Tesis sobre el tema "Experimental theater"

Tina Landau's writing and directing work has gained increasing prominence over the last decade. She has made strides in both the experimental and the musical theater arenas, and her accomplishments in each are noteworthy independent of each other. However, her concurrent interest and success in both arenas, which are commonly viewed as quite disparate, make her work particularly interesting. These interests, which might seem incongruent, are actually interrelated; her work in one area influences her work in the other, a fact which is evident both in her rehearsal process and the end products. Her experimental work has a musical sensibility and her work in musical theater is quite experimental. This thesis examines works for which she was both writer and director as representative examples: 1969, Stonewall: Night Variations, Space, Floyd Collins and Dream True. Her amalgamated sensibility results in a directing style which serves contemporary musicals, particularly "smart musicals," well.

This document describes and analyses the process of research and production for the experimental play Via Marina: A woman's journey. Based on a personal experience between the Mexican and the Canadian lifestyles, Via Marina presents a vision toward the benefits of transdisciplinarity for the stage. By definition, transdisciplinarity is a new approach marked by the rapid advance of technology that seeks to create new areas of knowledge working between, across and beyond disciplines. For my Master's project I expermented among New Media, Women's Studies and Theatre Arts to learn to intertwine these disciplines on stage by creating a theatrical production based on a transdisciplinary technique. As a result of two-years of practical and theoretical research, the creation of the production Via Marina tries to break the conventional theatre forms using a transdisciplinary mixture of video, dance and feminist exploration of gender roles. It is just beginning of the development of a new language transcending disciplines in my work as actress, director, artist - woman.
viii, 102 leaves : ill. ; 29 cm.

The object of this dissertation is to re-assess Australian examples of ???performance??? in light of discourses and directions in dramaturgy that have emerged since the 1970s internationally. The thesis applies Hans-Thies Lehmann???s comprehensive theory of post-dramatic theatre to explicate examples of departures from dramatic theatre in view of the expansive field of inquiry implied by the description ???performance??? or ???new media arts??? and general cultural-political theory. To examine the de-centralisation of text specific to post-dramatic theatre the dissertation analyses firstly, material devised collaboratively at all stages of creative development in its case studies of the Sydney based companies The Sydney Front (1986-1993) and Open City (1987 -); and secondly, Heiner M??ller???s concept of ???literature??? written for the theatre and in opposition to its convention. In addition, the analysis of M??ller serves as an introduction to a comparative analysis of a dramatic (literary) theatre project by a group of Aboriginal artists based on a post-dramatic text by M??ller. This dissertation endeavours to contribute to documentation on post-dramatic theatre in Australia and more broadly, to conceptions of contemporary forms of dramaturgy. More specifically, the thesis argues that dramaturgy no longer necessarily concerns the identification of an aesthetic locus that explicitly explicates the audience???s relation to a known macrocosm. Instead, the thesis conceives of dramaturgy as a compositional strategy that can be thought of within the bounds of Aristotle???s perfunctory visual dimension ???opsis??? and elaborated upon in terms of Kristeva???s theory of the ???thetic??? as regulating ???semiotic??? incursions into the ???symbolic??? order. In doing so, the thesis proposes the concept of a ???televisual??? and an ???abject??? dramaturgy, the latter on the basis of a relation to the older tradition of carnival and identifies a link between intertextuality (transposition) and dramaturgical strategies that engage the spectator in the theatre situation and the dissolution of logocentric hierarchy.

Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.
Bibliography: leaves 241-251.
Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.
This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.
Mode of access: World Wide Web.
251 leaves

Crave, the play I chose to direct as my thesis final project, constitutes a complex and crude portrait of our time, a moment in history marked by violence and individualism. These themes permeate the whole script, with its experimental and poetic style constitutes a challenge at the moment of staging it. This document is intended precisely to register the whole process of staging Crave. The first chapter presents the pre-production research, in which I trace the artistic trajectory of the author, British playwright Sarah Kane, in the context of experimental theater. I also analyze the play, and I present my directorial approach to it. In the second chapter I register the actual process of staging it; the methodologies I used in working with the actors and the designers, as well as the challenges I faced in applying them. Finally, the last chapter is a reflection upon the whole process, with the intention of evaluating my growth as a theater director through this project, which constitutes my final step in these training years at SIUC.

Ausgangspunkt der vorliegenden Arbeit war es, das theaterhistorische Phänomen des chinesischen experimentellen Theaters komparatistisch sowohl als das Ergebnis der Begegnung zweier sehr verschiedener kulturhistorischer Linien (China/ Europa) zu beschreiben als auch in den traditionellen Kontext chinesischer Theaterinnovationen einzuordnen und aus ihm heraus zu erklären. Behandelt wird u.a. der machtpolitische Kontext interkultureller Begegnungen. Es stellt sich die Frage, ob man auf einem "transzendentalen Hügel hockend" China beobachten kann. Man ist immer wieder mit der Frage konfrontiert, aus welcher Perspektive man bei der Untersuchung anderer Kulturen zu adäquaten Ergebnissen kommen kann. Soll man einen aussenstehenden Beobachterposten behaupten oder soll man anerkennen, dass die eigene Anwesenheit vor Ort den Beobachtenden bereits involviert in das zu Beobachtende oder soll man sich seiner eigenen Aktivität bewusst werden und den ohnehin fiktiven Objektivitätsstatus bewusst aufgeben? Ich konnte während der Arbeit an der Inszenierung "Leg deine Peitsche nieder - Woyzeck" in Peking künstlerische und Alltagskommunikation erleben und Einsichten gewinnen, die ohne diese Arbeit unmöglich gewesen wären. Die chinesische Kultur hat bereits frühzeitig Schriftsysteme und eine Schriftkultur ausgebildet. Dennoch haben meine Untersuchungen ergeben, dass die Bereiche der Wissensvermittlung (Lern- und Lehrverhalten), der darstellenden Künste und der sozialen Kommunikation bis in unser Jahrhundert hinein von einer Tradition oraler Techniken und Kommunikation geprägt sind. Ganz wesentlich ist z.B. traditionell der Aspekt der LEIBLICHKEIT bei der Wissensvermittlung. Das Leibwissen eines Lehrers wird durch ständiges Üben und Wiederholen durch den Schüler in dessen Leib inkorporiert. Die Schüler (im profanen, im religiösen oder künstlerischen Bereich) werden hauptsächlich in das WIE der Übungen, nicht aber in das WARUM eingewiesen, weil sich aus der Logik dieses Denkens ergibt, dass sich aus der ausgefeilten Qualität des Geübten mit der Zeit der Sinn dessen über den Leib des Schülers von selbst erschließt. Oralen Techniken von Wissensvermittlung ist es eigen, dass sie dem Wiederholen größeren Wert beimessen als dem Neuerfinden. Dies ist eine Traditionslinie, die noch heute für das chinesische Sprechtheater wirksam ist. Innovation im chinesischen Kontext bedeutet vor allem Detailinnovation, aufbauend auf ein gegebenes Modell. Die chinesische Gesellschaft verfügt über ein reiches Instrumentarium theatraler Kommunikation. Aufgrund der Sozialstruktur und des ausgeprägten Relationsdenkens verfügen die kulturell Kommunizierenden über "shifting identities" wie Jo Riley es für die Darsteller im chinesischen traditionellen Musiktheater feststellte und wie Rosemarie Juttka-Reisse ein adäquates Phänomen für die Praxis von sozialem Rollenwechsel in sozio-kulturellen Kommunikations- und Interaktionsprozessen nachwies. "Shifting identies" bedeutet, dass Kommunizierende in der Lage sind, spontan und flexibel auf neue Kommunikationskontexte mit dem entsprechenden performativen Instrumentarium zu reagieren. Dieser Umstand hat weitreichende Konsequenzen für die Rollengestaltung im chinesischen Theater. Zum Beispiel ist der Brecht'sche Begriff der Verfremdung aus diesem Grunde NICHT oder bestenfalls nur partiell auf das chinesische Theater anwendbar. Die Brecht'sche Verfremdungstheorie ist nicht dem chinesischen Theater abgeschaut, sondern auf das chinesische Theater projiziert. Im Zusammenhang mit dem Leiblichkeitskonzept steht eine spezifische Vorstellung der EINVERLEIBUNG von Wissen, auch nicht-chinesischen Wissens. Beispielsweise wird bis in die 1990er Jahre hinein immer wieder auf die VERDAUUNGSMETAPHER zurückgegriffen. Das Einverleibungsprinzip, welches in engster Verbindung mit dem chinesischen Ahnenkult steht, ist mindestens einmal einer Fundamentalkritik unterzogen worden. Kurioserweise geschah dies nach der Einverleibung westlichen Wissens, insbesondere der Fortschrittsidee und der Vorstellung evolutionärer historischer Weiterentwicklung. Lu Xun nämlich prägte die Metapher der Menschenfresserei, die sich auf die als reaktionär erkannte Einverleibung "feudalistischen" Wissens aus der alten, dem Westen unterlegenen chinesischen Gesellschaft bezog. Seither gibt es die "fortschrittliche" und die "reaktionäre" Verdauung, wobei der Diskurs um kulturelle Identität, um Erneuerung und Bewahrung immer wieder neu festzulegen versucht, was gegebenfalls nützlich oder nutzlos ist. Die Entstehung des chinesischen experimentellen Theaters ist ohne das Eingebettetsein in historische Linien der chinesischen Theatergeschichte nicht erklärbar. Aneignungsmuster in bezug auf die Aufnahme neuer Anregungen aus anderen Kulturen haben eine traditionelle Logik entwickelt, die man nur erkennen und einordnen kann, wenn man sich ausführlich den historischen Voraussetzungen und Rahmenbedingungen von Theater in China widmet. Deshalb bin ich auf diese historischen Linien ausführlich eingegangen. Das experimentelle Theater in China setzt diese Linie fort. Deshalb kann man schlussfolgern, dass das chinesische Sprechtheater "eine Art Pekingoper mit anderen Mitteln" ist, und nicht ein bürgerlich-westliches Sprechtheater mit chinesischer Kolorierung. Das chinesische Theater hat sich über die langen historischen Zeiträume seiner Entstehung als sehr aufnahmefähig für interkulturelle Anregungen gezeigt. Man kann sagen, dass es das Ergebnis dieser Interaktionsprozesse ist. In diesem Sinne ist die Integration westlicher Theaterstile und damit auch die Entstehung des experimentellen Theaters als traditionelle Strategie im Umgang mit dem Fremden anzusehen. Es handelt sich tendenziell nicht (nur) um einen Ausdruck von Modernität, sondern von Tradition. Es ist in der chinesischen Theatergeschichte nicht um die Echtheit/ Authentizität des adaptierten ausländischen Materials gegangen, sondern hauptsächlich um die Anwendbarkeit im eigenen Kontext. Das wiederum führt folgerichtig zu dem Schluss, dass es z.B. keine "falsche" Rezeption westlichen Theaters in China geben kann, sondern nur eine chinesische. Der experimentelle Zugang zu neuen Formen innerhalb der chinesischen Theaterkultur ist ein historisch praktizierter. Die chinesische Praxis des Experiments ist historisch verbunden mit einer Praxis des Ausprobierens, Integrierens, Ausschmückens, einer Art Patchwork-Strategie. Im Gegensatz zum westlichen Begriff des Experiments ist diese Praxis nicht an abstrakte Hypothesenbildung und die systematische Beweisführung gebunden. Hauptinstrument neuer Erkenntnisse war die empirische Beobachtung. Die Entstehung des experimentellen chinesischen Theaters im 20. Jahrhundert, welches erstmals an verschiedene Begrifflichkeiten gebunden wird und nicht einfach als historische Praxis dem chinesischen Theater inhärent ist, deutet auf eine neue Qualität dieses Phänomens in der chinesischen Theatergeschichte hin. Die neue Qualität im Vergleich zur historisch-experimentellen Praxis besteht darin, dass die chinesische Kultur erstmals in ihrer Geschichte als Hochkultur Asiens mit einem ernstzunehmenden, hegemonial operierenden Feind konfrontiert war, der mit seinem ökonomisch-militärischen Potenzial die Qualität der chinesischen Kultur als Ganzes in Frage stellte. Nun sahen sich die chinesischen Eliten gezwungen, die westlichen Mittel zum chinesischen Zweck des Überlebens zu machen. Aus diesem Grunde wurden westliche Ideen und Praktiken, wie z.B. das bürgerliche Sprechtheater rezipiert. Dies musste als Praxis aber auch als Begriff umgesetzt werden. Aus diesem spezifischen Entstehungskontext ergibt sich eine unterschiedliche Richtung der Theateravantgarden in China und im Westen. Während die historische Theateravantgarde im Westen in ihrer Kritik am bürgerlichen Theaterkonzept und in ihrer Auseinandersetzung mit Industrialisierungs- und Technologiesierungsprozessen auf "Retheatralisierung" des Theaters drängte, gingen die chinesischen Theaterkünstler den entgegengesetzten Weg. Die neuen historischen Erfahrungen ließen sich in den volkstümlichen Geschichten und den historischen Analogien des traditionellen chinesischen Theaters und in ihrer stilisierten Theatralität nicht mehr adäquat darstellen. Plötzlich wurde ein neues Realismuskonzept, welches nach DETHEATRALISIERUNG drängte, wesentlich. Darüberhinaus gehört es zur historischen Linie des chinesischen Theaters, dass es stark profitierte sowohl von nicht-chinesischen Anleihen anderer Theaterkulturen als auch von den Volkskünsten der eigenen Kultur. Es waren zunächst Laiendarsteller und Amateurtheaterkünstler, die in den 1920er Jahren die vielfältigen Kategorien des chinesischen "experimentellen" Theaters erfanden und später in einen professionellen Status überführten. Neben den kulturellen Einflüssen des westlichen Imperialismus war China ebenfalls mit dem hegemonialen Bestreben insbesondere des sowjetischen Kulturimperialismus konfrontiert. Die sowjetische Kulturpolitik favorisierte das Stanislawski-Konzept. Dieses wurde dann zunächst, nach Gründung der VR China 1949, zu einem der Grundpfeiler der Idee eines neu zu entwickelnden chinesischen Nationaltheaters. Seit den 1980er Jahren wird es zunehmend kritisiert. Seitdem werden andere westliche Konzepte interessant. Dazu gehören die Konzepte der westlichen historischen Avantgarde ebenso wie die des absurden und weitestgehend postmodernen Theaters. Seit den 1990er Jahren sind zwei Haupttendenzen im modernen chinesischen Theater festzustellen. Zum einen unterliegt das Theater rigiden Kommerzialisierungstendenzen. Zum anderen sieht sich das Theater einer Vielzahl neuer Unterhaltungsmedien (TV, Kino, Karaoke, Shows etc.) gegenüber, die es veranlassen, sich verstärkt auf die spezifischen Möglichkeiten theatralen Ausrucks zu besinnen. Das führt dazu, dass nun sowohl das theatrale Potenzial des klassischen chinesischen Theaters interessant wird ebenso wie die Retheatralisierungsversuche der westlichen Avantgarde. Seit Mitte der 1980er Jahre ist eine erneute, hitzige Debatte über Begriff und Inhalt von experimentellem Theater im chinesischen Kontext zu beobachten.
The starting point of this paper was both to describe the theatre-historical phenomenon of Chinese experimental theatre in a comparative way, as the result of the encounter of two culture-historical lines differing very much (China/Europe) and to put it in its proper historic context and thus to explain from its context. The power-political context of intercultural encounters is dealt with. The question arises whether one would be able to watch China at all " sitting on a transcen-dental hill". You are constantly facing the question from which perspective you can achieve adequate results when researching/ investigating foreign cultures. Should you maintain your (external) observer status or should you recognise that your own presence at the site involves the observer what he watches or should you consciously give up the anyhow fictitious status of objectivity. While staging "Put down your whip - Woyzeck" in Beijing at the State theatre called Central Experimental Theatre I could experience both artistic and every-day communication, without which this paper would and could never have been written. The Chinese culture has developed writing systems and a written culture early on in history. Nevertheless, my study has shown, that instruction (learner and teacher behaviour), performing arts and social communication have been highly influenced by the oral tradition of communication throughout the centuries. The aspect of corporality in instruction is essential. The teacher's incorporated knowledge is transferred to the student's body through permanent exercise and repetition/revision. The student (worldly, religious and artistic spheres) is taught HOW to do the exercise but not necessarily WHY because part of this thinking is the idea that the awareness of the meaning of the skill comes to the student through his body. This implies that it is a characteristic feature of oral instruction/information stresses repetition rather than innova-tion. This line of tradition has always been efficient for the Chinese spoken drama, even today. Innovation in a Chinese context means chiefly innovation of detail based on a model given. The Chinese society developed a rich variety of tools of theatrical communication. Due to the social structure and a well-developed relational thinking the cultural communicators have "shifting identities" as Jo Riley stated it in terms of the performers in the Chinese traditional music thea-tre. Rosemarie Juttka-Reisser confirmed an adequate phenomenon for the practice of switching social roles in processes of socio-cultural communication and interaction. "Shifting identities" means that communicators are capable of spontaneously and quickly responding to new communication contexts through adequate performative sets of instruments. This has an impact on the performance of roles in Chinese theatre. Therefore the Brechtian term of alienation, for instance, can not or only partly be applied to Chinese theatre. Thus, the Brechtian theory of alienation is not derived from Chinese theatre but rather projected to it. Linked to the concept of incorporation of knowledge is a specific image of incorporation of knowledge including the non-Chinese one. Up to the 1990s the metaphor of digestion had been used again and again. The principle of incorporation which is closely connected with ancestor cults underwent fundamental criticism at least once. Curiously enough, this happened after the incorporation of Western knowledge, in particular of the idea of progress and evolution/ revolution. Lu Xun coined the metaphor of cannibalism. This relates to the traditional incorporation of the so-called "feudal" knowledge based in the Chinese culture which has been understood as inferior to the West. Since then there has been "progressive" and "reactionary" digestion; discourse about cultural identity, about renewal and preservation of Chinese values has always been trying to re-determine what is useful or useless respectively. The appearance and existence of the Chinese experimental theatre can not be explained without it being embedded in the line of Chinese (theatre)history. Patterns of acquisition in terms of the perception of new stimuli from other/foreign cultures have developed a traditional logic which can only be recognized and categorized if you have a deeper understanding of the historic condition and the whole framework of theatre in China. Therefore I dealt with this historical line in detail. The experimental theatre in China continues this line to a certain extend. This results in the Chinese spoken theatre being "a kind of Beijing opera with a different approach" but not a bourgeois Western spoken drama with a Chinese touch. Throughout its history the Chinese theatre has always readily absorbed intercultural stimuli. So you can say that these processes of interaction have contributed to contemporary Chinese theatre. Thus you can regard the integration of Western theatre styles including the development of the experimental theatre a highly traditional strategy for encountering and dealing with the foreign element. This strategy is not an expression of modernity only but mainly of tradition. Chinese theatre history was not particularly interested in the authenticity of the adopted foreign material but in its application within the Chinese context. This has led to the conclusion that there cannot be any "wrong" perception of the Western theatre in China but only a Chinese. The experimental approach to new forms within the Chinese theatre culture has been used all the time. The Chinese experimental practice has indeed been linked with integrating, ornamenting and trying out resulting in a kind of patchwork. In contrast to the Western term of experiments this practice does not depend on abstract hypotheses and proofs systematically shown. This is partly due to Western sciences focussing on mathematics while Chinese sciences were concentrating on dealing with problems of relations (physics). Therefore they (have) preferred empirical observation to mathematical analysis in order to achieve new knowledge. In contrast, the experimental Chinese theatre in the 20th century, reflects a new quality in their approach to theatre which, for the first time, attempts to use concepts like in the Western theatre. The reason for this new approach resulted from the fact that for the first time in its history Chinese culture as an Asian high culture was faced with a serious hegemonially operating enemy that questioned the quality of the Chinese culture as a whole through its economic and military potential. The Chinese intellectual elite was forced to respond to the Western threat by using Western methods (including spoken drama) in order to survive: using a Western means to a Chinese end. These specific historical circumstances and power relations have led to different directions of avantgarde theatre movements in China and the West in the early 20th century. Western and Chinese theatre artists went opposite ways: while the former initiated the Re-theatralisation in their criticism of the bourgeois theatre concept and of industrialisation; the latter focused on De-theatralisation which had become a new concept, that of realism/ naturalism. The new experiences of the time could no longer be expressed in their folktales and historical analogies of the traditional Chinese theatre and its stylised theatricality. Amateurs (in particular students of big cities) were the first to invent the various categories of a Chinese "experimental" theatre and later transformed its status into a professional one. Apart from cultural influences of Western (including Japan) imperialism China faced the same problems with the Soviet cultural imperialism. The Soviet cultural policy favoured Stanislavsky's concept. This idea became the basis of a new Chinese national theatre which was to develop after the formation of the People's Republic of China in 1949. Since the 1980s it has increasingly been criticised. In addition other Western concepts have attracted attention including concepts of the Western historical avantgarde, the theatre of the absurd and post-modern theatre. Since the 1990s two major tendencies of modern Chinese theatre can be stated. On the one hand, the theatre is subject to rigid tendencies of commercialisation (which means that the state cut the subsidies), on the other hand, the theatre is confronted with a variety of new entertainment media (TV, cinema, karaoke, shows etc.) which make it remember its specific oppor-tunities of theatrical expression (now including traditional Chinese theatre forms). At the moment a new heated debate about the term and the content of experimental theatre is going on.

Thesis (MDram)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.

COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Este trabalho tem por finalidade analisar a dimensão educativa do Teatro Experimental do Negro (TEN), uma das entidades do movimento negro, fundada em 1944, por Abdias do Nascimento, no Rio de Janeiro. O principal objetivo desta entidade era combater o racismo e reivindicar o reconhecimento de uma identidade negra, tendo o teatro, as aulas de alfabetização e iniciação cultural, como veículos educativos e de construção identitária. No contexto das décadas de 1940 e 50, no qual o Brasil vivia um período de redemocratização da sociedade, observamos que, ao mesmo tempo em que o TEN encontrou um terreno fértil para expor suas reivindicações; por outro lado, tornar pública a questão racial gerou uma certa polêmica, pois o mote da democracia racial fazia parte do imaginário da sociedade brasileira e o mestiço representava o símbolo da brasilidade. A metodologia do trabalho é de cunho qualitativo. Além de análise bibliográfica sobre o tema, desenvolvemos, também, uma análise documental no IPEAFRO (Instituto de Pesquisas e Estudos Afro-Brasileiros), instituição fundada em 1980 por Abdias do Nascimento e Elisa Larkin Nascimento, cuja sede se encontra no Rio de Janeiro. Concluímos, analisando o trabalho educativo desenvolvido pelo Teatro e as principais atividades pedagógicas entre o período de 1944 a 1950, à luz de algumas reportagens produzidas na mídia impressa naquele contexto.
This work has the objective of analyzing the educational dimension of the Negro Experimental Theater (TEN), one of the Negro Movement entities, founded in 1944, by Abdias do Nascimento, in Rio de Janeiro. This entity´s main goal was to fight racism and request the recognition of a Negro identity, by using theater, alphabetization lessons, and cultural initiation, as educational vehicles of identity construction. In the context of the decades of 1940 and 1950, in which Brazil went through a period of democratic reestablishment, it is noted that the TEN seemed to find fertile grounds to expose its requests. Meanwhile, turning racial matters into something public would generate certain polemic, as the motto of racial democracy was part of the Brazilian society´s imaginary and the mestiço stood as a symbol of Brazilianity. The methodology of this work was based on qualitative research methods. Besides presenting a thorough bibliographical analysis about the theme, a documental analysis was held in the IPEAFRO (Afro- Brasilian Institute of Research and Studies), institution founded in 1980 by Abdias do Nascimento and Elisa Larkin Nascimento, located in Rio de Janeiro. The conclusion was obtained upon the analysis of the educational work carried by theater and the major pedagogical activities in the period between 1944 and 1950, presented in news articles produced by the media in that specific context.

Orientador: Neyde de Castro Veneziano Monteiro
Acompanha anexo em DVD: Santo Antonio e a Vaca
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O teatro, como processo criativo, é uma arte para ser exercida em conjunto, por vários, e não isoladamente. A montagem de um espetáculo, ainda que um monólogo, exige trabalho intelectual e também braçal, exige um grupo de pessoas organizadas com o mesmo objetivo. A história do teatro no Brasil pode, portanto, ser contada pelas histórias de seus grupos e companhias teatrais. Grupos que, em suas diversas localidades e épocas, fizeram parte do contexto sócio cultural em que se inseriam. Compreender sua história é compreender melhor não apenas a história do nosso teatro, da nossa cultura, mas também a do próprio país. Esta tese é o resultado de uma pesquisa sobre um desses grupos: o Teatro Experimental de Comédia de Araraquara (TECA), grupo de teatro amador atuante na cidade de Araraquara, interior do Estado de São Paulo, de 1955 a 1962 e de seu diretor, Wallace Leal Valentim Rodrigues.
Abstract: Theater, as a creative process, is an art form to be exercized in group, by many, and not isolated. The set-up of a play, even a monologue, requires intellectual and heavy work, requires a group of people organized with the same objectives. The history of Brazilian theater can, therefore, be explained by the histories of its groups and theater companies. Groups that, in their different communities and times, were part of the social and cultural context where they belonged. Understanding their histories is to understand not only our theater history better, but our culture, and also our own country. This thesis is the result of a research on one of these groups: the Teatro Experimental de Comédia de Araraquara (TECA), an amateur company active in Araraquara, a town at São Paulo State, from 1955 through 1962 and of its stage director, Wallace Leal Valentim Rodrigues.
Doutorado
Doutor em Artes

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
This master s thesis aims to approach the passage of Bertolt Brecht through the theater history and the influence of his proposal for the contemporary art. Initially, we analyzed Brecht s criticism towards some traditional conceptions of theater and the path taken by the author to think the crisis of drama that had settled times before. Along the way were considered some references and possible objections from Brecht to Aristotle and the Aristotelian model of theater. In this controversial debate, we analyzed the references to the Greek philosopher, to clarify weather Brecht really wanted to reject Aristotle, or he proposed an appropriation of that formal model. It is known that the Aristotelian model of theater was removed from the Poetics of Aristotle and suffered different appropriations in different epochs, one of them being the bourgeois reading. This view is refuted by Brecht, when he analyzes the reality of bourgeois drama and realizes that it was necessary that it be revised immediately, because the theater is no longer affecting the people, in the sense that their willingness depended on a relationship of passivity on the part of viewers. Facing this crisis of drama, some artists tried to reformulate it without however succeeding. Brecht, when began his work, had knowledge of these attempts and facing their failures, the goal was to make theater inaugurate a new place in society. In search of the best place he has in mind a place of production of consciousness, radically opposed to the bourgeois-capitalist logic that sought the alienation of individuals. So, now located outside the debate of reckoning with the past, Brecht focuses on your present and faces the ideas of György Lukács which oppose Brecht by thinking art in a different manner and attributing to him the image of Formalist. We also deal whit defending Brecht from these charges. This dissertation, different from common aspect of texts on Bertolt Brecht is not intended to scrutinize the techniques developed by the playwright in the formulation of the Epic Theater, or talking about the formal aspects of his work, but it is based on a philosophical approach, passing briefly through a few moments of the author s thought until it reaches the stage considered as a mature conception of theater, which is also the last phase of his career, when he revised many of his previous positions. This phase is one in which he writes pieces like The Good Soul of Setsuan (1939-1942) and Life of Galileo (1938-1939). Being so, our focus was this mature conception of the author s work and the characteristics of his thinking at that time, thinking that we take as very Brechtian itself. We focus at this moment of his work, to show the compatibility of his thought and a contemporary conception of theater
Este trabalho tem por objetivo abordar a passagem de Bertolt Brecht pela história do teatro e a influência de sua proposta na fase contemporânea da arte. Inicialmente, analisamos a crítica de Brecht dirigida a algumas concepções tradicionais de teatro e o caminho percorrido pelo autor para pensar a crise do drama que se instalara tempos antes. Nesse percurso foram consideradas algumas referências e possíveis objeções de Brecht a Aristóteles e ao modelo aristotélico de teatro. Nesse debate polêmico, analisamos as referências ao filósofo grego, a fim de esclarecer se o que Brecht pretendia era rejeitar mesmo Aristóteles, ou mais uma apropriação daquele modelo formal. Sabe-se que o modelo aristotélico de teatro foi retirado da obra Poética de Aristóteles e que sofreu apropriações segundo as épocas, sendo uma delas a leitura burguesa. Essa leitura é rebatida por Brecht que revê a realidade do drama burguês e percebe que era preciso que ele fosse revisto imediatamente, pois o teatro já não atingia mais as pessoas, mas sua disposição dependia de uma relação de passividade por parte dos espectadores. Frente a dessa crise do drama, alguns artistas, tentaram reformulá-lo sem, no entanto, obter sucesso. Brecht, quando deu início a seu trabalho, já tinha conhecimento dessas tentativas e diante desses fracassos, o objetivo era fazer o teatro inaugurar um novo lugar dentro da sociedade. Em busca do melhor lugar, ele tem em mente um lugar de produção de consciências, opondo-se radicalmente à logica burguesa-capitalista que buscava a alienação dos indivíduos. Assim, localizado já fora do debate de acerto de contas com o passado, Brecht concentrase em seu presente e enfrenta György Lukács que se opõe a Brecht ao pensar a arte de uma forma diferente, atribuindo a este a imagem de Formalista. Nos ocupámos de defender Brecht também dessas acusações. Esta dissertação, diferente do aspecto comum de textos sobre Bertolt Brecht não se propõe a analisar minuciosamente as técnicas desenvolvidas pelo dramaturgo na formulação do Teatro Épico, ou a falar dos aspectos formais de sua obra, senão que se apoia numa abordagem filosófica, que passa rapidamente por alguns momentos do pensamento do autor até chegar à fase considerada como fase de uma concepção madura de teatro, que é também a última fase de sua carreira, quando ele reviu muitas de suas posições anteriores. Esta fase é aquela em que ele escreve peças como A Alma Boa de Setsuan (1939-1942) e Vida de Galileu (1938- 1939). Neste momento do trabalho nosso foco foi essa dada concepção madura da obra do autor e as características de seu pensamento nessa época, pensamento que tomamos como próprio brechtiano. Concentramos nossa atenção neste momento da obra, a fim de mostrar a compatibilidade desse pensamento e uma concepção de teatro contemporânea

This thesis draws on practice-as-research (PaR) and its documentation to investigate experimental theatre as transdisciplinary performance. I include case studies from my practice with Fail Better Productions and consider multi-/inter-/trans-disciplinary methods in theatre studies. Examples of twentieth-century experimental theatre are studied to define ‘three problems’ in performance: the organic/mechanical, theatrical/scientific and playful/experimental. The concept of ‘entanglement’ further develops my understanding of PaR methodology. In Chapter 1, Samuel Beckett’s later dramatic works are explored as ‘theatre machines’, with a particular focus on George Devine’s 1964 production of Play. Following an analysis of the Fail Better’s Discords (2010), Beckettian embodiment is articulated as ‘organic machinery’. The chapter concludes with a discussion of Beckett’s ‘corporeal hereditaments’ and ‘plasticity’ in performance. Chapter 2 investigates Artaudian ‘theatre laboratories’, in particular Peter Brook’s 1964 Theatre of Cruelty experiments. This is compared with Fail Better’s interdisciplinary project Endlessness (2011). The final section develops an analysis of ‘scientific’ theatre and experimentation–as–performance, focusing particularly on forms of ‘reflexivity’. Chapter 3 examines participatory performance, specifically focusing on corporeal movement within installations such as Fail Better Fragments (2012). Joan Littlewood’s experimental performance practices are analyzed, specifically her Fun Palace project (c.1961–8), for the influence of Rudolf Laban upon her work. The potential for community engagement within these ‘experimental playgrounds’ will be explored in relation to ‘permeability’ in performance and Laban’s ‘effort attitude’ of flow. Finally, the thesis re-articulates the ‘three problems’ in terms of play and discipline, which are interrogated via the concepts of failure, ludus, and embodiment. I will demonstrate how a historiographical approach to PaR can re-invigorate methodology, before considering transdisciplinary performance in relation to ‘playfulness’ and Csikzsentmihalyi’s ‘flow’. The thesis concludes by briefly developing an understanding of performances as ‘epistemic things’, PaR as ‘unfinished thinking’, and experimental theatre practice as a transdisciplinary phenomenon of ‘not-yet-knowing’.

Orientador: Reynuncio Napoleão de Lima
Banca: José Leonardo do Nascimento
Banca: Dagoberto José Fonseca
Resumo: Até a década de 1940, o negro no teatro brasileiro, mesmo quando em personagens de destaque, quase sempre foi retratado por meio de certas caricaturas ou estereótipos herdados do período da escravidão. Entre o final do século XIX e começo XX, as personagens negras aparecem muitas vezes representadas em figuras dramáticas femininas como a mulata bela e sensual (reboladeira e carnal, pernóstica ou faceira), a bá (ama-de-leite geralmente negra beiçuda e gorda, confidente, chorosa e prestativa), a baiana macumbeira (em especial a vendedora de quitandas, vestida com saia rodada, bata de renda, turbante, pano-da-costa, colares e balangandãs), a preta velha (africana idosa conhecedora de segredos); em personagens masculinos, como o negrinho espertalhão (agregado da casa-grande), o bobalhão (pouco inteligente; estúpido, ignorante, imbecil); o malandro (astuto, bon vivant); o pai João (na maioria das vezes negro velho, dócil, conformado e submisso). Nos idos de 1944, surge no Rio de Janeiro um grupo de teatro formado por atores negros propostos a problematizar e revisar a tradição cênica de representação da "raça" levando aos palcos textos ligados aos temas das culturas afro-brasileiras, aos conflitos raciais e ao estigma da cor negra. Trata-se do Teatro Experimental do Negro (TEN). A presente investigação visa compreender as propostas dramatúrgicas deste grupo para a construção da personagem negra, tendo como base os estudos de Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) e Sábato Magaldi (1962), e partindo da analise de duas específicas peças do repertório do TEN, que estão reunidas na coletânea Drama para negros e prólogo para brancos, publicada em 1961. São elas: O filho pródigo (1947), de Lúcio Cardoso e Sortilégio (1951), de Abdias do Nascimento. Palavras-chave: Teatro... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Until the nineteen forties decade, the Negroes in the Brazilian drama were represented, even when taking up major parts, throughout some stereotyped characters and caricatures inherited from the slavery period. Between the end of the nineteenth century and the beginning of the twentieth, the feminine negro character so many times appears in dramatic parts like the "mulata" beautiful and sexy (with good dancing skills and body performance), the "babá" (wet-nurses regularly black, thick lips and fat, confidant, tearful and helpful), the "bahiana macumbeira" (normally in voodoo style, seller of grocer's shops, dressing wide skirts, sewed smock, turban, necklaces and local baubles), the "black old lady" (old African having knowledge of ancient secrets), and the masculine characters like the "smart young black" (a lodger of the Brazilian 'greathouse'), the "fool" (lacking intelligence, lout, ignorant and idiot), the "father John" (mostly old black, docile submissive and conformist). Around nineteen forty-four, there is within Rio de Janeiro the foundation of a new drama group, created by black actors intended to revise the stage tradition for representation of race, bringing to stage different works related to African-Brazilian culture subjects, to the racism conflicts and the Negroes stigma. It was the Negroes Workshop Theater ("Teatro Experimental do Negro", TEN). This investigation intends to understand this group's theatrical proposal to build the Negro character, having as a direction the works of Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) and Sábato Magaldi (1962), as well as coming from the analysis of two specific plays from the 'TEN's repertoire united in the collection: "Drama para negros e prólogo para brancos", released in... (Complete abstract click electronic access below)
Mestre

This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.

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Universidade Estadual Paulista (UNESP)
Até a década de 1940, o negro no teatro brasileiro, mesmo quando em personagens de destaque, quase sempre foi retratado por meio de certas caricaturas ou estereótipos herdados do período da escravidão. Entre o final do século XIX e começo XX, as personagens negras aparecem muitas vezes representadas em figuras dramáticas femininas como a mulata bela e sensual (reboladeira e carnal, pernóstica ou faceira), a bá (ama-de-leite geralmente negra beiçuda e gorda, confidente, chorosa e prestativa), a baiana macumbeira (em especial a vendedora de quitandas, vestida com saia rodada, bata de renda, turbante, pano-da-costa, colares e balangandãs), a preta velha (africana idosa conhecedora de segredos); em personagens masculinos, como o negrinho espertalhão (agregado da casa-grande), o bobalhão (pouco inteligente; estúpido, ignorante, imbecil); o malandro (astuto, bon vivant); o pai João (na maioria das vezes negro velho, dócil, conformado e submisso). Nos idos de 1944, surge no Rio de Janeiro um grupo de teatro formado por atores negros propostos a problematizar e revisar a tradição cênica de representação da “raça” levando aos palcos textos ligados aos temas das culturas afro-brasileiras, aos conflitos raciais e ao estigma da cor negra. Trata-se do Teatro Experimental do Negro (TEN). A presente investigação visa compreender as propostas dramatúrgicas deste grupo para a construção da personagem negra, tendo como base os estudos de Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) e Sábato Magaldi (1962), e partindo da analise de duas específicas peças do repertório do TEN, que estão reunidas na coletânea Drama para negros e prólogo para brancos, publicada em 1961. São elas: O filho pródigo (1947), de Lúcio Cardoso e Sortilégio (1951), de Abdias do Nascimento. Palavras-chave: Teatro...
Until the nineteen forties decade, the Negroes in the Brazilian drama were represented, even when taking up major parts, throughout some stereotyped characters and caricatures inherited from the slavery period. Between the end of the nineteenth century and the beginning of the twentieth, the feminine negro character so many times appears in dramatic parts like the “mulata” beautiful and sexy (with good dancing skills and body performance), the “babá” (wet-nurses regularly black, thick lips and fat, confidant, tearful and helpful), the “bahiana macumbeira” (normally in voodoo style, seller of grocer's shops, dressing wide skirts, sewed smock, turban, necklaces and local baubles), the “black old lady” (old African having knowledge of ancient secrets), and the masculine characters like the “smart young black” (a lodger of the Brazilian ‘greathouse’), the “fool” (lacking intelligence, lout, ignorant and idiot), the “father John” (mostly old black, docile submissive and conformist). Around nineteen forty-four, there is within Rio de Janeiro the foundation of a new drama group, created by black actors intended to revise the stage tradition for representation of race, bringing to stage different works related to African-Brazilian culture subjects, to the racism conflicts and the Negroes stigma. It was the Negroes Workshop Theater (“Teatro Experimental do Negro”, TEN). This investigation intends to understand this group’s theatrical proposal to build the Negro character, having as a direction the works of Anatol Rosenfeld, Antonio Candido, Décio de Almeida Prado (2000), Renata Pallottini (1989) and Sábato Magaldi (1962), as well as coming from the analysis of two specific plays from the ‘TEN’s repertoire united in the collection: “Drama para negros e prólogo para brancos”, released in... (Complete abstract click electronic access below)

Thesis (D.M.A.)--University of California, San Diego, 2009.
Title from 1st page of PDF file (viewed Sept. 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 45-46.

Orientador: Inaicyra Falcão dos Santos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa está vinculada ao Programa de Pós-Graduação em Artes da UNICAMP e insere-se na linha de pesquisa Arte e Sociedade. Este é um estudo descritivo, de cunho, hipotético-indutivo, baseado em fontes primárias e secundárias. Neste estudo, Um olhar sobre o Teatro Negro do Teatro Experimental do Negro e do Bando de Teatro O/odum, realizamos uma análise do teatro negro sob o ponto de vista de sua especificidade racial. Teatro negro, aqui concebido, como o teatro cuja base fundamental é a afirmação da identidade negra, associada a proposições estéticas de matriz africana, embasadas em questões existenciais e político-ideológicas negras. A perspectiva com a qual trabalhamos é que o teatro negro, da maneira como se configura, instaura uma reflexão inusitada no teatro brasileiro, no que diz respeito à praxis e estética cênicas; à animação e tratamento corpo-vocal do ator; a partir de elementos e abordagens fundados na cultura de matriz afro-brasileira. Utilizando como aporte as experiências do Teatro Experimental do Negro e do Bando de Teatro Olodum, procuramos levantar as especificidades e implicações apresentadas por esse teatro negro, bem como suas proposições e contribuições ao teatro brasileiro.
Abstract: This research is part of the UNICAMP Graduation Program in Arts, and is enrolled at the Art and Society Research Orientation. It is a descriptive, hypothetical inductive study based on primary and secondary sources In this study, which examines the Black Theatre of the Teatro Experimental do Negro [Experimental Black Theatre] and at the Bando de Teatro Olodum [Olodum Theatre Group], we analyse the black theatre apart from its racial particularities. We understand the Black Theatre as the theatre whose fundamental objective is to state the'black identity using African aesthetic references, based on existential and political-ideological black issues. Our hypothesis is that the black theatre, in the way it is organized, presents to the Brazilian theatre an an unusual point view regarding the practice and the aesthetic of the theatre, such as the expressions of the actor's body and voice, which are based on Afro-Brazilian culture and approach. Considering the experiences of these groups (Teatro Experimental do Negro and Bando de Teatro Olodum), we will try to find the particularities of the black theatre and the proposals it brings to Brazilian theatre.
Doutorado
Artes
Doutor em Artes

The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.

A presente dissertação é parte da pesquisa que se propõe investigar o discurso da materialidade cênica do grupo italiano Socìetas Raffaello Sanzio. O foco central neste primeiro momento é sua trajetória e as experiências daí decorrentes. Através da analise de seu percurso, procura-se estabelecer nesta pesquisa uma reflexão sobre as práticas contemporâneas do espetáculo que marcam uma ruptura com o modelo dramático tradicional ao propor novos paradigmas na construção da escritura cênica.
This 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.

Orientador: Elide Rugai Bastos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Em outubro de 1944 no Rio de Janeiro um grupo de homens e mulheres negras, tendo como líder Abdias do Nascimento, formou o Teatro Experimental do Negro. O objetivo primordial era dar ao ator negro condições de levar aos palcos personagens livres dos estereótipos que foram sendo absorvidos e reproduzidos pelo teatro brasileiro especialmente a partir do século XIX. O moleque de recado levando cascudo, a mãe preta chorosa e o negro representado de maneira quase bestial seriam ignorados para dar lugar a um negro humanizado com seus próprios dramas e questionamentos. O ator branco brochado de preto, tão comum no teatro brasileiro, daria lugar ao negro real. Amplamente a iniciativa do TEN implicou na recusa de um lugar pré-determinado para o negro no palco e na sociedade brasileira, e o questionamento desta determinação que o teatro mostrava como reflexo de toda sociedade. Assim, ao ser pensado como sujeito do próprio destino o negro a que o TEN queria atingir deveria assumir boa parte da responsabilidade para integrar-se, sem perder de vista a luta por condições efetivas para isso. Este objetivo determinou a abrangência de sua intervenção que assumiu uma série de reivindicações que o grupo reconhecia como parte da demanda da população negra brasileira, e que tentava abarcar através dos diversos projetos e eventos realizados. A investigação da trajetória do grupo e sua estratégia de ação mostram a maneira como esta iniciativa tão importante do movimento negro brasileiro relacionou-se com seu contexto
Abstract: In October 1944 in Rio de Janeiro a group formed by black women and men, having as its leader the black activist Abdias do Nascimento was created: the Experimental Black Theater. Its prime aim was to give black actors and actresses conditions to take to stage characters free from the stereotyped vision that was being reproduced and absorbed specially after the 19th century. Black people represented in an inhumane way were about to be ignored, to make room for the Negro with his own questions and dilemmas. The white actor painted black, so common in the Brazilian theater, would also be substituted. Widely the group initiative also represented the refuse of a role, not only in theater, but also in society, that the stage represented very clearly. Considered the subject of his own destiny the blacks were asked to assume a great part of the responsibility to himself integrated, but always claiming for real integration conditions. This objective was determinant for the development of a wide proposal of the group. And the investigation of its trajectory and its strategy of action shows the way this important initiative of the Brazilian black movement was it connected to its context
Mestrado
Pensamento Social
Mestre em Sociologia

Thesis (Ph.D.) -- University of Western Sydney, 2002.
A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.

This thesis explores temporal forms of architectural meaning through the investigation of the dramatic space of "ritual theatre." In particular, it analyzes the thought and several theatrical productions of the twentieth century Polish theatre director, Jerzy Grotowski: Grotowski is of particular interest because he designed a "total dramatic space" that incorporated both the actors and the spectators (although without necessarily integrating them) for each of his dramatic works. In each case, the spatial relationships created by the theatrical architecture were indissolubly connected to the meaning of the drama itself. In this way, space was used as a kind of third protagonist that, along with the actors and spectators, participates in the theatrical ritual.

This project investigates an idea of adoptable space as opposed to adaptable space of generic felexibility. An Experimental Performing Arts Center on a site in Downtown Chattanooga is used as a vehicle to define the nature of space, which offers itself for an architectural adoption. Simple elements like platforms, walls, doors, windows and curtains are interpreted in a new way and can be used experimentally to let a theater play happen.
Master of Architecture

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A historiografia do teatro brasileiro, pouco a pouco, vem ganhando novos contornos e novas análises. Num primeiro momento, esteve vinculada à crítica literária, depois passou a ter vida própria e se solidificou. Ainda que tenhamos muitas maneiras de registrar a cena, o teatro continua uma arte da presença, o que dificulta sua captura. O historiador, por sua vez, faz escolhas, recortes e constrói caminhos. O objetivo deste estudo é discutir as práticas e as ideias teatrais de Flávio de Carvalho, já que seus experimentos e escritos estão inseridos num momento decisivo para o teatro no Brasil, que é a sua modernização com o início dos anos de 1920, com Renato Vianna e Álvaro Moreyra na proa e sua consolidação décadas depois. Flávio de Carvalho com o Teatro Experiência e com a montagem do espetáculo O Bailado do Deus Morto, com a Experiência N° 2 e com a Experiência Nº 3, por exemplo, já reivindica, a partir dos anos de 1930, um teatro feito para a cena e para o ator. A iluminação, o cenário, o texto e o corpo do ator, enfim, passam a ser pesquisados fora da hierarquia convencional que tinha na tríade texto, ator principal e empresário a espinha dorsal de um espetáculo. Por isso, considero que a análise das ideias e das práticas teatrais de Flávio de Carvalho à luz da história e da estética pode abrir novos espaços e sugerir novos modos de olhar nossa história teatral.

Gravity understood scientifically is normally accepted as a dictate, however when encountered creatively, the possibilities for playing with and learning from gravity in natural environments are plentiful. This practice-led research explores gravity in both artistic and functional contexts. Two nature-specific sports (ocean diving and rock-climbing) and then later, aerial silk work, acted as springboards for explorations of creative expression derived from the states of submersion and suspension. To ‘really feel’ gravity, I decided to explore its effects and impressions, physically and emotionally, in environments that draw attention to its presence. Attempts were made to capture gravity in a series of poetic and performative artefacts, performed in their respective environments; the research culminated in a final performance, Sea Inside in a classical theatre setting. The management of gravity is fundamental in all movement, thus, understanding gravity’s psychophysiological aspects can extend the parameters of performance. Locating physicality underwater and in the air provokes a deep sense of falling and sinking into being and allows both body and mind to access a stiller place of being. Discoveries in natural environment laboratories led to an appreciation of embodied inner verticality and new perceptions about aptitudes for states of flow and “being-in-the-world” (Heidegger, 1976). Submitting to and tuning into kinaesthetic experiences through relations with gravity generated feelings of being enwrapped in the environment, and cultivated a rapport with the myriad landscapes; that are geographical, psychological or metaphorical of Landschaft. Embodied outdoor experimentation led to the realisation of the significance of applying an ecological lens to investigate my affinity to gravity. I explored when the performer’s body learns to incorporate unconventional experiences like being underwater or up in the air, finding therein emergent opportunities for artistic expression. These possibilities have the potential to impact conventions of training/awareness and thus translation to performance/articulation. This thesis contextualises the larger project that is my relationship with gravity which includes the often imperceptible poetic aspects of our environment. Additionally this research wrestles with the tension of theatre and ecology but makes no attempt to solve this problem, rather touches on how the arts, in particular performance modes, may contribute to a dialogue on ecological awareness.

El estudio de las nuevas tendencias dramatúrgicas contemporáneas no se encuentra alejado de todo lo político y social que está gestándose en la sociedad occidental actual. Los cambios producidos en este comienzo de milenio debido, en gran parte, a las luchas de poder entre lo nuevo y lo tradicional, han originado unas luchas entre todos los ciudadanos que están más o menos vinculados al mundo de la cultura. Por este motivo, este estudio muestra todos esos cambios a través de una mirada crítica a la sociedad, no por el mero hecho de mostrarse escéptico con toda la realidad que rodea a esta época, sino por tratar de una manera dura y rigurosa los tópicos que rodean a los nuevos creadores. Para concretar estas nuevas tendencias en un solo nombre y a raíz de lo expuesto a lo largo del trabajo, la aproximación a su dramaturgia y los ensayos académicos, Juan Mayorga ha estudiado en su creación una visión crítica y filosófica de la sociedad, así como una desconfianza a las palabras y verdades establecidas a lo largo de la tradición. Juan Mayorga se ha convertido en un autor atrayente para los académicos por su lenguaje dramático y su puesta en escena. Su trabajo como dramaturgo y su reciente inclusión en la Real Academia Española le confieren un mérito lingüístico y filosófico que impregna todo su trabajo como dramaturgo. Los espectadores que asisten a sus eventos teatrales han de entrar en el juego político-teatral que él mismo propone.
The study of the new contemporary dramaturgical tendencies is not far from everything political and social which occurs in the western society. The changes produced in this beginning of the millennium due, in large part, to the clash of cultures between the new and the traditional, have led to struggles among all citizens who are linked to the culture world. For this reason, this study shows all these changes through a critical look at society, not just keeping skeptical of all this reality what surround this time, but treating in a extensive and rigorous way the topics that wraps up the new creators. To concretize these new tendencies in a single name and following the exposition throughout the work, the approach to his dramaturgy and the academic essays, Juan Mayorga has studied in his creation a critical and philosophical point of view of the society, as well as a distrust to the words and truths established throughout the tradition. Juan Mayorga has become an attractive author for academics because of his dramatic language and his staging. His work as a playwright and his recent inclusion in the Royal Spanish Academy give him a linguistic and philosophical merit that spreads out all his playwright work. The spectators who attend their theatrical events have to enter into the political-theatrical game that he proposes.

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I decided to divide the thesis into 3 main chapters that covers, each one the 3 Expeditions; another one chapter describes their Creation Process and the last one I conclude with my Final Considerations. Chapter One is about the « Journey to the Center of the Earth » and it starts with the story of how we found the Tunnel and its state was when we first saw it. Then, I present a small part of the conversation Karman and I had in 2015, concerning the origins of the show’s creation process, illustrated with photos and sketches that I produced at that time. Next I start an approach (that I called Arraiolo) in which I explain my current ideas regarding documents produced by R. Karman as: "Assembly Schedule" where he describes the production phases and their dates, "Texts from the Expeditionary Manual "taken from the leaflet distributed to the participating public (named "expeditionary") where we placed a lot of information about the "trip” and "Texts of the Expedition", including the actors and scenic lines, as well as his comments. This material is complemented by initial sketches I drew from each idea generated in my creative process, photos and media material. This kind of continuous approach is also used in the other two subsequent chapters. "The Great Journey of Merlin" is Chapter Two’s central theme, beginning with the creation of the visual identity by me; then another piece of conversation I had with Karman where we covered the process of procedural research for the spaces and how it defined the scenes. Then the "Texts’ Creation Process" where Karman reports their genealogy: books, invited writers and texts by various authors; "History and General Data on the Expedition", "Mechanics of the Show: the Transportation", and "The Cost of the Show" where production processes, logistics, administration and factual information are analysed. From there I develop the script’s analysis, divided in four parts based on the locations: - "Travel Agency" showing descriptions, texts and comments of the seven initial scenes, which all happened in São Paulo, around Sumaré district, illustrated with sketches and photos. - "Landfill" with scenes 8 and 9 that happened at the Sanitary landfill in Perus (SP), (texts, sketches and photos). - "Polytheama" with scenes 10 and 11, (with 23 sub-scenes) that took place in Jundiai (SP) at the Polytheama Theater, - "Niniane Lagoon" analyses scenes 12 to the final 13, which happened in a lagoon around the now extinct Nivoloni Pottery. At the end of the chapter, there is a reproduction of articles commenting on the show, within the national and international media. by narrating the years of research and laboratories in areas equivalent to the original São Paulo Expedition, with the respective processes until the final stage of the Inflatable Installation at the Citizenship Hangar. Architectural plans, sketches, promotion materials, and in the end, articles published within the media illustrate Karman's explanatory narrative based on my comments in 23 scenes. I highlighted a special chapter at the end of this Expedition to analyse the Inflatable Installation and its difference from a simple theatrical scenario. This chapter also shows its "making of". (I also included a video as an appendix). Chapter Four deals with the "Expedition’s Creation Process Map" where the trajectory of processes is displayed on a graphic. The intention is to trace the process development from its formative origins to the final show in its variations through the seasons. In the same chapter, the item "Deepening the Process Topics", I explain in more detail specific aspects of the Creation Process. I've also inserted some "Testimonials from the Cast" only as a sample, since they are also displayed on video, in full at the Attachment. In the Final Considerations I approach the "Thesis Creation Process" where I describe what it meant to me to perform "An Academic Thesis made by an Artist". I explain the "Arraiolo" method of the Expeditions that I invented and I also added the "Theoretical Reflections on the Thesis’ Creation Process", in which I comment in topics, theoretical aspects of the conduction of the thesis researched by other authors. Finally, in the Attachments, essential parts are added to the corpus of the Thesis for documentary importance, offered in "digital media" (pen-drive). I gathered video documentaries of the Expeditions; Conversations between Karman and me in 2015; and other complementary digital documents
Decidi dividir a tese em três capítulos principais onde abordo, em cada um deles, uma das Três Expedições; um capítulo sobre o Processo de Criação delas; e concluo com minhas Considerações Finais. No capítulo Um, abordo a “Viagem ao Centro da Terra”, começando por retratar como encontramos o Túnel, e como ele era quando o􀀃 vimos pela primeira vez. Depois, apresento um recorte da conversa que tivemos Karman e eu, em 2015 sobre as origens do processo de criação do espetáculo, ilustrados com fotos e croquis que realizei na época. Na sequência inicio um tipo de abordagem (que chamei Arraiolo) onde teço minha visão memorial atual em cima de textos documentais de época gerados por R. Karman como: “Cronograma de Montagem” onde registra as fases de produç􀂠􀀃o e suas datas, “Textos do Manual do Expedicion􀂞rio” tirados do folheto distribuído entre o público participante (chamados “expedicion􀂞rios”) onde colocamos v􀂞rias informações sobre a “viagem”, e “Textos da Expediç􀂠􀀃o”, incluindo as falas dos atores/performers e rubricas cênicas além de comentários dele. Complementam esse material, croquis iniciais que desenhei a partir de cada ideia gerada no processo de criação, fotos das cenas e material de mídia. Esse tipo de abordagem contínuo é usado também, nos outros dois capítulos subsequentes. “A Grande Viagem de Merlin”, é o tema central do capítulo Dois, começando pela criação da identidade visual que fiz; depois outro􀀃 pedaço de conversa que tive com Karman onde abordamos o processo de busca processual dos espaços e como isso definiu as cenas. Em seguida o “Processo de Criaç􀂠o dos Textos” onde Karman relata a genealogia deles: livros, redatores convidados e textos dos mais diversos autores; “Histórico e Dados Gerais sobre a Expediç􀂠o”, ”Mec􀂟nica do Espet􀂞culo: o Transporte”, e “O Custo do Espet􀂞culo” onde são analisados processos de produção, logística, administração e informações factuais. A partir daí desenvolvo a análise do Roteiro, dividido em quatro partes baseado nas locações: - “Agência de Turismo” mostrando descritivos, textos e comentários das sete cenas iniciais, que aconteciam em São Paulo, no bairro do Sumaré, ilustradas com croquis de processo e fotos. - “Aterro” com as cenas 8 e 9 que aconteciam no Aterro Sanitário em Perus (SP), (textos, croquis e fotos). “Polytheama” com as cenas 10 e 11, (com 23 subcenas) que aconteciam em Jundiaí (SP) no teatro Polytheama, - “Lagoa de Nyniane” analisando desde a cena 12 até a final 13, que aconteciam numa lagoa da extinta Olaria Nivoloni. No final do capítulo, a reprodução de artigos na mídia nacional e internacional comentando o espetáculo. “Viagem ao Centro da Terra – 2001”, realizada na cidade do Rio de Janeiro, é o tema central do espetáculo do capítulo Três. Começo contando os anos de busca e laboratórios em espaços equivalentes à Expedição original de São Paulo, com os respectivos processos até a solução final da Instalação Inflável no Galpão da Cidadania. Plantas arquitetônicas, croquis, material de divulgação e no final, reprodução de artigos na mídia, ilustram a narrativa explicativa de Karman tecida pelos meus comentários memoriais em 23 cenas. Destaquei um capítulo especial no final dentro dessa Expedição para analisar a Instalação Inflável e sua diferença de um simples cenário teatral. Esse capítulo mostra também o “making of” de construção dela. (também incluso em vídeo como Anexo). O capítulo Quatro trata do “Mapa do Processo de Criação das Expedições” onde se resgata a trajetória dos processos através de um􀀃 gráfico. A intenção é traçar um percurso do desenvolvimento do processo desde nossas origens formadoras até o espetáculo final em suas variações através das temporadas. Ainda nesse mesmo capítulo, no item “Aprofundamento de Tópicos do Processo”, faço uma reflexão mais detalhada de aspectos específicos do Processo de Criação. Faz parte deste capítulo, os “Depoimentos dos Elencos” apenas􀀃 como amostragem, já que os coloquei em vídeos completos no “pen-drive”. Nas Considerações Finais abordo o “Processo de Criação da Tese” onde comento minha experiência para conseguir realizar “Uma􀀃 Tese Acadêmica feita por Artista”. Explico o método “Arraiolo” de abordagem das Expedições que inventei e no fim coloquei as “Reflexões Teóricas Sobre o Processo de Criaç􀂠􀀃o da Tese”, em que comento em tópicos, aspectos teóricos da conduç􀂠o da tese pesquisados vindo de alguns autores. Por fim, os Anexos, imprescindíveis para o entendimento da Tese pela importância documental, oferecidos em “mídia-digital” (pendrive). Reuni documentários em vídeo das Expedições; Conversas entre Karman e eu em 2015, além de outros documentos digitais

Nous souhaitons penser l’improvisation théâtrale « libre » dans une continuité de nature avec le théâtre à deux temps. L’improvisation théâtrale s’est en effet déterminée au cours des quarante dernières années comme un champ à part, avec son histoire et ses règles propres. En nous consacrant à l’improvisation « libre », nous considérons une improvisation qui ne fait pas intervenir a priori de structure d’ensemble, de règles formelles ou stylistiques, qui laisse aux improvisateurs la responsabilité de les déterminer eux-mêmes. Si ce type d’improvisation est courant en musique ou en danse, il reste rare ou ponctuel au théâtre. C’est à travers la notion d’acteur-créateur, telle que l’ont définie Alain Knapp et le Théâtre-Création, que nous la retrouvons. Ce groupe (Lausanne, 1968–1975) a été l’un des premiers en Europe à produire des spectacles improvisés sur des thèmes proposés parle public. Alain Knapp, en héritier de Brecht, nous aide à penser un acteur-créateur qui se distingue de l’improvisateur contemporain par son autonomie créatrice, et par l’attention qu’il porte à l’inscription de ses actes artistiques dans un contexte et une histoire. Revenant à aujourd’hui, nous réinvestissons cette notion d’acteur-créateur à travers celle de performativité. Un ensemble d’expériences et un laboratoire de recherche-action centré sur les perspectives (viewpoints) nous permettent de développer une conception pratique de l’improvisation comme étude d’un contexte par un répertoire. Enfin, ayant explicité quelle liberté est à l’oeuvre dans l’improvisation « libre »et comment la reconnaître, nous décrivons le continuum qui relie cette dernière à la représentation verrouillée
We want to think of free-improvisation in theater in a continuity with traditional theatre. Theatrical improvisation has indeed grown over the last forty years as a separate field, with its ownrules and history. By dedicating ourselves to free-improvisation, we concentrate on an improvisation that does not involve a preconceived overall structure, or formal or stylistic rules, which leaves improvisers with the responsibility to decide them on the spot. Whereas common in music and dance, free-improvisation is rare or occasional in theatre. It is approached through the notion of actor-creator, as it was defined by Alain Knapp and the Théâtre-Création. This group (Lausanne,1968-1975 ) was one of the first in Europe to perform improvised plays on themes proposed by the audience. Drawing a lot from Brecht, Alain Knapp’s actor-creator has a creative autonomy and pay great detail to the way his artistic acts are inscribed in a given background and history.This distinguishes him from contemporary improvisers. Back to the present, we renew the notion of actor-creator through performativity. A set of experiments and a laboratory focused on Mary Overlie’s Viewpoints allow us to develop a practical approach to improvisation as a study of a context through a repertoire. Finally, having explained which idea of liberty is at work in free-improvisationand how to recognize it, we describe a continuum that connects it to set performances

In questo lavoro di ricerca mi sono proposta di analizzare lo sviluppo e le virate del teatro dopo la rivoluzione degli anni '60. In particolare, ho analizzato il contributo teorico e estetico politico della Fura dels Baus nel periodo in cui Marcel.lí Antúnez Roca ha costituito uno degli elementi portanti di questo collettivo artistico, (tra il 1979 e il 1989), periodo in cui si realizzò la trilogia della Fura: «Accions» (1984), «Suz o Suz» (1985), «Tier Mon» (1988). Le azioni di questo gruppo teatrale rimandano a concetti rivoluzionari dell'arte provenienti inizialmente dal teatro di strada, in cui si possono riscontrare tematiche fondamentali come la scomparsa di una gerarchia tra direttore ed attore, la manipolazione e il controllo sullo spazio dello spettatore, l'assenza di una narrazione psicologica, la partecipazione attiva del pubblico all'interno dello performance, la scomparsa di un palcoscenico. Questa interpretazione politica del teatro, trova le sue radici nelle riflessioni e nei lavori di Antonin Artaud e del suo teatro della crudeltà, dove per crudeltà si intende vita, necessità e morte. Da cui il teatro della crudeltà propone uno spettacolo totale e di massa in cui rimarrà esclusa la rappresentazione come mimesi e nel quale rimarrà come unica protagonista la vita stessa in quello che porta di non rappresentabile. Per questo motivo la voce di Antonin Artaud risuona costantemente in questo lavoro di ricerca, quale riferimento necessario ed insostituibile. D'altra parte un'arte che si fonda su una nuova percezione del corpo e dell'identità, che cerca di portare sulla scena la vita e non la sua rappresentazione, richiama altre voci oltre a quella di Artaud: dalla carne macellata di Deleuze, alla biopolitica di Foucault, al rituale sacrificale di Girard, al Butō, all'attraversamento rivoluzionario del pensiero della differenza sessuale sino a spingersi alle utopie cyborg di Donna Haraway.
During this research, I realized how much it was necessary to introduce philosophically the sexual difference, to give the fundamental coordinates and the instruments i used to approach "Fura dels Baus and Marcellì Antunez Roca" aesthetics. As Carla Lonzi pointed out already in the 70s, the revolutionary significance of the philosophy of difference has not much to see about with the traditional aesthetics critic, which consider artists and works as analysis-objects, serving a strict interpretative structure, static and bearer of disimbodied words,enslaved to a dead symbolic order and not much effective by now. The Fura trilogy represented for me the passport to a research work, free of the weight of a certain aesthetic philosophy, still bound to classic traditions, with not much experimentations and blocking movement of the pen and the body. From the first meeting with Marcellì Antunez, i immediately realized having in front of me exactly what Artaud used to write, madly insisting with subjectil, primordial sacrificial violence, incredibly written from Girard, for the liberation of a total artistic gesture. All that butcher meat of Deleuze and the incessant frantic movement of transfiguration, remind me immediately back the ancestral transforming power of the ritual connected to the roots of the earth. And in the power of the earth did not resound only Moya,the earth of the origin of the catalan collective but also Tohoku,the earth of Hijikata, master of life and death of the Buto. For this parallelism that run in all the research between Fura and Buto it is absolutely unescapable, I do not think it is possible understand the Furero's symbolic order without investigate the philosophy and the aesthetics of the dance of darkness. All the artistic and philosophic movements used in this thesis work from and to the body, that is the main element and heart. The beginning point is to consider the body as an artistic privileged material, a place where everything happens and can change sign, battlefield in which is possible to act, as Foucault underlines, one of the authors who is more interested in biopolitic.

Theatre would be radical, arousing, inspiring, challenging popular emotion, presenting native problems. Human strength and aspiration would go there for inspiration..." - Frank Lloyd Wright- Bruce Brooks Pfeiffer, Gerald Nordland: Frank Lloyd Wright in the realm of ideas, Bynum, NC: Southern Illinois University Press, 1988, page 100
Master of Architecture

En el contexto del teatro posdramático, la historia se ha revelado un hito fundamental que abre un diálogo subjetivo para la re-construcción de una memoria personal y colectiva con especial énfasis en la recuperación de acontecimientos concretos y de voces oprimidas y, por tanto, silenciadas por la Historia oficial. En este marco se inscribe la presente tesis doctoral que explora la dramaturgia de tres autoras contemporáneas, todas ellas nacidas en la década de 1960, desde esta recuperación memorística y, por consiguiente, este cuestionamiento identitario, muy presentes en sus piezas. En efecto, en los tres actos que analizan pormenorizadamente las obras de Laila Ripoll, Angélica Liddell e Itziar Pascual se pone de manifiesto esta necesaria búsqueda que ha permitido crear una visión panorámica, basada en un recorrido temático que abarca los textos publicados a partir de la década de 1990 hasta el año 2010. Si bien cada una parte de presupuestos distintos, las tres dramaturgas se reencuentran incesantemente en la floración de personajes femeninos que problematizan el legado patriarcal y, por ende, su lugar en la sociedad, pero las autoras también denuncian el quietismo social anclado en una repetición constante de los patrones preestablecidos. Se abre, así, una profunda reflexión sobre el pasado, el presente, pero también el futuro en una clara necesidad de re-construir parte de nuestra propia identidad.
In the context of postdramatic theatre, the history has been revealed a fundamental landmark that opens a subjective dialogue for the re-construction of personal and collective memory with special emphasis on the recovery of specific events and oppressed, and thus, silenced voices and by official History. In this framework, this doctoral thesis explores the play-writing of three contemporary authors, all born in the 1960s, from this memory recovery and, therefore, the identity question, very present in their pieces. Indeed, the three acts, that analyze in detail the plays by Laila Ripoll, Angélica Liddell and Itziar Pascual, reveal this necessary search that allow me to create a panoramic view, based on a thematic itinerary covering texts published from the nineties until 2010. Assuming that each one of them part from different vision, the three playwrights converge incessantly in the emergence of female characters who problematize the patriarchal legacy and, therefore, their place in society, the authors also report the social quietism anchored in a constant repetition of pre-establish patterns. In this wait, they open a deep reflection on the past, on the present but also on the future in a clear need to re-build part of our identity.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This thesis aims to investigate the collective creation development in the North American theater following the trajectory of the group Living Theatre, and consider its intersections with some Brazilian theater groups after meeting up with the collective Teatro Oficina in the 70‟s in Brazil. This dissertation intents to consider the historical context, the artistic influences and the various theoretical aspects that led the Living Theatre to seek a new form of theater, more connected to everyday life and social concerns. The depletion of traditional artistic expression forms gathered with the artists sight on the political and social scope ended up creating a new way of producing artistically. The study evaluates the literature on the trajectory of the Living Theatre since its foundation, its most striking plays until their coming to Brazil by the invitation of the Brazilian group. Investigates through literature of the founders Judith Malina, Julian Beck and other bibliographies, the procedures that were gradually developed in this period and thrived to the process of collective creation. The research is guided through the analysis of the Living plays: The Connection, The Brig, Frankenstein, Paradise Now and the Legacy of Cain and Teatro Oficina play, Gracias Señor. The study identified the features and criteria of the Living Theatre course for the development of the collective creation process, serving as inspiration for many contemporary theater groups, especially in America and Europe.
Este trabalho tem por objetivo investigar o desenvolvimento da criação coletiva no teatro norteamericano a partir do início da trajetória do grupo teatral Living Theatre, e considerar suas intersecções em certos grupos do teatro brasileiro a partir da vinda do grupo ao país e do encontro com o coletivo Teatro Oficina na década de 1970. Este estudo busca considerar o contexto histórico, as influências artísticas e as diversas vertentes teóricas que levaram o Living Theatre a buscar uma nova forma de fazer teatro, mais conectado com a vida cotidiana e com preocupações sociais. O esgotamento das formas tradicionais de expressão artística e o interesse a aspectos sociais e políticos pelos artistas acabou criando uma nova forma de produzir artisticamente. O trabalho avalia a bibliografia sobre a trajetória do Living Theatre, desde sua fundação, suas montagens mais marcantes até a vinda ao Brasil, a convite do grupo brasileiro. Investiga através de relatos dos fundadores Judith Malina e Julian Beck e outras bibliografias, os procedimentos que foram desenvolvidos paulatinamente neste período e progrediram para o processo da criação coletiva. A pesquisa se dá através da análise dos espetáculos do Living: The Connection, The Brig, Frankstein, Paradise Now e o Legado de Caim e do espetáculo do Teatro Oficina, Gracias Señor. O estudo identificou critérios e recursos da trajetória do Living Theatre para o desenvolvimento do processo de criação coletiva, servindo de inspiração para muitos grupos no teatro contemporâneo, principalmente na América e Europa.

This dissertation explores experimentation--across experimental music, experimental theatre, and experimental film, in addition to the term's etymology, scientific usage, and colloquial deployment--in order to derive a deeper understanding of what we mean when we say an artwork is experimental, and how this term can help us understand current artistic praxes and products emerging from performance studies contexts. In this document, I advocate for the term experimental performance as both an umbrella term and as a specific genre name for the artistic activity of contemporary artists working between experimental theatre and performance art, often within performance studies contexts. Ultimately, citing the historical richness of experimental art and its long-standing relationship to the academy as evidence, I advocate for the further academic acknowledgement of experimental performance.

This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.

Résumé: Cette thèse se propose d'analyser les enjeux de l'utilisation théâtrale des technologies audiovisuelles par l'étude du théâtre italien des quarante dernières années. L'Italie occupe en effet une position particulière dans le paysage théâtral européen : berceau du théâtre moderne, elle possède une tradition théâtrale spécifique qui a produit des réactions uniques lors de sa rencontre avec la mise en scène européenne. Dans les années soixante, l'éclosion des pratiques expérimentales a conduit à l'élaboration d'une culture théâtrale nouvelle dans laquelle les technologies de l'image et du son jouent un rôle important. Pour comprendre ces phénomènes, nous avons porté notre attention sur l'histoire des mouvements, sur les conditions de production et de diffusion et sur le rôle de la critique, que nous avons combiné avec l'analyse de nombreuses créations variées (spectacles, oeuvres télévisuelles, vidéos), en essayant de comprendre l'évolution des motivations, des conjonctures et des résultats du rapport des hommes de théâtre avec les technologies. Nous avons ainsi construit un parcours historique organisé en quatre périodes (1965-1978; 1979-1989; 1990-1998; 1999-2005) qui met en évidence les transformations survenues dans les dispositifs technologiques utilisés (analogiques, électroniques et numériques) et dans les attitudes adoptées par les artistes. Cette reconstruction nous a montré que les technologies engendrent un phénomène d'élargissement du champ théâtral, de déplacement de la scène, de multiplication et de déstabilisation des pratiques théâtrales. Ainsi, les technologies se sont révélées non seulement comme un phénomène esthétique particulier, mais aussi comme une clé pour comprendre le théâtre contemporain.

This thesis is a 'practice-led' project that uses observational documentation methods, a long-term collaboration with three live artists, and a narrative analysis to encourage a visual display of 'knowing' the person who makes live art, the performance work itself and the reality of producing and archiving live art. My practice of documenting live performances produces digital representations of the three artists I collaborated with. The fragmented and non-linear expressions of the live performances, which can be viewed in the video documents, also find echo in the life history interviews of the artists. Triangulated with an examination of the artists' websites, these diverse texts provide insight into how the live artists make sense of their embodied autobiographical experiences in a virtual environment. A post-structuralist narrative analysis proposes that the live and online performance-narratives constitute the artists' self as 'an artist' and examines these texts for ideas of the 'self-portrait' and of 'life as experienced'. The research suggests this is especially helpful to the audience's meaning-making processes when engaging with Live Art. The thesis investigates the three artists' representations of the body, specifically their strategies to compel a disruptive reading of nudity, femininity and motherhood. Other performative strategies found in these artists' work lead to discussions on ritual enfleshed in performance, based on Richard Schechner's (1995) understanding of iterative practices, and of participatory incantations that integrate narratives found in myths into narratives of selfhood and community. This thesis aims to develop the understanding of contemporary performance art pratice through examples of three artists' autobiographical performativity in live and online environments. The thesis advances narrative theory beyond its literary framework through a visual and practice-based approach. By linking narrative theory with visual methods this project seeks to demonstrate that experiential approaches could be relevant to narrtaive researches, visual anthropologists, performance ethnographers, as well as live artists, all faced with the inevitability of mediatisation. It contributes to ideas on the digital dispersions of the live artists' identity as not a fracturing of the unified body experienced in live performance but instead as a place for the artists to exercise agency through virtual performativity. The thesis consists of two parts, a website (http://bsdroth.wix.com/thesis2013) and a written text. The online videos and the written text, when read together, form a performative analysis towards the 'knowing who' of the artists. It contributes to the growing interest in methodologies that investigate, document and present cultural experiences and their perceived value. The online presentation of my practice also demonstrates the digital and virtual environment the live artists' work operates in, as exemplified in this thesis. The website is a physical manifestation of integral ideas in this project, around authenticity, ownership and virtual experiences.