Luiz Francisco Rebello e Alfonso Sastre: o teatro de resistência sob os regimes fascistas ibéricos tem como objetivo pesquisar e analisar a literatura dramática desses dois artistas e escritores contemporâneos, representantes de suas gerações literárias, que produziram peças originais, perturbadoras, mordazes, engajadas ideologicamente contra os regimes autoritários da península ibérica e, por esse fato, foram sistematicamente censurados. O trabalho tem como objeto a produção dramática de Francisco Rebello e Alfonso Sastre entre os anos de 1944 e 1974, anos marcados pela repressão e censura do fascismo ibérico, assim como, pelo fim da segunda grande guerra, pela iminência da Guerra Fria, pela ameaça nuclear e pelo drástico cerceamento à liberdade durante os governos totalitários de Portugal e Espanha. Faremos observar alguns aspectos históricos, sociais e políticos da contínua decadência peninsular deste período, questões que aproximam ambos escritores ainda mais, e que enfaticamente influenciaram na formação dos temas, nas concepções artísticas e nas literárias dos dramas desses dois autores de povos vizinhos. Um panorama da vida e obra de cada autor, em seu respectivo contexto histórico, fez-se aqui necessário para vislumbrar o percurso realizado por cada um deles e o desenvolvimento de suas respectivas produções literárias. Testemunhas comprometidas com esse período fascista ibérico, Francisco Rebello e Alfonso Sastre, ao término da II Guerra Mundial, no prelúdio literário de suas vidas, decidiram criar uma dramaturgia de vanguarda e resistência. Peças teatrais, frutos do inconformismo de uma época conturbada e repressora; obras características de um teatro que apostava em mudanças e, sobretudo, buscava alguma reação sinestésica de suas respectivas sociedades. / Luiz Francisco Rebello and Alfonso Sastre: the theater of opposition under Iberian fascist regimes aims to research and analyze the dramatic literature of these two contemporary artists and writers, representatives of their literary generations, which produced original pieces, disturbing, spicy, ideologically engaged against the authoritarian regimes of the Iberian Peninsula, and this fact, systematically censored. The work is focused on the dramatic production of Francisco Rebello and Alfonso Sastre between the years 1944 and 1974, years marked by the collective Iberian fascism, by the end of the Second World War, the imminence of the Cold War, the nuclear threat and the drastic curtailment of freedom during the totalitarian governments of Portugal and Spain. We will look at some historical, social and political decay of the continuous period of peninsular issues that bring both further and strongly influenced the formation of the themes of artistic and literary conceptions of the tragedies of these two authors of their neighbours. A wide panel of life and work of each author in their respective historical context, it was necessary to glimpse here the route taken by each of them and develop their literary productions. Witnesses committed to this Iberian fascist period, Francisco Rebello and Alfonso Sastre, at the end of World War II, in the prelude of their literary lives, decided to create a vanguard and opposition theater. Plays, result of the nonconformity of a tumultuous and repressive time; works features a drama, which believed on changes and, especially, tried some synaesthetic reaction of their respective companies.

Thesis advisor: Mary T. Crane / Thesis advisor: Andrew Sofer / Spatial Dramaturgy and Domestic Control in Early Modern Drama explores the social components of early modern domestic architecture and the spatial practices that helped to dramatize them. Each chapter examines a particular domestic feature—doors, windows, galleries, studies—and considers its role in a variety of early modern plays. Methodologically, I bridge the gaps between literary study, dramaturgy, and history by analyzing the palimpsest of the physical stage (e.g., the upper playing balcony) and the fictional spaces produced in performance (e.g., Juliet’s window). My work takes its influence from literary scholars, primarily Lena Cowen Orlin and Patricia Fumerton; theater historians, primarily Tim Fitzpatrick, Alan Dessen, Leslie Thompson, and Mariko Ichikawa; and architectural historians, primarily Mark Girouard and Alice T. Friedman. Bringing together these fields of study allows me to reconsider the theory of the unlocalized early modern stage that has largely dominated scholarly and theatrical approaches to early modern theater for half a century. In my first chapter, “Doors and Keys: Enclosure and Spatial Control,” I argue that doors and keys operate in productive tension with the spatial flexibility of the “unlocalized” stage, troubling the fantasy of domestic spatial control in plays such as A Woman Killed With Kindness and The Comedy of Errors. In my second chapter, “Windows: Locus, Platea, and Contested Authority,” I explore the way window scenes in plays such as Romeo and Juliet and Women Beware Women provide a liminal space between house and street where the tiring house façade and the apron of the stage could intersect. My third chapter, “Galleries: Feigned Soliloquy and Interiority,” shows how playwrights used gallery settings to stage feigned soliloquy, exposing the limits of private speech and the struggle to access another person’s most inner thoughts. My final chapter, “Studies: Hauntings and Impossible Privacy,” looks at plays that feature ghosts or devils in studies, such as Doctor Faustus and Friar Bacon and Friar Bungay, to argues that these supernatural elements reflect the ease with which playwrights could violate presumably protected spaces. In turn, these hauntings explore the danger presented in early modern humanism: that the most haunted place of all is one’s own mind. / Thesis (PhD) — Boston College, 2015. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

O presente trabalho buscou ampliar a história do teatro ludovicense, na segunda metade do século XIX, no período que vai de 1852 a 1867, por meio dos anúncios de espetáculos, das crônicas teatrais e críticas que foram veiculadas nos periódicos oitocentistas. Identificamos empresários teatrais que movimentaram a província de São Luís por 15 anos, permitindo ao Teatro São Luís momentos de luxo, glórias e aplausos. A pesquisa permitiu levantarmos os nomes dos principais artistas que trabalharam nesse período, nos teatros ludovicense. Desvelamos um repertório teatral que muito se aproxima do que foi ou estava sendo visto na Corte. Essa reconstrução histórica permitiu destacar autores maranhenses que passaram pelas tipografias e pelos palcos de São Luís. A análise de três obras desses autores possibilitou verificar que essa dramaturgia era construída na prática, tendo como referência as leituras de peças teatrais, assim como as assistidas nos palcos ludovicenses. / The present study sought to extend the history of Ludovicense Theater in the second half of the nineteenth century, in the period of 1852-1867, through the advertisements of spectacles, theatrical essays, criticism that has been voiced in the nineteenth-century periodicals. We have identified theatrical entrepreneurs and artists who moved to the province of São Luíz for 15 years, providing moments of luxury, glory and applause to the \"Teatro São Luiz\". We have unveiled a theatrical repertoire that is very close to what was or was being seen in court back then. This historical reconstruction allowed us to highlight \"maranhenses\" authors who have passed through the typographies and stages of São Luíz. The analysis of three works from these authors enabled us to verify that this dramaturgy was built in practice with reference to the readings of plays, as well as the ones seen on ludovicense stages

Pretendemos, com este trabalho, sondar as possibilidades de experimentação e de renovação da escrita teatral brasileira, analisando o jogo entre tradição e ruptura no campo da linguagem dramatúrgica, sobretudo ao longo das últimas cinco décadas, investigando a noção de individuação autoral, o uso da palavra e os gêneros dramatúrgicos. / We intend, in this essay, to search out for possibilities of experimentation and renovation of Brazilian theatrical writing, analysing the relationship between tradition and rupture in the field of dramaturgical language (mostly throughout the last five decades) and investigating the notion of authorial individuation, specifically dramatic use of language and dramaturgical style.

Esta tese investiga a formação do sistema dramatúrgico mexicano no século XX tendo como ponto de partida a relação entre literatura dramática e história. A proposta principal é identificar em que medida as estratégias de ficcionalização de eventos históricos contribuíram para as transformações textuais e cênicas de um período que abarca desde os anos pós-revolucionários até os umbrais da pós-modernidade. O estudo tenta contribuir para a história da dramaturgia mexicana considerando as pesquisas já realizadas por Partida Tayzan (2002a y 2002b), Adame (2004) e Alcántara Mejía (2010). Para isso, seleciona obras de Rodolfo Usigli, Vicente Leñero e Sabina Berman. Do primeiro interessam as concepções sobre teatro (mormente o conceito de anti-história) e a postura nacionalista-crítica assumida em El gesticulador e na chamada trilogia das coroas. Assim, as obras dramáticas são confrontadas com os paratextos produzidos a propósito das encenações ou publicações. De Leñero, aproveita-se a maneira como são reescritos os documentos dos eventos representados, em Pueblo rechazado, Martirio de Morelos e La noche de Hernán Cortés. Finalmente, com Berman verifica-se que a inserção dos fatos históricos e elementos culturais ganha nova roupagem em Águila o sol, La grieta e Entre Villa y una mujer desnuda. O cotejo das estratégias nesses três casos permite constatar, primeiramente, que o apelo à história e à historiografia harmoniza o sistema de modo que a sucessão geracional se vê marcada pela aglutinação de recursos e concepções estéticas. Ao mesmo tempo, a reescrita da história altera-se no que diz respeito ao que pode ser considerado histórico. De Usigli a Berman, o passado enquanto local de revisitação, cede cada vez mais espaço ao presente e àquilo que permanece. Em termos sintéticos, podemos afirmar que a principal mudança temática foi a substituição de uma dramaturgia que buscava no passado as explicações do presente por outra em que os elementos pretéritos são abordados com desconfiança. Já sob a perspectiva estética, procedimentos como a inserção de personagens-narradores (historiadores, cronistas, romancistas etc.), o jogo de mostrar e ocultar, a sobreposição de tempos e espaços e o aproveitamento de documentos históricos sobressaem não como novidades, mas como recursos que dão continuidade às estratégias de gerações anteriores. / This investigation focuses on the building of twentieth century Mexican dramaturgical system and takes as a starting point the relation between dramatic literature and history. The main proposal is to identify fictionalization strategies of historical events and the way they contributed to specific textual and scenic transformations throughout a period that ranges from post-revolutionary years to the beginnings of postmodern era. The study aims to contribute to the history of Mexican dramaturgy considering the researches already carried out by Partida Tayzan (2002a and 2002b), Adame (2004) and Alcántara Mejía (2010). Our corpus is composed by three main contemporary Mexican authors: Rodolfo Usigli, Vicente Leñero and Sabina Berman. From the first, we are mainly interested in his concept of \"antihistory\" and his nationalist & critical stances assumed in El gesticulador and the so-called Trilogy of crowns. Here, the dramatic works are confronted with the paratexts produced when they were staged or published. Next, we search in Leñero´s pieces Pueblo rechazado, Martirio de Morelos, and La noche de Hernán Cortés how he rewrote the documents of past or contemporary events. Finally, with Berman´s works, Águila o sol, La grieta, and Entre Villa y una mujer desnuda, we see how the insertion of historical facts and cultural elements acquires a new treatment. The observation of fictional strategies in these three cases shows, first, that the appeal to history and historiography harmonizes the system so that the generational succession is marked by the agglutination of devices and aesthetic conceptions. At the same time, the rewriting of history changes in regard to what may be considered historical. From Usigli to Berman, the past as a place of revisiting, grants more and more space to the present and to what remains. Succinctly, we can say that the main thematic change was the replacement of a dramaturgy that sought in the past the explanations for the present by another in which the past elements are dealt with suspicion. As for fictional strategies such as the inclusion of characters-narrators (historians, chroniclers, novelists, etc.), the show and hide game, the overlapping of times and spaces and the use of historical documents, they all stand out not as novelties, but as resources that give continuity to earlier generations procedures.

A pesquisa investiga temporalidades em dança contemporânea a partir de três aspectos convergentes: o primeiro, de que as temporalidades se tecem em tramas pelo corpo por entendimentos espaçotemporais processados por esquemas cognitivos e experiências sensório-motoras nas trocas com o ambiente de existência. O segundo explora temporalidades pelas seleções, estratégias e organização de dados temporais numa perspectiva coreográfica a partir das referências das obras: Danças Passageiras (2013), Esculturas Breves (2015), Brevidades (2016) e Nó(s) (2016). Nessa confluência, a pesquisa agrega também os parâmetros temporais do movimento, tais como o fluxo, a repetição, o uníssono, a gravidade, a velocidade e a memória, com as obras So blue (2012), Fase: quatro movimentos para a música de Steve Reich (1982), Tempo 76 (2007) e Men Walking Down on the Side of a Building (1970). Os parâmetros temporais do movimento, compreendidos como um prisma de temporalidades, também são brevemente abordados no contexto de curso de dança. O terceiro aspecto engloba os anteriores para observar temporalidades em sua dimensão política, observando questionamentos temporais implicados no mercado cultural e no contexto histórico e sociocultural em que elas são elaboradas. A principal hipótese da pesquisa é que as temporalidades podem viabilizar uma dramaturgia do corpo em dança. O objetivo geral da pesquisa é compreender a ligação entre temporalidades e dança. O objetivo específico é analisar certas noções e estratégias temporais que, além de agirem como tessitura para a criação, permitem dramaturgias de dança. Para isso, são utilizados conceitos promovidos pelos pesquisadores(as) de dança André Lepecki (1997), Christine Greiner (2005), Geisha Fontaine (2004), Helena Katz (2005), Helena Bastos (2017), Laurence Louppe (2012), Maxine Sheets-Johnstone (1966), Rosa Hercoles (2010), entre outros autores. Esse campo teórico permite investigar a questão do tempo em dança pelo desenvolvimento do entendimento de que \"temporalidades\" correspondem ao processo de composição, organização e estruturação de toda uma concepção coreográfica. / This thesis analyses temporality in contemporary dance from three convergent aspects: the first covers temporalities as intertwined by the body through temporal experiences in environment. The second explores the understanding of temporality by selections, strategies and organization of temporal factors from a choreographic perspective, based on Brazilian dance works: Danças Passageiras (2013), Esculturas Breves (2015), Brevidades (2016) and Nó(s) (2016). In this confluence, the research also incorporates temporal parameters of movement, such as flow, repetition, unison, gravity, velocity and memory, analyzing the works: So blue (2012), Fase: four movements for the music of Steve Reich (1982), Tempo 76 (2007) and Men Walking Down on the Side of a Building (1970). Temporal parameters of movement as an aspect of temporality are also treated within this research in the context of dance course. The third aspect includes temporality on its political dimension, considering that temporal questions implies cultural market and sociocultural context in which they are elaborated.The main hypothesis of this research is that temporality enables a dramaturgy of the body on dance. The general goal of the research is to understand the connection between temporality and dance. The specific goal is to analyze temporal notions which enable the creation and dance dramaturgies. The research may use concepts promoted by dance researchers, such as: André Lepecki (1997), Christine Greiner (2005), Geisha Fontaine (2004), Helena Katz (2005), Helena Bastos (2017), Laurence Louppe (2012), Maxine Sheets- Johnstone (1966), Rosa Hercoles (2010), among other authors. This theoretical field allows us to investigate the issue of time in dance, by developing the understanding that \"temporality\" corresponds to the process of composition, organization and structuring of a whole choreographic conception.

This dissertation examines four operas created by the composer Franceso Cavalli and the librettist Giovanni Faustini at the Teatro Sant'Apollinare in Venice in 1651-1652 with regard to the relationship between musical dramaturgy and stage performance. All four operas--L'Oristeo, La Rosinda, La Calisto, and L'Eritrea--are preserved in manuscript scores that are part of the Contarini Collection in the Biblioteca Nazionale Marciana. Annotations in these sources document the complex process of rehearsing at the Sant'Apollinare and the ways that multiple considerations of production (including vocal casting, staging, and scenography) interacted with the evolving musico-dramatic structure. Several of these operas were revived later in the seventeenth century in new theatrical circumstances: L'Oristeo was revived as L'Oristeo travestito in Bologna in 1656; La Rosinda was reworked and presented under the title Le magie amorose in Naples in 1653; and L'Eritrea received multiple productions (including a Venetian revival at the Teatro San Salvatore in 1661). These case studies provide a fuller view of the relationship between Venetian opera aesthetics and the exigencies of performance on the seventeenth-century stage. Modifications to the original dramaturgy--such as inserted arias and sinfonie, added secondary comic characters, and cuts to recitative--were made with careful regard to the scenography of each production. This analysis demonstrates the critical importance of stagecraft in the interpretation of this repertoire both historically and in modern edition and performance.

Studies exploring the first wave of digital performance foregrounded technology by cataloging experimentation and novel interactions between liveness, projections and code. As exercises in medium, these high tech spectacles demonstrate the aesthetic potential of digital media while introducing key media concepts. Jennifer Haley is a writer with one foot in theatre and one in code. She is uniquely positioned in two interdependent spheres, which makes her particularly suited to engineer a theatrical bridge into the virtual, because at the heart of the contemporary technological revolution is a new level of writing and media literacy. Theatre has been effectively accessing the virtual imagination for millennia, and new technologies create new intricacies for engaging the virtual within theatrical space. Each is a medium defined by action, which host other media, and provide in depth simulations. Haley’s plays push beyond the fascination and spectacle of technology to incorporate the mundane reality of the digital into the structure of her work. Haley writes plays specifically to resonate with the similarities she sees between theatre and virtual worlds. Utilizing techniques and tropes from other media and then framing the narrative from within a theatrical world Haley exploits the essence of an active, critical audience and opens a dialog between virtual worlds and the perceptions of the audience. She treats her media generated worlds as places. Other digital theatre plays may peer through a window into the virtual by dramatizing a conversation through media; Haley sends an expedition over the threshold into another world. A flesh version of an avatar breathing before the audience establishes a material existence unattainable in two dimensional screen media. Haley illuminates the constructed nature of mediatized communication, but she does it dramaturgically deemphasizing the technology and re-centering the human within the virtual drama. Her approach builds a metaphorical bridge between theatre and virtual digital realities. Through a close reading of Haley’s plays I will demonstrate how Haley takes the artistic next step for computer technology and theatre.

Luiz Francisco Rebello e Alfonso Sastre: o teatro de resistência sob os regimes fascistas ibéricos tem como objetivo pesquisar e analisar a literatura dramática desses dois artistas e escritores contemporâneos, representantes de suas gerações literárias, que produziram peças originais, perturbadoras, mordazes, engajadas ideologicamente contra os regimes autoritários da península ibérica e, por esse fato, foram sistematicamente censurados. O trabalho tem como objeto a produção dramática de Francisco Rebello e Alfonso Sastre entre os anos de 1944 e 1974, anos marcados pela repressão e censura do fascismo ibérico, assim como, pelo fim da segunda grande guerra, pela iminência da Guerra Fria, pela ameaça nuclear e pelo drástico cerceamento à liberdade durante os governos totalitários de Portugal e Espanha. Faremos observar alguns aspectos históricos, sociais e políticos da contínua decadência peninsular deste período, questões que aproximam ambos escritores ainda mais, e que enfaticamente influenciaram na formação dos temas, nas concepções artísticas e nas literárias dos dramas desses dois autores de povos vizinhos. Um panorama da vida e obra de cada autor, em seu respectivo contexto histórico, fez-se aqui necessário para vislumbrar o percurso realizado por cada um deles e o desenvolvimento de suas respectivas produções literárias. Testemunhas comprometidas com esse período fascista ibérico, Francisco Rebello e Alfonso Sastre, ao término da II Guerra Mundial, no prelúdio literário de suas vidas, decidiram criar uma dramaturgia de vanguarda e resistência. Peças teatrais, frutos do inconformismo de uma época conturbada e repressora; obras características de um teatro que apostava em mudanças e, sobretudo, buscava alguma reação sinestésica de suas respectivas sociedades. / Luiz Francisco Rebello and Alfonso Sastre: the theater of opposition under Iberian fascist regimes aims to research and analyze the dramatic literature of these two contemporary artists and writers, representatives of their literary generations, which produced original pieces, disturbing, spicy, ideologically engaged against the authoritarian regimes of the Iberian Peninsula, and this fact, systematically censored. The work is focused on the dramatic production of Francisco Rebello and Alfonso Sastre between the years 1944 and 1974, years marked by the collective Iberian fascism, by the end of the Second World War, the imminence of the Cold War, the nuclear threat and the drastic curtailment of freedom during the totalitarian governments of Portugal and Spain. We will look at some historical, social and political decay of the continuous period of peninsular issues that bring both further and strongly influenced the formation of the themes of artistic and literary conceptions of the tragedies of these two authors of their neighbours. A wide panel of life and work of each author in their respective historical context, it was necessary to glimpse here the route taken by each of them and develop their literary productions. Witnesses committed to this Iberian fascist period, Francisco Rebello and Alfonso Sastre, at the end of World War II, in the prelude of their literary lives, decided to create a vanguard and opposition theater. Plays, result of the nonconformity of a tumultuous and repressive time; works features a drama, which believed on changes and, especially, tried some synaesthetic reaction of their respective companies.

Este estudo realiza uma reflexão sobre a teatralidade existente na dança do Grupo Primeiro Ato. Tem início em uma breve retrospectiva histórica da dança moderna brasileira, atravessando o período que vai dos anos vinte aos anos setenta do século passado, quando experiências de dança contemporânea começaram a surgir no cenário artístico nacional, traçando assim, um percurso do macro para o micro, do Brasil para a cena mineira e depois para o Primeiro Ato. Um duplo olhar, então, é construído. Primeiramente aquele que parte da dança em direção ao teatro, analisando alguns de seus criadores mais significativos, e em seguida do teatro para a dança, para chegar assim ao amálgama entre essas formas artísticas. Na parte final deste estudo, o espetáculo Sem Lugar foi escolhido como referência através da qual a teatralidade pode ser reconhecida como produto de um diálogo profundo com a dança, processo esse que é gerador, por sua vez, de diferentes dramaturgias que se interrelacionam, caracterizando um tecido poético que torna específico o trabalho do Primeiro Ato. / This study represents a reflection on the theatricality developed by the Primeiro Ato Dance Group. It begins with a short historical retrospective of Brazilian Modern Dance, going through a period from the twenties to the seventies of the past century, a moment when aspects related to contemporary dance emerged in the Brazilian dance scene. In this way, a path was designed, from a macro to a micro point of view, from events occurred throughout Brazil to the State of Minas Gerais, and then to the work created by Primeiro Ato specifically. Then, a kind of Double approach was explored. Firstly from dance to theatre, analyzing some of its most important creators, and secondly from theatre to dance, in order to achieve what was called here the amalgam between these art forms. In the final part of this study, a production named Sem Lugar was chosen as a reference through which theatricality can be recognized as a result of a deep dialogue with dance, a process which generates, in turn, different dramaturgies that intertwine, characterizing a poetic layer which makes the work created by Primeiro Ato truly unique.