Rozprawy doktorskie na temat „Drama experimental”

Thesis (M. Arch.)--University of Hong Kong, 1997.
Includes special report study entitled: Edge park in an urban environment. Added title page title: Stages and workshops for amateur drama. Includes bibliographical references.

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.

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

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.

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

The increasing tendency of youth getting involved in crime, globally as well as in South Africa is an indication of the comprehensive problem and the duty that is resting upon professionals dealing with the youth. It is therefore important that in South Africa attention will be given to the young first offender. Various intervention methods such as drama-based intervention can be used as service delivery for the young first offender. Drama based intervention hold various therapeutic values for the young first offender. This program can make use of various methods for intervention such as, dance, movement and theatre. The objectives of the program, the need of the participants as well as the background of each individual participant are determining the choice of the intervention method. A drama-based intervention program was used for the study. The aim of this study was to examine the nature of a drama-based intervention for young first offenders. The aims were to: • Through an intensive literature study the various intervention methods was studied. The finding of the literature study was that the involvement of the first young offender within any creative activity has a lasting effect on the social development of the client resulting in a decrease in anti-social behaviour such as crime. Experimental exercises that is based on social learning-; role- and cognitive-behavioural theory are very effective in working with young people • To develop, implement and evaluate a drama-based intervention program through an intensive literature study and empirical research. This program needs to focus on the decreasing and prevention of recidivism with young first offenders. This goal was achieved as the program was developed according to guidelines of the GEESE theatre, which was adapted for South-African circumstances. The program was implemented and evaluated with a group of seven young first offenders. The research showed that the most effective intervention program for young first offenders should be more experimental and based upon creative arts, rather than a structured goal-oriented program, creating opportunities for in-depth exploration of the inner self. The program would then also help the respondent to develop resiliency by building on protective factors, identifying risk factors and developing skills to manage factors such as low self esteem, family relations, peer pressure and poverty.
Thesis (M.A. (MW))--North-West University, Potchefstroom Campus, 2005.

This thesis explores issues in the development of foreign language writing abilities in a Portuguese setting. The study is based on a research project carried out in 1993 in three University classrooms, where the author was teaching. It investigates what happens when educational drama is brought into the EFL classroom as part of a teaching programme with a view to improving writing abilities. Set in a Vygotskian framework, educational drama is used as a mediating device to attend to a whole set of factors not usually salient in L2 writing. The study covers all 108 students majoring in EFL at that time. The students were proficient in both oral work and grammar exercises but had difficulties writing in English. Two obligatory drama workshops were carried out in English with each group of students during their second term of study and all written work carried out during the term stemmed from the workshops. Large amounts of data were analysed by qualitative and quantitative methods. Writing assignments pre/post drama workshops were collected. Drama workshops were monitored via audio and video recording. Questionnaires were given to the students during the pre and post data collection periods to measure writing apprehension. Student writing was found to improve significantly in both content and grammatical fluency in a relatively short period of time. Drawing on linguistic and social semiotic analyses, the project examines the nature of the different written texts produced in this particular educational environment and the interaction between the use of drama and the writing process itself through the concept of transformation. In terms of a larger Vygotskian framework it looks at the role of thinking in learning, development and instruction in a way which bridges difficult conceptual phases in foreign language teaching. Key words: EFL, foreign languages, writing, Vygotsky, drama, Social Semiotics, transformation.

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

La presente tesis se enmarca en el contexto de la investigación sobre la crítica teatral periodística. Se propuso recuperar y valorar analíticamente la recepción crítica generada en torno a la puesta en escena del Teatro Experimental de la Universidad de Chile durante el período comprendido entre 1941 y 1950 y establecer las constantes que configuran el discurso crítico periodístico generado en torno al desarrollo de El Teatro Experimental durante el período establecido. Para ello fue necesario recolectar, seleccionar y analizar la crítica periodística esparcida en los diarios El Mercurio, La Tercera y El Diario Ilustrado y Las Últimas Noticias para, posteriormente, determinar los aspectos de la puesta en escena del Teatro Experimental que la crítica periodística destaca y describir las constantes que configuran el discurso crítico periodístico. El acercamiento a la crítica teatral periodística se sustenta en una plataforma teórica enmarcada en las teorías de Mijail Bajtin y Julia Kristeva en torno a las nociones de dialogismo e intertextualidad e, inserta el ejercicio crítico dentro de la teoría de la recepción teatral. Nuestro análisis de la recepción crítica periodística constituye un significativo aporte, al rescatar la memoria espectacular que constituyen las críticas, complementando la historia teatral, que existe dispersa en los medios de comunicación impresos de la época y, constituye una revalorización y estudio del trabajo espectacular del Teatro Experimental, contribuyendo con la preservación de la memoria artística y cultural nacional.

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

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.

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

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.
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.

La thèse démontre l’impact du théâtre de Krejča sur l’évolution de l’art dramatique belge francophone. Elle scinde l’activité théâtrale de Krejča en Belgique en deux parties, chacune placée sous le sceau d’une réalité politique différente. La première correspond à un moment de détente dans le paysage politique tchécoslovaque et débute avant la création du Divadlo za branou. Assimilée à la seconde avant-garde théâtrale tchèque, elle inaugure aussi la série de succès internationaux de Krejča dans des pays non socialistes. La seconde période survient après la liquidation du Divadlo za branou par les autorités communistes tchécoslovaques et après le départ de Krejča en semi exil. Théâtralement, la Belgique francophone est alors en pleine émulation, qui s’observe notamment dans les propositions artistiques du « Jeune théâtre » (1976-1986).

L’arrivée de Krejča, dans les années 1960, sur la scène du Théâtre National de Belgique s’inscrit dans la dynamique des échanges théâtraux européens et dans une volonté diplomatique de rapprochement entre la Tchécoslovaquie et la Belgique. La thèse insiste sur ces rencontres entre les artistes belges francophones et les artistes internationaux car elles jouent un rôle fondamental, auquel prend part Krejča, dans l’histoire du théâtre belge de langue française. Fort de sa réappropriation de la tradition théâtrale tchèque et des concepts de Stanislavskij, Krejča est l’un des premiers à apporter en Belgique francophone un regard dépassant la dimension représentationnelle de la première lecture du texte et à proposer une alternative au manque laissé par le retard de l’avant-garde théâtrale belge francophone. Sa poétique, principalement influencée par le théâtre atelier d’E.F. Burian, le théâtre poétique de Frejka, le civilisme d’Hilar, les théories préfigurant la sémiologie théâtrale initiée par l’école de Prague et par les développements du « Mchat », rencontre un accueil mitigé parmi les journalistes polygraphes mais ne manque pas d’impressionner certains animateurs de la scène théâtrale belge à l’instar de Janine Patrick ou de Marc Liebens. Aussi trouve-t-elle notamment un prolongement dans le Théâtre du Parvis.

La thèse situe l’apport le plus évident de la poétique krejčaïenne en Belgique francophone dans le traitement dramaturgique, polyphonique et préfigurant le théâtre postdramatique, que le metteur en scène propose. A Louvain-la-Neuve, c’est à nouveau la puissance de la tradition tchèque et la conviction philosophique de Krejča qui impressionnent ses collaborateurs et se déclinent à travers les excroissances théâtrales francophones belges dont la plus manifeste est une expérience théâtrale, toujours en cours aujourd’hui :le théâtre de l’Éveil.

La dissertation délimite d’abord les spécificités de la poétique théâtrale de Krejča, puis, après une analyse des mises en scène de Krejča, elle retrace et détaille les diverses formes sous lesquelles son esthétique se manifeste :transmission d’un héritage théâtral (avant-garde historique tchèque, sémiologie théâtrale développée par l’Ecole de Prague) et littéraire (mise à l’honneur de Schnitzler et de Nestroy), prolongement de la recherche théâtrale jusqu’à l’approche postdramatique (révélation de la dramaticité des pièces de Tchékhov, importation du théâtre musical), regards dramaturgique et philosophique, écriture dramatique (influence sur l’écriture d'auteurs dramatiques, Krejča-personnage dans des pièces d’acteur)…

/ The thesis focuses on Czech theatre from first avant-garde to second avant-garde; mainly it is focusing on Otomar Krejča’s theatre and its relationship with Belgian theatre within the second Czech avant-garde theatre to the end of the Normalization.

Krejča worked an intensive part of his artistic life in Belgium. His Belgian theatrical activity can be divided into two distinct periods. The first one was coinciding with the foundation of his “Theatre Beyond the Gate” (Divadlo za branou) in Prague in 1965 and took place in the Belgian National Theatre in Brussels. Those years were squaring with Czechoslovakian destalinization and were particularly productive in the artistic field. In Brussels Krejča directed four plays: in 1965, Hamlet, in 1966, The Seagull, in 1970, Three Sisters, in 1978, Romeo and Juliet. The first three plays occurred before the Normalization and his departure in specific exile. The last one marked the beginning of his second period in Belgium, closely bound to Louvain-la-Neuve city. The two following Krejča’s productions were first created for the Festival d’Avignon: in 1978, Waiting for Godot and Lorenzaccio in 1979, before being performed at Atelier théâtral Jean Vilar in Louvain-La-Neuve. The three following plays were the last of Krejča’s Belgian works: Three Sisters in 1980, A. Schnitzler’s The Green Cockatoo in 1981 and Dostoevsky’s The Possessed adapted by Krejča himself in 1982.

In Belgium, the reception of his plays was mitigated. Duality between critics can be explained by Krejča’s new regard on plays, by Krejča’s use of dramaturgy. Krejča’s productions in Belgium were innovating because through dramaturgy they paved the way for something new :it was the end of a romantic Hamlet in the Shakespearian tradition and the end of Pitoëff’s aesthetic in Chechov’s productions.

Krejča’s work of art, impregnated by Czech tradition theatre of avant-garde, influenced his Belgian collaborators. Krejča was influenced by leaders in Czech first avant-garde theatre such as Burian, Frejka, theatrical theory of Honzl and Hilar’s theatre conception. When Krejča started to work in Belgium, the country was undergoing a theatrical revolution. At the end of the 1960s, French-speaking Belgium lived at the rhythm of its first avant-garde in staging. According to me, this fact is the main explanation to Krejča’s significance in French-speaking Belgium. Thanks to Krejča’s Belgian productions, a part of the first Czech theatrical avant-garde and the second Czech theatrical avant-garde penetrated in Belgium.

All of Krejča’s concepts (human beings, ethic of responsibility, importance of dramaturgy, personal appropriation of Stanislavski’s approach) slowly instilled French-speaking Belgian theatrical life. Sure an evident mark of continuity of his aesthetic cannot be seen in the long time, nevertheless Krejča’s influence was considerable and briefly materialized in many fields. It is obviously still vivid in the way some actors play, feel and teach theatre.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

Made available in DSpace on 2016-12-08T16:03:16Z (GMT). No. of bitstreams: 1 122961.pdf: 2739150 bytes, checksum: 136eddbd28c6edbdfe2e18b846c2ab4f (MD5) Previous issue date: 2015-03-26
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis investigates Drama an English approach for theatre teaching and experiencing as a methodological possibility to introduce theatre in children education. It looks for structuring pedagogical procedures linked to childhood specificities by proposing a practice based both on theatrical experiences/theories and on the curricular proposals for this stage level. As such, it starts presenting national and local curriculum indications for the teaching of art and theater in early childhood education. Then, presents the theory of Drama, by English and Brazilian authors centred on this method Bowell and Heap, Neelands and Goode, O Neill, Farmer, Chalmers, Cabral and Desgranges. Next, it reports and discusses 09 drama processes with children from 02 to 06 years old, in order to present evidence about the close relationship between drama and the teachers strategies to work with children of this age level. The experiences took place in Public Infant Schools of Florianópolis/Brazil, and were conducted by teachers who take part in a theatre group, Trupe da Alegria . A dialogue with the theory of Lev Vygotsky backed this study.

Mestrado em Ciência Política
Um dos desenvolvimentos mais interessantes no panorama político contemporâneo é a articulação entre a política e o entretenimento. Utilizando uma metodologia experimental, esta dissertação pretende estudar os efeitos que exposição a dramas de ficção política tem na audiência, quer no seu nível de eficácia política, nas atitudes para com os partidos e na confiança em instituições políticas. Foi possível confirmar parcialmente quatro das seis hipóteses. Estabeleceu-se uma relação entre a exposição a dramas de ficção política e mudança de atitudes políticas, sendo que a exposição a este tipo de entretenimento sortiu maiores efeitos ao nível da eficácia externa dos participantes da experiência.
One of the most interesting developments in the contemporary political landscape is the articulation between entertainment and politics. Through experimental methodology, this dissertation aims to analyse the effects of exposure to political fictional dramas on attitudes such as political efficacy, attitudes towards political parties and trust in political institutions. Four of our six hypotheses were partially confirmed by our experiment. We established a relationship between exposure to political fictional dramas and changes in political attitudes, being that the impact of this type of politically themed entertainment was most strongly felt at the level of the external political efficacy of the participants in our experiment.

Descrição da pesquisa teórico-prática desenvolvida com a Peça didática de Baden Baden sobre o Acordo, de Bertolt Brecht, em experimentos cênicos realizados em 2006-2007. A escritura expõe procedimentos estéticos e pedagógicos favorecidos pelo aprendizado com a peça didática (Lehrstück) do autor alemão. O trabalho aborda a produção estética das oito artistas participantes dos experimentos cênicos por meio do exercício de escritura e leitura de seu processo de criação.
Theoretic practical description research of Das Badener Lehrstück, by Bertolt Brecht, with theatrical experiments produced between 2006-2007. The writing exposes aesthetic and pedagogical procedures made possible by the learning with the Lehrstück (learning play) by the German author. The work reflects the aesthetic production of eight artists participating in the theatrical experiment through writing and reading exercise in the creative process.

In a changing society new training goals and tasks are suggesting for school. In this context specific interest of linguistic and literary training arises. While implementing training goals and tasks, it is recommended to choose active training methods and ways which motivate students’ activity, learning motivation and collaboration. The methods should prompt the students to create, assess, find, and explain things individually. One of the means in the literature lessons are dramatic teaching. The training through art is as a tool, used for implementation to reach other goals. The problem in our work is which dramatic training ways should be used in the lesson while teaching to understand literary word better? The object of our work is literary text understanding abilities and dramatic teaching methods of 7th grade students of comprehensive school. Hypothesis of work seems likely that using of dramatic teaching methods in literature lessons of 7th grade students help to comprehend literary. The aim of our work is to determine the efficiency using dramatic teaching methods in literature lesson while developing better literary text understanding abilities. The literature analysis has proved that it is expedient to use dramatic training methods in literature lesson. It is essential to consider the age and abilities of the students as well as the aims of the lesson, the theme and content. The age of 7th grade students corresponds to the young teenager’s age. They become... [to full text]

The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.” In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance. In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.”

This dissertation seeks to formulate guidelines for the construction of a Let's Pretend game in order for a group to create a collaborative narrative through pretend play. A Let's Pretend game would provide a system for a performance event in which players are able to enter an imaginary world, take on roles in such a world and take actions in these roles. For this a Let's Pretend game should have a structured system of play; the structure for narrative in an imaginary environment; the means for participants to collaborate; and the means for participants to direct themselves. The practical component of this research, The Foreshadowing workshop, combines the role-playing game and a devised theatre workshop into one process. In this process the elements of games of make-believe can be identified. Bernard Suits' theory on games of make-believe identifies the prelusory goal, lusory means, constitutive rules, and the lusory attitude as the basic elements of a game. The guidelines for a Let's Pretend game can be derived from the conventions of the role-playing game and devised theatre workshop. These guidelines would address all the requirements of a Let's Pretend game, except self-direction, which is not available in the role-playing game, or devised theatre workshop. For self-direction, guidelines are derived from Bernard Suits' notion of the game as institution through the process of rules clarification. The primary guidelines for constructing a Let's Pretend game then are: that the game structure should foster fidelity to game world specifically through the imaginary roles. The character creation process should allow these roles to be the focus for action resolution. These roles should be able to develop through interactions and these interactions, as dramatic moves, would determine the plot. The structure of the game should further foster collaboration, be easily learnt and transferred, allow for the negotiating of rules and most importantly afford all players access to the directorial function. This dissertation, however, does not attempt the construction of such a Let's Pretend game. This would be the subject of future study.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

O processo de conduzir o consumidor para o mundo de uma história - transporte narrativo - tem sido proposto como um caminho sub-reptício para a persuasão da publicidade. No entanto, a forma original do constructo torna improvável que o transporte narrativo ocorra em resposta a anúncios publicitários, cuja óbvia intenção persuasiva gerará resistência no consumidor. A presente dissertação analisou anúncios publicitários narrativos e demonstrou que o transporte narrativo pode ocorrer como resposta à publicidade quando são reunidas certas propriedades. Através de dois estudos experimentais, exploraram-se os efeitos (1) da tonalidade emocional da narrativa publicitária, (2) da intenção comercial da mensagem publicitária (intrusão da marca anunciante), e (3) da alocação de recursos cognitivos no processo de transporte narrativo. Os resultados demonstraram que (1) a narrativa publicitária de cariz dramático tem maior propensão para gerar transporte narrativo no consumidor, (2) em situações específicas, o transporte narrativo pode ser relativamente imune à intrusão de componentes comerciais no anúncio, e que (3) uma elevada alocação de recursos cognitivos durante os anúncios publicitários narrativos propicia mais transporte narrativo. Estes achados empíricos são discutidos à luz das perspetivas teóricas atuais sobre o constructo. Finalmente, são avançadas recomendações para estudos futuros na área.
The process of carrying the consumer into a story’s world – narrative transport – has been suggested as a surreptitious path towards the persuasion of advertising industry. However, the construct’s original form renders the narrative transport rather unlikely to happen in response to advertisements, whose obvious persuasive intention will trigger consumer’s resistance. In this dissertation, narrative advertisements were examined, and it was demonstrated that narrative transport can occur as a response to advertising when specific features are met. Across two experimental studies, the effects of (1) the emotional tone embedded in the advertising narrative, (2) the commercial intention of the advertising message (brand interference), and (3) the allocation of cognitive resources on narrative transport were explored. The results have shown that (1) a dramatic advertising narrative is more likely to trigger the consumer’s narrative transport, (2) the narrative transport can be relatively unperturbed by the advertisement commercial features under specific conditions, and that (3) a high allocation of cognitive resources during narrative advertisements favors high levels of narrative transport. Such findings are discussed considering contemporary theories about the construct. Finally, some empirical recommendations are put forward to inspire future research in this field.

The dissertation focuses on the possibilities of drama in English language teaching in the second stage of basic education. The objective was to contribute to the development of ELT methodology in the Czech environment and to try to critically define the possibilities of drama education as an approach to instruction in this field. The starting points of this dissertation are based on social constructivism, accent the principle of holistic learning, and stem from the demands for changes in education in connection with the curricular reform of the education system that is currently underway. Apart from a terminological analysis, the theoretical part of the dissertation also contains a detailed introduction to the teaching strategies of drama education and their application in English language teaching. The goal of the empirical part was to find the beliefs of a cohort of teachers from primary schools and of English Studies students at the Faculty of Education regarding the possibility of using drama in English language teaching. The research design was mixed and the research investigation was conducted at two levels, through a questionnaire-based survey and through experimental instruction. The methods of data collection and analysis included a questionnaire-based survey, a pre-test and a post-test,...

In hierdie studie is psigoterapeutiese uitkoms navorsing gedoen (Lindegger, 1999). Die navorser het as intern opvoedkundige sielkundige ‘n groepgebaseerde gestalt-dramaterapie program van 12 sessies ontwikkel ten einde selfagting-ontwikkeling by die kind met leerhindernisse aan te spreek. Gebrekkige motivering, ongunstige selfagting, sowel as problematiese sosiale vaardighede word geassosieer met leerhindernisse (DSM-IV-TR, 2000). Die Self-Esteem Index (SEI) is as meetinstrument gebruik en met aanvang en terminering van die intervensie afgeneem. Sekere strategieë is toegepas ten einde leerhindernisse te akkommodeer tydens die afneem van die meetinstrument. Na afloop van die intervensie, wat hoofsaaklik bestaan het uit dramatisering en rollespelle in kleingroep-verband, is die versamelde data statisties geanaliseer ten einde te bepaal of die intervensie moontlik tot die ontwikkeling van gunstige selfagting by die betrokke leerdergroep bygedra het. Die steekproef (n=17) is vanuit die SEI-vraelysdata van die Afrikaanssprekende Graad 4-leerders (tussen die ouderdomme van 10 tot 12 jaar) verbonde aan die betrokke remediërende skool, wie aan die LOD-program deelgeneem het, op sistematiese wyse getrek. Gepaarde t-toetse is gedoen ten einde te bepaal of daar enige statisties betekenisvolle verskille tussen die voortoets-/natoets-data bestaan. Die terapeutiese proses waartydens die data gegenereer is vir hierdie studie, was soortgelyk aan die pre-eksperimentele een groep voortoets-/natoets ontwerp. Die navorsingsresultate het aangedui dat die nulhipotese nie verwerp kan word nie. Die alternatiewe hipotese moet dus verder ondersoek word en vele moontlikhede vir toekomstige navorsing het vanuit die studie ontwikkel. ENGLISH : In this study psychotherapy outcome research was conducted (Lindegger, 1999). The researcher developed a group based gestalt drama therapy program during her internship as educational psychologist in a remedial school. The main therapeutic aim was to develop the self-esteem of the child with barriers to learning. Demoralization, low self-esteem, and deficits in social skills may be associated with barriers to learning (DSM-IV-TR, 2000). The intervention was facilitated over 12 sessions and all the Grade 4 pupils of the specific school participated in the intervention. The Self-Esteem Index (SEI) was administered during the beginning and at the end of the intervention. Certain strategies were used to accommodate barriers to learning during the administration of the SEI. After termination of the intervention the data were statistically analysed. The pretest/posttest results were compared in order to determine if the intervention contributed to self-esteem development of the participants. A data-sample (n=17) was systematically drawn from the Afrikaans speaking Grade 4 learner participants’ (between the ages of 10 to 12 years) SEI questionnaires. The therapeutic process during which the data was generated resembled a pre-experimental one group pretest/posttest design. Paired t-tests were used and the research results indicated no statistical significance which means that the null hypothesis could not be rejected. This resulted in the formulation of further hypothesis. The aim of this study therefore was to explore the possible effect of the intervention on the self-esteem development of the child with barriers to learning. Possibilities for further research emerged from this research study. Copyright
Dissertation (MEd)--University of Pretoria, 2010.
Educational Psychology
unrestricted