the period of its actuation between the years 1961 and 1964. The theater works is understood as a way of expression of the cultural practices of the social people from a determined epoch for this reason it presents in this research as an object of study and as historical source. We try to show how the history of this entity was being built during decades, such for researches as for its ex components through registered speeches. This way, when looking at the entity from the present questions, the several authors were appreciating some particulars from this group. To contextualize the theories and the practices of the CPC of the UNE, we examined the documentation produced by the group, such documentation very restricted, and the conceptions developed in the period by its members. We got to the conclusion that the CPC's universe was heterogeneous, it means, there were different concepts of art, of politics and of people. With the intention of amplifying the debates about the national theater and the popular theater, we observed the question which were discussed in Brazil in the epoch before the entity building, to understand its actuation in intellectual spaces, since the end of the 50's. We noticed that the CPC, in spite of the expression CPC of the UNE , didn't appear from the students' projects but from the aspiration which existed in the Arena Theater of amplifying the public and projecting on the stage subjects which expressed the national reality. The CPC's drama was studied with the aim of the comprehension how the authors of the theatrical texts conceived the office of theater. For it, we emphasize in the thematic plays, the characters' the representations, the language, the scene elements and the use of the narrative resource. This dissertation is inserted in the discussion of the popular culture, because in the theatrical works exist political conceptions, definitions of people and aesthetic referral back to an effective communication with the public
Este estudo propôs analisar o Centro Popular de Cultura da União Nacional dos Estudantes (CPC da UNE), no período de sua atuação, entre os anos de 1961 e 1964, através do teatro. A obra teatral é compreendida como uma forma de expressão das práticas culturais dos sujeitos sociais de uma determinada época, por isso ela se apresenta nesta pesquisa como objeto de estudo e como fonte histórica. Procuramos mostrar como a história dessa entidade foi sendo construída ao longo das décadas, tanto por pesquisadores como pelos seus ex-integrantes através dos depoimentos concedidos. Percebemos que os pesquisadores observaram a entidade cepecista através dos questionamentos que estavam vivenciando. Assim, em cada período foram valorizadas certas particularidades desse grupo. Para contextualizar as teorias e as práticas do CPC da UNE examinamos a documentação produzida pela equipe, bastante restrita, e as concepções desenvolvidas no período pelos seus membros. Notamos que no ambiente cepecista havia diferentes conceitos de arte, de política e de povo. Com intuito de ampliar os debates acerca do teatro nacional e do teatro popular, enfatizamos questões em pauta no Brasil no período que antecedeu a formação da entidade no sentido de entender a emergência do CPC da UNE por meio das discussões teatrais promovidas nos setores culturais e intelectualizados, desde os anos finais da década de 1950. Concluímos que apesar da expressão CPC da UNE , essa entidade não surgiu dos projetos estudantis e sim de aspirações de alguns integrantes do Teatro de Arena em ampliar o público teatral e projetar nos palcos abordagens relacionadas à realidade nacional. A dramaturgia cepecista foi estudada com a finalidade de compreendermos como os autores dos textos teatrais estavam concebendo a função do teatro. Para isso destacamos nas peças: as temáticas, as representações das personagens, a linguagem, o emprego de elementos cênicos e o uso do recurso narrativo. A dissertação em tela, está inserida na discussão da cultura popular, uma vez que é possível verificar nas obras teatrais concepções políticas, definições de povo e encaminhamentos estéticos voltados para uma efetiva comunicação com o público
Carvalho, Júlio César Brandão. "Aquisição da língua inglesa: curtindo curtas na sala de aula." Universidade Católica de Pernambuco, 2016. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=1201.
Full textThis research proposes the union of two practices that can contribute to the sociocultural training of an individual. On the one hand the acquisition of English in educational contexts as the main foreign language learned in most schools around the world, which is likely to be recognized as an international language and has played an important role with the possibility of an individual to be understood, in part at least, in most places, besides being the predominant language of the world media, film, television, music and computers, with emphasis on the Internet, even in countries where the United Kingdom or the United States have historically had little influence; and on the other, the aesthetic experience of the cinema, represented here by short films, with productions that can shed light on political and spiritual issues as well as provide catharsis and (new) prospects, opening our eyes to new ways of thinking, feeling of living and coexisting. Moreover, it is emphasized that if shorts are used properly in the school context, they prove to be a fantastic tool in the acquisition of the English language, while providing more chances for a better use, understanding, participation and assimilation making the lessons more communicative and dynamic, going beyond the stereotype that a film in class is only a distraction or "stalling". Thus, this work has as main objective to investigate the use of short films as a teaching resource in English language acquisition classes. Directed to the action and the autonomy of the student, it seeks to incite students, teachers and language professionals to (re)learn linguistic and extralinguistic skills in learning English as well as the importance of the alliance between language acquisition and film for school education with a natural and communicative approach. The theoretical foundation was based on authors like Chomsky (2006, 1976), Skinner (1957) and others to a presentation on language acquisition; Krashen (1987, 1985, 1983) and others about different languages teaching approaches in formal learning contexts or not, with an emphasis on Natural Approach; Dolz and Schneuwly (2006), Haydt (2006), Hedge (2000) with important considerations on the use of audio-visual in English-speaking classrooms within didactic sequences; Biskind (2009) and others to provide a reflection on a history / evolution of cinema with an emphasis on Hollywood productions. The use of shorts, as authentic materials can constitute a good tool for teaching and learning languages because they are interesting, use a real language, can be chosen for individual interests, illustrate the precise use of language in the target culture, and can help students to systematize his speech about what they see and hear on screen.
Silva, Rosely de Fatima. "Do ato heroico à construção da noção de responsabilidade do agente moral, paralelos entre a Ética Nicomaqueia e a Poética de Aristóteles." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-15042014-095541/.
Full textThe aim of this master degree dissertation is to investigate the theory of human action available in Aristotles Nicomachean Ethics. The aim is particularly to investigate the elements that constitute the criteria to determining the notion of responsibility of the agent and to identify if these criteria can be found in the theory about the imitation of human action in Greek tragedy available in Aristotles Poetics. In order to ilustrate this possible relation, it will be used Oedipus myth, as a paradigm of the discussion about virtue in heroic action, available in Sophocles tragedy, Oedipus-Rex.
Santos, Bárbara Tavares dos. "Poéticas da encenação : tessituras de experiências cênicas em abordagem feminina sobre a docência da encenação no ensino superior /." São Paulo, 2019. http://hdl.handle.net/11449/190987.
Full textResumo: Esta pesquisa trata de uma investigação sobre o campo da docência da encenação no ensino superior exercida por mulheres, tomando como referência fundante a experiência pessoal, permanentemente vivida de modo social e coletivo. Os objetivos do estudo foram os de(re)experienciar e discutir, de modo crítico, práticas cênico-pedagógicas da pesquisadora, mapear princípios, metodologias, expedientes de criação, cotejar e defender a noção de poética da encenação, bem como estabelecer diálogos temporais com quatro outras docentes de teatro e com estudantes egressos da Licenciatura em Teatro da UFT. Nesse sentido, este estudo, reflete e problematiza o papel de professores(as)-encenadores(as) na contemporaneidade e o ensino e a aprendizagem da encenação. Para tanto, a pesquisa tomou como referência interlocutores do Teatro, da Filosofia, da História e da Educação, principalmente Constantin Stanislavski, Vsevolod Meyerhold, Bertolt Brecht, Ariane Mnouchkine, Ingrid Dormien Koudela, Walter Benjamin, Henri Bergson, John Dewey, António Nóvoa entre outros. O dados analisados foram coletados a partir de diários de bordo da pesquisadora, matérias de jornais, relatos de experiências cênicas, avaliações de aulas e entrevistas semiestruturadas. Assim, à guisa de poéticas da encenação – constituídas coletivamente por meio da artesania, da experiência, dos entrecruzamentos e das deambulações – vislumbram-se caminhos para as criações cênicas e para a reflexão de aspectos metodológicos e epistêmicos... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research investigates the field of staging teaching in higher education performed by women, taking as basic reference the personal experience, permanently lived in a social and collective way. The objectives of the study aimed at critically re-experience and discuss the researcher's scenic-pedagogical practices, map principles, methodologies, creation expedients, collate and defend the notion of poeticsof staging, as well as to establish dialogues with four other dramateachers and students from the Theater/Drama undergraduate program at theUniversidade Federal do Tocantins, in Brazil.Thus, this study reflects and problematizes the role of drama staging teachers in contemporary times and the teaching and learning processes. To this end, this research took as reference interlocutors of drama, Philosophy, History and Education, especially Constantin Stanislavski, Vsevolod Meyerhold, Bertolt Brecht, Ariane Mnouchkine, Ingrid Dormien Koudela, Walter Benjamin, Henri Bergson, and John Dewey. The data analyzed were collected from the researcher's logbooks, newspaper articles, experience reports, class evaluations and semi-structured interviews with fellow drama teachers. The results shows the poetics of staging –collectively constituted through craftsmanship, within the experience of multidisciplinary intersections – are envisioned for scenic and staging creations and for the reflection on methodological and epistemic aspects of the process of teaching and learning of staging in... (Complete abstract click electronic access below)
Doutor
Leite, José Marcio Nerone Leite. "Estudos sobre o ensino do teatro na escola e a apropriação da teaoria crítica." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8381.
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This work develops a research of the State of the Knowledge with the objective of investigating how the Teaching of the Theater in the School Education has been discussed in the dissertations and theses of Graduate Programs Masters and Doctorate in Scenic Arts. We selected three older programs from public universities and from different regions that had the works available on the online page. They are Graduate Program in Performing Arts of the Federal University of Bahia (UFBA), Graduate Program in Performing Arts of the University of São Paulo (USP) and Graduate Program in Theater of the State University of Santa Catarina (UDESC). The theoretical basis of this work was the Critical Theory of Society, especially in Adorno, Horkheimer, Benjamin and Marcuse, who even with theoretical differences contributed to problematize the object. We find that theorists Walter Benjamin, Theodor Adorno and Marx Horkheimer of Critical Theory appear tangentially in the discussions. Benjamin is quoted in 9 works to discuss experience, narration, mimesis, modernity and childhood. Adorno in 1 work to highlight the importance of emancipation in education and Adorno and Horkheimer to highlight the critical reason. The teaching of the theater is considered important to develop human existence and the specific dimensions of creativity, the relationship with the community and a work only to learn the content of writing and does not have the show primarily as an end. The research developed was carried out by the Post- Graduation Program in Education of the Faculty of Education / FE of the Federal University of Goiás, in the MINTER agreement in Education UFG / IFMT 2015.
Este trabalho desenvolve uma pesquisa do Estado do Conhecimento com o objetivo de investigar como o Ensino do Teatro na Educação Escolar vem sendo discutido nas dissertações e teses de Programas de Pós-Graduação Mestrado e Doutorado em Artes Cênicas. Selecionamos três Programas mais antigos de Universidades públicas e de regiões diferentes que tiveram os trabalhos disponíveis na página on line. São eles: Programa de Pós-Graduação em Artes Cênicas daUniversidade Federal da Bahia (UFBA), Programa de Pós-Graduação em Artes Cênicas da Universidade de São Paulo (USP) e Programa de Pós-Graduação em Teatro da Universidade Estadual de Santa Catarina (UDESC). A base teórica desse trabalho foi a Teoria Crítica da Sociedade, especialmente Adorno, Horkheimer, Benjamin e Marcuse, que mesmo com diferenças teóricas contribuíram para problematizar o objeto. Percebemos que os teóricos Walter Benjamin, Theodor Adorno e Marx Horkheimer da Teoria Crítica aparecem de forma tangencial nas discussões. Benjamin é citado em 9 trabalhos para debater experiência, narração, mimese, modernidade e infância. Adorno em 1 trabalho para ressaltar a importância da emancipação na educação e Adorno e Horkheimer para realçar a razão crítica. O ensino do teatro é considerado importante para desenvolver a existência humana e as dimensões mais especificas da criatividade, da relação com a comunidade e em um trabalho apenas para aprendizagem do conteúdo da escrita e não tem prioritariamente o espetáculo como fim. A pesquisa desenvolvida foi realizada pelo Programa de Pós-Graduação em Educação da Faculdade de Educação/FE da Universidade Federal de Goiás, no convênio MINTER em Educação UFG/IFMT 2015.
Lima, Cleber de Carvalho. "O hipertexto como ponto de partida em processos de aprendizagem e criação da cena contemporânea." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-28022014-162725/.
Full textThis work investigates the proposition of hypertext courseware on contemporary scenic poetic elements as a starting point for theater creation and learning processes, having primarily relied, as a methodological input, on Michel Thiollent\'s action-research approach. The bibliographical review has resulted in hypertext courseware (MARTINS, 2006), to be published on the internet, about Teatro da Vertigem (São Paulo), having thus generated a multimode, hypertext material for educational use, which puts together theoretical texts, critical reviews, records of spectacles and processes, testimonials of artists, a description and analysis of creation processes and procedures, and figments of theater practice. The conduction and analysis of two learning and staging experiments held in the city of Campo Limpo Paulista (São Paulo, Brazil), comprising a group of theater novices and another group made up of amateur actors aged 18 to 42, allowed me to systematize some learning principles and methodologies of the contemporary theater. The theater game based on esthetic frameworks (KOUDELA, RYNGAERT, PUPO, MARTINS) as well as on collaborative approach procedures devised by ARAÚJO are the guiding pillars for the creation practices proposed during the experiments based on the educational hypertext as devised by the coordinator and further expanded by the players. Selection of theoretical references has drawn on such contemporary theater theorists as LEHMANN, FERRAL, FERNANDES, ARAÚJO, PAVIS, and SARRAZAC. The results may contribute to debates over the methodological approaches that bring together theoretical and historical studies, on one part, and collaborative staging practices, which might be useful for teachers, workshop coordinators and stage directors involving in a reflection over the contemporary theater creation and learning processes.
Moreira, Nelson dos Santos. "Lavoisier, da alquimia à química moderna: Teatro para a popularização científica e a educação em ciência." Niterói, 2017. https://app.uff.br/riuff/handle/1/4329.
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O principal objetivo desta dissertação foi fazer uma articulação entre ciência e arte para ressaltar a vida e a obra Antoine Laurent Lavoisier (1743-1794), o contexto histórico que marcou a transição da Alquimia para a Química moderna e, mais importante, para tornar o ensino de Química mais palatável, interdisciplinar e contextualizado historicamente. Nosso enfoque na encenação de uma passagem da história da Química advém de nossa própria história pessoal e profissional, tanto como professor de Química em colégios públicos e privados, quanto como ator e diretor de peças teatrais de cunho literário e educativo. Para tanto, foi realizado uma pesquisa de natureza histórica sobre a vida e a obra de Lavosier, sobre a passagem da Alquimia para a Química moderna e um breve histórico da Divulgação Científica e das iniciativas de se usar o Teatro como ferramenta didádica. A partir desta pesquisa bibliográfica foi construído um texto para servir de subsídio para a produção de um esquete teatral sobre a mesma temática. Encenamos e apresentamos a peça em varios espaços e realizamos uma pesquisa com o intuito de avaliar nosso trabalho. Construimos um texto de Teatro que pretende ser uma articulação entre Ciência e Arte, cujo principal protagonista foi Antoine Lavosier. Em nossas avaliações pudemos constatar a importância dessa linguagem como instrumento de divulgação cientifica e de aprendizado sobre ciência: os espectadores, de modo geral, compreenderam as discussões a respeito da teoria do oxigênio e as discussões epistemológicas que envolvem a construção do conhecimento cientifico. Como conclusão temos que o teatro oferece um leque de possibilidades para a popularização científica e a educação em ciência.
The main goal of this thesis was to make an articulation between science and arts in order to highlight the life and accomplishments of Antoine Laurent Lavoisier (1743-1794), the historical background that marked the transition from Alchemy to the modern Chemistry, and more important, to make the Chemistry teaching more palatable, interdisciplinary and historically contextualized. Our focus on Chemistry comes from our own personal and professional history, as a Chemistry teacher on private and public schools, but also as an actor and theater director of educational and literary plays. In order to reach those goals, a historical research was done on Lavoisier's life and achievements, on the passage from Alchemy to modern Chemistry and a brief history of the Scientific Dissemination and of the initiatives for the usage of theater as didactic tool. We staged the play on different places and we did a survey in order to evaluate our work. We developed a play that was designed to be na articulation between Arts and Science, with Antoine Lavoisier as it’s main character. We were able to find on our researches the importance of this language as a tool for scientific dissemination and for stududents of Science: the audience, in general, understood the discussions on the theory of the oxygen and the epistemological debates that covers the construction of scientific knowledge. The conclusion we have is that the theater offers a range of possibilities for scientific popularization and for education on Science.
Diba, Denise. "De ponto de drogas à Ponto de Cultura: juventude, teatro e promoção da saúde - o grupo Pombas Urbanas em Cidade Tiradentes." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/5/5137/tde-25102012-164958/.
Full textThe present dissertation is fruit of the researcher interest for the theatrical language and connections in healthcare field. In this clipping, we aim to know how the theater activities have been understood and operated through recent years in the work carried by the Instituto Pombas Urbanas in the Centro Cultural Arte em Construção, district of Cidade Tiradentes, analyzing if and as they can be related with the Health Promotion of young project participants. It is a qualitative research, of ethnography type, that we followed during one year the work carried through by the theatres group Pombas Urbanas in this Organization of the Civil Society of Public Interest (OSCIP) that returns its works toward the community. It was made an ethnography observation that included observation, participant comments, seventeen interviews half-structuralized with the actors from group Pombas Urbanas and juveniles from Núcleo Teatral Filhos da Dita, Turma Jovem and of the Turma Iniciante, beyond documentary analysis. We have analyzed which the preexisting relation between the participation in these activities, the reduction of the vulnerability and empowerment considered as important components of Health Promotion. As results we point in the studied case, the theatrical experience has contributed to participants health promotion, specially through the group communitarian theater, highlighting the listening, stimulating the dialogue and relations without hierarchy or competition among participants. Those life experiences have been making possible that they are considering an increase in their self-knowledge and feel themselves protected and supported once that they consider that the theatrical experience has been empower a solid increase of their social support net. It has also allowed the origins valorization, the social abilities development and have greater critical conscience concern at consumerism, work/ leisure and use of alcohol and/or drugs and questions related to sexuality, as the use of condoms and the choice of partners. All this experience has generated health because, jointly the previous mentioned questions, it has allowed the juveniles reflect and choose their life projects in a way that they feel accomplished and more satisfied, beyond achieving important interventions and politic actions in the community where they live
Hipólito, Eliane Souza dos Reis. "História da ciência aliada à dramaturgia no ensino de química: possibilidades e desafios." Universidade Estadual do Oeste do Paraná, 2016. http://tede.unioeste.br/handle/tede/3362.
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The forms of the History of Science approach to teaching has been the subject of numerous investigations among historians and researchers in science education and Chemistry, because it is considered that its inclusion in teaching could allow understanding the nature of science, as it covers the construction process of science and organization of scientific knowledge. In this research, our objective is to investigate how the History of Science allied to drama can contribute to Chemistry teaching and the perception of the students about the nature of science. We proposed the reading of texts on the lives of scientists and drama in the classroom, to high school sophomores, from a public school in the city of Toledo – PR. Our research has three main focuses. At first phase, we investigated which perceptions of science and scientists have students made from the readings and socializing in the classroom (seminars). In the second phase, our concern was focused on the textual production (screenplay writing) and theatrical presentation in groups, seeking to identify whether students have positioned themselves as authors. At last, we investigated the ideas of students about the possibilities and challenges of using the History of Science allied with drama in the classroom (testimonials), seeking to evaluate the project and its relevance to the Chemistry Teaching. The results obtained from the students suggests that contributed to the humanization of science for students to realize that science is not something isolated, but a human construction, which has discord in many ways, not being governed by endless formulas; that the scientist is a man of his time and can dispute power with other scientists, and can have only personal interests or suffer the consequences of their actions. Due to the difficulties encountered by students to position themselves as authors of the scripts, we believe that the reading habits greatly influence the way to relate to the text and interpret. The drama can be used to address the history of science, but there are many challenges to be overcome, both by the teacher and by the students
As formas de abordagem da História da Ciência no ensino têm sido objeto de inúmeras investigações entre os historiadores e pesquisadores em ensino de ciências em geral e em Química especificamente, pois se considera que sua inclusão no ensino pode permitir a compreensão da natureza da ciência ao abranger o processo de construção da ciência e de organização do conhecimento científico. Nesta pesquisa, nosso objetivo é investigar como a história da ciência aliada à dramaturgia poderia contribuir para o ensino de Química e a percepção dos estudantes sobre a natureza da ciência. Propusemos a leitura de textos sobre a vida de cientistas e a dramaturgia em sala de aula a estudantes do 2º ano do Ensino Médio de uma escola pública da cidade de Toledo – PR. Nossa pesquisa está centrada em três momentos. No primeiro investigamos que percepções de ciências e de cientistas os estudantes têm a partir das leituras realizadas e socializadas em sala de aula (seminários). O segundo momento foi direcionado à produção textual (escrita dos roteiros) e apresentação teatral em grupos, buscando identificar se os estudantes se posicionaram como autores. Por fim investigamos as ideias dos estudantes sobre as possibilidades e os desafios de utilizar a história da ciência aliada à dramaturgia em sala de aula (depoimentos), buscando avaliar o projeto e sua pertinência para o ensino de Química. A análise dos resultados obtidos junto aos estudantes sugere que contribuiu para a humanização da ciência, para os estudantes perceberem que a ciência não é algo isolado, mas uma construção humana, que apresenta discórdias de várias formas, não sendo regida por fórmulas sem fim; que o cientista é um ser humano do seu tempo e pode disputar o poder com outros cientistas, ter apenas interesses pessoais ou sofrer as consequências de seus atos. Devido às dificuldades encontradas pelos estudantes para se posicionarem como autores dos roteiros, consideramos que os hábitos de leitura influenciam muito a forma de se relacionar com o texto e o interpretar. A dramaturgia pode ser utilizada como estratégia didática para abordar a história da ciência, mas são muitos os desafios a serem vencidos, tanto pelo professor, quanto pelos estudantes
Costa, José Márcio da Silva. "As contribuições da formação em teatro para a construção da identidade de professores: um estudo de caso na rede municipal de educação de Guarulhos." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/16366.
Full textConselho Nacional de Desenvolvimento Científico e Tecnológico
The objective of this research is to understand the contributions of a formation in theater, as an element wich is part of a general program of permanent teacher s formation, to the constitution of the identity of the teacher. Identity is considered as it is proposed on Ciampa s theory, in wich identity is constitued through social relations, and definied as metamorphosis. It was opted to a qualitative theoric-methodologic aproach. The way it was done was a no-directive interview with two teachers, based on their life histories, one of them analysed in this research. It was done an analysis of the life story of a teacher that participates of a formation in theater in Guarulho s Municipal Education. It was concluded that this formation helps the teacher to improve himself in a total way, conecting his body, his way of acting and thinking, and to change his way to be as a teacher/educator and as a human being in his life
O objetivo desta pesquisa é compreender as contribuições da formação em teatro, como elemento que faz parte de um programa geral de formação permanente de professores, para a construção da identidade do professor. A identidade é tratada a partir da teoria proposta por Ciampa, na qual a identidade é construída nas relações sociais e definida como metamorfose. Para tal, optou-se por uma abordagem teórico-metodológica qualitativa. O procedimento adotado foi a entrevista não-diretiva com duas professoras, uma delas aqui analisada, com base na narrativa da história de vida. Foi feita a análise da história de vida de uma professora que participa da formação em teatro na Rede Municipal de Educação de Guarulhos. Percebeu-se que essa formação possibilita ao professor desenvolver-se de forma integral, entrando em contato com aspectos ligados a seu corpo, sua forma de agir e de pensar. Ao ter a oportunidade de atuar em teatro, o professor produz transformações em seu modo de ser professor/educador e em sua vida como um todo
Cabral, Ivam. "O importante é [não] estar pronto - da gênese às dimensões políticas, pedagógicas e artísticas do projeto da SP Escola de Teatro." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-12012018-105127/.
Full textThe aim of this research is to study the pedagogical system of SP Escola de Teatro- Stage Arts Educational Center, institution founded in São Paulo/Brazil, by important Brazilian theater collectives. It has got the goal: ¨artists who nurture artists¨. Inspired on three basic ideas: Paulo Freire´s concept of teaching-learning, Milton Santos´ space for solidarity happening and Frijof Capra´s systemic vision, the institution works on the principle that integrated education embraces the concept of systemic knowledge, a model not only dedicated to the apprentice training - educating them to the performance of their abilities - but also to create opportunities so that they can investigate, test and comprehend the importance of their ethics and community engagement in the collective process of the professional education. Being one of the devisers and founders of the project, I searched to describe details since its foundation until the structuring of the pedagogical system, called as the Covalent Pedagogy, availing itself of the chemical bond that involves the sharing of electron pairs between atoms, with the purpose of enhancing the main principles, such as the power of togetherness, the interaction between similar and/or different beings, the communion of ethic and esthetic values, the coexistence and the mutual benefit of sharing. This research also intends to identify which are the best pedagogical procedures to the development of the critical and libertarian attitude of a stage artist, as well as investigate the artistic education and its criteria for the stage arts´ teaching.
Weffort, Luis Fernando. "Poesia, retórica e educação na Ifigênia em Áulis de Eurípides." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-13062008-150901/.
Full textThis theoretical research, of philosophic-educational nature, aims to analyze the way as Euripides represents, discusses and brings into question, through his work, the intellectual and political debate which marked the cultural life of Athens in the second half of the 5th Century b. C., as well as its effects in the moral and educational field. Due to difficulty of analyzing, in this study, the whole preserved work of Euripides, we emphasize the play Iphigenia in Aulis. This play approaches the subject of the education and is one of the last compositions of the poet, which allows us to analyze the philosophical-poetic maturing of his reflections. The tragedy, although with a sufficient amount of peculiar characteristics, is inserted in Greece as an heiress of the poetical Greek tradition - the epic and the lyrical ones - and its educational mission. Due to great political, social and cultural transformations that occurred in Greece with the development and the consolidation of the model of pólis democratic - that has its highest point in the 5th century b. C. -, a new profile of man, with sufficiently different characteristics of those projected ones around the aristocratic nobility, would be demanded. Reconfiguring the structures of the myth and using the expressive means of the theater, the tragedy would play in Athens, that became, then, the main cultural, political and economical pole of Greece, its poetical-pedagogical role to conduct the attention of the men to the essential questions of the life in the pólis. The traditional position of the dramatic art seems not to satisfy Euripides. It is certain that he did not lack the conscience of a pedagogical mission. He did not practice it, however, in the direction of his predecessors, but by means of the passionate participation in the problems of the politics and the spiritual life. The euripidian criticism, whose purifying force inhabits in the negation of the conventional and in the revelation of the problematic, makes us look at the contradictions and the idiosyncrasies of an education in times of crisis. In the Iphigenia in Aulis, Euripides questions the heroic paradigm, base of the traditional aristocratic education, causing a revaluation of the concept of hero and of his meaning in the formation of the Greek man. However, under the artistic weight of a daring and vigorous eristic, the dialectical dynamic of this drama, complex and articulated, always illuminates the question of the limits of the educative action and of his bases. And the imponderable, which hovers over the existence of the man, is remembered, like the great obstacle to the preparation of a definite and secure model of education.
Santana, Jussilene. "Impressões modernas: compreensão e debate sobre teatro na cobertura dos jornais A Tarde e Diário de Notícias entre 1956 e 1961." Escola de Teatro, 2006. http://repositorio.ufba.br/ri/handle/ri/27111.
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A pesquisa tem como objetivo compreender como o tema teatro foi sendo configurado na imprensa baiana em meados do século XX, nos jornais A Tarde e Diário de Notícias. O período é de particular relevância porque nele, mais precisamente em agosto de 1956, foi criada a Escola de Teatro, primeira no país ligada a uma instituição de nível superior, a então Universidade da Bahia. Esta iniciativa abriu o caminho para que procedimentos do teatro moderno (papel do encenador, tipos de atuação, uso da iluminação elétrica, entre outros) fossem trabalhados sistematicamente nas artes cênicas de Salvador. Durante cinco anos - num período também conhecido como 'era Martim Gonçalves', numa referência ao primeiro diretor da unidade - as mudanças ocorrem tanto no exercício da cena, quanto na cobertura jornalística. A Escola de Teatro marca a transição de um período no qual o teatro era entendido como uma atividade amadora e diletante, para o reconhecimento de seu trabalho como um campo autônomo, profissional e artisticamente. Logo depois, em 1959, é criada a primeira companhia profissional da cidade: o Teatro dos Novos. A relação complexa e dinâmica entre a cena teatral local e sua cobertura, a configuração do espaço cênico no jornalismo baiano, as repercussões deste “modernismo”, o treino de formatos textuais até então pouco ou nada explorados (crítica, comentários, editoriais, entrevistas, artigos e colunas especializadas), o aparecimento de novos cadernos, a percepção de questões que norteiam a atividade teatral em moldes modernos e o surgimento de vozes que as representam são os principais tópicos deste trabalho.
This research goals understanding how the theme Theater was build at Bahia´s press at the middle of 20th century, in A Tarde and Diário de Notícias newspapers. This time is properly relevant because at this, precisely at August 1956, Escola de Teatro was founded, brazilian’s first one bounded to a university, so called Universidade da Bahia. That initiative has opened way to modern theater procedures (role of the “player”, acting types, use of electrical lightening, and so many) had been used systematically in scenic sciences of Salvador. During five years – in times known as “Martim Gonçalves” era, in reference to the first Escola de Teatro dean – changes happened so in stage scene than in journalistic approach. The Escola de Teatro marks a transition from a time when a theater was understood as an amateur and dilettante activity to be acknowledged, professional and artistically, as an autonomous work field. Soon after, at 1959, first professional company of Salvador was founded, Teatro dos Novos. The complicated and dynamic relationship between local theatrical scene and its journalistic coverture, the creation of a scenic space at bahian newspapers, “modernism” blow-ups, new text formats not or less exploited so on (critics, comments, editorials, interviews, articles and expert columns), new caderns, questions about “modern” and representative voices appearing at this time are rolled in this work.
Aleixo, Fernando Manoel 1973. "Vocabulario poetico do ator." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284705.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O texto aqui apresentado é resultado de pesquisa que investigou uma possibilidade de constituição do que acabamos por denominar Vocabulário Poético do Ator. O percurso do trabalho foi constituído pela identificação, elaboração, aplicação e verificação de um conjunto de atividades práticas reflexivas voltadas para o desenvolvimento técnico-criativo do ator, a partir da perspectiva da corporeidade da voz e da dramaturgia do corpo. Nesta trajetória, os procedimentos adotados cobriram estudos teóricos e todo o processo da montagem do espetáculo teatral Transparência da Carne, produzido pelo grupo República Cênica. Como resultado - conceitual e de proposições práticas -, foi elaborada uma proposta de abordagem técnico-poética amparada no princípio da corporeidade como acontecimento. Esta sistematização foi estruturada a partir de dimensões circunstanciais - tríplice circunstância - por meio das quais os princípios do silêncio, da rasura e da escrita delimitaram um campo de estudo do saber sensível como fundador da escrita poética da cena.
Abstract: The text presented here is the result of a research that investigated a possibility for the constitution of what we called Actor's Poetic Vocabulary. Our work consisted in identifying, elaborating, applying and verifying a set of theoretical-practical activities directed towards the technical-creative development of the actor, from the perspective of the bodily voice and the body's dramaturgy. In this work, the procedures adopted comprised theoretical studies and the creative process of the theatrical performance Transparência da Carne, produced by the theatrical company República Cênica. As a result - with both conceptual and practical implications -, a tecnhical-poetical approach was elaborated, supported by the principles of bodily as happening. The structural system of such approach consists of three-dimensional circumstances in which the principles of silence, of erasure and of writing delimited a field of study of sensitive knowledge as a founder of the poetical writing scene.
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Ochoa, Manoel João. "Campos de luz: contaminações luminosas no Teatro Paulistano 2011-2012." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-21092015-155451/.
Full textThis work researches the aplication of Lighting designer in Drama groups from São Paulo between 2011 and 2012, for understand the pratice of light shape and the using of modern equipments and technics. Therefore, a study was made about plays produced and presented in the mentioned period, and interviews with lighting designers, directors and other professionals in the area related of groups affiliate with the São Paulo Drama Company e benefit from the Program of Promotion of the Theater in the city of São Paulo. Another of this work was a analysis of the formation of the Light Designers of this groups.
Solér, Marcos Marcelo. "Teatro documentário: a pedagogia da não ficção." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-13072009-184640/.
Full textThis dissertation presents itself as an introductory work on the peculiarities of Documentary Theater, focusing its discussion in how the approachs aesthetic aspect brings in itself the education elements. For that, theoretical concepts and historical data were collected in order to characterize our vision of Documentary Theater, establishing a link with the concepts of the documentary in Cinema, especially in the writings of the North-American scholar Bill Nicols. Secondly, we exemplify that with an experience at an educational institute, focused in practices based on the system of Theater Games. The resulting play dealt with the search of a Romanian boy that, according to some indications, played accordion at Praça Patriarca, in the downtown area of São Paulo. The theme was a pretext for the constructions of a long urban path in which many stories of pain, deception and disillusion in opposition to many stories of joy, laughter, survival, encounters and art were written. Two living statues, two homem-placas, a poet, a homeless woman, a walker and a garbage woman emerged as stars in an unnoticed constellation, everyday on the streets, squares and under the bridges. A path that revealed the process itself. The documental materials that were explored were in great part video testimonies, making evident the work with the captured image.