Submitted by Nadir Basilio (nadirsb@uninove.br) on 2015-11-25T21:36:01Z No. of bitstreams: 1 Alexandre Romeiro.pdf: 2803893 bytes, checksum: 1b596e766e1fdb4352135427aa5f1336 (MD5) / Made available in DSpace on 2015-11-25T21:36:01Z (GMT). No. of bitstreams: 1 Alexandre Romeiro.pdf: 2803893 bytes, checksum: 1b596e766e1fdb4352135427aa5f1336 (MD5) Previous issue date: 2015-10-27 / The intervention-research that bases the reflection of this dissertation comes from the idea that the nowadays society shows in many situations interpersonal relations getting more and more distant, situations that need a more sympathetic attention. This interpersonal relation pattern reflects itself in educational ways that see people not as individuals but as numbers, as duty as performance. In this dissertation the clown formation has the objective of suggesting didactic experiments and behaviors and also strategies for the improvement of the every-day interpersonal educator relations. In the intervention research experiment, Paulo Freire´s categories were emphasized in a clown formation course, for instance: can good mood be considered a didactic “re-source” improving curiosity? The use of a semi-structured questionary allowed us forecast some demands: relation improvement in school environment through a conscious body reading, sensation perceptions and the use of ludic-pedagogical resources. The method used turned into a planned intervention for the clown formation with a ten-day course. The results obtained showed that improvements expected from the experiment were incorporated in the professional performance of the participants analyzed during the course. As a pay back a DVD was produced showing Paulo Freire´s categories and how it affected the life of the participants seven months after. / La pesquisa intervención que apoya las reflexiones de esta disertación parten del presupuesto de que la sociedad actual presenta, en algunas situaciones, relaciones interpersonales cada vez más distantes, situaciones carentes de miradas atentas y empáticas. Tal modelo de relaciones se refleja en modos de educación que perciben las personas impersonalmente, como números, como funciones, como desempeños. En este trabajo, la formación de Payasos objetiva experimentar y proponer posturas, didácticas y estrategias de enseñanza para mejora de las relaciones humanas en el cotidiano de los educadores. En la experiencia de pesquisa intervención, categorías de Paulo Freire se enfatizaron en un curso de formación de Payasos. Por ejemplo: ¿puede el buen humor se considerar un “recurso” didáctico de optimización de la curiosidad? La aplicación de un cuestionario semiestructurado permitió vislumbrar algunas demandas: mejorar las relaciones en el âmbito escolar por medio de la lectura corporal consciente, de la percepción de sensaciones y del uso de recursos lúdicos pedagógicos. La metodología del experimento tomó forma como intervención planificada para el desarrollo del payaso en diez encuentros. Los resultados alcazados se incorporaron en devolutivas que se constituyeron en la propia formación, es decir, el desarrollo de Payasos “incorporados” al desempeño profesional de los estudiantes. Como devolutiva de la intervención, se produjo un DVD que muestra las categorías de Paulo Freire y como la vivencia se reverberó en la vida de los estudiantes después de siete meses. / A pesquisa-intervenção que embasa as reflexões desta dissertação partem do pressuposto de que a sociedade atual apresenta, em muitas situações, relações interpessoais cada vez mais distantes, situações carentes de olhares atentos e empáticos. Tal padrão de relacionamento reflete-se em modos de educação que percebem as pessoas impessoalmente, como números, como funções, como performances. Neste trabalho, a formação de Palhaços tem como objetivo experimentar e sugerir posturas, didáticas e estratégias para a melhoria das relações humanas no cotidiano de profissionais educadores. Na experiência de pesquisa-intervenção, categorias de Paulo Freire foram enfatizadas num curso de formação de Palhaços. Por exemplo: pode o bom humor ser considerado um “re-curso” didático, otimizando à curiosidade? A aplicação de um questionário semiestruturado permitiu entrever algumas demandas: melhorar as relações no ambiente escolar por meio da leitura corporal consciente, da percepção de sensações e do uso de recursos lúdico-pedagógicos. A metodologia experimentada tomou corpo como intervenção planejada para o desenvolvimento do palhaço em dez encontros realizados. Os resultados obtidos foram incorporados em devolutivas que constituíram a própria formação, isto é, o desenvolvimento de Palhaços “incorporados” à performance profissional dos cursistas-estudantes. Como devolutiva foi produzido um DVD evidenciando as categorias de Paulo Freire e como a vivência reverberou na vida dos cursistas após sete meses.

This thesis is an attempt to de-construct the linear way in which I describe my work. I am attempting to deal with my family’s background in the theater and identity as a Texan. In addition I am attempting to address my interest in phenomenological concerns. This document was created in Microsoft Word 2000. The video portions of the video were edited on Imovie HD and Final Cut Pro, while the audio text was recorded from TextEdit’s text to speech program.

This master essay starts with the author having an encounter with two 14-years old boys who claim that they are Nazis. In a school project where the pupils made films about norms in the society they made a film with a clearly racist and homophobic message. As a freelance artist the author was a part of a school development program in aesthetic learning, and the assignment in the actual school was supposed to teach the pupils about norms and how they effect people on an everyday basis. All the films fulfilled this purpose, but the actual film did something more: it revealed the zerotolerance rule in this particular school as a norm that silenced not only these boys, but also any pupil having a different opinion than the teachers. The situation described took place in a classroom in primary school in the area of Stockholm some years ago and even though the film was never shown to anybody that could be offended except the author herself, the author left the school with a feeling of total failure, and two questions craving for answers: Why couldn’t she, nor the teachers, find the time and space to meet the boys, taking their invitation to discuss the zere-tolerance-norm seriously? And what role did the fact that the school had a “zero-tolerance-for-racism rule” play in the cultivation of the boy’s feelings of exclusion and in the way the teachers treated their obvious need for recognition as sane and (soon-to-be) grown up men? Using Hannah Arendt’s ideas of action as the fundament of the investigation, the author poses questions about what space for action there is in the daily work of a teacher today, but also what happens when there is no room for action, when we become the blind administrators of homo faber. The method of the study includes 1) a dialogue seminar with teachers from elementary school, 2) examples and reflections from the author’s own teaching practice at the teacher education and 3) a philosophical investigation focusing on the concepts of aesthetic experience, aesthetic learning, not-knowing and unlearning. In dialogue with Sarah Ahmed, John Dewey, Hans-Georg Gadamer, Maurice Merleau-Ponty, Jacques Rancière, Cusanus and Jonna Bornemark, she further tries to understand what role the film, as an aesthetic experience, played in the example with the Nazi boys. Is there a radical possibility in art that can create space for action in Arendt’s sense? Further, in dialogue with the poet Wiszlava Szymborska, the clown Nalla Laanela, and two novelists; Rachel Cusk and Albert Camus, she tries to understand the possibilities that lie within aesthetic learning when it comes to re-thinking the role of the teacher aiming for a sustainable approach to teaching and learning in a society where teachers work themselves sick. / I inledningen till denna masteruppsats möter författaren två fjortonåriga pojkar som säger att de är nazister. I ett skolprojekt där eleverna skulle göra kortfilmer som gestaltade samhällsnormer gjorde de här pojkarna en film med ett tydligt rasistiskt och homofobiskt budskap. Författaren hade, i egenskap av frilansande konstnär inom skolutvecklingsprogrammet Skapa och Lära, uppdraget att leda eleverna i arbetet med filmerna och syftet var att eleverna skulle lära sig något om de olika normer som påverkar oss människor varje dag. Alla filmer uppfyllde syftet, men denna film gjorde något mer: den fick den här specifika skolans noll-tolerans-mot-rasism-regel att framstå som en norm som tystade inte bara de här två pojkarna, utan alla elever med –ur lärarnas perspektiv -avvikande åsikter. Den ovan beskrivna situationen utspelade sig i ett klassrum i Stockholmsområdet för ett antal år sedan och även om filmen aldrig visades för någon som hade kunnat ta illa upp –förutom författaren själv –lämnade författaren skolan med en känsla av totalt misslyckande och två frågor ringande i öronen: Varför kunde inte hon, och ingen av lärarna i skolan, ta sig tid att möta pojkarna genom att ta deras inbjudan till samtal om noll-tolerans-normen på allvar? Och vilken roll spelade det faktum att skolan hade en noll-tolerans-mot-rasism-regel i kultiverandet av pojkarnas känslor av exkludering och i lärarnas hanterande av deras uppenbara behov av erkännande som sunda, snart vuxna unga män? Med utgångspunkt i Hannah Arendts idéer om handlandet ställer författaren frågor om vilket handlingsutrymme lärare i dagens skola har, men hon undersöker också vad som händer när det inte finns något handlingsutrymme, när läraren blir en blind administratör, en homo faber. Metodologiskt använder sig författaren av 1) ett dialogseminarium med lärare från grundskolan, 2) exempel och reflektioner från hennes egen lärarpraktik, och 3) en filosofisk undersökning med fokus på begreppen estetisk erfarenhet, estetiska lärprocesser, icke-vetande och av-lärande. I dialog med Sarah Ahmed, John Dewey, Hans-Georg Gadamer, Maurice Merleau-Ponty, Jacques Rancière, Cusanus och Jonna Bornemark, försöker hon vidare förstå vilken roll filmen som en estetisk erfarenhet spelade I exemplet med de två nazistpojkarna. Finns det en radikal potential i konstnärliga uttryck som kan skapa handlingsutrymme i Arendts mening? Vidare,i dialog med poeten Wiszlava Szymborska, clownen Nalle Laanela, och två romanförfattare; Rachel Cusk and Albert Camus, försöker författaren utröna vilka möjligheter som kan rymmas i estetiska lärprocesser vad gäller att tänka om (om-tänka) lärarrollen med målet att finna ett hållbart förhållningssätt till undervisning och lärande i ett samhälle där lärare arbetar sig sjuka.

I en iterativ process i ett utforskande arbete undersöker jag om tintamaresken kan användas i fler sammanhang än inom den folkliga komiken. Genom litteraturstudium hittar jag en väg från den svenska bondkomiken till fjärmningseffekter i internationella teatertraditioner. Med hjälp av laborationer och kontrollexperiment prövar jag förhållningssättet och gestaltningar tillsammans med tintamaresken. Arbetet leder fram till begrepp och metoder man kan använda för att arbeta med tintamaresken i framförallt episk men också dramatisk teater.

Mémoire en recherche-création / Cette recherche-création est consacrée à l’humour plurilingue, c’est-à-dire de l’humour généré par la juxtaposition de deux (ou de plusieurs) langues. Elle comporte deux œuvres originales relevant de cette thématique, consistant en un enchevêtrement d’allemand, d’anglais et de français. Chacune d’elles est analysée par le biais des concepts élaborés par le chercheur Dirk Delabastita pour catégoriser les jeux de mots polyglottes, ainsi que selon les principes de comédie et de jeux de langage élaborés par Henri Bergson et Pierre Guiraud. Il s’agit ainsi de comprendre quels sont les mécanismes susceptibles de générer le rire dans une performance scénique exolingue (lorsque la maîtrise d’une langue est inégale entre un artiste et son public), et, par le fait même, de les mettre en application dans les œuvres créées dans le cadre du présent mémoire. Marie-Claude Chamberland, autrice de cette recherche-création, est une comédienne, artiste de cirque, clown et chanteuse d’opéra performant ses numéros de comédie clownesque sur plusieurs scènes internationales, notamment dans des cabarets circassiens en Allemagne, en Autriche et en Suisse. La première œuvre de cette recherche-création, intitulée Poème, a déjà été présentée devant public au Palazzo Colombino de Bâle, en Suisse, en 2022 et 2023. Elle consiste en un numéro clownesque dans lequel un personnage récite un poème en anglais et demande à son partenaire (qui éprouve des difficultés en allemand) de le traduire phrase par phrase en allemand pour le public germanophone. Il va sans dire que l’humour issu de cette scène tient du fait que les traductions sont des plus malhabiles. Ainsi, dans le sillage de Delabastita, Marie-Claude s’intéresse ici, non pas à la traduction de l’humour comme telle, mais bien à la traduction en tant que véhicule humoristique. La deuxième œuvre, Tisch, consiste en une réflexion tenue en allemand sur la très grande variété de « tables » existant dans le lexique allemand. Le mot Tisch signifie certes « table », mais cette syllabe se retrouvant également à la fin de nombreux adjectifs allemands (« enthusiastisch »), l’humour naît ici de la décortication des termes, en faisant fi de la sémantique, et de ce jeu de langage émanent des types de tables dont aucun germanophone ne pouvait suspecter l’existence. / This research-creation is devoted to plurilingual humor, i.e. humor generated by the juxtaposition of two (or more) languages. It includes two original works on this theme, consisting of a jumble of German, English and French. Each is analyzed using concepts developed by researcher Dirk Delabastita to categorize polyglot puns, as well as the principles of comedy and language play developed by Henri Bergson and Pierre Guiraud. The aim is to understand the mechanisms likely to generate laughter in an exolingual stage performance (when the mastery of a language is unequal between a performer and his audience), and, by the same token, to apply them to the works created in this context. Marie-Claude Chamberland, author of this research-creation, is an actress, circus artist, clown and opera singer who performs her clownish comedy acts on several international stages, notably in circus cabarets in Germany, Austria and Switzerland. The first work of this research-creation, entitled Poème, has already been presented to the public at the Palazzo Colombino in Basel, Switzerland, in 2022 and 2023. It consists of a clown act in which one character recites a poem in English and asks his partner (who has difficulty in German) to translate it sentence by sentence into German for the German-speaking audience. Needless to say, the humor in this scene stems from the fact that the translations are extremely clumsy. So, following on from Delabastita, Marie-Claude's interest here is not in the translation of humor as such, but in translation as a vehicle for humor. The second work, Tisch, is a German-language reflection on the wide variety of “tables” in the German lexicon. Tisch does indeed mean “table”, but this syllable is also found at the end of many German adjectives (“enthusiastisch”), so the humor here comes from deconstructing the terms, disregarding semantics, and from this play on language emanates types of tables that no German speaker could have suspected existed. / Diese kreative Forschungsarbeit ist dem mehrsprachigen Humor gewidmet, d. h. dem Humor, der durch das Nebeneinander von zwei (oder mehreren) Sprachen entsteht. Sie umfasst zwei Originalwerke zu diesem Thema, die aus einer Mischung von Deutsch, Englisch und Französisch bestehen. Jedes dieser Werke wird anhand von Konzepten analysiert, die der Forscher Dirk Delabastita zur Kategorisierung polyglotter Wortspiele entwickelt hat, sowie anhand der von Henri Bergson und Pierre Guiraud entwickelten Prinzipien der Komik und der Sprachspiele. Es geht also darum, die Mechanismen zu verstehen, die in einer exolingualen Bühnenperformance (wenn die Beherrschung einer Sprache zwischen einem Künstler und seinem Publikum ungleich ist) Lachen erzeugen können, und sie dadurch in den in diesem Rahmen geschaffenen Werken anzuwenden. Marie-Claude Chamberland, die Autorin dieses kreativen Forschungsprojekts, ist Schauspielerin, Zirkusartistin, Clownin und Opernsängerin, die ihre clownesken Komödiennummern auf mehreren internationalen Bühnen aufführt, insbesondere in Zirkuskabaretts in Deutschland, Österreich und der Schweiz. Das erste Werk dieser kreativen Forschungsarbeit mit dem Titel Poème wurde bereits 2022 und 2023 im Palazzo Colombino in Basel, Schweiz, vor Publikum präsentiert. Es besteht aus einer Clown-Nummer, in der eine Figur ein Gedicht auf Englisch vorträgt und ihren Partner (der Schwierigkeiten mit der deutschen Sprache hat) bittet, es Satz für Satz für das deutschsprachige Publikum ins Deutsche zu übersetzen. Es versteht sich von selbst, dass der Humor, der sich aus dieser Szene ergibt, auf die Tatsache zurückzuführen ist, dass die Übersetzungen höchst ungeschickt sind. In Anlehnung an Delabastita befasst sich Marie-Claude hier also nicht mit der Übersetzung von Humor als solcher, sondern mit der Übersetzung als humoristisches Vehikel. Das zweite Werk, Tisch, beruht auf einer auf Deutsch gehaltenen Reflexion über die sehr große Vielfalt an ‘Tischen’, die es im deutschen Vokabular gibt. Das Wort Tisch beschreibt zwar den Gegenstand ‘Tisch’, da diese Silbe aber auch am Ende vieler deutscher Adjektive vorkommt (‘enthusiastisch’), entsteht der Humor hier aus der Zerlegung der Begriffe unter Vernachlässigung der Semantik. Aus diesem Sprachspiel ergeben sich Tischtypen, von denen kein Deutschsprachiger je etwas ahnen würde.

The aim of this diploma thesis is to employ a theatrological approach to the work of one of the most original and influential Czech pantomime troupes of all time, entitled Pantomima Alfreda Jarryho (the Alfred Jarry Pantomime, AJP). The company was established in 1966 in Prague by two young mime artists Boris Hybner and Ctibor Turba and existed as late as the political liquidation of the troupe in 1972 that came due to the process of the so-called normalization period in the former Czechoslovakia. The thesis consists of four major parts that are divided into several subsections. The first part deals with the historical contexts of the art of mime, both international and domestic. The AJP troupe represents the second generation of Czech pantomime that refused the style of the so-called modern pantomime expressed in the international context by Marcel Marceau and in the Czech context by Ladislav Fialka at the Theatre Na zábradlí (Theatre on the Balustrade). Since there is no monograph strictly based on this theatre, although it played a major role among the newly established small theatres in the sixties (and had an important influence on the poetics of the AJP troupe), we briefly introduce the poetics of both the pantomime company led by Fialka and the drama company led by the director Jan Grossman,...