O objetivo desta dissertação é examinar as articulações entre o teatro e as mídias digitais no âmbito dos espetáculos Isadora.Orb- A Metáfora Final (2005), do brasileiro nascido nos Estados Unidos Ricky Seabra, e A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente I Smetteredi Fare Il Ridicolo (2007), do argentino radicado na Espanha Rodrigo García. Considerando o espetáculo teatral como um espaço intermedial por excelência, a análise das obras permitiu a identificação dos procedimentos de composição da cena onde se destacam os princípios operatórios aqui denominados como montagem revelada e acontecimento teatral como experimento. / This thesis aims at examining the manner in which the theatre articulates with the digital media in two plays, Isadora.Orb - A Metáfora Final (2005) - by the Brazilian director Ricky Seabra, born in the United States - and A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente e Smettere di Fare Il Ridicolo (2007) - by the Argentinian director Rodrigo García, who has established himself in Spain. By considering that the theatrical spectacle is the intermedial space par excellence, the analysis of these works allows the identification of the procedures employed for the composition of the scene. Among the most important of these, two procedural principles stand out, which are designated here as the revealed montage and the theatre event as an experiment.

Une nouvelle technique qui localise et identifie les éléments fluorescents dans un échantillon a été développé. Cette modalité d'imagerie pratique utilise une source de rayons X poly-chromatique pour irradier l'échantillon et favoriser l'émission de fluorescence. De nombreux facteurs qui affectent l'ensemble du système comme l'atténuation, l'auto-absorption de l'échantillon, la probabilité de fluorescence et la diffusion Compton ont été pris en compte. Ensuite, un système de détection efficace a été établi pour acquérir les données de fluorescence optimales et discriminer entre les éléments en fonction de leur fluorescence caractéristiques. Ce dispositif, couplé avec une technique de reconstruction d'image approprié conduit à une image détaillée à deux dimensions. Par rapport aux techniques classiques de reconstruction d'image, la méthode de reconstruction développée est une technique statistique qui a une convergence appropriée vers une image avec une résolution acceptable. En outre, c'est une technique simplifiée qui permet l'imagerie de nombreuses applications différentes. / A new technique that localizes and identifies fluorescing elements in a sample wasdeveloped. This practical imaging modality employs a polychromatic X-ray source toirradiate the sample and prompts the fluorescence emission. Many factors affecting thewhole system like attenuation, sample self-absorption, probability of fluorescence andCompton scattering were taken into account. Then, an effective detection system wasestablished to acquire the optimum fluorescence data and discriminate betweenelements depending on their characteristic fluorescence. This set-up, coupled with anappropriate image reconstruction technique leads to a detailed two-dimensional image.Compared to the conventional image reconstruction techniques, the developedreconstruction method is a statistical technique and has an appropriate convergencetoward an image with acceptable resolution. Moreover, it is a simplified technique thatallows the imaging of many different applications.

O objetivo desta dissertação é examinar as articulações entre o teatro e as mídias digitais no âmbito dos espetáculos Isadora.Orb- A Metáfora Final (2005), do brasileiro nascido nos Estados Unidos Ricky Seabra, e A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente I Smetteredi Fare Il Ridicolo (2007), do argentino radicado na Espanha Rodrigo García. Considerando o espetáculo teatral como um espaço intermedial por excelência, a análise das obras permitiu a identificação dos procedimentos de composição da cena onde se destacam os princípios operatórios aqui denominados como montagem revelada e acontecimento teatral como experimento. / This thesis aims at examining the manner in which the theatre articulates with the digital media in two plays, Isadora.Orb - A Metáfora Final (2005) - by the Brazilian director Ricky Seabra, born in the United States - and A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente e Smettere di Fare Il Ridicolo (2007) - by the Argentinian director Rodrigo García, who has established himself in Spain. By considering that the theatrical spectacle is the intermedial space par excellence, the analysis of these works allows the identification of the procedures employed for the composition of the scene. Among the most important of these, two procedural principles stand out, which are designated here as the revealed montage and the theatre event as an experiment.

O objetivo desta dissertação é examinar as articulações entre o teatro e as mídias digitais no âmbito dos espetáculos Isadora.Orb- A Metáfora Final (2005), do brasileiro nascido nos Estados Unidos Ricky Seabra, e A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente I Smetteredi Fare Il Ridicolo (2007), do argentino radicado na Espanha Rodrigo García. Considerando o espetáculo teatral como um espaço intermedial por excelência, a análise das obras permitiu a identificação dos procedimentos de composição da cena onde se destacam os princípios operatórios aqui denominados como montagem revelada e acontecimento teatral como experimento. / This thesis aims at examining the manner in which the theatre articulates with the digital media in two plays, Isadora.Orb - A Metáfora Final (2005) - by the Brazilian director Ricky Seabra, born in the United States - and A Un Certo Punto Della Vita Dovresti Impegnarti Seriamente e Smettere di Fare Il Ridicolo (2007) - by the Argentinian director Rodrigo García, who has established himself in Spain. By considering that the theatrical spectacle is the intermedial space par excellence, the analysis of these works allows the identification of the procedures employed for the composition of the scene. Among the most important of these, two procedural principles stand out, which are designated here as the revealed montage and the theatre event as an experiment.

Esta tese procura compreender de que modo a elaboração modernista da colagem e da montagem no romance Manhattan Transfer, de John Dos Passos, expressa e ilumina processos sociais e políticos de seu tempo. Publicada em 1925, essa obra é a primeira a investigar as transformações pelas quais passava Nova York, desde a virada do século XX até o início dos anos 1920, por meio de uma experimentação formal então única na literatura dos Estados Unidos. Além disso, defende-se a especificidade do romance de 1925, o qual não seria apenas uma preparação para a trilogia U.S.A. (1930-1936), mas configuraria um retrato singular do espírito de sua época. A sua forma se revelaria, então, não ruptura, mas continuidade do projeto realista de interpretação da sociedade. Propõe-se igualmente desenvolver uma discussão sobre a complexa interação entre modernismo e cultura periférica no começo dos anos 1920, com base em certa tradição da crítica literária brasileira (da qual os grandes nomes são Antonio Candido e Roberto Schwarz) atenta às relações contraditórias entre o processo de modernização e a forma literária. Nesse sentido, busca-se entender de que maneira a cultura dessa ex-colônia refletiu, pela obra de Dos Passos, sobre a sua própria condição periférica no período em que os Estados Unidos cresciam como potência econômica e militar. Por fim, procura-se mostrar como Manhattan Transfer foi capaz de formular literariamente e tornar visíveis os nexos na época, nada evidentes entre a urbanização de Nova York, a industrialização, a guerra e as novas tendências imperialistas que começavam a despontar. / This thesis looks at how the modernist use of collage and montage in John Dos Passos Manhattan Transfer expresses and sheds light upon the social and political processes of its time. Published in 1925, the book is the first to investigate the transformations undergoing New York from the turn of the 20th Century to the beginning of the 1920s by means of a formal experimentation hitherto unique in the literature of the United States. Moreover, this thesis argues for the specificity of the 1925 novel, which should not simply be understood as groundwork for the U.S.A trilogy (1930-1926), but rather as a singular depiction of the spirit of its time. Its form, accordingly, would prove to be not a break, but rather an unfolding of the realist project of interpretation of society. The complex interaction between modernism and peripheral culture in the early 1920s is likewise addressed here through a discussion based on a certain tradition of Brazilian literary criticism (featuring, among its major authors, Antonio Candido and Roberto Schwarz) particularly attentive to the contradictory relations between the process of modernization and the shifts in literary form. In this regard, the analysis carried out seeks to grasp in what way the culture of this former colony reflected, though the work of Dos Passos, on its own peripheral condition during the period marked by the rise of the United States as an economic and military power. Lastly, this thesis aims to show how Manhattan Transfer was able to formulate literarily and render visible the links far from evident, at the time connecting the urbanization of New York, the process of industrialization and the new imperialist tendencies that were beginning to emerge.

Étudiée à travers un corpus de cinq auteurs scéniques – Romeo Castellucci, Pippo Delbono,Simon McBurney, Christoph Marthaler et François Tanguy, la représentation rhapsodique met en lumière une pratique théâtrale qui consiste à construire le spectacle à partir des composants du plateau : scénographie, jeu des acteurs et textes produits par les acteurs ou apportés comme« matériaux » de jeu. Le metteur en scène, devenu « auteur scénique », compose ainsi, en étroite relation avec les présences en scène une écriture scénique à l’intérieur de laquelle le texte,reconfiguré dans la partition scénique, déstabilise les attendus dramatiques. La caractéristique de cette écriture est de tresser les différents constituants entre eux et de se développer en séquences dramatiques, par un méticuleux travail de montage.Le paysage théâtral qui se dégage de cette étude place la réception au coeur du dispositif scénique. / Through the study of five scenic authors – Romeo Castellucci, Pippo Delbono, SimonMcBurney, Christoph Marthaler and François Tanguy, rhapsodic performance highlights a theatrical practice which consists of constructing the show with the stage components : scenography, the acting, and the text produced or introduced by the actor as the acting« material ». The director, who becomes the « scenic author », thus composes, in strict relation with the stage presence a scenic account in which the text, reworked in its scenic partitions,destabilizes the dramatic expectations. The characteristic of this technique is to harmonize the different constituents amongst themselves and to unfold into dramatic sequences, through ameticulous mounting process.The theatrical landscape revealed through this study places reception in the heart of the scenic device.

Cette thèse de doctorat se consacre à l’analyse de périodiques créés au cours du XXe siècle par des cinéastes et des plasticiens à l’œuvre dans le champ des avant-gardes et du cinéma expérimental. Les revues forment des objets plastiques et spéculatifs, complexes et composites de par les relations qui se nouent entre le texte et l’image, les montages qui se créent et le défi que constitue la transposition des images filmiques. En quoi ces revues d’artistes témoignent-elles d’une recherche expérimentale ? Comment les revues d’artistes participent-elles à une histoire critique et plastique des formes cinématographiques ? L’étude tente de comprendre les manières originales dont les cinéastes et les plasticiens se saisissent des revues afin d’élaborer, défendre, documenter, objectiver et analyser certains paradigmes cinématographiques. À quels titres les revues deviennent elles-mêmes des propositions expérimentales, des laboratoires de recherche sur les liens entre l’image et le texte ? Nous observerons comment, grâce à leurs propositions techniques, graphiques et visuelles propres, les revues exposent certains enjeux matériels, poétiques, plastiques et théoriques propres à l’image cinématographique, comment elles questionnent le regard. Les revues offrent des plateformes de diffusion et de dissémination esthétiques, servent à ouvrir des réseaux de circulation pour les idées, singulières ou collectives, des rédacteurs en chef. Comment accompagnent-elles leurs efforts dans la construction d’un milieu cinématographique alternatif ? Les revues Dada I de Tristan Tzara et Hans Arp (1916), Dada Sinn der Welt de John Heartfield et George Grosz (1921), Le Promenoir de Jean Epstein, Pierre Deval et Jean Lacroix (1921-1922), G. für elementare Geschaltung de Hans Richter (1923-1926), Close Up du groupe Pool composé de Kenneth Macpherson, Bryher et H.D. (1927-1933), Film Culture de Jonas Mekas (1955-1996) et Cantrill’s Filmnotes d’Arthur et Corinne Cantrill (1971-2000) forment le corpus de cette thèse qui vise à contribuer à une histoire plastique des publications expérimentales. / This PhD thesis focuses on analyzing periodicals created during the XXth Century by both visual artists and filmmakers operating in the realm of avantgardes and experimental cinema. The journals become plastic, conceptual, complex, and composite objects because of the interplay between text and image as well as the reproduction of images and realization of photomontages. How these artists’ journals show signs of an experimental approach ? How do artists’ journals contribute to the critical and plastic history of film ? The dissertation aims to understand the unique ways the visual artists and filmmakers make use of the journals to create, defend, document, visualize and analyze some cinematic paradigms. To what extent the journals become in turn experimental works about the relationships between text and image ? We will study how magazines exhibit various plastic, aesthetical, theoretical, and poetical dimensions at stake in the cinematic image, relying on specific technical, graphic and visual undertakings, and how they call into question the perception. Journals become instrumentalized in ensuring the movement of the editors’ ideas, either collective or indivuals. How do journals support the editors’ efforts in building an alternative cinema domain ? Dada I edited by Tristan Tzara and Hans Arp (1916), Dada Sinn der Welt by John Heartfield and George Grosz (1921), Le Promenoir by Jean Epstein, Pierre Deval and Jean Lacroix (1921-1922), G. für elementare Geschaltung by Hans Richter (1923-1926), Close Up by Kenneth Macpherson, Bryher and H.D. (1927-1933), Film Culture by Jonas Mekas (1955-1996) and Cantrill’s Filmnotes by Arthur et Corinne Cantrill (1971-2000) form the corpus of this PhD thesis, which aims to contribute to a plastic history of experimental publications.

Every life tells a story. Film has proven to be a worthwhile medium in which individual lives can be told and thereby will be remembered. In recent years biographical documentaries telling significant life-stories, such as Amy (Asif Kapadia 2015), Kurt Cobain: Montage of Heck (Brett Morgen, 2015) and Senna (Asif Kapadia, 2010) have taken over our screens. While their narrative style often alludes to common compositions of the fictional biopic, their foundation on indexical sound and imagery makes them differ radically. In this thesis theoretical implications on how to approach and understand biographical documentary within the lager scope of biographical filmmaking are discussed. Subsequently the term biodoc is suggested. It implies a close relation to the biopic without compromising documentary film's autonomy compared to fiction film. Furthermore, this thesis sets out to move toward a theory of the biodoc. By putting together a catalog of key aspects and elements common for the biodoc and discussing them in close relation to contemporary examples of the genre, this thesis provides a first theorization of a diverse and growing phenomenon in contemporary film culture.

This study focuses on Berni Searle’s art, in which she searches for alternative figurations of identity. For Searle, identity as a category seems insufficient, as it cannot account for individuals of mixed heritage. Searle’s body of work testifies to an attempt to position and locate herself and marginalised subjects within post-apartheid South Africa. History, tradition, culture, race and gender are pivotal to Searle’s visual examination of her body and her identity, as these inscribe the subject at both symbolic and physical levels. Identity was investigated within South African context and the contexts of various postcolonial, postmodern and feminist debates. Searle’s works were investigated revealing nomadic subjectivity, as philosophised about by Gilles Deleuze and theorised about by Rosi Braidotti. Nomadic subjectivity promotes the notion that identity is fluid and located in the interstitial spaces between dichotomies and various debates. The habitation of such liminal spaces in the interstices between binary oppositions and views relates to what Homi Bhabha has defined as the “third space” and the notion of hybridity. Searle constructs her identity by affixing disparate aspects of her self. This is a continuous process whereby the artist inserts and erases her body. Searle’s works are investigated by using the film as a format. In Cinema 1: the movement-image (1986) Deleuze outlined three core cinematic elements, namely the frame, shot and montage, which are employed in an attempt to investigate the various processes at work in Searle’s artistic production. In addition to this, these filmic components were considered for their conceptual implications both in terms of the medium of film and symbolically. The concept of time, as discussed in Cinema 2: the time-image (1989) was utilised to investigate the implications of time for the nomadic subject and the notion of memory. Copyright 2005, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Adendorff, A 2005, Nomadic figurations of identity on the work of Berni Searle, MA dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-12072005-161121 / > / Dissertation (M (Visual Studies))--University of Pretoria, 2006. / Visual Arts / unrestricted

[pt] Esta dissertação parte do pressuposto de que os regimes de visibilidade apontados por Jacques Rancierè e o conceito de montagem de Didi-Huberman oferecem instrumentos para a análise do texto Desmedida, de 2006, de Ruy Duarte de Carvalho. O objetivo central desta dissertação é o de evidenciar que esta produção artística se afirma, ao mesmo tempo, como instrumento de escrita interventiva, inspirada por três racionalidades distintas: política, pastoril e fílmica. Para tal fim, percebe-se esta objetivação artística como espaço de resistência, reação e enfrentamento de racionalidades hegemônicas e suas imagens discursivas, produzidas para limitar existências em diferentes etapas da experiência colonial, permanecendo ainda como colonialidades contemporâneas. / [en] This dissertation starts from the Jacques Rancierè s visibility regimes and from the Didi-Huberman s concept of montage to the analysis of the text Desmedida, 2006, by Ruy Duarte de Carvalho. The central objective is to evidence this artistic production like an instrument of interventional writing, inspired by three different logics: political, native communities and cinematographic. For that purpose, it s noted that artistic manifestation as a space of resistance, reaction and confrontation to discursive images generated with the intention of limiting existences in different times of the colonial domination, as well as the contemporary colonialities.