Bibliographies thématiques / Pauli Theater

Littérature scientifique sur le sujet « Pauli Theater »

Auteur : Grafiati
Publié le 26 juillet 2024

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Articles de revues sur le sujet "Pauli Theater"

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Wilmer, S. E. « Cultural Encounters in Modern Productions of Greek Tragedy ». Nordic Theatre Studies 28, no 1 (22 juin 2016) : 15. http://dx.doi.org/10.7146/nts.v28i1.23969.

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The exiled character in need of asylum is a recurrent theme in ancient Greek tragedy. In many of these plays, we see uprooted and homeless persons seeking sanctuary, and for the ancient Greeks, hospitality was an important issue. Many of these plays have been updated to comment on the current social and political conditions of refugees and often reflect on the notion of hospitality, something which both Emmanuel Levinas and Jacques Derrida considered to be fundamental to ethics. Recently there has been a series of demonstrations and occupations of public spaces by asylum seekers that has gained considerable news coverage. In Austria a group of about sixty refugees (from the Afghanistan-Pakistan border area) occupied the famous Votiv church in the middle of Vienna in 2012 and went on hunger strike. In Germany a large group of asylum seekers marched from various parts of the country to Berlin where they occupied the square at the Brandenburg Gate before being allowed to establish a tent community in Kreuzberg. In Hamburg a group of 80 asylum seekers who came to Germany via Lampedusa found refuge in St Pauli church, and it was there that Nicholas Stemann presented a first reading of Elfriede Jelinkek’s play Die Schutzbefohlenen in September 2013. More recently right-wing groups have mounted weekly marches through Dresden to call for a halt to immigration, and these have been contested by simultaneous counter-demonstrations in favour of immigrants and refugees. In this paper I will consider several adaptations of Greek tragedy that highlight cultural encounters between the local population and those arriving from abroad who are looking for asylum. In particular I will examine Stemann’s production that has been running at the Thalia Theater in Hamburg since September 2014, and features asylum seekers from Lampedusa on stage who beg the audience for the right to remain in Germany.
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Lampe, Eelka. « Disruptions in Representation : Anne Bogart's Creative Encounter with East Asian Performance Traditions ». Theatre Research International 22, no 2 (1997) : 105–10. http://dx.doi.org/10.1017/s0307883300020514.

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The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era, No Plays, No Poetry (1988) on Brecht's theoretical writings, American Vaudeville (1991), and The Medium (1993) on the writings of the Canadian media philosopher Marshall McLuhan. Bogart has been acclaimed for her astute directing of the work by contemporary playwrights, such as Paula Vogel, Charles Mee Jr. and Eduardo Machado.
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Yakushenkov, Serguey N. « When the Naked Body Speaks : Brazilian Theater in the Search of National Identity ». Corpus Mundi 3, no 1 (30 mai 2022) : 31–51. http://dx.doi.org/10.46539/cmj.v3i1.59.

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The naked body is a complex phenomenon, combining a variety of functions. Nudity can be symbols of threat/insecurity, aggression/victim, freedom/slavery. Teatro Oficina, located in the São Paulo suburbs, offers us a unique example of nudity for the construction of national identity. Based on the Brazilian poet Oswald de Andrade's "Anthropophagic Manifesto," the theatre founders made nudity and anthropophagy their theatrical credo. Formed in 1958 the theater has taken a leading place in the cultural life of São Paulo and Brazil. Despite censorship during the military dictatorship, Teatro Oficina consistently defended their right for freedom of expression. Drawing attention to the first descriptions of the Brazilian natives by the Portuguese, de Andrade declared the importance of two main symbols from these characteristics: anthropophagy and nudity. The anthropophagy is understood by Teatro through the idea of the Brazilians capacity to devour the European achievements. Without rejecting the Western theater, the head of Teatro Jose Celso offers the audience the new corporeality concept. In this regard, not only the possible nudity of the actors, but also the willingness for actors and spectators to break the fragile edge of the customary. In theater there is no conventional theatrical stage, no generally accepted dialogues with the audience, which can also become part of the theatrical action, undressed or conversely dressed in theatrical costumes. The Teatro Oficina’s phenomenon lies in their ability to construct a new corporeality in Brazil, based on the artificial construct by de Andrade and traditions of Brazilian culture: carnivalesque atmosphere, openness, hybridity.
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Dias, Rodrigo Francisco. « A PRESENÇA DE ANTONIO FAGUNDES NA CENA TEATRAL BRASILEIRA ». Fênix - Revista de História e Estudos Culturais 16, no 1 (30 juin 2019) : 1–10. http://dx.doi.org/10.35355/0000019.

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Laages, Michael. « Das Anthropophagische Theater ». Theater heute 64, no 10 (2023) : 46–48. http://dx.doi.org/10.5771/0040-5507-2023-10-046.

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Abdulmunem Azeez, Rasha. « Paula Vogel And The Modern American Female Playwrights ». Journal of the College of languages, no 44 (1 juin 2021) : 46–71. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0046.

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Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.
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Leiva Filiho, João Oswaldo. « The place ow women in the theatres of São Paulo ». Debats. Revista de cultura, poder i societat 136, no 1 (24 mai 2022) : 49–68. http://dx.doi.org/10.28939/iam.debats-136-1.3.

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The aim of this article was to provide quantitative information about the gender gap in theatre production in the city of São Paulo (Brazil), thereby helping to raise awareness of the inequalities faced by women in the field. The text compares the opportunities available to men and women working in seven different theatre-related occupations and is underpinned by a mapping of 1,466 plays performed in the city throughout 2018. The data were collected from three weekly guides published by the local media and two monthly publications: a theatre guide and a magazine from a cultural institution that ran 20 cultural venues in the city. Any gaps were then filled by directly contacting theatre venues and the producers of the plays. There was a significant imbalance towards men in the two most strategic theatre production jobs: men wrote 77% of the plays and directed 78% of them. Thus, male professionals were a huge majority precisely in the functions responsible for building the discourse that reaches audiences. Compared to women, this left them in a much better position to express their values, ideas, and perspectives. This gap was smaller when considering performers, of which 46% were female. Women were also largely absent in technical occupations given that they were a minority among lighting directors and set designers. However, women represented the majority among costume designers. The most unexpected result was the parity among producers, with 52% being women. All the aforementioned gaps increased when the number of performances were considered. On average, women worked less in plays that provided more working time that were therefore, more likely tohave higher salaries. The study also showed that when women were responsible for writing, directing, or producing a play,the gap was reduced in all the other functions.
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Wiltshire, J. « Review : Jane Austen and the Theatre * Paula Byrne : Jane Austen and the Theatre ». Cambridge Quarterly 32, no 4 (1 décembre 2003) : 367–72. http://dx.doi.org/10.1093/camqtly/32.4.367.

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Goldfeder, André. « Estrelas de Letras. Teatralidades do poema no Brasil pós-1970 ». Elyra, no 17 (2021) : 199–223. http://dx.doi.org/10.21747/2182-8954/ely17a13.

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By analyzing poems by Paulo Leminski, Ana Cristina Cesar and Veronica Stigger, this essay puts forward a notion of the theater of poetry aiming at clarifying a paradoxal and multiple status of the space of the poem, seen through de lenses of Brazilian poetry produced from de 1970s on. For doing so, it approaches a few contemporary modes of reception of a theoretical and practical antitheatrical field inherited from a modern context, where poetry, theater and visual arts hold converge by means of plural mises-en-scène of the specifity problem
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Ferraz, Leidson Malan Monteiro de Castro. « A EXPERIÊNCIA, UM TANTO DIFERENCIADA, DO TEATRO DE ARENA NO RECIFE ». Arteriais - Revista do Programa de Pós-Gradução em Artes 9, no 15 (29 décembre 2023) : 43. http://dx.doi.org/10.18542/arteriais.v9i15.15705.

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ResumoA partir da estreia do formato teatro de arena no Brasil, na Escola de Arte Dramática (EAD), até o surgimento do grupo Teatro de Arena de São Paulo com sua respectiva casa de espetáculos, este artigo procura mapear a chegada do gênero na capital pernambucana, as reverberações que causou até fomentar o estímulo de fazer surgir o Teatro de Arena do Recife, inicialmente liderado pela dupla Alfredo de Oliveira e Hermilo Borba Filho, cuja companhia profissional e sede teatral sobreviveram por quase sete anos, mas com um perfil bem distinto daquele propagado pelo seu congênere paulistano, preferindo atender a um público economicamente privilegiado.AbstractFrom the debut of the arena theater format in Brazil, at the School of Dramatic Art (EAD), until the emergence of the São Paulo's Arena Theater Group with its respective playhouse, this article seeks to map the arrival of the genre in the capital of Pernambuco, the reverberations it caused until it stimulated the emergence of Recife's Arena Theater, initially led by the duo Alfredo de Oliveira and Hermilo Borba Filho, whose professional company and theatrical headquarters survived for almost seven years, but with a very distinct profile from that propagated by its São Paulo counterpart, preferring to cater to an economically privileged public.
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Thèses sur le sujet "Pauli Theater"

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Lima, Eduardo Luis Campos. « Procedimentos formais do jornal Injunction Granted (1936), do Federal Theatre Project, e de Teatro Jornal : Primeira Edição (1970), do Teatro de Arena de São Paulo ». Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-06052013-102207/.

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O presente estudo analisa os procedimentos formais do jornal vivo, forma teatral fundamentada na encenação de notícias, conforme o gênero configurou-se nos Estados Unidos e no Brasil. Para tanto, define como objeto, do lado estadunidense, o jornal vivo Injuction Granted (Liminar é Concedida), produzido no âmbito do Federal Theatre Project (Projeto Federal de Teatro), iniciativa do Governo de Franklin Roosevelt para lidar com o desemprego provocado pela Grande Depressão, na década de 1930. Do lado brasileiro, faz-se uma leitura de Teatro Jornal: Primeira Edição, exposição didática de nove técnicas de encenação desenvolvidas por jovens artistas reunidos no Teatro de Arena de São Paulo e sistematizadas pelo teatrólogo Augusto Boal. O trabalho é introduzido por uma breve história da forma do jornal vivo, consolidada no período da Revolução Soviética, que procura apresentar suas principais manifestações e alguns dos caminhos que percorreu, principalmente nas décadas de 1920 e 1930. Demonstra-se que o jornal vivo sempre foi uma forma teatral ancorada na luta dos trabalhadores, sendo uma vertente central da arte de agitação e propaganda. A análise de suas manifestações nos Estados Unidos e no Brasil, dessa maneira, leva em conta o momento histórico dos países quando da produção das referidas peças, tentando relacionar conformação estética e horizonte político continuamente. O materialismo histórico ampara tal reflexão e, mais especificamente, sua aplicação ao pensamento sobre teatro, consubstanciada na teoria do teatro épico, desenvolvida por pensadores como Bertolt Brecht, Peter Szondi e Anatol Rosenfeld.
This is a study of the formal procedures of the living newspapers a theatrical form based on the theatricalization of news according to their configuration in the United States of America and in Brazil. Therefore, the work defines as an object in the American side the living newspaper Injunction Granted, a play staged under the Federal Theatre Project, which was one of Franklin Roosevelts programs to deal with unemployment during the Great Depression in the 1930s. In the Brazilian side, the focus is on Teatro Jornal: Primeira Edição (Theatre Newspaper: First Edition), a didactic exposition of nine staging techniques developed by young artists which had joined Teatro de Arena de São Paulo, as systematized by director Augusto Boal. This study begins with a short history of the form of the living newspaper which was cemented during the Soviet Revolution that tries to present its main ways of actualization and some of the paths taken by this genre, chiefly in the 1920s and 1930s. The work demonstrates that the living newspapers were always anchored on the workers struggle and are a central strand of the art of agitation and propaganda. Thus the examination of the American and Brazilian manifestations of the genre takes into account the historical conjuncture of both countries at the time the plays were produced, trying to continuously relate aesthetic conformation and political horizon. Historical materialism supports that reflection more specifically its application on the ideas about theater which were consubstantiated in the theory of the epic theater, developed by thinkers as Bertolt Brecht, Peter Szondi and Anatol Rosenfeld.
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Gossett, Neeley. « Puppets, politics, and postmodernity : Paula Vogel speaks through theater history / ». Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/gossettn/neeleygossett.html.

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Shaw, Jene Rebbin. « The Paradox Within Us : The Archetypal Struggle in How I Learned to Drive ». Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1155230874.

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Medina, Carmen Liliana. « Theatre of the oppressed and theatre in education : a reflection on Paulo Freire's theories ». Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1240234778.

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Gomes, Fausto. « São Paulo : An Ecological View Of A Theatre For Modernity ». Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2850.

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Future challenges for human civilization, especially in the developing world, will increasingly be characterized by both an urban and global condition. What will be the response by design in the face of the implications of this unprecedented scale of development? The thesis is a speculative analysis of the essential nature of the phenomenon of the global mega-city, and is a necessary first step in creating a framework to answer this question. The Brazilian city of São Paulo is chosen as this thesis case study because it is a 'matured' version of this Modern urban phenomenon. Underlying and guiding the creation of this picture of the mega-city is the assertion that the fundamantal nature of the phenomenon of São Paulo is essentially an ecological one. Like any other ecological analysis, the first stage of the inquiry is to identify the motivating force that orders the system and propels the change of the urban ecology. In the case of São Paulo, the thesis develope a picture of an urban agglomeration that has been driven by the unrestrained forces of the aspirations of global Modernism and the exploitation of growing urban multitudes by the personal avarice of capitalism. São Paulo is seen as an urban experiment that rests in the tacit gamble that the economic aspirations underlying São Paulo are limitless in the face of the obvious limits of the city' and globe's biosphere. This relationship between urban organism and host ecology is characterized as parasitic and like the economic and social propelling forces of Modernity, forms the fundamental underlying relationships of the ecology of São Paulo. These relationships in juxtaposition with the propellant force of Modernism, form the sketch of a framework that the thesis proposes for a responsible position for design in the mega-city. In light of this ecological sketch of São Paulo, the underlying perpective for design in the mega-city seeks to strike a balance between economy, ecology and should be founded on a view of the city as an investment that can be evaluated for its performance in providing the context for human flourishing in relations to its use of natural resources.
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Júnior, Umberto Cerasoli. « O LUME no contexto do Teatro de Pesquisa do Século XX ». Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-09092011-193410/.

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Esta pesquisa tem por objetivo contextualizar a experiencia do grupo LUME (Nucleo Interdisciplinar de Pesquisas Teatrais da UNICAMP) dentro da tradicao do Teatro de Pesquisa do seculo XX. Na primeira parte do trabalho, identificamos o movimento historico que possibilitou a consolidacao de um teatro com base no ator no seculo XX e mapeamos os principais pontos das propostas de formacao do ator de Constantin Stanislavski, Etienne Decroux, Jerzy Grotowski e Eugenio Barba. Na segunda parte, apresentamos a proposta e os objetivos do grupo LUME, descrevemos suas linhas de pesquisa e evidenciamos como suas principais influencias foram apropriadas e reprocessadas dentro de uma forma propria de trabalhar o ator e pensar o teatro.
The objective of this research is to put into context the the experience of the group LUME (Interdisciplinary Center of Theater Research of UNICAMP) according to the XX century theater research tradition. In the first part of this work we identify the historical movement that made the consolidation of a theater based on the 20th century actor possible. We also map out the main points concerning the proposal about the actor formation established by Constantin Stanislavski, Etienne Decroux, Jerzy Grotowski and Eugenio Barba. In the second part we present the proposal and the objectives from the group LUME: we describe their research lines and put into evidence how their most important influences were appropriated and reprocessed in their own way to work the actor and think about theater.
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Medina, Junior Clodoaldo. « Bem-vindos a nossa historia ! : Teatro Experimental de Comedia de Araraquara (1955-1962) ». [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284659.

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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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Burghi, Danielle. « Cristiane Paoli Quito, formadora de palhaços ». Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/152532.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
A pesquisa consiste na documentação e análise do processo de formação de palhaços de Cristiane Paoli Quito, englobando sua metodologia, seus conceitos e suas influências. A pedagogia de Quito, no que concerne ao trabalho com palhaços, é analisada a partir do ponto de vista de artistas e aprendizes que passaram por esse processo, além de experimentações da própria pesquisadora e contato direto com a artista.
The following research consists of the documentation and analysis of Cristiane Paoli Quito's clown training process, covering her methodology, concepts and influences. Quito's pedagogy, concerning the work with clowns, is analysed from the point of view of the clowns that have gone through this process, in addition to the researcher's experimentation, and direct contact with the artist.
2016/07731-9
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Melo, Cássio Santos [UNESP]. « Caipira no palco : teatro na São Paulo da Primeira República ». Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/93436.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
O caipira desde os idos do século XIX foi amplamente representado sob formas diversas nas artes. Neste trabalho apresentaremos as representações da personagem caipira presentes num variado número de textos teatrais encenados na cidade de São Paulo, no período compreendido grosso modo pela Primeira República. Ingênuo, incivilizado, portador de uma linguagem diferenciada, são algumas das características dessa personagem; porém, a sua faceta de espertalhão, embromador, também se faz presente. Muitas vezes, é desse modo contraditório que o caipira aparece nessa produção teatral, como também eram contraditórios os desejos dos autores que o compunham. Seja na roça, no sertão ou na cidade o caipira traz à tona os impasses e dilemas de parte da elite letrada brasileira num período de construção da identidade nacional da jovem República. Analisaremos também, sumariamente, como algumas peças teatrais que trazem o caipira em suas tramas foram caracterizadas sob a designação de “teatro regionalista” em importantes obras da historiografia teatral brasileira.
The backwoods man since the end of nineteenth century was widely explored under a lot of ways in the arts. In this work, we will present the representations of backwoods man character in the great number of dramatic texts have played in São Paulo city, during the period between 1900 and 1930. Ingenuous, uncivilized, owner of a different speech, are some of characteristics of this character; however, the backwoods man was too smart and clever. Many times, this contradictory way was utilized to present these character, moreover, were contradictories the desires of their writers. As much in the roça or sertão, as in the city the backwoods man brought to the present the doubts and dilemmas of part of intellectual Brazilian elite during the period of identification construction in 1910’s and 1920’s. We will analyses, also, suminly up, lilke some plays which brought the backwoods man in scene, were classified under the designation of “regionalista” in important works of the brazilian theatrical historiography.
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BYUN, KWANG BA. « La violence dans le theatre et les romans de jean-paul sartre ». Montpellier 3, 1995. http://www.theses.fr/1995MON30058.

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Un des reves de l'homme est de reconstruire l'utopie ou il est, avec les autres, libre, egal et humain et ou il communique parfaitement avec eux. Mais le monde actuel est infernal. La violence est, autres, un element qui rend impossible la construction de l'utopie. La violence est le mal a detruire. Pour l'exterminer, on recourt a une autre violence. Comme le mot grec pharmakon, la fonction de la violence est double : maligne et curative. L'idee de la violence liberatrice est sous-jacente dans la revolution. Le groupe en fusion de sartre est un exemple. Mais le risque d'une escalade infinie a la violence existe toujours. Nul bien sans mal. D'ou la necessite de concevoir un autre remede a partir des moyens moins violents. Sartre fait appel a la force destructrice de l'acte d'ecrire. La violence et l'acte d'ecrire sont complementaires dans la lutte contre la violence. La carriere de sartre est marquee par cette concurrence complementaire. Malgre sa reconnaissance de l'efficacite de la contre-violence, il preconise jusqu'au bout l'acte d'ecrire dans sa lutte contre la violence. L'origine et la definition de la violence, les visages des violences qui figurent dans l'univers litteraire de sartre, son alternative a la violence : voila les questions auxquelles nous avons tente de repondre dans notre eture. Ce laisant, nous avons essaye de mettre en valeur un modele de l'ethique communicationnelle. Pour cela, nous avons porte notre interet a la periode que sartre a passee a la rochelle. .
Man hopes to reconstruct a utopia where he is, with others, free, equal and humane and where he communicates perfectly with them. But the actual world is terrifying. Violence particulary is an element which makes it impossible to build a utopia. Violence is in itself the destructire force. To eradicate it, one looks for another kinf of violence. Like the greek word pharmakon, the function of violence is two-fold : evil and curative. The idea of a liberating violence is within the revolution. The 'groupe en fusion' of sartre is an example. But the risk of an infinite escalation of violence always exists. There is no good without evil. It is necessary to think about another remedy using less violent ways. Sartre emphasizes on the destructive force of his writing. Violence and the action of writing are complementary to fight against violence. Sartre's career is marked by this complementary rivalry. In spite of his knowledge of the efficiency of contre -violence, he ultimately chooses the action of writing in his struggle against violence. The origin and definition of violence, the faces of violence which are present in sartre's literary universe, his alternative to violence: these are the questions which we try to answer in our study. As a result, we represented a modele de l'ethique communicationnelle. For that, we concentrated. .
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Livres sur le sujet "Pauli Theater"

1

Andrist, Marilen. Das St. Pauli-Theater : 150 Jahre Volkstheater am Spielbudenplatz. Hamburg : Galgenberg, 1991.

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Edson, Elito, et Correa José Celso Martinez, dir. Teatro Oficina : Oficina Theater : São Paulo, Brasil, 1980-1984. Lisboa, Portugal : Editorial Blau, 1999.

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LeRoy, Zoaunne. Theatre Saint Paul : That miracle on Holly street. Rochester, WA : LeRoy Log, 2005.

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Autran, Paulo. Paulo Autran. [Rio de Janeiro] : Ministério da Cultura, Instituto Nacional de Artes Cênicas, Biblioteca Edmundo Moniz, do CENACEN, 1987.

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Toledo, Vania. Palco paulistano = : São Paulo stage. São Paulo, SP : Imprensa Oficial, 2009.

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Veiga, Edison. O Theatro Municipal de São Paulo : Histórias surpreendentes e casos insólitos. São Paulo : Editora Senac São Paulo, 2013.

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Brandão, Ignácio de Loyola. Teatro Municipal de São Paulo : Grandes momentos. [São Paulo, Brazil] : Dórea Books and Art, 1993.

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Autran, Paulo. Paulo Autran : Sem comentários. São Paulo, SP : CosacNaify, 2005.

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Bertelli, Luiz Gonzaga. Revista dramática : São Paulo, 1860. São Paulo, SP, Brasil : Edusp (Editora da Universidade de São Paulo), 2007.

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Pereira, Taís Assunção Curi. Theatro Guarany : O renascer de um palco centenário. Santos, SP : Editora Comunicar, 2008.

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Chapitres de livres sur le sujet "Pauli Theater"

1

Warner, Sara. « Paula Vogel ». Dans Fifty Key Figures in Queer US Theatre, 228–32. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003203896-48.

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Knapp, Bettina L. « Paul Claudel (1868–1955) ». Dans French Theatre 1918–1939, 155–66. London : Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-17985-5_11.

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Morgan, Margot. « Jean-Paul Sartre : The Theatre of Situations ». Dans Politics and Theatre in Twentieth-Century Europe, 87–115. New York : Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137370389_4.

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Vittoria, Paolo. « Paulo Freire and Augusto Boal ». Dans The Routledge Companion to Theatre of the Oppressed, 58–65. Abingdon, Oxon ; New York : Routledge, 2019. : Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-7.

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Brodie, Meghan. « Paula Vogel (b.1951) ». Dans The Routledge Anthology of Women's Theatre Theory and Dramatic Criticism, 546–52. London : Routledge, 2023. http://dx.doi.org/10.4324/9781003006923-84.

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Niiamar, Felder. « Interview with Paul Tazewell ». Dans The Routledge Companion to African American Theatre and Performance, 73–76. New York, NY : Routledge, 2019. | : Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-15.

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Hillman, Rebecca. « Preface ». Dans After the Miners’ Strike, 1–6. Cambridge, UK : Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0329.01.

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The Preface reflects on Paul Farmer’s book as a bold and timely intervention on political working-class theatre. It places A39’s practice in the context of historical events and theatrical practice, but also in relation to a rich seam of academic enquiry on agitprop theatre, often assumed redundant beyond the end of the 1970s. It invites readers to consider the book as a provocative political analysis, and corrective to that understanding of history. It proposes the significance of returning to this territory at a time of increased class-conscious and materialist critiques from contemporary artists and theatre makers. This is especially in view of the political agency of A39’s approach; moments of which are highlighted here.
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Hinchliffe, Arnold P. « Paul Scofield : Peter Hall’s National Theatre Production, 1977 ». Dans Volpone, 73–80. London : Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06536-3_12.

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van den Hoven, Adrian. « 144The Trojan Women and the Theater of Commitment ». Dans An Analysis of Jean-Paul Sartre’s Plays in Théâtre complet, 144–48. New York : Routledge, 2024. http://dx.doi.org/10.4324/9781003498971-13.

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Toni, Claudia. « Auditório Ibirapuera ‘Oscar Niemeyer’, 2005 São Paulo, Brazil ». Dans Modern Theatres 1950–2020, 426–37. New York : Routledge, 2021. : Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-50.

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Actes de conférences sur le sujet "Pauli Theater"

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de Brito, Walderes Lima, Newton Camelo de Castro et Carlos Roberto Bortolon. « Young Readers Transpetro Program : The Sustainable Development of Community Close to a Pipeline in Goia´s, Brazil ». Dans 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64584.

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A person reading an average of sixteen books per year is considered high even in so-called First World countries. This achievement is even more remarkable if it is performed by children of low-income families. An example is the participants of PETI, Child Labor Eradication Program of Jardim Canedo, a neighborhood located over part of the Sa˜o Paulo - Brasi´lia Pipeline, situated in Senador Canedo, Goia´s, Brazil. In 2007 this community experienced the Striving Readers Transpetro Program, which aims to develop a taste for reading among children. Transpetro expects to be helping to overcome the low-quality Brazilian education, reflected in the 72% rate of functional illiteracy. The chief objective of the Program is the development of art education workshops and the creation of the “Readers Group - What story is that?”. The workshops are meant for the educators, with the purpose of offering tools form them to spur the children into reading through techniques such as story-telling, theater, singing, puppet shows, set constructions and other audio visual resources. The Readers Group is intended for children. Participation is voluntary and offers literary books according to the childs’ taste and literacy. In the first year of operation, Striving Readers Transpetro Program relied on the participation of 100% of the educators in the Art Education Workshops and a commitment of 93% of the Readers Group members. It also played a part in the improvement of the childrens performance in formal school. Furthermore, the Program contributed to the mapping of libraries available for PETI members, supported the assembly of a catalogue of institutes that sponsor striving readers programs and performed workshops with the technical staff at selected institutes to educate them on how to conduct fund raising. Such actions, as a whole, ensured sustainability to the program and promoted a company relationship with the community and with the Regulatory Authority. This is a socially responsible approach to ensuring childrens’ rights are met.
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