Women who learn to clown within Western contemporary theatre and performance training lack recognizably female exemplars of this popular art form. This practice-as-research thesis analyses my past and present clowning experiences in order to create an understanding of a woman-centered clown practice which allows for the expression of material bodies and lived experiences. It offers a feminist perspective on Jacques Lecoq’s pedagogy, which revolves around a notion of an ‘inner clown’ and is prevalent in contemporary UK clown training and practice. The thesis draws on both the avant-garde and numerous clown types and archetypes, in order to understand clowning as a genre revealed through a range of unsocialised behaviours. It does not differentiate necessarily between clowning by men and women but suggests a re-think and reconfiguration to incorporate a wide range of values and thought processes as a means of introduction to a wider audience. Specific concerns with the terms clown and clowning initiate this investigation, resulting in the creation of a ‘clowning continuum’, which offers a practical way of understanding various modes of clowning and various types of clowns. I examine my experiences, including those of ‘failure’, while working with renowned performer trainers, as well my negotiation of gender and sexuality through both my clowning in character and my creation of clowns. The twentieth century avant-garde artist Baroness Elsa von Freytag-Loringhoven, who inspired me to create ‘Clown Elsa’ and take her to art galleries and onto the street, is identified as a ‘radical female proto-clown’. My practical investigations into the potential interrelatedness of the masquerade of femininity and the mask of the clown are also shaped by discourses of hysteria and the carnivalesque. Drawing on Bakhtin’s concepts of carnival, dialogic practice and heteroglossia, as well as the transgressive potential of classical myth and archetypes for women, this thesis reconfigures clown practice and discourse by both challenging and developing upon Lecoq’s outmoded pedagogic practice. Its goal is to open it up for more types and modes of clown, in particular an ‘inner clown’ that can operate in a number of masks. It culminates in my creation of a feminist clown, Sedusa, who is inspired by Hélène Cixous’s writing on l’écriture feminine, myth and laughter in ‘The Laugh of the Medusa’ (1976). Sedusa expands clown models and masks for women by exploiting the ‘masquerade’ of femininity, a term originally coined by Joan Riviere in 1929. The thesis includes a performance as Sedusa as an embodiment of my research findings.

TITLE: Motivation of Volunteers to Work Clown for Health AUTHOR: Bc. Tereza Zlámalová DEPARTMENT: Psychology SUPERVISOR: PhDr. Dana Bittnerová, Csc. ABSTRACT This submitted thesis "Motivation of Volunteers to Work Clown for Health" is conceived as theoretical and empirical. The theoretical part of thesis tries to identify the main motives leading to the decision of people to become a volunteer working in the hospital environment and motives which make these volunteers stay with the work of medical clown. It explains basic concepts asociated with volunteerism, its historical context and its current status in Czech Republic. The thesis looks at motivation from psychological and sociological perspective. The theoretical part explains main concepts of medical clown and describes program Dr. Klaun and a Zdravotní klaun organisation. The aim of empirical part of the thesis is to answer the question of what kinds of motivation lead the Dr. Klaun volunteers to work as a medical clown. The research is based on qualitative analysis using the grounded theory. The main motives are personal benefit, a sense of belonging to the reference group and the opportunity to be a clown and have fun. In conclusion, author examines the use of this new acquired theory. KEYWORDS motivation, volunteer, motivation to volunteering,...

Orientador: Mario Fernando Bolognesi / Banca: Marianna F. Martins Monteiro / Banca: Clovis Garcia / Resumo: Esta pesquisa apresenta a descrição e análise de algumas personagens cômicas que integram as folias e folguedos, manifestações populares brasileiras, e uma investigação das semelhanças entre as características dessas personagens e as do palhaço de circo. Na cultura popular, as personagens cômicas aparecem na forma de brincantes e executam os Mateus, Bastiões, Catirinas e Cazumbás, pertencentes ao grupo de Bumba-meu-boi e Cavalo-Marinho; os Palhaços, das Folias de Reis; e os Velhos, do Pastoril Profano. Este estudo teve como base referências bibliográficas, análise de vídeos e observação de campo, com coleta de material audiovisual e realização de entrevistas. Centrou-se em um levantamento sobre a origem e ocorrência, no Brasil, de algumas manifestações populares; na identificação e análise das personagens cômicas que as compõem; e em comparações com as personagens populares universais O trabalho contém uma apreciação crítica mais detalhada da personagem do Velho, do Pastoril Profano, e um estudo das aproximações dessa personagem com elementos cômicos universais e com o palhaço de circo, o que se dá por meio dos elementos cênicos que a compõe (composição visual, interpretação, dramaturgia, música e estrutura) / Abstract: This research presents a description and analysis of some comic characters who integrate comprise the folias and folguedos, Brazilian popular demonstrations, and an investigation of the similarities between the characteristics of these characters and those of the clown of circus. In popular culture, the comic characters appear in the form of brincantes and run the Mateus, Bastions, Catirinas and Cazumbás, belonging to the group of Bumba-meu-boi and Cavalo-marinho; the Clown of the Folias de Reis, and the Velhos of the Pastoril Profano. This study was based on bibliographical references, analysis of videos and observation of field, with collection of audiovisual material and realization of interviews. It was centered in a lifting on the origin and occurrence, in Brazil, of some popular demonstrations, in the identification and analysis of comic characters who compose them, and on comparisons with the popular universal characters. The work contains a more detailed critical appreciation of the character of the Velho of Pastoril Profano, and a study of the approximations of this character with universal comic's elements and with the clown of circus, which is done through the scenic elements that it her composes (visual composition, interpretation, dramaturgy, music and structure. / Mestre

No description available.

Orientador: Mario Fernando Bolognesi / Resumo: Na década de 80, em São Paulo, atores grupos de teatro e diretores começaram a aproximar-se da máscara e da técnica do palhaço, circence para ampliar os recursos da interpretação. Essa busca efetivou-se tanto com os grupos procurando o circo, como tambem com a vinda de professores e diretores do estrangeiro, que já trabalhavam nessa vertente, para o Brasil. Entre eles, destaca-se o diretor italiano Franco Zigrino. Na capital Paulista ele desenvolveu cursos com máscara, além de realizar montagens de espetáculos. Nesse processo formaram-se vários profssionais que deram continuidades à aproximação da atuaçao teatral com máscaras e hoje são referências importantes no teatro paulistano. No primeiro momento, esta pesquisa investiga as origens e características da pedagogia das máscaras e sua contribuição para o teatro, auxiliando na formaçãode atores. Em seguida, realiza uma busca através de documentos oficiais, matérias de jornais e entrevistas com seus alunos e atores a respeito da passagem do diretor Francesco Zigrino no país e as principais características deixadas pelo seu trabalho. Como parte final, são colocadas reflexões acerca destas influências, que resultam em considerações sobre as características da pedagogia trazida pelo italiano e como elas foram absorvidas e adaptadas à realidade histórica e cultural do Brasil. As considerações finais enfantizam as influências do trabalho do diretor italiano na formação de atores. / Abstract: In the 1980's in São Paulo, actors, theatre groups and directors began to get closer to studyings masks and to the technique of the circus clown, so as to expand acting resources. This search was carried out both with the groups in search of the circus, and also with the teachers and directors arriving in Brazil from abroad, who had already worked with this art. Among them was the Italian director Francesco Zigrino. In the capital of São Paulo he developed courses on masks while also producing shows. Many professionals were trained in this process, and continued the work of bringing together treatrical acting and masks. Today, they have become important references on the São Paulo theatre scene. As a starrer, this research investigates the origins and characteristicas of the pedagogy of masks and its contribution th the theatre, while also helping to develop actors. Then, it searches through official documents, news paper articles and interviews with Francesco's students and actors about the journey of the director through Brazil, and the main characterístics that his work has left. Finally, there will be some reflection on those influences that lead to considerations as to the characteristics of the pedagogy brough by the Italian director, and as this was absorved and adapted to the historical and cultural reality of Brazil. The final considerations emphasize the influences of the work of the Italian director in the formation of actors. / Mestre

Historically, women have been largely discounted from the public comedic arena, typically serving as the butt of the joke or other various comedic fodder. As a female comedian, I became interested in how gender played into the performance of comedy, particularly in clown work. This case study follows an all female clown troupe called Clowns Ex Machina, based in New York, and investigates the impact of generating clown work in an all-female environment by all-female performers. The work that they do not only validates female participation in clown, but it also shows that the female experience is a human experience, and that gender lines do not have to prevent empathic identification.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-21T16:22:22Z No. of bitstreams: 1 memoria do circo mambembe (print) 18-01-13.pdf: 102900567 bytes, checksum: 502bf47bd6db1ac66c1bece5c7fde061 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-21T20:49:03Z (GMT) No. of bitstreams: 1 memoria do circo mambembe (print) 18-01-13.pdf: 102900567 bytes, checksum: 502bf47bd6db1ac66c1bece5c7fde061 (MD5) / Made available in DSpace on 2018-08-21T20:49:03Z (GMT). No. of bitstreams: 1 memoria do circo mambembe (print) 18-01-13.pdf: 102900567 bytes, checksum: 502bf47bd6db1ac66c1bece5c7fde061 (MD5) / Esta dissertação é o resultado de uma pesquisa que trata da atuação dos palhaços de quatro circos itinerantes, a partir do registro e da memória do Circo Mambembe e tem como objeto de estudo o palhaço Cadilac. Para a realização desta pesquisa utilizou-se dados de sete entrevistas com dois filhos, quatro netos e a viúva de João Francisco Silva, o palhaço Cadilac. Foram feitos cruzamentos de dados entre as entrevistas, documentos de arquivos públicos, fotos, escritos do próprio palhaço e registro das palhaçadas encenadas pelos netos do palhaço em questão. A partir do levantamento destas informações foi possível identificar a forma de atuação nos pequenos circos mambembes, o início de uma troupe circense e a forma de atuação dos palhaços que descendem de João Silva. O resultado da análise de todo o material obtido evidenciou que a oralidade ainda é a forma de transmissão mais utilizada por estes palhaços. Neste estudo é identificado como memória corporal o conjunto de técnicas estabelecidas por cada palhaço, em cada encenação na construção de um personagem-palhaço, apontando, ainda que as diversas formas de atuar destes palhaços são efêmeras e tem seus roteiros modificados em cada localidade em que se apresentam. / RESUMÉ Ce mémorie est le résult d’une recherche qui traite de la performance des clowns de quatre cirques itinérants, à partir du dossier et de la Mémoire du Cirque Mambembe et son objet d’étude est le clown Cadilac. Pour cette recherche, nous avons utilisé des données provenant de sept entrevues avec deux enfants, quatre petits-enfants et la veuve de João Francisco Silva, le clown Cadilac. Des croisements ont été faites entre les données des entrevues, des documents des archives publics, des photos, des écrits du clown en question, et l’enregistrements des clowneries mises en scène par ses petits-enfants. À partir de l’enquête de cette information a été possible d’identifier les différents domaines des petits cirques mambembe, le débu d’une troupe de cirque et le mode de fonctionnement de clowns descendants de João Silva. Le résult de l’analyse de tous les matériaux obtenus ont montré que la tradition orale est encore le mode de transmission de clowneries le plus utilisé de ces clowns. Dans cette étude, la mémoire du corps est identifié comme étant l’ensemble des techniques établies pour chaque clown dans chaque scénario dans la construction d’un personnage de clown, de pointage, bien que les différentes façons de réaliser ces clowns sont éphémères et ont modifié leurs scripts dans chaque localité où sont présentés.

Orientador: Mário Fernando Bolognesi / Banca: Isa Etel Kopelman / Banca: Marianna F. Martins Monteiro / Resumo: A palhaçaria clássica, linguagem cômica tradicional e popular, foi concebida junto ao espetáculo circense. Consolida-se no século XX e é caracterizada por um conjunto de situações, gestos e ações codificados, transmitidos oralmente através de gerações. Sua dramaturgia é construída na relação direta e improvisada com a platéia, a partir de um roteiro, e tem na utilização do corpo cômico em jogo seu principal recurso expressivo. O presente trabalho tem como objetivo geral investigar a composição do palhaço de circo no tocante à utilização do corpo e sua relação com a platéia. Esse objetivo mais amplo se direciona à contribuição desse processo na formação do ator em geral. Para melhor compreender a construção deste corpo cômico, assim como a especificidade de seu processo de aprendizado, ligado à tradição oral, escolhemos para nossa pesquisa empírica o trabalho do palhaço Gachola e sua Cia, assim como o de seus parceiros Camilo Torres, Puchy e Pepin - palhaços de tradição circense que atuam na cidade de São Paulo. Foi importante também a experiência com dois grupos de atores: um grupo que, de 2001 a 2004, interessados na linguagem do palhaço, realizou uma investigação prática acerca da construção do clown no LUME, e o grupo O Circo e o Riso, da UNESP, que pesquisa a construção do palhaço a partir de técnicas tradicionais. Recorremos também a autores estudiosos do circo ou dos palhaços: Mario Bolognesi, Andreia Pantano, Erminia Silva, Tristan Rémy, John Towsen, Roger Avanzi e Veronica Tamaoki. Para a análise da articulação e dos objetivos do jogo cômico estabelecido entre palhaço e público, foram imprescindíveis, aliadas às análises de Bolognesi e Pantano, a teoria de Johan Huizinga a respeito do jogo, como exposta no livro Homo Ludens: o jogo como elemento da cultura, e a teoria de Mikhail Bakhtin a respeito do cômico e do riso na cultura popular. / Abstract: The classic clownery, traditional and popular comic language, was conceived together with the circus show. It consolidates in the twentieth century and is characterized by a set of situations, gestures and encoded actions, transmitted orally through generations. Its dramaturgy is built in the direct and improvised relationship with the audience, based on a script, and uses the comic body in game as its main and expressive resource. The general objective of the present study is to investigate the composition of the circus clown concerning the use of the body and its relationship with the audience. A broader objective is directed to the contribution of this process in the formation of the actor in general. To better understand the construction of this comical body, as well as the specificities of its learning process, linked to oral tradition, we choose for our empirical research the work of the clown Gachola and his Company, as well as his partners Camilo Torres, Pepin and Puchy - clowns coming from the circus tradition who work in the city of São Paulo. It was also important the experience with two groups of actors: a group that, from 2001 to 2004, interested in the language of the clown, undertook a practical investigation on the construction of the clown at LUME, and the group "O Circo e o Riso ", from UNESP, which researches the construction of the clown from traditional techniques. We also resorted to scholars of circus clowns: Mario Bolognesi, Andrea Pantano, Erminia Silva, Tristan Rémy, John Towsen, Roger Avanzi and Veronica Tamaoki. For the analysis of the articulation and the objectives of the comic game established between public and clown, Johan Huizinga's theory about the game as exposed in the book "Homo Ludens: A Study of the Play-element in Culture" was essential, together with the analysis of Bolognesi and Pantano and Mikhail Bakhtin's theory about the comic and laughter in popular culture. / Mestre

El artículo ofrece un análisis de la experiencia de Bolaroja en Belén, considerando las formas y los procesos de comunicación, con énfasis en la capacidad que ha tenido esta propuesta para movilizar a la población hacia la organización comunitaria a través del juego y el arte, como un ejercicio de poder hablar, crear, descubrir el poder y ejercerlo, desarrollando una actividad compartida y de crecimiento individual, por la cual la población ha conseguido confirmarse y afirmarse como sujeto de su propios cambios y habitar sus mismos espacios demanera diferente.

Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-12-04T13:15:33Z No. of bitstreams: 2 Dissertação - Jaqueline F. Figueiredo.pdf: 1331542 bytes, checksum: e1f6188b5a2a0df72934ceb98b6032ef (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-12-04T13:15:43Z (GMT) No. of bitstreams: 2 Dissertação - Jaqueline F. Figueiredo.pdf: 1331542 bytes, checksum: e1f6188b5a2a0df72934ceb98b6032ef (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-12-04T13:15:43Z (GMT). No. of bitstreams: 2 Dissertação - Jaqueline F. Figueiredo.pdf: 1331542 bytes, checksum: e1f6188b5a2a0df72934ceb98b6032ef (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-09-28 / THE SHORTER DISTANCE BETWEEN TWO PERSONS: BEING-CLOWN: The objective of this research is to understand how the process of encounter of personal clown re-signifies the corporeity of the actors, as well as the aspects experienced in this corporeity that experiences the personal clown. With the qualitative bias, was used the phenomenological method of research in Psychology, based on the french philosopher Maurice Merleau-Ponty. It was done from an audio interview recorded from a guiding question that presented unfolding. There were participants (five) people, who performed clowns perfomances. Based on the data collected, the following categories of analysis were identified: Historicity of the person clown; Temporality and the fading of limits; Clown and the re-encounter of itself; The experience of availability: being-with. Through the analysis it was possible to understand that the participants found in the experience of being clown not only an artistic manifestation or comic possibility of acting, but also a means of becoming available in their experiences, which provides a new perception of themselves as corporeity, of the perceived world and in the construction of other modes of existence. / O objetivo desta pesquisa é compreender como o processo de encontro com o clown pessoal ressignifica a corporeidade dos atores, bem como os aspectos experimentados nesta corporeidade que vivencia o clown pessoal. Com o viés qualitativo, foi utilizado o método fenomenológico de pesquisa em Psicologia, tendo como base no filósofo francês Maurice Merleau-Ponty. Foi realizada a partir de entrevista áudio gravada partindo de uma questão norteadora que apresentou desdobramentos. Foram participantes 05 (cinco) pessoas, que realizam performances clownescas. Com base nos dados coletados foram identificadas as seguintes categorias de análise: Historicidade do sujeito clown; A temporalidade e o esvanecer dos limites; Clown e o re-encontro de si; A vivência da disponibilidade: ser-com. Através da análise foi possível compreender que os participantes encontraram na experiência de ser clown não apenas uma manifestação artística ou possibilidade cômica de atuação, mas também um meio de se tornar disponível em suas vivências, o que proporciona uma nova percepção de si enquanto corporeidade, do mundo percebido, e na construção de outros modos de existência.