À travers l’analyse d’œuvres de Tadeusz Kantor, Pina Bausch, Jan Lauwers, Pippo Delbono et Emma Dante, cette étude propose une ouverture des outils traditionnels des études théâtrales aux concepts de la psychanalyse et aux méthodes des études visuelles pour rendre compte de l’expérience émotionnelle intense que les créations de ces artistes induisent. La notion de symptôme, théorisée par Freud et reprise dans le champ de l’histoire de l’art par Georges Didi-Huberman, permet de dépasser une vision de la scène comme « système de signes » « à lire » – sous l’influence de la sémiologie et du structuralisme – et de penser au contraire ce qui, dans les images proposées, ne se laisse pas saisir immédiatement. Après avoir montré les limites des outils dramaturgiques, il est possible de mettre en évidence les moments d’irruption du geste-symptôme dans les œuvres, en adoptant une attitude plus phénoménologique. Le paradigme du rêve, comme modèle analogique d’une organisation-désorganisation, peut nous permettre de comprendre l’agencement des éléments scéniques. Ce qui touche le spectateur ne se situe plus au niveau de la représentation, mise en branle par la présence du symptôme, mais sous celle-ci et entre les éléments. Le rapport au réel qui s’instaure pour le spectateur relève alors plus de l’imaginable que d’une forme de mimèsis : les images ouvrent le regard et modifient la position du spectateur touché corporellement et émotionnellement. Le sujet théâtral diffracté porté par le corps de l’acteur amène le spectateur à faire l’épreuve de l’Autre en scène. Les œuvres à l’étude proposent ainsi une expérience de subjectivation et de symbolisation qui réactive les processus de la construction psychique de l’individu mise en crise dans la société contemporaine. Dans le corps-à-corps qui s’installe entre la scène et la salle, c’est à sa position de sujet face aux autres, à lui-même et au monde, que le spectateur accède. / Through an analysis of works by Tadeusz Kantor, Pina Bausch, Jan Lauwers, Pippo Delbono and Emma Dante, this thesis attempts to open up the traditional analytical tools that tend to be privileged by the discipline of theatre studies to concepts stemming from psychoanalysis or visual arts, which are more appropriate for rendering the intense emotional experience that these works induce. The notion of symptom, theorised by Freud and reappropriated by art history thanks to the work of Georges Didi-Huberman, can allow us to see the stage as more than a “system of signs”, “to be read”, under the influence of semiology and structuralism, but also to go beyond the image, towards something that is not immediately evident. Having shown the limitations of dramaturgical tools, it is possible to highlight the specific moments when a symptomatic gesture irrupts within these works by relying on a more phenomenological analysis. Dream patterns, which have the similar quality of being models of an order-disorder, are essential to our understanding of the organization of stage elements and processes. Whatever moves the spectator, is no longer strictly conditioned by representation, which is itself disrupted by the symptom, but is situated beyond it, under it, between the different scenic elements. The audience’s perception of reality becomes more reliant on imaginable rather than on some form of mimesis: images open up the gaze and alter the spectator’s stance, touching him physically and emotionally. The diffracted theatrical subject contained in the actor’s body helps the public witness Otherness onstage. The works studied here involve an experience of subjectivation and symbolisation, which activates the constitutive elements of the individual’s psyche, in crisis in contemporary society. Within the very physical relationship that is built between stage and audience, the spectator experiences his own position as a subject facing others, himself and the world.

Made available in DSpace on 2016-04-26T18:17:10Z (GMT). No. of bitstreams: 1 Paula Carolina Petreca.pdf: 1234607 bytes, checksum: 16d8cb1fa96eb99b2e8ec48d32d3195f (MD5) Previous issue date: 2008-05-06 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The German choreographer Pina Bausch has had her work diffused thanks to the contribution of cultural journalism, legitimizing its assimilation into symbolic systems which compose Brazilian cultural assembly. The phenomenon performed by cultural journalism between the first two Bausch s Brazilian tours, occurred in 1980 and 1990 respectively, the first being a pale episode as the audiences reception has been cold and critical, while the second has elevated the German company to a greater level of recognition. What happened meanwhile that promoted such a change? The hypothesis is that the diffusion of information operated by press has dealt to a better knowledge of the choreographer s work, as well as turning it to be familiar to local cultural production, dealing to the construction of a context which is being under process for more than two decades. Reflections raised by Critical Theories of Communication, according to the following authors: Benjamin (1936), Baudrillard (1995), Jameson (1998) and Bauman (2001); evoke arguments which contextualize the cultural compreension of the environment that hosts the object of this research, and the object (the action of cultural journalism between 1980 and 1990 over the diffusion of information about Pina Bausch) focus on the scope of multitude s speech (Negri, 2005). The research over material published in two newspapers from São Paulo: O Estado de São Paulo e Folha de São Paulo, has been related to testimonials of various Brazilian choreographers who recognise that the information brought by Pina Bausch has transformed and impacted their work. The methodology applied has enabled the delimitation of the role played by the newspapers previously mentioned, while interchanging information between public and artists. Theoric-practical transit has been estabilished while interviewing local choreographers whose production relate in a certain way to Pina Bausch s one, that have argumented over this issue. Regarding the lack of specific conjunctural historic source concerning dance in Brazil, this dissertation aims to contribute to on-course discussions over cultural journalism impact and its traces in Brazilians dance / O jornalismo cultural contribuiu para difundir o trabalho da coreógrafa alemã Pina Bausch, legitimando sua assimilação junto aos sistemas simbólicos componentes da tessitura cultural brasileira. Trata-se de um fenômeno operado pelo jornalismo cultural entre as duas primeiras turnês brasileiras de Bausch, ocorridas respectivamente nos anos de 1980 e 1990, sendo a primeira um episódio pálido, com recepção fria de público e crítica, enquanto a segunda reverteu-se em total consagração da companhia germânica. O que aconteceu nesse intervalo de tempo que promoveu tamanha mudança? A hipótese é a de que as informações veiculadas pela mídia impressa puderam formar um conhecimento sobre o trabalho da coreógrafa e torná-lo familiar para a produção cultural local, tecendo um contexto que vem se estabelecendo ao longo de mais de duas décadas. As reflexões suscitadas pelas Teorias Críticas da Comunicação - conforme se apresentam nas obras de Benajmin (1936), Baudrillard (1995), Jameson (1998) e Bauman (2001)- fornecem os intrumentos argumentativos para a compreensão conjuntural do ambiente que acolhe o objeto da pesquisa realizada, e o objeto (a ação do jornalismo cultural entre 1980 e 1990 na difusão de informações sobre Pina Bausch) é focado no âmbito dos discursos das multidões (Negri, 2005). A pesquisa do material publicado em dois jornais paulistanos de circulação nacional, O Estado de São Paulo e Folha de São Paulo, foi reunida a investigações a respeito dos processos contaminatórios que se estabeleceram a partir daí. Com essa metodologia tornou-se possível delimitar qual o papel que os dois jornais acima citados desempenharam no fluxo informacional entre a esfera artística e a pública. O trânsito teórico-prático se deu na realização de entrevistas realizadas com coreógrafos locais, que se relacionam, de alguma maneira, com a produção de Pina Bausch, e desenvolveram discursos a esse respeito. Tendo em vista a pouca quantidade de registros históricos conjunturais específicos sobre dança no Brasil, a pesquisa espera colaborar com as discussões em curso sobre o impacto do jornalismo cultural e sobre seus rastros na produção de dança brasileira