Tesi sul tema "Experimental theatre"

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<br>Master of Architecture

Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.<br>Bibliography: leaves 241-251.<br>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.<br>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.<br>Mode of access: World Wide Web.<br>251 leaves

Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-19T19:36:46Z No. of bitstreams: 1 CRISTINA SANCHES RIBEIRO.pdf: 1576413 bytes, checksum: 2458aaf5b53d0e457d5665f4cdc30b20 (MD5)<br>Made available in DSpace on 2018-03-19T19:36:46Z (GMT). No. of bitstreams: 1 CRISTINA SANCHES RIBEIRO.pdf: 1576413 bytes, checksum: 2458aaf5b53d0e457d5665f4cdc30b20 (MD5) Previous issue date: 2016-09-09<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>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.<br>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.

The 1990s was a period of rapid transformation in China. Leaders Jiang Zemin and Zhu Rongji accelerated policies initiated by Deng Xiaoping, as China embraced "Socialism with Chinese Characteristics." Far-reaching socioeconomic and cultural change cut across every facet of Chinese society and had a tremendous impact on huaju ("spoken drama") and the State Theatre System. This study examines how and to what extent the conditions and challenges of the 1990s fostered a climate for experimentation and impacted the aesthetics of huaju. The research first establishes a context for huaju--its evolution and ideological background over the last century proceeding to a more detailed view of the 1990s. This decade witnessed significant new phenomena: a rising entrepreneurial class, a vibrant alternate "gray" culture, the proliferation of "little theatres," "free-lance" theatre artists, and the "independent theatre studios" of directors Lin Zhaohua, Meng Jinghui, and Mou Sen. Focusing on Beijing's prestigious China National Experimental Theatre (CNET), the research provides a detailed analysis of the inner workings of the State Theatre System--the transition from "iron rice bowl" to "contract system," new management, producing, and financing practices, and the endeavor to build an audience for huaju amid dwindling State subsidies. The study characterizes the range of styles and genres at CNET during the 1990s: "main melody," "personal realism," "nationalization," "foreign," and "experimental avant-garde" plays. Representative productions, embodying a variety of Western and indigenous Chinese performance styles, aesthetics, and techniques, are examined. The research highlights the experimental work of leading avant-garde directors, Lin Zhaohua and Meng Jinghui, and presents an in-depth analysis of four CNET productions: Lin's Go Man, Meng's The Nun and the Monk and Gossip Street, and Tian Qinxin's Fields of Life and Death. Following the production process--from conception; through rehearsal; to performance; and official, critical, and popular reception--the study explores directorial methods, acting techniques, director/actor/designer interactions, and current theatre practices as they impact dynamics of mise-en-scene. During the 1990s, the parameters of both form and content in huaju grew more complex, as experimental techniques, once the exclusive domain of the avant-garde, were increasingly appropriated by the mainstream.<br>Thesis (Ph. D.)--University of Hawaii at Manoa, 2002.<br>Mode of access: World Wide Web.<br>Includes bibliographical references (leaves 396-479).<br>Electronic reproduction.<br>Also available by subscription via World Wide Web<br>xxi, 479 leaves, bound col. ill. 29 cm

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.

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.

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 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.

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.<br>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.

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’.

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 thesis based in practice as research proposes a pedagogical model for supporting the actor’s inner psychological process within the area of psychophysical actor training. By invoking Socrates’ concept of psychagogia, I critically examine key aspects of psychophysical actor training in order to clarify the conceptual and pragmatic meaning of ‘psyche’ within the psychophysical process. Socrates describes psychagogia as the educational art of leading the psyche towards dialectical examination of the good. It is Aristotle, however, who identifies the art of tragedy as the greatest form of psychagogia, and it is in this context that the thesis re-introduces psychagogia for actor training. My research investigates in practice the application of a modified Sesame Drama and Movement Therapy approach for actors. It entails a series of projects and workshops exploring a pedagogical model based on the Sesame methodology and structure, and using ancient Greek myths as vehicles to encounter conscious and unconscious aspects of the psyche. The research addresses the necessity for an embodied experience and awareness of the psyche by confronting creatively its conscious and unconscious aspects. I aim to show how a Sesame Drama and Movement Therapy approach facilitates this process in a safe and reflexive way, raising the actor’s awareness of this tacit and intangible inner quality.

In questo studio ci proponiamo di esplorare la definizione di “politico” nel teatro, applicandola all'intero percorso della compagnia italiana di teatro sperimentale Motus. L'ipotesi è rinvenire nell'opera del gruppo la “politicità” insita in vari livelli della sua produzione: in primis quello organizzativo, esplorato sin dal debutto nella scena contemporanea, in cui la definiamo insieme ad altri gruppi delle sua generazione come “isole nella rete”, fino alla recente occupazione di spazi come il teatro Valle a Roma e Macao a Milano. Nel primo segmento d'analisi esploreremo le opere degli esordi (1995-2002), caratterizzati da una forte ricerca sul linguaggio e dal rifiuto della dimensione mimetica: questa messa in discussione della poetica aristotelica rappresenta la cifra politica della prima fase indagata. La seconda è caratterizzata da istanze dove il discorso politico si fa più esplicito: dal progetto Pasolini alla rilettura del mito di Antigone, l'elemento ideologico ed il tema della Rivolta emergono con preponderanza, contribuendo a definire la compagnia dentro gli schemi di quello che definiremo come “terrorismo poetico”.<br>In this investigation we propose to explore the definition about the notion of “politic” in theatre, by his application on the entire accomplished of Motus, an italian experimental theatre group. The assumption is to recover in the work of this collective the “politcal level” inherent in the differents fields of his productions: in primis the organizational one, explored since the debut in the theatral contemporary scene ( phase that we define as “islands in the net”) till the late occupation of spaces as the Valle theatre in Rome and Macao in Milano. In the first segment of our analisys we explore the beginning works (1995-2002), with an essential characteristic: the strong research about languages and the disaffirmation of the mimetic dimension, that describes the politic magnitude of this first segment. The second one is emblematized by instances where the politic speech is becoming more explicit: from project Pasolini to the scenic construction about the mythe of Antigone (2004-2010), the ideologic item and the theme of rebellion appear preponderancly, determining the group in the patterns that we define as “poetic terrorism”.

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.

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'.<br>Doctor of Philosophy (PhD)

This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life. This thesis comes out of my own experience as a performer and is informed both by theoretical discourse and practical experimentation in the theatre. Exploring the voice as a liminal, transgressive force requires analysis from an experiential perspective.

The subject of this diploma thesis is the location and design of a theater building in the body of a regional center - the town of Uherské Hradiště. The existing theater building is housed in a rented Sokolovna (sport-cultural building) on Tyršovo Square. There is also a small stage in a house on Mariánské náměstí. The capacity of the auditorium of the large scene is 370 spectators, corresponding to the needs of the city and the region. However the size of the stage is completely inadequate, the height of the flytower, the absence of back and side stages, Also, the workshops and warehouses are currently located away from the theater. The project addresses the current unfavorable situation of the theater, which is, in the long-term, interest to the city of Uherské Hradiště itself. My intention is to create an open-air theater complex outside the building - a city living room - following the building of a former prison. Object visible from the main road, clearly recognizable, welcoming visitors. Theater composed of three masses created not only for actors, but primarily for its visitors. The object works with the motif of the way through it (possibly around a tranquil pedestrian zone, for example, by shopping, walking, but it provides the opportunity not to be primarily on the way but also on the target.) The current form of the place is unacceptable to the city.

The aim of this practice-based research project is to investigate innovative techniques in the composition and presentation of electronic music that draw on the history of Electronic Dance Music (EDM) and seek to discover new modes of expressive listening experiences removed from the dance floor environment. This study will help illuminate the differing expectations of the dance floor and the concert hall as an investigation of ways to expand the creative potential of both perspectives. A review of electroacoustic and EDM music and the musicological literature will be undertaken to understand the existing schools of thought that separate these traditions. To develop an understanding of this composer’s current practice, a study of EDM and its roots will be undertaken, tracing the evolution of dance music, beginning with disco, and following it through to contemporary EDM. This discussion will situate my work within the Australian EDM scene as artist, producer, DJ/curator, and frame the wider aspirations of the creative portfolio which consists of three major works: Mesmerism, an audio album and live audio/visual dance party event; Miyagan, an electronic score for Bangarra Dance Theatre, and The Rise & Fall of St. George, an electronic music theatre work.

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'.

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.

Esta pesquisa tem como objetivo o mapeamento do espaço que ocupa Terayama Sh&#363;ji, poeta, escritor, dramaturgo e diretor de cinema japonês, frente ao período histórico a que pertenceu e frente às teorias da vanguarda e do pós-modernismo. A investigação se inicia com o período do pós-guerra no Japão, quando em meio a protestos e ansiedades políticas, floresce na capital do país uma nova vanguarda artística. O primeiro capítulo é dedicado a um exame do teatro angura e da nova onda do cinema, dois movimentos dos quais Terayama fez parte. Procura-se então delinear suas propostas artísticas e suas principais influências, japonesas e estrangeiras, examinando como seu trabalho se aproxima ou se afasta do paradigma pós-moderno conforme teorizado principalmente por Fredric Jameson, mas levando em conta reflexões sobre as aplicações desse conceito especificamente no Japão. Por fim, o último capítulo se debruçará sobre dois longas-metragens do diretor Joguem seus livros, vamos às ruas, de 1971, e Pastoral: Morrer no campo, de 1974 de modo a encontrar exemplos do seu caráter experimental, subversivo, de sua insurreição contra as instituições da família e do Estado e de suas complexas relações com a política, a história, o pastiche e a espetacularização.<br>This research aims at mapping the space occupied by Terayama Sh&#363;ji, a Japanese poet, playwright and filmmaker, in his historical context and in relation to avant-garde and postmodernism theories. The investigation begins with postwar Tokyo, when amid protests and a climate of political anxiety, a new avant-garde movement starts to flourish. The first chapter is dedicated to an examination of the angura theatre and the Japanese new wave, two of the movements Terayama was part of. We shall then trace his general artistic views and main influences, Japanese and foreign, examining how they relate to postmodern characteristics as theorized mainly by Fredric Jameson, but also inquiring at how this very concept can apply to the Japanese context. In the last chapter, we shall take two of Terayamas feature films Throw Away Your Books, Rally In The Streets and Pastoral: To Die in The Country for further analysis, in order to find more specific examples of his experimental and subversive character, his rejection of the institutions of family and the State, and his complex relationship with politics, history, pastiche and spectacularization.

A partir da compressão mais ferrenha da ditadura de 1964 no Brasil, e de um diálogo mais direto com as vanguardas que ocorrem no mundo, após 1968 abrem-se novas perspectivas de criação nas artes e, especificamente, no teatro, resultando numa revolução de comportamento e cultural que, apesar de nascer em pleno \"sufoco\", paradoxalmente apresenta uma riqueza de novas propostas. Tais propostas formarão o triângulo da contracultura (tropicalismo - movimento marginal - cultura alternativa) que marcará espaço na década de 1970 pela diferença. Na conquista do direito de confrontar-se com o estabelecido, em contraponto ao establishment, ao milagre brasileiro e a uma recepção crítica perplexa que, apesar de reconhecer certo mérito nestas manifestações, prioriza diagnosticar irracionalismo e alienação, o novo teatro inaugura muitos dos princípios, técnicas e procedimentos cênicos que abrirão espaço, a duras penas, para a liberdade definitiva da possibilidade de experimentar. A pesquisa que proponho tem como finalidade identificar: o que se entende por teatro experimental em seu nascedouro, no Brasil; como surgiu e operou dentro da arte e da cultura e se podem ser identificados momentos diversos com características próprias. Para uma melhor visualização dessas questões e como amostras de vertentes distintas dentro do teatro experimental no recorte estabelecido aqui, analiso, - de forma mais aprofundada -, os espetáculos Rito do Amor Selvagem, de José Agrippino de Paula e Maria Esther Stockler com o Grupo Sonda, 1969; Gracias, Señor, primeira criação coletiva do Teatro Oficina, 1972; e Trate-me Leão , do Asdrúbal Trouxe o Trombone, 1978. Por meio destes resgates podemos avaliar qual os legados imediatos e os menos visíveis que esses trabalhos e tendências deixaram para as próximas gerações, inclusive a nós que aqui estamos em pleno segundo milênio.<br>From the more inclement pressing of 1964-Brazilian dictatorship, and the more direct dialogue with the vanguards that emerged in the world, after 1968, new perspectives of creation opened in the arts and specifically in the theater fields, resulting in a behavioral and cultural revolution that, although born under \"asphyxia\", paradoxically presented a wealth of new proposals, which constituted the triangle of the Counterculture (Tropicalism - Marginal Movement -Alternative Culture) that would impress the 1970s with the difference mark. To conquer the right to fight what was already established, as a counterpoint to the establishment, to the Brazilian Miracle and to a mesmerized critical reception - that although recognizing some merit in these demonstrations, prioritizes diagnosing alienation and slavery - the New Theater inaugurates many of the scenic principles, techniques, and procedures that would arduously open space to the utmost freedom in the experimenting possibilities. The aim of this study is to identify what is meant by experimental theatre in its emerging state in Brazil; how did it come forth and operate within art and culture; and if diverse moments with specific characteristics can be identified. To better view these issues and view them as different strands samples within the experimental theatre scope defined hereby, I will analyze in greater detail and depth the plays Rito do Amor Selvagem, by José Agrippino de Paula and Maria Esther Stockler, with the Group Sonda, 1969; Gracias, Señor, the first collective creation by Teatro Oficina, 1972; and Trate-me Leão, by Asdrúbal Trouxe o Trombone Group, 1978. By means of these recovering procedure, we are able to assess what is both the immediate and the less visible legacy these plays and trends left to following generations, including us, here, in the second millennium.

[EN] SUMMARY OF THE THESIS The PhD thesis "INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity" focusses on the influence of the methodology of Historically Informed Performance practice on the creation of a Contemporary Music Theatre performance. The framework and creative basis for their connection is the Divina Commedia of Dante Alighieri (1265-1321). In music theatre it is not only about music as one of the scenic elements; musical thinking structures the entire theatrical process. It is a genre-between-genre, where various art disciplines interact. Historically Informed Performance practice is a characteristic musical approach of the Early Music movement. It includes study of historical documents and objects in order to obtain a more profound understanding of the music and a performance practice which is based upon this comprehension. In our thesis, Historically Informed Performance practice has been connected with Contemporary Music Theatre through a mise-en-scene of Dante's Commedia, principally based upon its sonorous non-musical and musical references. Also references of movement, gesture, colour and light were taken into account for the mise-en-scene, but always in relation to the sonorous references. In this way, the mise-en-scene is a sonorous journey through Dante's Afterworld as he might have imagined it, but also a contemporary visual and dramatical journey. This research has been done through artistic practice: the creation and performance of a contemporary music theatre work called Incipit. It is based upon thorough knowledge of the Commedia and, through its methodology of Historically Informed Performance Practice, it has mostly made used of 14th century musical sources. An audio file was created as a sonorous element for Incipit, based on previously existing sounds and recording of songs and texts.The performance was recorded in video format. The research question was: How do the work methods taken from Historically Informed Performance practice contribute to the creation of a contemporary music theatre performance in a mise-en-scene of the Divina Commedia? For this practice-based research not only historical-musical knowledge was necessary but also literary knowledge of Dante's Commedia and its underlying meanings. Theoretical knowledge thus was an important basis for the practice. However, the practice itself also provided information for the theory. For the composition of three-voice "simple polyphony" according to the rules for polyphonic improvisation around 1300, theoretical knowledge was essential, but their practice led to historical-musical insights of its performance and its rules for intervallic and rhythmic matters. The practice provided a new perspective on Dante's narrative from a sonorous point of view. Finally, the practice combined two disciplines, Early Music and Contemporary Music Theatre, which are not commonly combined, and it provides us new theoretical insights of creative processes and musical-theatrical languages.<br>[ES] RESUMEN DE LA TESIS La tesis doctoral "INCIPIT: La búsqueda de un lenguaje multidisciplinario en el punto de encuentro entre la antigüedad y contemporaneidad" trata sobre la influencia de la metodología de la práctica de interpretación históricamente informada en la creación de una puesta en escena de Teatro Musical Contemporáneo. El marco y la base creativa para su combinación es la Divina Comedia de Dante Alighieri (1265 - 1321). El teatro musical no se centra solamente en la música como uno de los elementos escénicos; el pensamiento musical estructura todo el proceso teatral. Es un género-entre-géneros donde interactúan varias disciplinas artísticas. La interpretación históricamente informada es una manera de abordar la música que caracterizan los intérpretes especializados en la Música Antigua. Incluye el estudio de documentos y objetos históricos con el fin de llegar a una comprensión más profunda de la música antigua y una práctica interpretativa que se basa en este entendimiento. En esta tesis, se ha relacionado la interpretación históricamente informada con el teatro musical contemporáneo a través de una puesta en escena de la Comedia de Dante basada principalmente en sus referencias sonoras, tanto musicales como no musicales. Además se tomaron en cuenta las referencias de movimiento, gesto, color y luz para la puesta en escena pero siempre en relación con las referencias sonoras. De esta forma, la puesta en escena se ha convertido en un viaje sonoro a través del Más Allá de Dante como él mismo podría haberlo imaginado, pero también siendo un viaje visualmente y dramáticamente de carácter contemporáneo. Esta investigación se ha realizado a través de la práctica artística: la creación e interpretación de una obra de teatro musical contemporáneo llamada Incipit. Se basa en un conocimiento profundo de la Comedia y, a través de la metodología de la práctica interpretativa históricamente informada, se ha hecho principalmente uso de fuentes musicales del siglo XIV. Un archivo de audio fue creado como elemento sonoro para Incipit, compuesto de sonidos previamente existentes y la grabación de cantos y textos. La actuación fue grabada en formato de vídeo. La pregunta de investigación fue: ¿Cómo contribuyen los métodos de trabajo tomados de la práctica interpretativa históricamente informada a la creación de una actuación de teatro musical contemporáneo en una puesta en escena de la Divina Comedia? Para esta investigación basada en la práctica, no sólo fue necesario el conocimiento histórico-musical, sino también el conocimiento literario de la Comedia de Dante y sus significados subyacentes. Por lo tanto el conocimiento teórico ha constituido una base importante para la práctica. Sin embargo, la práctica en sí también proporciona información para la teoría. En cuanto a la composición de "polifonía sencilla" a tres voces, de acuerdo con las reglas para la improvisación polifónica de principios del siglo XIV, ha sido esencial recurrir a un gran conocimiento teórico, pero su práctica interpretativa dio lugar a ideas histórico-musicales de su interpretación y sus normas acerca de cuestiones de intervalos y ritmos musicales. La práctica proporciona, desde un punto de vista sonoro, una nueva perspectiva de la narrativa de Dante. Por último, la interpretación junta dos disciplinas que no han sido combinadas frecuentemente: la Música Antigua y el Teatro Musical Contemporáneo, proporcionándonos nuevos conocimientos teóricos de los procesos creativos y los lenguajes musical-teatrales.<br>[CAT] RESUM DE LA TESI La tesi doctoral "INCIPIT: La recerca d'un llenguatge multidisciplinari en el punt de trobada entre l'antiguitat i contemporaneïtat" tracta sobre la influència de la metodologia de la pràctica d'interpretació històricament informada en la creació d'una posada en escena de Teatre Musical Contemporani. El marc i la base creativa per la seua combinació és la Divina Comèdia de Dante Alighieri (1265-1321). El teatre musical no se centra només en la música com un dels elements escènics; el pensament musical estructura tot el procés teatral. És un gènere-entre-gèneres on interactuen diverses disciplines artístiques. La interpretació històricament informada és una manera d'abordar la música que caracteritzen els intèrprets especialitzats en la Música Antiga. Inclou l'estudi de documents i objectes històrics per tal d'arribar a una comprensió més profunda de la música antiga i una pràctica interpretativa que es basa en aquest endement. En aquesta tesi, s'ha relacionat la interpretació històricament informada amb el teatre musical contemporani a través d'una posada en escena de la Comèdia de Dante basada principalment en les seues referències sonores, tant musicals com no musicals. A més es van prendre en compte les referències de moviment, gest, color i llum per a la posada en escena però sempre en relació amb les referències sonores. D'aquesta manera, la posada en escena s'ha convertit en un viatge sonor a través del Més Enllà de Dante com ell mateix podria haver-ho imaginat, però també sent un viatge visualment i dramàticament de caràcter contemporani. Aquesta investigació s'ha realitzat a través de la pràctica artística: la creació i interpretació d'una obra de teatre musical contemporani anomenada Incipit. Es basa en un coneixement profund de la Comèdia i, a través de la metodologia de la pràctica interpretativa històricament informada, s'ha fet principalment ús de fonts musicals del segle XIV. Un arxiu d'àudio va ser creat com a element sonor per a Incipit, compost de sons prèviament existents i de la gravació de cants i textos. L'actuació va ser gravada en format de vídeo. La pregunta d'investigació va ser: Com contribueixen els mètodes de treball presos de la pràctica interpretativa històricament informada a la creació d'una actuació de teatre musical contemporani en una posada en escena de la Divina Comèdia? Per a aquesta investigació basada en la pràctica, no només va ser necessari el coneixement històric-musical, sinó també el coneixement literari de la Comèdia de Dante i els seus significats subjacents. Per tant el coneixement teòric ha constituït una base important per a la pràctica. No obstant això, la pràctica en si també proporciona informació per a la teoria. Pel que fa a la composició de "polifonia senzilla" a tres veus, d'acord amb les regles per a la improvisació polifònica de principis del segle XIV, ha sigut essencial recórrer a un gran coneixement teòric, però la seua pràctica interpretativa va donar lloc a idees historicomusicals de la seua interpretació i les seues normes sobre qüestions d'intervals i ritmes musicals. La pràctica proporciona, des d'un punt de vista sonor, una nova perspectiva de la narrativa de Dante. Finalment, la interpretació junta dues disciplines que no han estat combinades freqüentment: la Música Antiga i el Teatre Musical Contemporani, proporcionant-nos nous coneixements teòrics dels processos creatius i els llenguatges musical-teatrals.<br>Sprenkeling, L. (2016). INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62682<br>TESIS

Slovene national theatre in the centre of Ljubljana as a part of existing city block. The composition of buildings creates new urban areas as a continuation of the urban axis of Josip Plečnik. The basic principle was to resolve the issues of entry into building, the definition and organization of space inner block, the creation and cultivation of new and existing urban areas. Unifying element of the whole composition is solution to the facade, which paraphrases the high order, typical for the surrounding buildings and significant not only for cultural buildings. As a contrast to massive and heavy mass of facade stand glass facade which makes lighter impression. White facade adds significance to the composition.

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, œuvres 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<br>The purpose of this dissertation is to analyse the issues pertaining to the theatrical use of audiovisual technologies by Italian theatre, in the course of its experimentation and research over the last forty years. Effectively, Italy occupies a noteworthy position in the European theatrical landscape. Cradle of modern theatre, it possesses a specific theatrical tradition, which upon its encounter with European staging practices (mise en scène) produced unparalleled reactions. During the 1960s, the blossoming of experimental practices lead to the elaboration of a new theatre culture in which visual and sound technologies had an important role. In order to understand these phenomena, we focused on the history of different artistic movements, on the conditions of production and diffusion and on the role of theatre criticism. In combining these aspects with a prolonged analysis of numerous, varied creations (theatre performances, television productions, videos), we attempted to understand the evolution of the motivations, conjunctures, and outcomes of the relation between theatre creators and the technologies. We thus organised the dissertation chronologically, in four periods (1965-1978; 1979-1989; 1990-1998; 1999-2005), which clearly denote the main developments of the technological devices used (analogue, electronic, digital) and of the attitudes adopted by artists. This reconstruction illustrated that the technologies engender an expansion of the field of theatre, the displacement of the stage, the multiplication and the destabilisation of theatre practices. The technologies were revealed not only as a remarkable esthetical phenomenon, but also as a key for understanding contemporary theatre

Un pan représentatif de la scène performative contemporain, en France, comme en Angleterre, se distingue par un intérêt commun pour la question du corps quotidien. Faisant fi des principes de représentation, de logique narrative ou de personnage, les praticiens d’aujourd’hui investissent des corporéités ordinaires et faillibles produisant des état de présence diffractés ainsi qu’un régime de spectateur fondé sur la reconnaissance d’une commune incompétence. Au moyen de temporalités scéniques suspendues, d’un ralentissement du mouvement et d’une inflexion des logiques de représentation et de perception, ils modélisent des outils de résistance à l’encontre des dynamiques accélérées d’une production intensifiée imposées par les institutions et l’économie culturelles. Renonçant à la séduction du spectaculaire et au fétiche de la technique, ils décident de produire moins. Inventant de nouvelles modalités d’un travail solidaire (collaborations éphémères, rencontres nouées selon une logique de projet, micro-communautés), ils dessinent, sur le plateau, un espace d’entente qui puisse reposer sur une égalité de condition entre performers et spectateurs. Loin de s’inscrire dans un geste de rupture ou de souscrire à un quelconque idéal utopiste, les artistes de la scène performative contemporaine actualisent une praxis critique de la scène qui tâche de créer, dans le temps de l’événement théâtral, une nouvelle façon d’être ensemble<br>The contemporary performance scene, in both France and England, can be distinguished by a common interest in the ‘everyday body.’ Discarding principles of representation, narrative logic, and characterisation, many of today’s practitioners choose instead to reflect a deliberately fallible and ordinary sense of their own corporality. This results in a notion of presence in which the presented body can somehow disappear and where a certain complicity with the audience is founded on a sense of common incompetence. The use of real time (as opposed to theatrical time) the restriction of movement, and a questioning and dismantling of the traditional ideas of theatrical presentation and reception, all form ways of resisting the accelerated and intensified production cycle imposed by the cultural economy in which the work is produced. Refusing to be seduced by notions of grand spectacle or perfect technique, these performers produce less within their performance and therefore embrace an “anti-productive” creative pattern. At the same time, inventing new ways of working together (ephemeral collaborations, meetings happening upon a project-based logic, micro-communities), they create, in the theatre, a democratic space based on an equality of status between performers and spectators. Without seeking revolution or utopia, they enable a critical investigation of the theatrical space that can, for the duration of an event, create new ways for all those present to experience being together within that space

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 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.<br>viii, 102 leaves : ill. ; 29 cm.

This thesis presents my original contribution to knowledge, a combination of critical media and performance theories to analyse the production and augmentation of postdigital experiential spaces in Punchdrunk Theatre Company. Distributed agency is key to Punchdrunk's work, with makers within the company and audiences both being active participants in meaning-making, across complex and detailed interfaces. In order to investigate the making cultures on ‘both sides' of the interface, I undertook a two-year participant study as a researching designer within the company during the build of the productions The House Where Winter Lives and The Drowned Man in 2011-2014, gathering field data in the form of extensive interviews with members of the company and audience participants, supported by diary notations and photographs. I studied the processes and methods that extend, distribute and regulate agency to both audiences and makers within the company, and identified devices and features of the interaction design of the company that produce the immanent subject-event relationships that support immersion in their work. A core aspect of this research concerns the relationship between immersion and the sublime, and how subject-event relationships (immanent vs. transcendent) contribute to engendering sublime interactive experiences. I have analysed the consequences of this for the modelling of participation in interaction design, and how it influences conditions of possibility within interactive systems across physical, digital and blended media. The conclusion of this research includes the definition of a postdigital sublime, and proposes a delinquent system aesthetic that integrates proxies for gravity through articulation of the ‘shadow side' of interaction design.

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.

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.

This thesis is a report on an administrative internship that was conducted at Zeitgeist Theater Experiments, Inc. from June to October of 1997. The internship fulfilled a requirement for the degree of Master of Arts Administration. Arts administration issues that are covered within the text are: fiscal management, marketing, fundraising. Board development, budget planning, and volunteer coordination. The nature of the internship, its specific tasks and responsibilities, are described in the report. The essay reviews the history of Zeitgeist as an organization and analyzes managerial problems occurring within the organization at the time of the internship .Explicit recommendations as to how the problems can be corrected and the steps required to implement the recommendations are laid out within the paper. The report concludes with the intern's expectations for the short term and long term effects of the work she conducted during the internship.

Thesis (MDram)--Stellenbosch University, 2003.<br>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.<br>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<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>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.<br>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.

Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Rita Alves Miranda.pdf: 2197473 bytes, checksum: 27e1b604e4f02f387a522aa42435e2a0 (MD5) Previous issue date: 2013-10-23<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>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<br>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

Frente a las limitaciones de la ciencia convencional para abordar la complejidad y los retos del cambio socio-ambiental global, la ciencia de la sostenibilidad emerge como un enfoque científico estratégico. Desde este enfoque, se enfatiza la necesidad de conectar múltiples fuentes de conocimiento con la correspondiente acción en contextos específicos, para facilitar interacciones y transiciones hacia la sostenibilidad. Por su potencial transformador y de aprendizaje, la ciencia de la sostenibilidad ofrece oportunidades metodológicas para la generación de conocimiento práctico, la incorporación de múltiples perspectivas, también desde fuera de la academia, y la integración de distintos valores e intereses políticos. En este contexto, la presente tesis doctoral aporta una recopilación de tres artículos científicos que tratan el desarrollo de nuevas metodologías participativas que integran el arte, y más específicamente, el teatro participativo, para generar espacios abiertos de diálogo y aprendizaje en contextos específicos de acción relacionados con la sostenibilidad. El arte ha sido ampliamente reconocido por su capacidad de transformar la consciencia humana a través del refinamiento de los sentidos, la expansión de la imaginación colectiva y el establecimiento de conexiones significativas y emocionales entre las personas y su entorno. En el actual contexto de necesidad de herramientas y metodologías integradoras que aborden la complejidad del socio-ecosistema, el arte aporta un medio de exploración minucioso, capaz de combinar múltiples lenguajes y de conectarnos con nuestro pensamiento intuitivo y con formas de conocimiento emocional y vivencial. Teniendo estas premisas en cuenta, el primer artículo revisa y evalúa el potencial de métodos innovadores de aprendizaje para la sostenibilidad que integran el teatro participativo. La revisión incluye diversas experiencias en el mundo académico y en el campo de la sostenibilidad e introduce la noción de métodos performativos, identificando cinco funciones potenciales asociadas a los mismos. De esta manera, se proporciona un marco para valorar hasta qué punto estas nuevas propuestas participativas basadas en el teatro pueden ser de relevancia para el aprendizaje y la ciencia de la sostenibilidad. El segundo artículo aterriza la discusión y explora el uso del teatro como método participativo en el contexto de la gestión comunitaria de recursos naturales, mediante una experiencia empírica en una comunidad indígena en Michoacán, México. Para ello, se creó una obra teatral interactiva con el objetivo de llevar al diálogo comunitario las perspectivas de los jóvenes sobre la gestión comunitaria del bosque y abrir espacios no convencionales de interacción social, diálogo empático y estético, y reconocimiento de la diversidad. Finalmente, el tercer artículo amplía la discusión al ilustrar una aplicación específica de estos métodos performativos en el contexto de la construcción de escenarios de futuro dentro de programas educativos. Tal aplicación práctica exploró el potencial y las limitaciones de un ejercicio prospectivo teatral –escenarios performativos- orientado a apoyar un proceso de aprendizaje con jóvenes en la Reserva de la Biosfera de la Sepultura, Chiapas, México. En su conjunto, los tres artículos aportan reflexiones teóricas y empíricas de actualidad sobre el campo emergente de la investigación basada en las artes, y su aplicación dentro de la ciencia, práctica y aprendizaje de la sostenibilidad. Al facilitar un marco teórico para contextualizar y evaluar el potencial de los métodos performativos y ofrecer experiencias concretas de uso práctico de los mismos, esta tesis confirma la idoneidad de las prácticas basadas en el arte, y en particular, del teatro participativo, para contribuir de forma transformadora al aprendizaje y ciencia de la sostenibilidad.<br>In face of the challenges posed by global socio-environmental change, participatory sustainability science emerges as a strategic scientific approach linking multiple sources of knowledge with action in specific contexts to foster transitions towards sustainability. Its transformative and learning potential provides methodological opportunities for the generation of actionable knowledge, the incorporation of multiple perspectives, also from outside academia, and the integration of different values and political interests. Within this context, this doctoral dissertation presents a compilation of three research articles that address the development of novel participatory methods integrating the Arts, and more specifically, participatory theatre, to facilitate engaging, open and creative learning spaces in specific contexts of sustainability action. The Arts are well-known for their potential to transform people’s consciousness by refining the senses, expanding collective imagination and establishing meaningful and emotional connections between people and their environment. Faced with the necessity of integrative tools and methods to deal with social-ecological systems’ complexity, the Arts can provide insightful explorative means and combine different system’s languages, connecting us to intuitive thinking and emotional and experiential insight. With these assumptions in mind, the first article reviews and assesses the potential of innovative theatre-based participatory tools and methods aimed at supporting sustainability learning and agent transformations. Such review includes experiences applying theatre-based methodologies in the academic and sustainability fields and introduces the notion of performative methods as an integrative research and learning approach. Five potential functions of performative methods were identified and a general framework provided to assess to what extent these new approaches can be of relevance in participatory sustainability science and learning. The second article grounds the discussion and explores the use of drama as a participatory method in Community-based Natural Resource Management, through an empirical experience in an indigenous community in Michoacán, Mexico. An interactive theatrical play was created with the aim of introducing the views of young people on community forest management into community dialogue. By doing so, such action research helped open up non-conventional, aesthetically rich spaces for new ways of social interaction, diversity recognition and empathic dialogues. Finally, the third article expands the discussion by illustrating a concrete empirical application of performative methods in the field of futures thinking in education. Such research explored the potential and the limitations of a theatrical prospective exercise - performative scenarios, oriented towards supporting a learning process with young people in a Man and Biosphere Reserve in Chiapas, Mexico. Altogether, the papers in this dissertation provide both fresh theoretical reflections and empirical insights into the emerging field of Arts-based practices within sustainability science, learning and practice. By providing an analytical framework assessing the potential role of performative methods, and by giving concrete examples on how these methods can be used in practice, this dissertation has proven the suitability of such novel Arts-based practices, and in particular theatrical performance, to contribute in a transformative way, to the field of sustainability.

Orientador: Neyde de Castro Veneziano Monteiro<br>Acompanha anexo em DVD: Santo Antonio e a Vaca<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-13T18:32:10Z (GMT). No. of bitstreams: 1 MedinaJunior_Clodoaldo_D.pdf: 92731350 bytes, checksum: 746a6ae8f3cba779851655e40ac7ae6b (MD5) Previous issue date: 2009<br>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.<br>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.<br>Doutorado<br>Doutor em Artes

Science has featured intermittently as the subject of theatrical texts since Thomas Shadwell first represented the Renaissance scientist in The Virtuoso (1676). The late twentieth century, however, saw an incremental growth in theatre's interest in scientific exploration, a growth concommitant with the vast impact that science has had on technology, warfare and the machinations of political power. The tensions generated by the disjuncture between the rationality of science and the unpredictability of human society have provided a rich source of material for theatrical investigation into the human experience. The purpose of this thesis is twofold: to reveal some of the thematic concerns that emerge in this genre, and to examine the interplay between theatre and science. Shelagh Stephenson's An Experiment with an Air Pump (1999) provides a useful point of focus for this inquiry. By parallelling two time periods, exposing the scientific objectification of women and, in addition, opening up contemporary ethics for negotiation with the audience, Stephenson calls into question the objectivity and certainty of history, gender and ethical conduct. These she presents as dynamic and evolving fields of discourse that contribute to, but do not solely constitute, knowledge and understanding of the world. An Experiment with an Air Pump also displays an awareness, through its metatheatricality, of theatre itself as an imaginative, subjective discourse which parallels the more intuitive and personal aspects of scientific exploration. The play functions as a microscope, bringing into focus a contemporary world in which traditional systems of understanding and knowledge need to be reassessed and reinvented.