Dissertations / Theses on the topic 'Theater – Semiotics'
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Calcamp, Kevin. "The Semiotics of Celebrity at the Intersection of Hollywood and Broadway." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1471741170.
Full textSmith, Terry Donovan. "Text and performance : semiotic analysis for dramaturgy and the development of production concepts /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/10226.
Full textGowan, Gerry. "A journey into no-man's land." Thesis, Queensland University of Technology, 1997.
Find full textNorman, Amandreas. "Att göra bildkonst av teater : En semiotisk analys av Uppsala stadsteaters visuella retorik under 2018." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448608.
Full textSimonetti, Alpha Condeixa. "Palavra dramática: voz e tensividade." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-16082012-111615/.
Full textThis study tries to describe the uses of voice in theatrical performances, emphasizing their specificities as a sound-based object, as well as the imprints left in the acoustic field because of the urgency of the subject of enunciation. As an analysis methodology, we considered the theoretical framework of structural and French-based semiotics, in order to seek a closer relationship between the processes of meaning mobilized by the theatrical actors voice and the currently-developed tensive model. To reach the empirical part of our study, we considered the foundations of the theory, revisiting the debate on the definitions of contemporary theatricality, and therefore, on the possibilities of analysis of the vocal gestures produced at the time of the performance. For the description of a corpus, we selected certain scenes from two different scenic constructions, both devised by Antunes Filho, on the same tragic work, Medea by Euripides. We compared the uses of voice concerning the construction of the characters and their positioning in dramatic situations, thereby observing the modal and passionate qualifications suggested by the acting.
Shapiro, Bruce G. "Iconicity : the presence of imagery in the principles and practice of dramatic performance." Thesis, Queensland University of Technology, 1997.
Find full textTurner, Matthew R. "Signs of Comedy: A Semiotic Approach to Comedy in the Arts." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1126899710.
Full textAnimbom, Ngong Paul. "Towards the development of a therapeutic theatre in Cameroon: Investigating its practice and reception through a cross-case evaluation." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209340.
Full textLe cadre théorique convoqué à cet effet est la sémiologie théâtrale telle que vue et énoncée par André Helbo. Développée de la pragmatique, sa sémiologie théâtrale est basée sur l’émission et la réception d’un message dans le spectacle. À cet égard, il existe des fonctions réciproques d’acteurs et de spectateurs dans l’événement théâtral. Ceci signifie que la distinction entre la production et la réception est tout simplement considérée comme une « distinction pédagogique ».
Le langage du théâtre dans sa production et/ou sa réception fonctionne dans un contexte d’expérience sociale partagée. Dans cette perspective, Helbo parle de « codes de spectacle (conventions spécifiquement applicables au spectacle, au genre, à la période historique), de codes généraux (linguistiques, idéologiques/culturels, perceptuels), et de codes mixtes (codes généraux fonctionnant dans un contexte spécifique de spectacle) » .Néanmoins, dans la démarche sémiologique d’Helbo tout comme dans ce travail, le privilège est accordé au dépassement de la division précédemment mentionnée, pour aboutir à ce qu’il nomme « l’énonciation collective » et la « notion d’observateur actant ».
Ces concepts dépassent le modèle de la communication linéaire évoqués par Mounin, pour souligner que les participants dans un phénomène théâtral sont impliqués dans le processus de création collective ou de l’énonciation collective sous des normes culturelles spécifiques. Dans ce processus, l’observateur représente une fonction spécifique, l’une des conditions de l’existence de l’énoncé spectaculaire. La notion de l’observateur actant « raffine considérablement l’analyse de l’identification initiée par Brecht », notion qui a été incorporée ou prolongée dans le théâtre thérapeutique de la même manière que le processus de co-création. Ce qui est central dans l’application de la sémiologie théâtrale dans cette thèse, c’est le postulat selon lequel le destinataire d’aujourd’hui deviendra le destinateur de demain.
À la fin de cette étude, nous montrons (sans chercher une reproduction du modèle occidental), que le théâtre thérapeutique est pratiqué au Cameroun. L’utilisation des techniques théâtrales favorise le bien-être des participants et contribuent au changement à tous les niveaux de la vie. Cette approche est orientée vers la communauté et par conséquent constitue un paradigme thérapeutique à visé communautaire nommé « théâtre communautaire à visé thérapeutique ». Considéré comme tel, ce paradigme peut être utilisé concomitamment dans le cadre de la santé mentale et de la santé communautaire au Cameroun. Dans ce cas, il sert comme une modalité thérapeutique intégrée et établit un lien entre le spectacle vivant, la santé en générale et la santé mentale en particulier.
Therapeutic theatre is an improvisational method of performing arts that heightens participants' sensitivity to improve their ability to communicate feelings and thoughts verbally and by gestures. As a hybrid form, it functions in the same way as theatre for social change (TFSC) wherein theatre praxis is used to change participants or communities and promote wellbeing. TFSC is seen as an articulated intention to use theatre praxis in the service of change (social, mental, and emotional). Tradition has held these practices distinctly for the past decades. This thesis however, contends that despite these historic perceptions, there is a paradigm where these forms, previously viewed as distinctly different, come together in a spectacle that is therapeutic and applied to mental health in hospitals and community settings in Cameroon. This hypothetical case is examined under the general topic: ‘Towards the development of a therapeutic theatre in Cameroon: investigating its practice and reception through a cross-case evaluation.’ This thesis is based on the analysis of three TFSC/therapeutic theatre productions from the same practitioner: The Boomerang, Ndop and SOS Village Mbalmayo workshop productions respectively.
The research is inserted under theoretical considerations of theatre semiology and particularly, André Helbo's semiotic concepts. Developed from pragmatics, this method of theatre semiology focuses on the manner in which a message is sent and received. In this respect, there are reciprocal functions of actor and spectator in the theatrical event. From this, semiology is applied to understand the theatrical phenomenon in its entirety: production and reception. This implies, the division between production and reception is viewed as “a pedagogical distinction” only. Privilege in this thesis therefore is given to the surpassing of the aforementioned division to what he terms “enunciating collective” (co-creation process), and the “notion of the observer actant”.
These concepts go beyond the linear form of communication in theatre evoked by Mounin to highlight that the participants in a theatrical phenomenon are involved in a collective creation process or enunciating collective under specific cultural norms, and the observer represents a specific function, one of the conditions of existence of the performance utterance (l’énoncé spectaculaire). The notion of the observer actant in effect “refines considerably the analysis of identification initiated by Brecht” and which has been incorporated or prolonged in therapeutic theatre in the same way as the process of co-creation. Vital therefore to the application of theatre semiology in this work is the postulate that the theatrical phenomenon is an act of interaction wherein today’s receiver can be transformed into tomorrow’s sender.
At the end of this research, it is proven that without seeking a reproduction of a Western form, "therapeutic theatre" is practised in Cameroon. The utilisation of theatrical techniques fosters participants’ wellbeing and enhance change at all levels. It is community centred thereby constituting a community-based therapeutic paradigm which is named "community-based therapeutic theatre". Understood as such, this paradigm can be used concomitantly in cases of mental and community health in Cameroon. In this case, it serves as an integrated therapeutic modality and bridges the gap that exists in the health domain in general and mental health in particular.
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
Posth, Carlotta Lea. "Persuasionsstrategien im vormodernen Theater (14.–16. Jh.). Eine semiotische Analyse religiöser Spiele im deutschen und französischen Sprachraum." Thesis, Paris 3, 2020. http://www.theses.fr/2020PA030009.
Full textReligious drama, which developed into a mass medium in European cities between the 14th and the 16th century, has always been a challenge for comparative research. Despite the many similarities between plays in different linguistic areas, no direct textual relationship between them could be proven. This dissertation aims to open up new perspectives for comparative research by changing the methodological approach. In order to identify the persuasion strategies of religious drama, this work considers the theatrical semiotic repertoire, consisting of language, image, sound (music and noise) and gesture. Although historical representations are essentially inaccessible to analysis, the ‘imagined representation,’ inscribed as potentiality in the signs transmitted by the manuscripts, can be reconstructed. Using methods mainly from textual linguistics, the study describes some persuasion strategies present in a representative selection of German and French Passion plays and eschatological plays. It identifies argumentative places (topoi) that structure the plays. A chapter is devoted to a topos, which recasts a certain subject in a threatening light. The plays use this in order to underline the relevance and urgency of theatrical representation. The diachronic comparison shows how defamation strategies, used in the 14th and 15th centuries to characterize and demonize the Jews as a collective, were applied to Protestants in the 16th century. Another chapter examines how the plays use authority as a topos to legitimize themselves. The analysis of the different evocation techniques makes it possible not only to describe the rhetorical and performative use of authorities, but also to highlight distinct concepts of authority. Finally, the last part shows how theatre builds and perpetuates stereotypes that affect the audience in both rational and emotional ways, leading to processes of inclusion and exclusion
Workman, Abigail E. "Artist Descending a Staircase: Blending Radio and Theatre in Production." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1114209663.
Full textBouko, Catherine. "La réception spectatorielle et les formes postdramatiques du spectacle vivant." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210342.
Full textHans-Thies Lehmann reprend la notion de "théâtre postdramatique" proposée par Richard Schechner pour qualifier ces formes métissées de spectacle vivant La thèse défendue est la suivante :le théâtre postdramatique trouve sa spécificité non seulement dans la transgression des codes dramatiques mais surtout dans des processus de réception spécifiques qu'il importe de définir, à l'aide d'outils notamment sémiotiques. Ces processus sont situés et construits par rapport à différents modèles interdisciplinaires.
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
McCarthy, Patsy. "A semiotics of performance text : how the non-verbal languages communicate in the theatre." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/35807/1/35807_McCarthy_1993.pdf.
Full textMoungande, Ibrahim Aliloulay. "De la pratique rituelle au spectacle vivant: une approche sémio-anthropologique du Nguon et du Ngondo au Cameroun." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209396.
Full textS’appuyant sur le fait que le corpus de ce travail est constitué de deux rites appartenant à deux régions diamétralement opposées du Cameroun et que chacun d’eux procède d’un style particulier, le besoin de recourir à l’approche comparatiste de temps à autre s’est fait sentir. Fort de ce constat, la sémiologie du spectacle vivant qui sert de support méthodologique et théorique est complétée par l’approche comparatiste. Approche qui ne vise pas à assimiler le Nguon et le Ngondo, mais à mettre en évidence les spécificités de chaque rite grâce à la mise en rapport de l’un avec l’autre.
Les résultats auxquels nous sommes parvenu montrent que ces deux pratiques rituelles sont des performances au sens Schechnerien du terme. Chacune d’elles ayant une certaine spécificité.
Le Nguon est à coup sûr une suite d’évènements représentés devant un public par des acteurs en un temps déterminé dont l’imitation et la dénégation en constituent l’essence. Dans cette perspective, il se rapprocherait plus d’une représentation théâtrale. Contrairement au Nguon, le Ngondo est une suite de performances où gestes (minutieusement orchestrés, chorégraphiés), objets et certaines activités ludiques constituent un vocabulaire dont la syntaxe déroule un sens. Dans cette perspective, chaque esprit forge ses propres refuges, ses stratégies, ses fétiches pour affronter cette pratique rituelle où certains référentiels du théâtre tels que la frontalité, la dénégation, etc. paraissent estompés ou abolis pour céder place aux terrains d’action, d’expérimentation et de transformation. Ainsi, chaque moment du Ngondo est une performance accomplie. Fort de ce constat, le Ngondo a le caractère d’un festival où performances, musiques et danses rivalisent d’adresse avec des réminiscences mythiques et mystiques.
Afin de les démocratiser davantage et assurer leur exploitation optimale, nous avons pensé à la création des espaces culturels dans ces régions du Cameroun à partir du modèle que nous proposons dans ce travail. La multiplicité de ces espaces dans toutes les régions de notre pays et sur le continent africain et pourquoi pas dans le monde entier faciliterait le travail d’un collectif de chercheurs venus des quatre coins de la planète pour se réunir autour du concept de la « Négroscénologie », que chaque membre doit entériner et de promouvoir où qu’il soit.
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
Daniel, Alastair Kevin. "A comparative study of the spatial semiotics of theatre and contemporary Church of England liturgy." Thesis, St Mary's University, Twickenham, 2008. http://research.stmarys.ac.uk/1020/.
Full textMonteiro, Rodrigo. "Semiótica teatral : análise do espetáculo O vendedor de palavras." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/34064.
Full textThis project aims at analysing how the theatrical signs are organized and structured in the process which leads to the creation of meaning in the outdoors presentation of the play O vendedor de palavras (The Seller of Words) by the Mototóti Group at Redenção Park in Porto Alegre, Rio Grande do Sul, Brazil. It is also its aim to observe the function of the theatrical code as a catalyst concept of the several elements that materially and concretely create a scenic work, theoretically based on studies by Anne Übersfeld, Patrice Pavis, and Erika Fischer-Lichte, as well as other authors who work in the field of the theatrical semiotics. The methodology used in the present research for the debate about the theatricality includes the analysis of the diverse signs, reflections from A. J. Greimas's actancial model and the study of character.
Hubsch, Jean-Frederic. "Musical theatre in translation: A semiotic analysis of Jacques Brel's "L'Homme de la Mancha"." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/27375.
Full textGlanville, Joanna. "Hallways. Place and object between body and narrative: scenographic approaches to devising theatre." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33743.
Full textGranke, Daniel. "Decoding Acting Vocabulary." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3110.
Full textBarrera, Jofré María Consuelo. "La mujer como personaje teatral: reflejo y evolución de la figura femenina en las dramaturgas catalanas (1975-2011)." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/147256.
Full textThe research presents the results of an analysis of eighty-one plays written by thirteen catalan authors between 1975-2011 period in which we confirmed the existence of a “fully defined and complete female character”, namely, an exceptional character which is not only a reflection of the world that is represented, but rather a creation that moves away from the collective of an age, being a human character allowing the absence of attempts. Selected authors were grouped into three periods: 1) authors previous to the establishment of democracy, 2) authors of the late twentieth century, and 3) authors of the century twenty-one. From each one of them we investigate and analyze the female character from the point of view of dramatic text (literary genre) and the female authorship (gender). We were interested in the female character as a semiotic sign, therefore we analyze the relationships between the characters and the different elements of the play since the incursion of women in the playwriting meant a new way of understand the theatrical phenomenon. From this new point of view the dramatic creation gives new parameters that configure the female character producing a break in the established models where women always it has been an object and not a subject. In our research the female character acquired different characteristics that finally joined in a common objective: to portray women in the catalan society such as the women perceive it, causing an inflection point in the representation of reality that has been constructed by a male view.
Marsicano, Diego. "O papel das didascálias na instauração de paixões em The December Man." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09052014-100736/.
Full textDidascalie or Didascaliae, also known as stage directions or notes, have almost always occupied a marginal place in the manuscripts and printed editions of plays, often appearing as notes on the corner of the page or below the lines, which receive all the attention. However, didascalie constitute an essential element in the construction of the meaning of a play, regardless of whether a particular play entirely follows the authors directions or creates others to replace them. This dissertation focuses on the establishment of passions and tensive grading observed in didascalie, as well as on their possible outcomes in the Canadian play The December Man (L\'Homme de Décembre), written by Colleen Murphy. For this purpose, we have analyzed the theatrical discourse according to the French semiotics framework, based on the three levels of abstraction (fundamental, narrative and discursive), in order to establish the mechanisms of meaning construction in the play. As our initial goal was to investigate the connection between the fictional text (lines) and the natural one (didascalie), we also surveyed some concepts and practices related to stage directions, which are mostly understood as supplementary material rather than as intrinsic to the fictional text. Another goal of ours was to provide subsidies to directors and actors to motivate the latters actions on stage. Thus, we sought to determine and analyze the plays prevailing passion, in order to show how relationships were emotionally coated and how a passion could act as the motor of the tragic actions. We found that defiance was the feeling that motivated the characters actions. After that, we isolated the didascalie to examine their tensive characteristics (Claude Zilberberg, 2006 and 2007). The missive doing (faire missif) proved to be the organizing principle that gave consistency and coherence to the partial analyses. Thus, we can better understand the role of stage directions in the mechanisms of meaning construction in The December Man: not only do we find that there is coherence between the spoken text and stage directions, but also that they are interwoven. The didascalie enhance and modulate discourse in a tensive way, showing and reiterating the tensions of both the verbal text and action, through the images constructed from the lighting, scenery and costumes. They constitute a figurativization strategy and, thus, convey cultural values and thereby contribute to the effect of the axiological and emotional constructions of the scenes on the plays audience.
Jimmy, Offesson. "Design i fysisk gestaltning - Design in embodied communication." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-29948.
Full textThis is an examination of how embodied communication transforms during a session of drama education set in a school environment. Social semiotics and multimodality are used in order to examine the students as users of embodied communication. Embodied communication is treated as a medium and the context is analyzed through a design theoretic perspective on learning. Two groups of 10 year old students have been video recorded and observed. The results show that the students’ formal process of designing embodied communication is influenced by existing rules in school, the teacher and the instructions. The informal process of designing embodied communication is affected by social interactions among students, student leaders, the students’ bodily values and themes from their everyday life. Embodied communication, and in part the designing of it, is described as an interaction between body expressions and the use of time, space and materials. How the students designs the embodied communication and how it transforms during the examined session is explained in combining the analytical themes ”formal design”, ”informal design” and ”embodied communication”.
Köpsell, Linn. "MAGISKA RUM : om scenografins roll i scenkonstverk för barn och unga." Thesis, Linköpings universitet, Kultur, samhälle, mediegestaltning, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97293.
Full textI denna uppsats studeras scenografi inom scenkonst för barn och unga. Syftet är att utreda vilken roll scenografin har för förmedlingen av det som berättas för publiken. Detta syftar i sin tur till att läsarna av denna uppsats ska förstå på vilka sätt en scenografi kan utformas på bästa sätt för att en ung publik ska kunna ta till sig föreställningen och dess budskap. Scenografi är en komplex konstart som innehåller många moment. För att uppnå syftet ställs frågeställningar som kan indelas i tre kluster; ett konstnärligt, scenografiskt orienterat (Hur ser den scenografiska arbetsprocessen ut och i vilken relation står den till det stora allkonstverket? Hur kan scenografi användas för att stödja och förstärka det som önskas förmedlas på scenen?), ett publikorienterat (Vilka arbetsmetoder ökar chansen för att skapa scenkonst som upplevs som meningsskapande av mottagaren? På vilka sätt kan teatersemiotiska överenskommelser användas i scenkonst för en ung publik?) och ett kluster som fokuserar på ung scen/östs föreställning Den magiska cirkeln (Vad berättas i föreställningen Den magiska cirkeln, och hur gestaltas detta i scenografin? Vem/vilka berättas det för, och får publiken den känsla av föreställningen som avsändaren har avsett?). Den magiska cirkeln används som fallstudie i uppsatsen med syfte att reflektera det teoretiska materialet mot ett verkligt studieobjekt. I fallstudien ingår föreställningsanalyser, en enkätundersökning med 178 personer i publiken samt en intervju med scenografen Anna Dolata. Förutom fallstudien har även föreställningsanalyser gjorts av 14 föreställningar som visats på Sveriges barnteaterscener 2012-2013. I uppsatsen analyseras och jämförs internlogisk arbetsmetod med externlogisk, och den visar att chansen för meningsskapande upplevelser hos publiken är större med externlogiska referenspunkter. Men det är inte helt svart eller vitt; utan internlogiska drag riskerar föreställningen att falla platt, eftersom det är viktigt att föreställningen utvinns ur upphovsmakarnas fulla övertygelse. Denna uppsats visar att scenografi kan användas för att förstärka bakomliggande läsart och intentioner med hjälp av teaterns semiotiska teckenvärld. Det är viktigt att inte förbise scenografins stora potential för att förstärka visuell och kroppslig erfarenhet av alla de teman som upphovsmakarna önskar förmedla. Uppsatsen visar även att ung scen/östs intentioner med Den magiska cirkeln gick många åskådare förbi. Flera ansåg att föreställningen var förvirrande, och uttryckte frustration över att inte ha knäckt föreställningens budskap. En hög kännedom om sin publik, samt en vilja att lyssna och ta till sig av dess åsikter, ökar chanserna för att skapa meningsfulla gestaltningar.
Nunes, Sandra Meyer. "As metáforas do corpomídia em cena: repensando as ações físicas no trabalho do ator." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/4693.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis analyzes metaphors that guide the concept of physical action in the work of an actor through the perspective of the cognitive sciences and the theory of body-media elaborated by professors Helena Katz and Christine Greiner in the graduate program of Communications and Semiotics at the Catholic University of São Paulo. The notion of action is essential to studies about the communication of the actor and is present in the genesis of theories of representation and in the modern concept of action. The pedagogy proposed by Constantin Stanislavski (1863-1938) by means of a method of physical actions, and later developed by Jerzy Grotowski (1933-1999), altered the processes of research and education for the actor. This study is based on the hypothesis that the approach to physical actions, proposed by both authors, revises the body-mind dualism in the work of the actor and points to issues now present in the cognitive sciences. By relating the system of physical actions of the actor with he studies of the body in the contemporary world, this study considers action as a procedural and dynamic system, from the perspective of a body-mind theory. The studies of philosophers and scientists António Damásio, Daniel Wegner, George Lakoff, Mark Johnson and Alain Berthoz are the foundations for the hypotheses presented about the metaphors that spark the action of the body and strengthen the theoretical-practical articulation needed to approach the problem of scenic action
Esta tese propõe uma revisão das metáforas que orientam o conceito de ação física no trabalho do ator à luz das ciências cognitivas e da teoria do corpomídia desenvolvida pelas professoras Helena Katz e Christine Greiner no Programa de Estudos Pós-graduados em Comunicação e Semiótica da Pontifícia Universidade Católica de São Paulo. Presente na gênese das teorias de representação e no conceito moderno de atuação, a noção de ação é fundamental para os estudos acerca da comunicação do ator. A pedagogia proposta por Constantin Stanislavski (1863-1938) por meio do método das ações físicas, e posteriormente desenvolvida por Jerzy Grotowski (1933-1999), alterou os processos de pesquisa e formação do ator. O trabalho parte da hipótese de que a abordagem da ação física, proposta por ambos, realiza uma revisão do dualismo corpo-mente no trabalho do ator, apontando para questões presentes, hoje, nas teorias das ciências cognitivas. Ao relacionar o sistema de ações físicas do ator com os estudos do corpo na contemporaneidade, este estudo aborda a ação, considerada um sistema processual e dinâmico, na perspectiva de uma teoria do corpomente. As pesquisas dos filósofos-cientistas António Damásio, Daniel Wegner, George Lakoff, Mark Johnson e Alain Berthoz fundamentam as hipóteses apresentadas a respeito das metáforas que dão ignição à ação do corpo e fortalecem a articulação teórica-prática necessária para a abordagem do problema da ação cênica
Brüggemann, Susanne. "Tableau ou action ? De la dramaturgie de Diderot et de Lessing." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040013.
Full textDiderot and Lessing both participate in the central aesthetic debate of the 18th century: the concept of illusion in the visual arts. Diderot views the sign as an energetic entity, while Lessing favours the rhetoric model. This results in two forms of theatre of Enlightenment: Diderot’s form is that of the tableau, for Lessing the plot remains crucial. With this in mind Lessing’s and Diderot’s different approaches to drama are compared in a typological way.Reasons for the two orientations are anchored in different assessments of a world of contingence. Diderot presents a scientific materialism. The ancient eternal values are exposed to a dynamic of relativity. Lessing adopts a notion of truth based on Christian values. The analysis integrates not only these sights of world order but also reflections of theatrical semiotics. The dissertation begins with a comparison of Lessing’s Laokoon and Diderot’s Essais sur la peinture and highlights the different approaches towards the aesthetic debate. The choice of text then follows the development of both authors in relation to visuality. Thus Le Fils naturel and Le Père de famille with their annexes are analized. Next, Lessing’s ideas about theatre in the Briefwechsel über das Trauerspiel, a correspondence with his friends before his translation of Diderot’s texts mentioned above, are outlined. How Lessing’s position differs from Diderot’s is further depicted through an analysis of the Hamburgische Dramturgie and Emilia Galotti. By way of resume the final chapter presents Nathan der Weise as a utopia of theatre in contrast to the paradox vision of stage illusion in the Paradoxe sur le comédien
Lacy, Rachel. "Hamlet's Objective Mode and Early Modern Materialist Philosophy." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32430.
Full textThomas, Benjamin. "Illuminating a Tragic Miasma in Shepard’s A Particle of Dread." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41623.
Full textCosta, Michel de Lucena. "Orfeu da Conceição: ressignificação do mito a partir da carnavalização do trágico." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/6290.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research aims to analyze the Orfeu da Conceição play (1956) by Vinícius de Moraes, understanding it as a carnivalized tragedy. To formalize this paper, a semiotic study will be conducted to understand how the process of redefinition of Greek myth occurred from the perspective of Bakhtin carnivalization. Having the Semiotics of Culture as theoretical and methodological support, the elements ranging from Greek tragedy and religion to the samba origin, their relationship with Candomblé, coming to an understanding of the twentieth century Brazilian theater will be studied. The Semiotics of Culture will help us understand how the process of "translation tradition" occurred, ie the adaptation of the Greek myth into the hillside home in the 1950s, roaming the fields of dramatic text and music. Finally, with this dissertation, it is expected to have contributed to the field of semiotic studies applied to the theater.
Esta pesquisa se propõe a analisar a peça Orfeu da Conceição (1956), de Vinícius de Moraes, entendendo-a como uma tragédia carnavalizada. Para formalizar este trabalho será realizado um estudo semiótico para entender como ocorreu o processo de ressignificação do mito grego sob a perspectiva da carnavalização bakhtiniana. Tendo como suporte teórico e metodológico a Semiótica da Cultura, serão estudados os elementos que vão desde a tragédia e a religião grega até a origem do samba carioca, sua relação com o candomblé, chegando à compreensão do teatro brasileiro do século XX. A Semiótica da Cultura nos ajudará a compreender como ocorreu o processo de tradução da tradição , ou seja, a adaptação do mito grego ao morro carioca na década de 1950, passeando pelos domínios do texto dramático e da música. Finalizando, com esta dissertação espera-se que tenha contribuído com o campo de estudos semióticos aplicados ao teatro.
Trindade, André Guedes. "Entre o teatro e a canção: uma leitura semiótica de Gota D'Água." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6228.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research aims to investigate and develop a semiotic study about the dialogical interactions between the theatre and the song systems in the play Gota D Água (1975) written by Chico Buarque and Paulo Pontes. To achieve this purpose will be required a combination of theories from the Semiotics of Culture, the dramatic language and the song, emphasizing the studies on Brazilian Popular Music (MPB). Thus, we intend to create an inter-semiotic dialogue between the theatre and the song, considering them as two structural semiotic languages to the understanding of the play Gota D Água. In this study, both dramatic language and the song (MPB) language will be considered as a second-degree modelling system, once they convey their own meaning and have singular codifications in relation to the natural language, the first-degree modelling system. Through the establishment of this semiotic network, we hope contribute to the increasing of the systemic communication network of culture itself.
Esta pesquisa visa investigar e desenvolver um estudo semiótico entre os sistemas de linguagens dialogantes da canção e do texto dramático na obra Gota D Água (1975), de Chico Buarque e Paulo Pontes. Para a concretização deste exercício de modelização, utilizar-se-á como lastro teórico os conceitos da Semiótica da Cultura somados aos estudos acerca da linguagem dramática e da canção, com enfoque na Música Popular Brasileira (MPB). Através deste respaldo conceitual, pretende-se tecer um diálogo intersemiótico entre o teatro e a canção, duas linguagens que consideramos estruturais do ponto de vista do significado da peça. Nesta pesquisa, tanto a canção popular, quanto o texto dramático serão considerados sistemas modelizantes de segundo grau uma vez que transmitem significados próprios e também por possuírem codificações singulares em relação à língua natural que é o sistema modelizante de primeiro grau. Por fim, espera-se, através das construções de sentido geradas a partir desta interação semiótica, estarmos contribuindo para a ampliação da rede de comunicação sistêmica da cultura.
Morais, Hercules Zacharias Lima de. "Como olhos de cotidiano se tornam olhos estéticos? Processos artísticos como processos de invenção de sentidos sobre o mundo." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/47/47132/tde-03102017-170245/.
Full textHow can aesthetic experience enhance the conditions of listening, reading and understanding of the world? The objective of this research is to bring to light the field of artistic creation as an analogy of the sensitive construction of human being and his/her worldview constitution. It is expected that we can reflect on how the artistic work relates to subjective processes, which leads to the transformation of psychological aspects. We will take the approach of Semiotic- Cultural Constructivism in Psychology as the possibility of mediation of a dialogue between Performing Arts and Psychology, in order to understand of processes and hybrid forms of creation, intending to being able to contribute to procedures that cover strategies of intervention in Psychology. As empirical material, we will use the researchers who works as a tutor-artist in the Vocational Program of the city of Sao Paulo artistic-pedagogical activity records. The form of analysis of the results will focus the understanding of the artistic happening in its interdependence and interrelationship with the person, and inserted within his/her social field. We reflect on the procedures of the creation process that involves the elaboration of protocols, testimonies, interviews, cultural actions, and the construction of scenes as artistic products that appear, resonate and resignify day-to-day life. We consider the lived experience of artistic creation merges with a person who is also under construction, who experiences, in a codified space-time, other possibilities and relations, perceives in the advent of artifice his/her incompleteness as latent potentiality to reinvent his/her own reality
Sabzevari, Hanif. "Varför tiger du? : Expositionen i sju enaktare av August Strindberg." Doctoral thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9415.
Full textPérez, Lagos Camila. "Les figures des publics sur les sites internet des théâtres en France et au Chili. Une approche semiodiscursive." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA165/document.
Full textThe subject of this thesis concerns how the audience of theatre is represented within the discourse of cultural policies in France and Chile. This is related to the audience of internet websites (including social networks) of four public theatres of reference who report to have both a « contemporary » and « classical » program. The main question is to identify how these representations are transmitted amongst these devices. The principal hypothesis underlines the fact that there is link a between the social and symbolic conditions of the discourses of cultural policies which appear in « les écrits d’écran » (Bonaccorsi, 2013) through linguistic, visual and digital signs. The theoretical and methodological approach is primarily semiotic-discursive with regard to new categories emerging from Internet-based corpus (Rouquette, 2009).This research led to the conclusion that the cultural policies of these two countries have a discourse on access to culture for « everybody »; « everybody » being, on one hand, a « more citizenly audience » and, on the other hand, a « more consumer audience ». Moreover, the internet websites in this study update their scenography differently (through linguistic, visual and digital signs), even if they share a generic and global scene (Maingueneau, 2013), all of which is dependent on the ethos (Charaudeau, 2009) of each theatre. However, the « national audience » and the « potential buyer » appear as traces of the discourses of cultural policies among websites and social networks where, we can additionally observe a profane speech (Pasquier, 2009), namely, from the audience
Molina, Jiménez María Belén. "Literatura y Música en el Siglo de Oro Español. Interrelaciones en el Teatro Lírico." Doctoral thesis, Universidad de Murcia, 2005. http://hdl.handle.net/10803/10955.
Full textThis Thesis contains two different parts: The first one places the research in its historical-artistic background. Besides, it states the theoretical principles which guide the textual analysis that follows (Musicology, Semiotics, Rhetoric, Poetics and Comparative Literature) and their relation to music.The second part consists of the main purpose of the Thesis research: the text analysis of four plays by Calderón de la Barca belonging to the musical court plays of Baroque Period: Celos aun del aire matan, La púrpura de la rosa, El laurel de Apolo and El golfo de las sirenas. Focusing on the potentalities of the Calderon´s writing, we support the musical intention of these works from the very conception of the plot. Together with this essential aim, we analyze other items of Calderon´s drama: plots, topics, commonplaces and motifs, dramatic structure, dialogues, characters, space, time and all the different musical elements which appear
"A semiotic study of the Chinese theatre." Chinese University of Hong Kong, 1987. http://library.cuhk.edu.hk/record=b5885982.
Full textLozano, Carlos Enrique School of English UNSW. "Southern quest: a play and said and done: verbal and non-verbal information in contemporary theatrical writing." 2007. http://handle.unsw.edu.au/1959.4/40894.
Full textGerner, Alexander Matthias. "Semiotik des Lachens auf dem Theater. Teil einer didaktischen Wahrnehmungsschule des Dramas, dargestellt an produktiven Rezeptionen von Texten von Heinrich v. Kleist." Bachelor's thesis, 2018. http://hdl.handle.net/10451/46349.
Full textKrátká, Denisa. "Sémiotika divadelního prostoru." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-340825.
Full textNucová, Magdalena. "Transpozice románu do divadelní a následně filmové podoby." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350711.
Full textMEI, CHIN-CHUNG, and 梅錦忠. "A Theater-Based Visual Semiotic Analysis of the Dance Work── "The Age of Silence"." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/da8pn5.
Full text國立臺灣藝術大學
戲劇學系表演藝術碩士班
107
Dance is based on the physiological and psychological cognition of human beings, conveying feeling and understanding and then creating imagination and resonance through body movements and expression as a media, to form dancing semiotics with the specific meaning and signification. Symbols structures theatrical performance, giving all the signs to the theater. When a work is completed, it isn’t only a general symbol or a combination of symbol, but it is a signifier. The works of Century Contemporary Dance Company have combined Taiwan’s living environment and social issues in choreography, leading audience to rethink about the appearance of Taiwan’s social issues. Its intention is to present contemporary cultural phenomena, trends, and states of affairs. The Age of Silence is the final part of the marriage series by the choreographer Shu-Fen Yao, reviewing the traditional marriage, wedding ceremony, the struggle between men and women, and the desire for humanity from the contemporary viewpoint. This dance work is full of imageries and signs of the Eastern marriage and ceremony, exploring the relationship between male and female in the marriage, through the dancers’ movement presenting a rich and diverse vitality. The researcher will analyze the visual symbols of theater in the dimension of “Movements”, “Costumes”, “Stage Setting”, “Props” and “Lighting” , and use the Methods of Document Analysis, Interview, Focus Group Interview, and Case Study, establishing the objectivity and value of dance, in order to understand and explain how choreographers use visual symbols to construct the meanings in the works, explore the visual symbols of the dance performances in the theater from multiple angles, and provide a new perspective in interpreting dance works.
HANG, CHIH-HAN, and 黃智涵. "The Semiotic Analysis of the Characters In Godot Theatre Company’s "Whose Wife Is It Anyway?"." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/39d7a4.
Full text國立臺灣藝術大學
戲劇學系
106
Abstract “Whose Wife Is It Anyway?” This production was premiere at the National Theater in early spring of 1999 and toured around in Taiwan. ; In 2000, this play had present Cantonese version at the Hong Kong Cultural Center ; In February of 2015, “Whose Wife Is It Anyway? ”was staged for nearly 30 times. The staged play was first produced by 99 Theatre which under the Media sphere Communication Ltd.in early 1999 that toured around Taiwan to preform 23 times. This play had broken the record of its kind in Taiwan and said that was the year’s best in 1999. In 2015, it was re-produced by Godot Theatre. The study purposes the theory of Western semiotics (semiology) And based on the semiotics theory of Roland Barthes (1915-1980) which analyze the symbolics and decod the meaning to analyze the composition of the characters , Revealing the social problems that the dramatists have as well as to highlight and ridiculing the distorted values of human nature. The discussion of this research is to explore human and symbols through characterization and to express the meaning through the symbols to go through the state play of “Whose Wife Is It Anyway?” by the interpretation of the theme.
Tait, Kirsten Laura. "From animated film to theatrical spectacle : a semiotic analysis of the scenography and recreation of Beauty and the Beast (1994) and The Lion King (1997)." Thesis, 2010. http://hdl.handle.net/10413/5003.
Full textThesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.
Li, Yung-Yu, and 李永郁. "A Semiotic Analysis of Singing Pattern in Theater of Peking Opera- By Example of “The Fourth Son to Visit His Mother”." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/6u9987.
Full text國立臺北藝術大學
音樂學研究所碩士班
94
Modern semiotic theories are applied to theater since 1931. In Prague, the capital of Czech Republic, Russian formalistic critics cited theories of Saussure and Peirce to make advanced development in Semiotics of Art. After that, Prague school continually published many works on Semiotics of Theater, which opened a new field of vision for study on theater. For recent years, some theses on semiotic analysis of Peking Opera Theater or Peking Opera incidental music are published. This thesis puts emphasis on the study of the semiotics hidden in the Peking Opera singing patterns, targeting on the singing patterns employed in “ The Forth Son Visiting His Mother” to investigate how the system of Sipi Patterns constructs meanings in Peking Opera, and furthermore to analyze the semiotic properties of singing patterns with the theories of Saussure and Peirce. While making thorough understanding how the touching factors interact with audience through symbols in the singing patterns of “The Forth Son Visiting His Mother”, we hope to do some more initial-stage works on forming the basis of Semiotics of Peking Opera singing patterns.
Davel, Anitra Michelle. "Tracing the directorial process of theatrical translation : a practice-led case study." Diss., 2014. http://hdl.handle.net/2263/42826.
Full textDissertation (MA)--University of Pretoria 2015.
Drama
Unrestricted
Ramberran, Kevin. "Piñata: a dark comedy." 2016. http://hdl.handle.net/1993/31042.
Full textFebruary 2016
Wu, Pang-chun, and 吳邦駿. "An Analysis of Molin Wang’s “Muder at the Armed Forces Museum “ From the Perspective of Semiots of Theatre." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/26143333771252378481.
Full text中國文化大學
戲劇學系
103
Abtract Molin Wang has written and published several works in Taiwan’s small theatres since the 80s. They touch upon avant-garde arts and social issues. He established the “Body Phase Studio” in 1992, emphasizing the care of Taiwan’s society. This study seeks to analyze the signified in his play in 2004 “Murder at the Museum of Armed Forces” with the method of the Semiotics of Theatre and Drama. The work is written based on the real social incident of Kuo Ching-ho. Molin Wang draws upon elements in the incident to express his understanding of state violence. In his Semiotics of Theatre and Drama, Keir Elam separates all elements in the theatre into different channels and uses “diachronism” and “synchronism” to analyze the whole. “Diachronism” analyzes horizontally the arrangement in each channel system. “Synchronism” analyzes vertically the acts and their density and presentation. Through these two angles, this study seeks to dig deep into the representation of theatrical codes and the dialogical relations between the signifier and the signified in the subcodes of the playwright. Keywords: Molin Wang, Murder at the Museum of Armed Forces, the Semiotics of Theatre and Drama, Diachronism, Synchronism
LIN, HSIAO-CHIAN, and 林筱倩. "Theatre Semiotics and Practice of Postcolonial Writing-Back in the Contemporary Taiwanese Indigenous Theatre:the Analyses of《Pu’ing: Searching for the Atayal Route》 and 《Maataw: the Floating Island》by The Formosan Aboriginal Song and Dance Troupe." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/dxk259.
Full text國立臺北藝術大學
戲劇學系碩(博)士班
106
This study treats the phase of theatre semiotics and practice of postcolonial writing-back in the contemporary Taiwanese indigenous theatre. Two performances which are 《Pu’ing: Searching for the Atayal Route》 and 《Maataw: the Floating Island》 produced by Formosa Indigenous Dance Troupe in 2013 and 2016 are respectively taken for discussion. I want to illustrate three issues in this study: 1. How have the creators utilized indigenous body traits and their ethnic contexts, and weaved cultural semiotics in contemporary theatre? Furthermore, have the postcolonial consciousness represented in these two performances? 2. In these two performances, creators’ focus changes from indigenous ethnic self-identity to resist social violence. Do the creators utilize different practices of writing-back in these different performances? 3. Contemporary Taiwanese indigenous theatres have diversified. They thus change creators self-questioning and further affect their creative fields and creatives style. What kind of new concept and energy will this change, from inside to outside, bright to us? So far, most of the Taiwan indigenous theatre researches have focused on the progress from traditional rituals to theatrical performances, as well as modern dances which combine and transform from indigenous dances and the body traits. Different from these, this study considering theatre semiotics and practice of postcolonial writing-back tries to find out a perspective for future observation.
Hypšová, Kristýna. "Publicistika formou dramatické tvorby." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321555.
Full textLanouette, Éloïse. "Estudio semiótico del personaje de Jimena en el teatro : de “Las mocedades del Cid” de Guillén de Castro a “Anillos para una dama” de Antonio Gala." Thèse, 2018. http://hdl.handle.net/1866/21127.
Full textFigueira, João Pedro Salvado. "A transcendência humana através da Arte." Master's thesis, 2021. http://hdl.handle.net/10362/123949.
Full textThe present dissertation examines the term "transcendence" as something that is beyond the ordinary knowledge of the human being, something magical. This concept is explored as a catalyst in the search for knowledge and for more clarifying stages of existence. Through art and its relationship with life, we ponder how far our intentions can go and focus on authors and creators who, in some way, tried to make present the invisible. Therefore, a dialogue is established between different areas of knowledge and some practical attempts to implement these ideas are exposed.
Skopec, Jan. "Refugee music jako performance imigrace." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-304823.
Full textSkopec, Jan. "Refugee music jako koncept performance imigrace." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-298587.
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