Littérature scientifique sur le sujet « "beckettiano" »
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Articles de revues sur le sujet ""beckettiano""
Gonçalves, Lívia Bueloni. « "É preciso continuar" - Caminhos da ficção de Beckett em sua tentativa de seguir adiante ». Eutomia 1, no 20 (19 février 2018) : 58. http://dx.doi.org/10.19134/eutomia-v1i20p58-72.
Texte intégralFonseca, Luís. « Beckett, los nadaístas y el fracaso como estímulo literario ». La Tercera Orilla, no 19 (19 décembre 2017) : 10–19. http://dx.doi.org/10.29375/21457190.2886.
Texte intégralDe Souza Andrade, Fábio. « Beckett, um brasileiro : o teatro beckettiano no Brasil do século XXI ». Eutomia 1, no 20 (19 février 2018) : 38. http://dx.doi.org/10.19134/eutomia-v1i20p38-57.
Texte intégralCampos Baptista, Fabiana Lúcia. « Beckett com Deleuze : tecituras possíveis do esgotamento ». Em Tese 21, no 2 (29 janvier 2016) : 113. http://dx.doi.org/10.17851/1982-0739.21.2.113-123.
Texte intégralMaciel, Ulisses Augusto Guimarães. « Samuel Beckett : O Real, O Ideal e A Linguagem. » Revista Odisseia 2, no 2 (12 juillet 2017) : 40. http://dx.doi.org/10.21680/1983-2435.2017v2n2id12236.
Texte intégralGATTI, LUCIANO. « Mais que paródia ? Aquela vez e o teatro tardio de Samuel Beckett1 ». Estudos Avançados 34, no 98 (avril 2020) : 219–30. http://dx.doi.org/10.1590/s0103-4014.2020.3498.014.
Texte intégralMaciel, Ulisses Augusto Guimarães. « Resenha do livro "Textos para nada", de Samuel Beckett ». Non Plus 6, no 12 (31 décembre 2017) : 234–36. http://dx.doi.org/10.11606/issn.2316-3976.v6i12p234-236.
Texte intégralFernández, José Francisco. « José Emilio Pacheco, traductor de Samuel Beckett. El caso de "Cómo es" (1966) ». ALPHA : Revista de Artes, Letras y Filosofía 1, no 52 (19 juillet 2021) : 149–62. http://dx.doi.org/10.32735/s0718-2201202100052888.
Texte intégralGray, Katherine Martin. « BECKETTIAN INTERIORITY ». Samuel Beckett Today / Aujourd'hui 5, no 1 (18 juin 1996) : 94–103. http://dx.doi.org/10.1163/18757405-90000009.
Texte intégralBerlin, Normand. « The Beckettian O'Neill ». Modern Drama 31, no 1 (mars 1988) : 28–34. http://dx.doi.org/10.3138/md.31.1.28.
Texte intégralThèses sur le sujet ""beckettiano""
Tucker, Amanda. « Godot in Earnest : Beckettian Readings of Wilde ». Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4248/.
Texte intégralAndrade, Manuel Fabricio Alves de [UNESP]. « Sonoridades beckettianas : a criação vocal do intérprete ». Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/110341.
Texte intégralNesta pesquisa investigamos como alguns artistas envolvidos na encenação de peças curtas do teatro de Samuel Beckett no Brasil lidaram com o trabalho de criação vocal das mesmas, se houve algum tipo de preparo ou não, que tipo de problemas encontraram etc. Foram entrevistados sete artistas que estiveram envolvidos em alguma montagem brasileira entre os anos de 1985 e 2012. O resultado das conversas dá uma noção de como foi o envolvimento deles com a obra beckettiana e que tipo de impacto ela teve na relação deles com a criação, sobretudo no tocante à maneira como a palavra era colocada em cena. Os relatos abriram possibilidades de reflexões acerca do papel do intérprete em um tipo de teatro rigoroso como o de Beckett, de como entendem a relação entre corpo e voz, ou como lidam com a criação de personagens, que frequentemente não parece possível dentro de uma abordagem psicológica ou realista, mas sim a partir de aspectos bem materiais da encenação, como a movimentação, a respiração, a partitura sonora e vocal. Por fim, percebemos que não houve um preparo técnico vocal específico dos artistas consultados e que a criação vocal foi compreendida como a consequência de um trabalho que engloba noções de entrega do ator, de representação e resentificação, discussões sobre formas de se trabalhar a personagem, de rituais de preparação, entre outras, abrindo campo para discutir o valor da técnica vocal no desempenho de tal tipo de teatro.
This research investigated how some Brazilian performers prepared themselves vocally to play Samuel Beckett’s short theatre. If there was some sort of preparation or not,what kind of problems encountered etc. Seven artists were interviewed who were involved in some Brazilian theatrical productions between the years 1985 and 2012. The result of these conversations gives a sense of how their involvement was with Beckett's work and what kind of impact it had on their relationship with creation particularly with regard to the way the word into the performance. The reports opened possibilities for reflections on the role of the performer in a type of rigorous theater like Beckettian theatre. Understanding how the relationship between body and voice or how they deal with the creation of characters which often does not seem possible within an approach psychological or realistic, but from material aspects of staging such as movement, breathing, sound and vocal scores. Finally, we realized that not there was a vocal specific technical preparation of the performers and the vocal creation was understood as the result of a work which encompasses notions of the commitment of the actor, representation and presentification, the discussions of ways to work the character, rituals of preparation, among others, opening the field to discuss the value of vocal technique in the performance of this kind of theater.
Andrade, Manuel Fabricio Alves de. « Sonoridades beckettianas : a criação vocal do intérprete / ». São Paulo, 2014. http://hdl.handle.net/11449/110341.
Texte intégralCoorientador: Cláudia Maria de Vasconcellos
Banca: Michelle Nicié dos Santos Machado
Banca: Lucia Regina Vieira Romano
Resumo: Nesta pesquisa investigamos como alguns artistas envolvidos na encenação de peças curtas do teatro de Samuel Beckett no Brasil lidaram com o trabalho de criação vocal das mesmas, se houve algum tipo de preparo ou não, que tipo de problemas encontraram etc. Foram entrevistados sete artistas que estiveram envolvidos em alguma montagem brasileira entre os anos de 1985 e 2012. O resultado das conversas dá uma noção de como foi o envolvimento deles com a obra beckettiana e que tipo de impacto ela teve na relação deles com a criação, sobretudo no tocante à maneira como a palavra era colocada em cena. Os relatos abriram possibilidades de reflexões acerca do papel do intérprete em um tipo de teatro rigoroso como o de Beckett, de como entendem a relação entre corpo e voz, ou como lidam com a criação de personagens, que frequentemente não parece possível dentro de uma abordagem psicológica ou realista, mas sim a partir de aspectos bem materiais da encenação, como a movimentação, a respiração, a partitura sonora e vocal. Por fim, percebemos que não houve um preparo técnico vocal específico dos artistas consultados e que a criação vocal foi compreendida como a consequência de um trabalho que engloba noções de entrega do ator, de representação e resentificação, discussões sobre formas de se trabalhar a personagem, de rituais de preparação, entre outras, abrindo campo para discutir o valor da técnica vocal no desempenho de tal tipo de teatro.
Abstract: This research investigated how some Brazilian performers prepared themselves vocally to play Samuel Beckett's short theatre. If there was some sort of preparation or not,what kind of problems encountered etc. Seven artists were interviewed who were involved in some Brazilian theatrical productions between the years 1985 and 2012. The result of these conversations gives a sense of how their involvement was with Beckett's work and what kind of impact it had on their relationship with creation particularly with regard to the way the word into the performance. The reports opened possibilities for reflections on the role of the performer in a type of rigorous theater like Beckettian theatre. Understanding how the relationship between body and voice or how they deal with the creation of characters which often does not seem possible within an approach psychological or realistic, but from material aspects of staging such as movement, breathing, sound and vocal scores. Finally, we realized that not there was a vocal specific technical preparation of the performers and the vocal creation was understood as the result of a work which encompasses notions of the commitment of the actor, representation and presentification, the discussions of ways to work the character, rituals of preparation, among others, opening the field to discuss the value of vocal technique in the performance of this kind of theater.
Mestre
Rojas, Paredes Natalia Elizabeth. « Murphy : through the looking glass of chaos and contradiction : a cornerstone in Beckettian style ». Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115667.
Texte intégralOur objective is to visualize how Beckett show us the ideas explained before in “Murphy” and how he configured them and gave them form through the story and the characters. In order to do so, we will support our analysis with the concepts presented by the theory of chaos and the ideas developed by Jacques Derrida in his theory of Deconstruction. All this in order to understand the phenomena of contradiction presented as the central element in the novel. We also will see how the symbolism present in the novel is used as a way to reinforce and clarify this phenomenon and finally we will be able to see how we can identify our human condition through this novel.
Weiss, Katherine. « What Where : Reading Faces and Surfaces on the Beckettian Stage and Screen ». Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etsu-works/2294.
Texte intégralSpringer, Michael. « 'Permanent parabasis' : Beckettian irony in the work of Paul Auster, John Banville and J.M. Coetzee ». Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/7031/.
Texte intégralGonçalves, Lívia Bueloni. « Um narrador no limite : o caminho da primeira pessoa beckettiana das nouvelles aos textes pour rien ». Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-24092009-135234/.
Texte intégralThis dissertation studies the narrator in Samuel Beckett s prose, particularly focusing on a critical phase in the authors literary production covering the years of 1945 to 1950. The chosen period begins with the novellas Premier Amour (1970), Lexpulsé, Le calmant and La fin (1955) Becketts first narratives written in French and closes with the work Textes pour rien (1955). The importance of this phase lies in the creation and development of Becketts characteristic first person narrator, whose unstable discourse is fraught with impasses, questioning the very story being narrated. The dissertation follows this narrators journey to discuss the key role it played in breaking with formal realism patterns of the twentieth centurys narrative.
Gonçalves, Lívia Bueloni. « Em busca de Companhia : o universo da prosa final de Samuel Beckett ». Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-08052015-102539/.
Texte intégralThis dissertation presents a reading of Samuel Beckett´s so-called second trilogy in prose comprising the works Company (1980), Ill Seen Ill Said (1981), and Worstward Ho (1983), with special focus on Company. These texts belong to the authors late prose, characterized by a mixture of genres and the intense questioning of both language and literary representation. While highlighting the specificities of this period, we argue that among all the experiments of the Beckettian narrator there is a mechanism that seeks for company within the very narrative a theme present in many of Becketts works, which is further stressed by the publication of Company. The need for company through the act of narrative, however, unfolds in an ambiguous and conflicted manner.
Livres sur le sujet ""beckettiano""
Iannotta, Antonio, et Gabriele Frasca. Nero chiaro : Lo spazio beckettiano e le messe in scena di Giancarlo Cauteruccio. Roma : Editoria & spettacolo, 2010.
Trouver le texte intégralVisconti, Laura. Archetipi beckettiani. 2e éd. Pescara : Tracce, 1990.
Trouver le texte intégralEnoch, Brater, dir. The theatrical gamut : Notes for a post-Beckettian stage. Ann Arbor : University of Michigan Press, 1995.
Trouver le texte intégralTrapped in Thought : A Study of the Beckettian Mentality (Irish Studies). Syracuse University Press, 2007.
Trouver le texte intégralBrater, Enoch. The Theatrical Gamut : Notes for a Post-Beckettian Stage (Theater : Theory/Text/Performance). University of Michigan Press, 1995.
Trouver le texte intégralChapitres de livres sur le sujet ""beckettiano""
Ebury, Katherine. « The Beckettian Cosmos ». Dans Modernism and Cosmology, 128–53. London : Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137393753_5.
Texte intégralConway, Daniel. « ‘Epidemics of Enough’ : Beckettian Sufficiencies ». Dans Nihilism Now !, 235–48. London : Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230597761_12.
Texte intégralFeng, Wei. « Border-Crossing Chou Actors in Beckettian Jingju ». Dans Intercultural Aesthetics in Traditional Chinese Theatre, 89–132. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40635-6_3.
Texte intégralPihlström, Sami, et Sari Kivistö. « Evil, Absurdity, and Nonsense : Beckettian and Wittgensteinian Reflections ». Dans Kantian Antitheodicy, 139–85. Cham : Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40883-5_4.
Texte intégralChiang, Michelle. « The Disengaging Beckettian Television Audience and the Monument to Loss ». Dans Beckett's Intuitive Spectator, 133–83. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91518-0_5.
Texte intégralChattopadhyay, Arka. « ‘I switch off’ : Towards a Beckettian Minority of Theatrical Event ». Dans Deleuze and Beckett, 230–45. London : Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137481146_13.
Texte intégralKoczy, Daniel. « Belacquobatic Secrets : Deleuze and the Purgatorial Rebellion of the Beckettian Body ». Dans Beckett, Deleuze and Performance, 129–60. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95618-3_5.
Texte intégralWimbush, Andy. « “Christ this is Getting Tedious!” : Beckettian Tone Versus Autobiographical Memory in B. S. Johnson’s Trawl ». Dans Experiments in Life-Writing, 61–77. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55414-3_3.
Texte intégral« Coda : Minima Beckettiana ». Dans Think, Pig !, 200–204. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823270880-015.
Texte intégralRabaté, Jean-Michel. « Coda : Minima Beckettiana ». Dans Think, Pig !, 200–204. Fordham University Press, 2016. http://dx.doi.org/10.5422/fordham/9780823270859.003.0015.
Texte intégralActes de conférences sur le sujet ""beckettiano""
Osman, Silvia. « THE BECKETTIAN ACTOR ». Dans SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.052.
Texte intégralOsman, Silvia. « THE BECKETTIAN DIRECTOR ». Dans SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.053.
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