Mestrado (dissertação)—Universidade de Brasília, Instituto de Artes, 2011. / Submitted by Shayane Marques Zica (marquacizh@uol.com.br) on 2011-10-10T18:56:52Z No. of bitstreams: 1 2011_RaquelRibeiroMartins.pdf: 6041220 bytes, checksum: da1ed36fac764a342136a643d09bd77b (MD5) / Approved for entry into archive by Jaqueline Ferreira de Souza(jaquefs.braz@gmail.com) on 2011-10-13T11:34:32Z (GMT) No. of bitstreams: 1 2011_RaquelRibeiroMartins.pdf: 6041220 bytes, checksum: da1ed36fac764a342136a643d09bd77b (MD5) / Made available in DSpace on 2011-10-13T11:34:32Z (GMT). No. of bitstreams: 1 2011_RaquelRibeiroMartins.pdf: 6041220 bytes, checksum: da1ed36fac764a342136a643d09bd77b (MD5) / A partir do imenso território conceitual estabelecido pelo termo performance, esta pesquisa se estabelece. Entre as multiplicidades de compreensão que essa expressão agencia, foram trabalhadas as categorias performances culturais e performances artísticas. É por meio da intersecção e da conseqüente contaminação desses territórios tão demarcados a primeira vista que se forjam linhas de fuga às apreensões hegemônicas que interpelam os dois universos. Dessa forma, o presente trabalho caracteriza-se como uma investigação das possibilidades de relação entre os universos conceituais performance artística e performance cultural em atenção às suas dinâmicas de realização e aos discursos elaborados sobre elas no contexto específico das manifestações da cultura popular. Para tanto, o jongo compõe o mapa do trabalho como um estudo de caso que permite compreender a realização performática de expressões híbridas, cujas dimensões culturais e artísticas encontram-se indissociáveis. Sem negar as singularidades as quais esses termos são remetidos, o fluxo investigativo foi deslocado da identificação dos territórios de cada plano em questão para a percepção do grau de porosidade de suas fronteiras e das possibilidades de desterritorialização. Diante disso, permearam a pesquisa os seguintes aspectos: a interdisciplinaridade, a multiplicidade e a heterogeneidade. Com a intenção de viabilizar as relações pretendidas entre as categorizações do termo performance a partir do jongo, foram escolhidas as seguintes grandezas relacionais que compõem a multiplicidade das performances: o corpo em ação, o espaço e o tempo. O estudo dessas dimensões materializadas no jongo compõe a estratégia metodológica da pesquisa. A necessidade aqui destacada de compreender essas dimensões em suas operações conceituais historicamente estabelecidas, ou seja, seus elementos social e culturalmente atribuídos, não se contrapõe ao entendimento de que elas apresentam-se conectadas em rizomas. Essas reflexões foram construídas a partir de revisão bibliográfica e pesquisa de campo. São consideradas, em especial, as contribuições de Antonin Artaud. Além de investigar obras que se debruçam sobre o discurso artaudiano, buscou-se provocar diálogos entre estudiosos de diversas áreas interessados nas artes performativas na perspectiva de (re)pensar as fronteiras – e suas porosidades – entre as dimensões culturais e artísticas das práticas humanas. _______________________________________________________________________________ ABSTRACT / From the immense territory established by the conceptual term performance, this research is established. Among the multitude of understanding that this term agency, the categories “cultural performances” and “artistic performances” were explored. It is through the intersection and the consequent contamination of the territories so marked at a first sight that arise escape routes of the hegemonic understandings of these two universes. Thus, this work is characterized as an investigation of possible relationship between the conceptual universes “artistic performance” and “cultural performance” in attention to their dynamic and the discourses about them in the specific context of the manifestations of popular culture. For this, “jongo” defines the map of this research as a case study to understand the performative hybrid expressions, which cultural and artistic dimensions are inseparable. Without denying the singularities which these terms are sent, the flow was shifted from the investigative identifying areas of each plan in question to the perception of the porosity of borders and the possibilities of deterritorialization. The following aspects permeated the research: interdisciplinarity, multiplicity and heterogeneity. With the purpose of ensuring the desired relationship between the categorizations of the term performance from “jongo”, were chosen the following relational quantities that make up the multitude of performances: the body in action, space and time. The study of these dimensions in “jongo” is the research methodological strategy. The need here to understand the dimensions highlighted in its conceptual operations historically established is not opposed to the understanding that they have to be connected in rhizomes. These reflections were constructed from literature review and field research. Are considered, in particular, the contributions of Antonin Artaud. Besides investigating the works that focus on the speech Artaudian aimed to provoke dialogue among scholars from various fields interested in the performing arts in view of (re)think the boundaries – and their pores – between the artistic and cultural dimensions of human practices.

The purpose of this thesis is to examine Webster's The Duchess of Malfi, a representative example of the Jacobean "horror" play, in terms of its possible relationship to Antonin Artaud's Theatre of Cruelty, a dramatic theory chiefly propounded in The Theater and its Double. The introductory section outlines the basic aims and principles of a Theatre of Cruelty as postulated by Artaud, and attempts to show why, in view of recent theatrical experiments, Webster's play might profitably be investigated within this twentieth century context. The first two chapters proceed to a discussion of Webster's complex theatrical form, attempting to show how and why he makes full use of any available dramatic and theatrical device and convention to aid in the presentation of his personal vision of man and society. The play is thus first examined in the context of Total Theatre, a principle basic to a Theatre of Cruelty. The central chapters of the thesis investigate the thematic lines in The Duchess of Malfi, and attempt to show how in spite of the many components from which the play is constructed, there nevertheless emerges a unified and coherent dramatic vision. This vision is seen as being developed in three ways, separable for purposes of discussion but ultimately closely inter-related, namely visual imagery, verbal imagery and characters-in-action. Thematic presentation through visual and verbal imagery is discussed in Chapter III, while Chapter IV deals in more detail with aspects of characterization. The argument advanced in Chapter IV is that Webster's method of characterization is based on what is basically a simple Good and Evil contrast, with the characters developed as opposed Forces or symbols. The characters in action, seen as opposed Forces, constitute a third presentation of the central themes, working with and strengthening the presentation of the themes as explored in the visual and verbal imagery. The final chapter of the thesis examines the play in somewhat more general terms. An attempt is made to relate The Duchess of Malfi to more traditional genres—tragedy, comedy and satire. Webster's particular use of certain features of these traditional forms is discussed. Because the play is imperfect if measured against the accepted conventions of tragedy, the theory is advanced that it might be viewed as related philosophically to the contemporary Theatre of the Absurd, on which the Theatre of Cruelty has had considerable formative influence. Throughout the discussion of themes and characterization, references to Artaud and interpretations of Artaud's ideas are included wherever possible to point out the closeness of the relationship between The Duchess of Malfi and Artaud's Theatre of Cruelty. The thesis advanced throughout is that the play contains within itself elements which were not formally advanced as an approach to drama until this century. In effect, a Jacobean Theatre of Cruelty is being suggested as existing in fact if not in name. Concluding remarks suggest that if the felt relationship between The Duchess of Malfi and the Theatre of Cruelty is seen to be a valid one, an investigation of other works by Jacobean dramatists might prove of use in giving meaning and significance to much of the violence, horror and grotesquery which appears in the plays of the period. The response of the Jacobean dramatists to their times can be seen as in many ways analogous to the response to the human condition in the dramas of the contemporary avant-garde. / Arts, Faculty of / English, Department of / Graduate

No description available.

The performance of X: The Rise and Fall of an Asylum Star, in conjunction with my thesis document, investigates the dichotomy of fantasy and reality for a performer. I compare the creative and emotional journey of Augustine, a young woman hospitalized for hysteria, to my own journey as an actress. Augustine was also performer, for her doctors led her in public demonstrations of the symptoms of hysteria. Her "talent" for hysteria earned her notoriety and celebrity. She was coached and directed from her doctors to enhance her demonstrations. As a result, the validity and authenticity of her state was questionable. I compare the performative qualities of hysteria with my own states of drama as a performer and draw parallels between us, looking specifically at states of experience, both imagined and real.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Dans nombre de ses œuvres, Antonin Artaud n’a eu de cesse de formuler les termes de ce que serait une poésie anarchique, une forme langagière qui permettrait d’abolir la distance entre les mots et les choses, et à laquelle sa poésie aspire sans toutefois parvenir à une telle réalisation. Devant le constat que l’anarchie décrite par Artaud ne peut rendre compte de ce qui se réalise véritablement dans son écriture, ce mémoire pose les questions suivantes : que fait donc la poésie d’Artaud? Existe-t-il une figure qui est à même de rendre compte des modalités d’écriture qui sont à l’œuvre dans les différents textes du poète français? À ces interrogations, la figure du hors-la-loi m’est apparue des plus pertinentes dans la mesure où elle offrait tout un espace à la réflexion et à la conceptualisation. À partir de cette figure, ce mémoire formule donc l’hypothèse que ce qui se joue dans la textualité d’Antonin Artaud est une poétique hors-la-Loi, c’est-à-dire une manière de subvertir, par l’usage de différents procédés littéraires, la Loi. En d’autres termes, la poétique hors-la-Loi produit des effets de dissonance au sein du Symbolique. Pour consolider cette hypothèse, je propose deux axes de réflexion étayés à partir de l’analyse des procédés d’écriture traductologique et glossolalique d’Artaud. Dans un premier temps, la subversion est entrevue à partir des notions d’espace et de territoire. Par la suite, j’étudie la subversion dans son rapport à la temporalité. / In a number of his writings, Antonin Artaud formulated, repeatedly, the terms of what might be considered an anarchic poetry, a form of language that would allow the abolition of distance between words and things, which is what he ultimately hopes to achieve through his writings. However, Artaud was never able to achieve this sense of literary anarchy. Therefore, since the concept of anarchy put forth by Artaud cannot fully explain what is really at work in his writings, this thesis raises the following questions: What does Artaud’s poetry ultimately achieve? Is there a figure which can illustrate the writing modalities at work in the French poet’s various texts? The figure of the outlaw is relevant in this case because it opens up the realm of reflection and conceptualisation. With the figure of the outlaw as the main starting point, this thesis formulates the hypothesis that what is played out in Antonin Artaud’s textuality is an outlaw poetic – a subversion of the Law through the use of different literary devices. In other terms, the outlaw poetic produces dissonant effects within the Symbolic. In order to reinforce this hypothesis, I shall work on two different axes of reflection which were brought forth through the analysis of Artaud’s traductologic and glossolalic literary devices. Subversion will first be seen through the notions of space and territory, and it will then be studied in its relation to temporality.

Au sein de la pensée de Deleuze, la poésie d'Antonin Artaud apparaît comme la ligne de fuite par excellence à partir de laquelle tout le foisonnement conceptuel deleuzien s'articule. Artaud est en effet celui qui brise l'image de la pensée – ou ce que nous voulons dire habituellement par " penser " en philosophie – en refusant son innéité et son universalité, c'est-à-dire la cogitatio natura universalis. Car pour Artaud comme pour Deleuze, le plus souvent, la pensée s'affronte à son problème véritable, qui est son impouvoir ou son impossibilité. Ainsi, la première partie de la thèse s'attaque à la compréhension de la destitution de l'image de la pensée dans Différence et répétition de Deleuze, à partir de l'idée de " génital inné " d'Artaud dans la Correspondance avec Jacques Rivière. Si l'image de la pensée ne dit rien du processus de penser, de quelle logique sommes-nous capables ? Au travers de la découverte de la logique paradoxale déployée dans les paradoxes de Logique du sens de Deleuze, il s'agira de penser le rapprochement entre Artaud et Nietzsche. L'axe principal de cette partie est la critique du jugement menée par Artaud. Enfin, jeté dans les paradoxes de la vie, la troisième partie envisage le grand impensé de la philosophie qu'est le corps : en effet, de quel corps sommes-nous capables ? L'enjeu, de l'impossibilité de penser à la question du corps - rapprochant L'Ethique de Spinoza du corps sans organes d'Artaud - est bien de renouer la pensée avec la vie, selon le projet du Gai savoir de Nietzsche et qu'Artaud ne cesse de reformuler dès ses premiers écrits. L'impossibilité de penser dit non seulement la séparation d'avec la vie, mais aussi l'impensable qu'est le corps : en effet, que dire de notre propre corps, tel que nous le vivons ? Dans quelle mesure la création de concepts en rhizome dans Mille Plateaux de Deleuze et Guattari explore-t-elle le corps sans organes d'Artaud, ce corps vécu qui reste encore mystérieux pour la pensée ? Artaud souhaitait qu'on l'aime non pas pour son œuvre mais pour sa vie, témoignant d'une grande santé contre un monde malade : l'horizon de l'impossibilité de penser est alors la pensée blessée et profonde assumant la vie elle-même dans toute son opacité. / In the thought of Deleuze, the poetry of Antonin Artaud seems like the line of convergence par excellence from which all the Deleuzian proliferation of concepts are developed. Indeed, Artaud is the person who shatters the image of thought – or what we usually mean by " thinking " in philosophy – rejecting its innateness and universality, in other words, the cogitatio natura universalis. Because, for both Artaud and Deleuze, thought is most often confronted by its real problem – its powerlessness or its impossibility. So the first part of the thesis deals with understanding the dismissal of the image of thought in Deleuze's Difference and Repetition, from Artaud's notion of " génital inné " [innate sexuality] in the Correspondence with Jacques Rivière. If the image of thought says nothing about the process of thinking, of what logic are we capable ? Through the discovery of the paradoxical logic deployed in the paradoxes in Deleuze's Logic of Sense, it is a matter of thinking about the connection between Artaud and Nietzsche. The main thrust of this section is a critique of the judgement made by Artaud. Lastly, thrown into the paradoxes of life, the third part considers the great non thought of philosophy, that is the body : indeed, of what body are we capable ? The challenge, the impossibility of thinking about the question of the body - comparing Spinoza's Ethics and Artaud's body without organs - is to reconnect thought with life, in accordance with the intention of Neitzsche's Gai saber [The Gay Science] and that Artaud did not cease to revise from his earliest writings. The impossibility of thought implies not only a separation from life, but also the unthinkable that is the body: indeed, does this mean talk of our own body as we experience it ? To what extent does the creation of a rhizome of concepts in A Thousand Plateaux by Deleuze and Guattari explore Artaud's body without organs, the body experienced that still remains mysterious for thought ? Artaud hoped that he would be loved not for his work, but for his life, testifying to a great health against a sick world: the prospect of the impossibility of thinking is then thought wounded and profound, taking on a life of its own in all its opacity.

Il existe un théâtre des pensées, un espace de création et de jeu où se révèle l’activité pensante. Dans leurs essais, Péguy, Valéry, Artaud et Michaux ont pratiqué un tel théâtre. Par-delà leurs différences, leurs pensées sont remarquables en ce qu’elles cherchent à se représenter à elles-mêmes à travers un modèle théâtral, lequel se configure au point d’intersection de trois théâtres. Le premier renvoie au théâtre réel du premier XXe siècle, qui voit se développer des expérimentations de mise en scène. Les lieux de spectacles et les milieux artistiques dans lesquels évoluent les quatre auteurs abordés participent à la diffusion de ces formes modernes de théâtralité, qui constituent de nouvelles possibilités de représentation dont s’imprègne leur imaginaire. Dans cet imaginaire se déploie un deuxième théâtre, théâtre intérieur auquel diverses voies – mystiques, poétiques (Baudelaire et Mallarmé) et philosophiques (Freud et Bergson) – donnent accès. Un troisième théâtre s’ouvre dans les textes, en se réalisant dans les formes et les valeurs de l’essai. La généalogie du genre, qui passe par Montaigne et Nietzsche, révèle comment, au cœur de l’écriture essayistique, interagissent théâtralisation des pensées et théâtralisation du texte. Une poïétique théâtrale se fonde que les quatre auteurs mettent en œuvre. Les pensées théâtralisées, faisant appel à des figures et des dispositifs qui rappellent ceux qui s’inventent sur les scènes modernes, sont mises en espace, en mouvement et en voix. Les textes veulent donner à voir ce théâtre des pensées où gestes, costumes, décors, éclairages, chœurs, etc., forment des compositions signifiantes. / There is such a thing as a theatre of the mind, a space for creation and play, in which the process of thinking is revealed. Péguy, Valéry, Artaud and Michaud have all experienced this in their essays. Beyond the differences that distinguish their works, their thinking processes are remarkable as they seek to reveal themselves through a model that finds its origin at the intersection of three forms of theatre. The first is the actual theatre of the early 20th Century, in which many experiments occur in the art of mise en scène. The stages and artistic settings in which these four authors evolve are vessels for the transmission of new and modern forms of theatricality ; they present the authors with new possibilities as far as performance is concerned, possibilities from which their minds take inspiration. On this inner stage of the mind, a second form of theatre unfolds to which various paths – mystical, poetic (Baudelaire and Mallarmé) and philosophical (Freud and Bergson) – give access. A third type of theatre can then be found in the four authors’ works, through the various shapes and values of essayistic writing. The genre’s genealogy, from Montaigne to Nietzsche, reveals, at its very core, an interaction between dramatizations of the mind and the text. In other words, a theatrical poietic emerges, which the four authors employ. The dramatized thoughts, calling on devices and mechanisms reminiscent of those being invented on modern stages, are put into place and pushed into movement, given a voice. The texts seek to show this theatre of the mind in which actions, costumes, décor, lighting, chorus, etc., intertwine, forming meaningful compositions

A presente pesquisa teve como ponto de partida a experiência com docentes que recebem crianças consideradas da educação especial em duas escolas públicas de uma cidade do interior do Rio Grande do Sul. O estudo investigou o modo como as Rodas de Conversa podem contribuir para a formação continuada de educadores que recebem alunos de inclusão. O objetivo principal foi ofertar condições para que as professoras narrassem suas experiências cotidianas com esses alunos e que, por meio dessas narrativas, pudessem apostar mais na construção de um saber singular acerca de seu fazer docente. As interrogações norteadoras da pesquisa foram: é possível que se produzam movimentos nas narrativas e, quiçá, nas posições discursivas das educadoras através das Rodas de Conversa? As Rodas seriam potentes como dispositivo de formação dirigida a educadores que recebem alunos de inclusão? A metodologia utilizada para a condução e a análise do material foi inspirada na escuta psicanalítica – a atenção flutuante, do lado da pesquisadora; a associação livre, na fala dos docentes; e a temporalidade do a posteriori, na análise dos materiais –, conjugada aos efeitos ético-metodológicos advindos do tema da experiência em Walter Benjamin. As Rodas, pela escuta da dimensão da experiência dos docentes, funcionaram como espaços de acolhimento aos alunos considerados da educação especial, onde muitas vozes, palavras e vivências puderam ser enunciadas, criando assim condições para que se desse o trânsito da “Mão Única” para as “Passagens”. É nesse sentido que apostamos na construção do saber da experiência como via de travessia para uma micropolítica de inclusão nas escolas. / The present research had as a starting point the experience with teachers who assist children with special needs in two public schools in a countryside city of Rio Grande do Sul. The study investigated the way the Conversation Rounds can contribute to the continuous education of teachers who have students from inclusion. The main purpose was to offer conditions for the teachers to talk about their daily experiences with these students and, through these narratives, they could invest more in the development of singular knowledge involving their teaching practice. The questions which guided this research were: Is it possible to produce movement in the narratives and, perhaps, in the discursive attitude of the teachers? Would the Rounds be powerful to a formative proposal directed to the teachers who work with special needs education? The methodology used to conduct and analyze the material at the Rounds was inspired in the psychoanalytic listening – by the researcher’s suspended attention, the free association at the teacher’s talking and the deferred temporality at the material analysis - combined with the ethics-methodological effects from Walter Benjamin’s theme of experience. Using elements like listening, experience, knowledge and truth, several voices, words and experiences could be interlaced and thus, being a way to make working and welcoming special needs students more creative. We can say that the Conversation Rounds, when they go from a “One-way” to “Passages”, they point to the development of knowledge based on experience and, thus having the possibility of becoming an inclusion micro-policy at schools.

Cette thèse étudie le passage de la poésie au théâtre, à partir de trois parcours créateurs majeurs appartenant aux littératures française et québécoise des trois premiers quarts du XXe siècle – soit ceux d’Antonin Artaud, de Paul Claudel et de Claude Gauvreau. Ces auteurs – d’abord reconnus pour leur écriture poétique – ont su, soit en pratiquant, soit en inspirant une écriture théâtrale radicalement novatrice, jouer un rôle déterminant dans la mutation des formes tant dramatiques que dramaturgiques, et cela, par le biais de trois stratégies. Après une introduction rappelant l’évolution des liens (dés)unissant la poésie et le théâtre à travers les siècles, le premier chapitre s’attache à mettre au jour les approches mises en œuvre par les trois écrivains pour rejeter l’illusion réaliste. Celles-là ressortissent à leur prise de position antinaturaliste, à leur volonté de fonder un art total et à leur souhait de revenir aux sources d’une mimesis archaïque. Le second chapitre explore, quant à lui, les procédés de poétisation du dramatique : les mécanismes et les caractéristiques de la langue lyrique des poètes en général, et la génération d’idiomes inédits en particulier. Les techniques de théâtralisation et de dramatisation du poétique, de leur côté, sont examinées dans le dernier chapitre. Plusieurs événements et rencontres ont donné l’occasion aux poètes-dramaturges de saisir quelles sont les modalités inhérentes à la scène. Cette prise de conscience a directement influé sur leur écriture dramaturgique, notamment en les faisant user de deux stratégies propices au surgissement de la théâtralité : l’oralisation lyrique de la partition dramatique et la plastification des corps. La conclusion, pour sa part, propose une synthèse des résultats de recherche, et montre que ces trois auteurs sont réunis par la même quête cosmique d’un théâtre vital et existentiel.