Cette recherche propose de construire la notion d’agression pour en faire un concept applicable à une poétique textuelle et scénique tout en tenant compte de sa dualité fondamentale. À la fois créée par l’auteur et reçue par le spectateur, elle peut être considérée comme une « action dramatisante » (Marie-Madeleine Mervant-Roux), c’est-à-dire comme un ensemble de procédés formels visant la production d’effets violents sur le spectateur. Elle a emprunté, au cours de l’histoire, différentes formes et significations que la méthodologie par « foyer de sens » (Frédéric Gros) permet de mettre en évidence. Trois variations de sens d’une même dimension du principe d’agression peuvent ainsi être identifiées : la première considère l’agression comme l’action d’introduire un désordre, un dérangement, renvoyant l’agression théâtrale à une stratégie ludique de mise en relation du spectateur avec le sacré. Elle est repérable dans le rejet platonicien de la poésie imitative de la cité, dans le Théâtre de la Cruauté d’Antonin Artaud, puis à l’ère postmoderne, dans certains spectacles usant de la performance, comme ceux de Rodrigo García. La deuxième envisage l’agression comme une action créant une instabilité éthique ou intime, assimilant l’agression théâtrale à une déstabilisation émotionnelle. Avec la Poétique d’Aristote, l’agression se pense comme un événement inattendu conditionné par un jeu de discordances et de surprises. Cette modalité est reconfigurée par Edward Bond dans les années 1960. La troisième considère l’agression comme l’action d’inciter quelqu’un à quelque chose par une attitude agressive ou une sorte de défi. L’agression théâtrale s’apparente dans ce cas à une stratégie politique dont Bertolt Brecht est l’un des grands représentants. Dialectiquement structurée, cette agression est singulièrement reconfigurée par Hanokh Levin dans les années 1970. Conditionnée par la surprise et l’inaccoutumance du spectateur, l’agression témoigne, quelle que soit sa forme, d’une abolition momentanée du cadre théâtral, d’une disparition du symbolique, dans une perspective sociale, éthique ou politique. / The purpose of my research is to construct the concept of aggression, making it applicable to textual and scenic poetics while accounting for its fundamental duality. This violence, both as created by the playwright and as received by the spectator, can be construed as a “dramatizing action” (Marie-Madeleine Mervant-Roux); in other words, as a set of formal processes aimed at producing violent effects upon the spectator. Over history, it has taken on a variety of forms and meanings that Frédéric Gros’s “foyer de sens” (“focus of meaning”) methodology makes apparent. We can thereby identify three variants in the meaning of the same dimension of the principle of aggression. The first considers aggression as the act of introducing a disorder or disruption, relating theatrical violence to a playful strategy of confronting the spectator with the sacred. It can be noted in the Plato’s rejection of poetry imitative of the city, in Antonin Artaud’s Theatre of Cruelty and, in the post-modern era, in certain productions that use performance, like those of Rodrigo García. The second variant imagines aggression as an action that creates an ethical or intimate instability. It assimilates theatrical aggression with emotional destabilization. With Aristotle’s Poetics, aggression is thought of as an unexpected event contingent upon a series of discordances and surprises. This modality was reconfigured by Edward Bond in the 1960s. The third variant sees aggression as the act of inciting someone to do something, either by assuming a threatening attitude or by challenging him in some way. In this case, theatrical aggression is akin to a political strategy, and is exemplified by the plays of Bertolt Brecht. Structured dialectically, this aggression was reconfigured in a unique way by Hanoch Levin in the 1970s. Regardless of form, aggression relies upon surprise. As a jolt to the spectator, it attests to a momentary abolition of the theatrical framework: a disappearance of the symbolic, in a social, ethical, or political perspective.

Entre 1939 et 1973, le cinéma chilien a tenté au moins deux modèles de développement : dans les années quarante, on a essayé d’industrialiser l’activité cinématographique avec la création de studios, entre autres, tandis que dans les années soixante et soixante-dix, on a tenté de produire un cinéma artistique et révolutionnaire. Le passage d’un cinéma à un autre a eu lieu grâce à une transition de quinze ans lors de laquelle les cinéastes et individus liés au cinéma ont réinventé les concepts et les pratiques cinématographiques. La trajectoire que le cinéma chilien a tracé pendant ces années-là est le sujet de cette thèse, qui tente de comprendre et de considérer toute la complexité de ce parcours particulier, tendu entre plusieurs pôles, qu’il s’agissent de demandes, de besoins, de problèmes et de désirs, tant économiques, que politiques, artistiques, techniques et culturels. / Between 1939 and 1973 Chilean cinema attempted at least two models of development: during the 1940s it tried to industrialize cinematographic activity through, amongst other things, the creation of studios, while in the 1960s and 1970s the efforts were placed on the production of artistic and revolutionary cinema. The advancement from one cinema to the other took place thanks to a 15-year transition during which film-makers and people tied to cinema reinvented the cinematographic concepts and practices. The trajectory traced by Chilean cinema during those years is the theme of this thesis, whose focus seeks to understand and consider all the complexity of this particular process, tensioned by various poles, demands, necessities, problems and desires, as much economic as political, artistic, technical and cultural.

Ce mémoire de maîtrise aborde la notion de personnage dans trois œuvres du dramaturge québécois Étienne Lepage. Il vise dans un premier temps à cerner en quoi cette forme du personnage de théâtre se distingue des théories existantes sur le sujet, notamment celle de l’impersonnage de Jean-Pierre Sarrazac. Il s’agit de cerner les caractéristiques propres à ce personnage « en devenir », animé par le mouvement qui négocie sa construction dans un dialogue avec le récepteur. Cette étude centrée sur l’analyse du texte de théâtre puise ses fondements des observations des théoriciens de théâtre (Szondi, Lehmann, Abirached, Sarrazac) sur cette crise traversée par le personnage. La seconde partie s’attarde au rôle occupé par le récepteur au sein du texte dramatique. Les intégrations du récepteur lui confèrent un rôle actif, il se fait co-créateur. L’analyse du traitement que Lepage fait du temps immédiat et de l’espace décloisonné montre comment ces éléments contribuent à aménager cette place au récepteur. En dernier lieu, le monologue comme seul mode possible d’expression occupe une part significative dans cette réflexion sur le personnage de la dramaturgie d’Étienne Lepage. Au confluent des études sur le personnage, des théories de la réception et de la construction de l’identité, cette étude s’emploie à cerner le personnage « en devenir ». / This master’s thesis addresses the notion of character in three works by Quebec playwright Étienne Lepage. First, it aims to identify how this form of the theater character differs from the existing theories on the subject, in particular, Jean-Pierre Sarrazac’s "impersonnage" theory. The aim is to identify the characteristics specific to this "evolving" character, driven by the movement that negotiates its construction in a dialogue with the receiver. This study, which focuses on the analysis of the theater text, draws its foundations from the observations of the theater theorists (Szondi, Lehmann, Abirached, Sarrazac) on this crisis experienced by the character. The second part focuses on the role of the receiver in the dramatic text. The integrations of the receiver give him an active role; he becomes co-creator. The analysis of Lepage’s treatment of immediate time and open space shows how these elements contribute to the arrangement of this space for the receiver. Finally, the monologue as the only possible mode of expression occupies a significant part of this reflection on the character of Étienne Lepage’s dramaturgy. At the confluence of character studies, reception theories and identity construction, this study seeks to identify the character "in the making".

The aim of this study is to highlight: 1. how the introduction of new technologies in Drama Education at school can renew the context in which performance projects take place and 2. how the constraints imposed by a pandemic, such as those caused by COVID-19, can be overcome through cybertheatre. The phenomenological method is used to analyze a digital and a cyberperformance project, as theatre is an event that takes place between its creators and its spectators. With the use of digital tools in school performances a new experience emerges for students and spectators, as the "living" actor is combined with "non-human" actors. Besides, the cyberperformance provides a solution to a real problem in the midst of a pandemic crisis, as the spectators participate remotely from the comfort of their own home. In terms of interactivity, by giving the spectator the opportunity to use some information or to choose the action of the play, the performances become more interesting, while theatre is being highlighted, as an event that differs from other media such as T.V. or cinema. Finally, the dialogue that can be produced in a chat-forum in cyberperformance works as a reflection to it.

Univerzita Karlova, Fakulta sociálních věd / Smetanovo nábřeží 6, 110 01 Praha 1 info@fsv.cuni.cz, tel: 222 112 111 www.fsv.cuni.cz Dle čl. 4 Opatření rektora č. 6/2010 o Zpřístupnění elektronické databáze závěrečných prací http://www.cuni.cz/UK-3470.html a čl. 1 Opatření děkana 29/2010 se z časového hlediska závěrečné práce dělí do tří skupin: a. "nové práce", tj. práce odevzdávané k obhajobě počínaje 29. 9. 2010, b. "starší práce", tj. práce odevzdané k obhajobě od 1. 1. 2006 do 28. 9. 2010, c. "práce před rokem 2006", tj. práce odevzdané k obhajobě před 1. 1. 2006. V tomto případě jde o "starší práci" odevzdanou k obhajobě od 1. 1. 2006 do 28. 9. 2010. Omlouváme se, ale dokument není v elektronické verzi k dispozici.

In the beginning of my thesis, I reckon with terms of installation and videoinstallation from a theoretical point of view. After establishing their meaning, I work with them in the context of my works. The centre of my thesis is my project called "232 712 steps" and its motive of voyage. My art project contains three main aspects which are experience, documentation and installation and which I explore with my own subjective perspective, but also contextualize with other works of art. Through my didactic part, I work with the term of projection and ways of recording it, each time with different perspectives. Key words: voyage, experience, documentation, photography, installation, space, gallery space, spectator

This paper presents the development of the curatorial research project Black Box, which was established in the spring of 2020 in the Brno TIC Gallery to support contemporary art and artists at a time when artists and cultural institutions were affected by the existential crisis caused by the COVID-19 global pandemic. This experimental archive, which initially appeared to be temporary, has been developing its activities for a second year in a row. This text aims to provide a report on the ongoing remakes and postproductions of this archive and present various curatorial interventions carried out on the archived works of the participating artists. We observe a shift of exhibition institutions towards community centres with a diversified program, raising their social awareness and critical self-reflection, and building new means of communication on the axis of the artist-spectator. Especially in the latter area, creating and enabling access to an art archive is an essential tool.

Purpose: This study is a micro-level perspective of value co-creation in spectator sport. By examining sport through the value co-creation lens, the dual role of the customer as both a contributor to and a beneficiary of value is acknowledged and the importance of stakeholder interactions is emphasized. This study analyzes the extent to which two theoretically and managerially important factors—attendance frequency (i.e. first-time attendee vs repeat attendee) and resident type (i.e. local resident vs domestic traveler)—impact value creation in the recurring live sporting event setting. Design/methodology/approach: Data were collected from spectators who attended a National Association for Stock Car Auto Racing (NASCAR) sanctioned racing event. Multigroup structural equation modeling was performed to examine the proposed pathways, and multigroup t-tests were used to compare the model across both groups for each moderating variable. Corresponding path coefficients were then compared using Chin's (2004) recommended equations and procedures. Findings: The study found organization-related value propositions to be the more common antecedents of value, while customer appearance had a strong negative association with hedonic value, and attendance frequency and resident type influenced certain value perceptions. Sport organizations should consider the expectations and motivations of various customer groups and provide offerings designed to meet the specific needs of different fan segments based on the spectator's experience with the sport product and the distance traveled to attend the sport event. Originality/value: This paper advances the authors’ understanding of value creation in sport by showing how customer perceptions of value associated with the sport organization and other customers can be moderated by certain behavioral and geographic factors.

網路世界眾聲喧嘩，臉書(Facebook)平台以其社群形式，全面改寫了傳統大傳媒體的閱聽人的角色，並賦予其更多傳播、新聞再製、重製的權力。事實上網絡的每個節點與另一個節點之間，都透過分享、評論與按讚等行為，而呈現有機變化。 本研究以臉書社群上之使用者為研究個案，透過模擬帳號於臉書平台上複製出使用者平時會看到的內容與情境，透過受訪者對於網路即時事件的回應行為進行觀察，歸納出個文章主題之偏好程度與性別、年齡、職業別是否有差異性；而後，再透過一對一的訪談方式，以進一步理解每一位受訪者對臉書貼文之回應行為動機，以及於臉書中自我展演行為之看法。 根據本研究之發現，得出四項成果: 1. 臉書文章主題之閱讀偏好與使用者性別、年齡、職業別有關。 2. 閱聽人之自主性展演表現於「略過」行為。 3. 閱聽人之自主性展現，對於研究設計內容及其回應之關聯性，難以脈絡化。 4. 閱聽人之觀展行為，使得虛擬與實境間的界線消失。 / The Net world is full of sounds and noises. Taken its format of social networking, Facebook radically rewrites the role of spectator used to be designated by traditional mass media. Nowadays the spectator is given the power of transmitting, rewriting, and remolding any social event when surfing and browsing Facebook. As we look at each spectator as a node in the Net world, the relation between one node and many other nodes has become organic as they perform the actions of “share”, “comment”, and “like” on Facebook. This study aims to analyze how and why Facebook users react to certain articles as they browse through a specifically designed Facebook account, in which articles of various themes and topics are posted. It also tries to differentiate those Facebook users according to gender, age, and occupation, in order to understand their personal preferences toward different articles. The methodologies of this study include participation and observation, and one-on-one in-depth interview, so that motivations of each study subject’s responses to those articles can be found. The study findings are as following: 1. The preferences of certain article correspond to gender, age, and occupation of study subjects. 2. The self presentation of study subjects is reflected through the “skip” function. 3. It is difficult to contextualize the relationship between the self presentation of study subjects and those chosen articles. 4. The surfing and browsing action performed by study subjects on Facebook elimate the line between virtual world and real world.

Problemformulering: Idag råder en negativ trend gällande antalet åskådare för en majoritet av organisationerna inomprofessionell ishockey i Sverige. Då publiken utgör en viktig del i ett matchevenemang, både ekonomiskt och upplevelsemässigt, är detta en problematisk utveckling. Tidigare forskning visar att den del av publiken som besöker ett matchevenemang 1-3 gånger per säsong är en fördelaktig grupp att påverka för att öka dess konsumtion. Däremot har den tidigare forskningen primärt studerat besökare inom professionell idrott i generella termer alternativt fokuserat på hängivna fans samt haft en kvantitativ forskningsstrategi. Syfte och frågeställningar: Studiens syfte är att djupare förstå de sporadiska besökarna och undersöka hur varumärket kan användas för att påverka dem till att gå oftare.• Vilka faktorer som påverkar konsumtionen lyfts fram av sporadiska besökare?• Hur kan kunskapen om de identifierade faktorerna användas för att få den sporadiska besökaren att gå oftare utifrån ett varumärkesperspektiv? Metod: Med en kvalitativ forskningsstrategi och en deduktiv ansats med induktiva inslag har denna studie genomfört tolv semistrukurerade intervjuer. Respondenterna i denna studie är besökare av fallorganisationens ishockeymatcher och går på 1-3 matchevenemang per säsong. Resultat: Denna studie har uppmärksammat ett antal faktorer som genom varumärket kan påverka den sporadiska besökarens konsumtion. Studien har identifierat stämning som ett konsumtionsmotiv hos en grupp av sporadiska besökare samt att studien funnit olika varianter av det socialamotivet och preferenser av matchresultatets karaktär. Vidare har studien funnit att en grupp sporadiska besökare har en hög kunskapsnivå gällande ishockey och till sist har studien ävenfunnit djupare beskrivningar av verklighetsflykt och underhållning vilka även de är faktorer som påverkar sporadiska besökares konsumtion. Forskningsbidrag: Denna studie ger detaljerade beskrivningar av sporadiska besökares konsumtionsbeteende och varumärkesassociationer inom professionell idrott. Vidare bidrar studien med kompletterande indikationer av faktorer som påverkar de sporadiska besökarnas konsumtionsfrekvens av matchevenemang. / Problem definition: Today there is a negative trend regarding the number of spectators among a majority of the organizations within professional ice hockey in Sweden. This is a problematic development since the spectators play an important part for the event of the games, both financially and experientially. Previous research shows that the customer segment which visits one to three games per season is a favorable group when it comes to increasing their consumption. Though, previous research has fore most studied spectators in general terms or have had the devoted fansas main focus. Furthermore, the previous research has primarily been quantitative regarding its research strategy. Aim and research questions: The aim of the study is to gain a deeper understanding of low frequent spectators and understand how the brand can be used in order to influence them to go more often.• Which factors, which influence the consumption, is described by the the low frequent spectators?• How can the knowledge of these identified factors be used in order to influence the low frequent spectator to visit more often from a brand perspective? Methodology: With a qualitative research strategy and a deductive, with element of inductive, research approach, this study has completed twelve semi-structured interviews. The respondents are spectators of ice hockey games of the organization which this study have studied and who visits 1-3 games per season. Results: A number of factors which can influence the low frequent spectators’ consumption through the brand have been noticed through this study. The atmosphere has been identified as a consumption motive among a group of low frequent spectators and the study has also found different versions of the social motive as well as preferences for the nature of the games results. Furthermore, the study has found a group of low frequent spectators which has a high level of knowledge about ice hockey. Finally, the study has also found deeper descriptions of escape and entertainment which also are factors which influence the consumption among a group of low frequent spectators within professional sports. Research grants: This study provides detailed descriptions of low frequent spectators’ consumer behavior and brand associations within professional sports. Furthermore, the study provides additional indications of factors which affect the low frequent spectators’ consumption regarding games.