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Trajetos do espectador nas travessias de Lygia Clark e Pina BauschBrasil, Giselly 26 March 2012 (has links)
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Previous issue date: 2012-03-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to investigate processes of production of contemporary art that are based on principles of interaction and aesthetic experience. To this end, we will analyze the procedures suggested by the artists Lygia Clark and Pina Bausch. The artwork as a device that causes the spectator's perception and action is the core of this research. The phenomenon of art in this context occurs in the relationship between subject, object and space. All of them happening at the same time. Public and artwork as an unique landscape. They are not separated, but constitute each other. The place of the spectator also becomes the place of the artwork. This work is built on references that addresses the experience as an event that encourages participation from the spectator trough approaches, questions and revelations. These movements coincide with the displacement of the gaze and the transformation of meanings imposed. The proposals and reflections suggested by the artists provide material for speculation of art and contemporary theatrical environment as a growing field - a place that pushes the boundaries of languages and is legitimated as a field of experience seeking a cannibalistic look, look which observes and absorbs the world as the first time / Esta dissertação tem como objetivo investigar processos de produção da arte contemporânea que se fundamentam em princípios de interação e experiência estética. Para tanto, serão analisados os procedimentos sugeridos pelas artistas Lygia Clark e Pina Bausch. A obra como dispositivo que provoca a ação e a percepção do espectador é o eixo central desta pesquisa. O fenômeno da arte, neste contexto, se dá na articulação entre sujeito, objeto e espaço. Todos acontecendo ao mesmo tempo. Público e obra pretendem formar uma única paisagem. Eles não estão separados, mas se constituem reciprocamente. O lugar do espectador torna-se também o lugar da obra. Este trabalho se constrói sobre referências bibliográficas que abordam a experiência como evento que incentiva a participação do espectador a partir de aproximações, questionamentos e revelações. Movimentos estes que coincidem com o deslocamento do olhar e com a transformação de sentidos instituídos. As propostas e reflexões sugeridas pelas artistas fornecem material para a especulação da arte e do ambiente teatral contemporâneo como campo em expansão lugar que ultrapassa os limites das linguagens e se legitima como campo de experiência que solicita um olhar antropofágico, olhar que observa e absorve o mundo como pela primeira vez
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Pedagogia do teatro: um estudo sobre a recepçãoRosseto, Robson 29 November 2007 (has links)
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Previous issue date: 2007-11-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study looks at theatre reception in the area of education. The focus of the investigation was the response of the audience to the performance Auto da Índia
(Curitiba/PR): both by children of a public secondary school and adults who attended to one of its presentation. The understanding that theatre in education needs to balance the attention to the production and the reception is the main objective of this proposal. Studies of theories of reception were carried out in order to raise problems and questions. The Theory of the Aesthetic Reception, by Hans Herbert Jauss was
identified as the key framework to the field work. The methodology included the analysis of former researches related to teachers training, interviews with director of
the performance, and a questionnaire to gather the audience response to the presentation they had just attended. The concept of Horizon of Expectations was considered the key aspect of the data analysis. The concluding notes point both to the divergent readings of the performance by spectators with similar backgrounds, and to the role of the questionnaire to mediate the debate on reception in the classroom context. / Esta dissertação objetiva realizar um estudo sobre a recepção na área do ensino do teatro. Para a execução dela foi desenvolvida uma experiência sobre a recepção de uma peça teatral, envolvendo alunos da educação básica e público espontâneo. Se a recepção é um dos pólos do ensino do teatro, constatou-se por meio de entrevistas, as dificuldades do professor do Estado do Paraná quanto aos processos e às estratégias para trabalhar a recepção de espetáculos e a recepção de atividades teatrais em sala de aula. A investigação se valeu de um questionário que discriminou os principais eixos da montagem e suas respectivas características, para fazer um levantamento dos aspectos da encenação que causaram maior impacto no público. A fundamentação teórica esteve centrada na Estética da Recepção, especialmente no conceito de Horizonte de expectativas, desenvolvido por Hans Robert Jauss. Para tanto, realizou-se uma série de entrevistas com a encenadora do espetáculo Auto da Índia (Curitiba/2006), sobre o qual foi construído o questionário. O cruzamento dos dados revelou que as respostas mais significativas apontadas pelos espectadores não coincidiu com as expectativas da encenadora. Ao comparar os dois grupos pesquisados, comprovou-se que o espectador teve impacto em diferentes elementos da encenação. Este resultado permitiu discutir o potencial do uso de um questionário para explicitar as formas distintas de recepção demonstradas por um público. Nesse sentido, comprovou-se que o questionário é um recurso metodológico eficiente para o professor mediar a recepção, prática de fundamental importância para a formação do aluno espectador na área da pedagogia do teatro.
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Do governo das patas: um estudo sobre a emergência do espectador crítico no teatro brasileiro / On the government of the paws: a study on the appearance of the critical spectator in brazilian theaterLuiz Paulo Pimentel de Souza 14 March 2018 (has links)
O presente estudo, cuja inspiração procedimental advém do legado de Michel Foucault, dedicase à análise das relações históricas entre práticas teatrais e determinada lógica de governança de tipo pedagógico do tecido social no Brasil. Constatando que tal correlação de forças encontraria seu alvo principal na figura do espectador, investigam-se os processos históricos que culminaram na emergência de determinado espectador crítico, autônomo e cidadão no interior das práticas teatrais brasileiras. Com vistas a perspectivar o problema do espectador ao longo da história da prática teatral no país, a pesquisa realiza um recuo temporal e organiza um corpo documental composto por periódicos (jornais e revistas) publicados entre 1812 e 1960. Sobrevém desses textos do passado a prática da pateada, desaparecida nos dias de hoje, a qual consistia em um ruidoso bater dos pés a ser disparado a qualquer momento da representação por parte dos espectadores insatisfeitos em relação ao que viam e ouviam. A pateada é aqui analisada sob duas perspectivas: a primeira investiga os sentidos dessa prática e a compreende como um gesto de ajuizamento singular formalizado por determinada época; a segunda percorre uma série de problematizações históricas que passaram a contestar a existência dessa prática e trabalharam em prol de sua extinção. Em meio ao processo do desaparecimento da pateada, pode-se ainda observar duas forças institucionais firmemente engajadas nesse movimento: a polícia e a crítica teatral. Essa segunda força, por sua vez, teve sua emergência vinculada a toda uma nova racionalidade jurídica que passaria a ganhar força no país com a inauguração das faculdades de Direito, e se desenvolveu com a consolidação da imprensa escrita da época. Ainda, recorrendo à análise da existência e extinção de uma prática como a pateada, objetivase apresentar um momento histórico em que tanto o comportamento quanto a subjetividade do espectador começariam a ser regulados em direções diversas e um novo tipo de endereçamento público-cena emergiria. Tratar-se-ia, portanto, de uma disputa a respeito das maneiras por meio das quais as manifestações dos espectadores em relação às peças e aos artistas poderiam ser exercidas. Assim, fazendo eco ao procedimental de pesquisa foucaultiano, trata-se de descrever e analisar a emergência de uma nova ordem de governo das condutas e subjetividades dos espectadores que diz respeito, em certa medida, às suas configurações contemporâneas. Perspectiva-se, enfim, que três seriam os eixos que formalizariam a entrada em cena de um novo espectador que nos seria muito mais familiar do que o público pateador oitocentista: o governo; o par formado pelas práticas teatrais e educacionais; e a regulação da própria experiência de ajuizamento em relação às práticas artísticas. / The present study, whose procedural inspiration comes from Michel Foucaults legacy, aims to analyze the historical relations between theatrical practices and a certain logics of governance, of pedagogical nature, in the Brazilian social fabric. Given that such relation of forces is principally focused on the spectator, the historical processes which led to the appearance of a certain critical, autonomous, and citizen spectator in Brazilian theatrical practices are studied. For an outlook on the issue of the spectator throughout the history of the countrys theatrical practice, the research steps back in time and organizes a documental body made up of periodicals (newspapers and magazines) published between 1812 and 1960. Out of these texts, there appears the practice of the pateada, gone nowadays, which was a loud hitting of the feet triggered at any moment during the representation by spectators dissatisfied with what they saw or heard. Pateada is herein analyzed under two perspectives: the first one investigates the meanings of this practice and understands it as a singular ruling gesture, set by a determined epoch; the second one follows a series of historical issues which started to object the existence of this practice and strived to have it ended. In the process to end with the pateada, one can observe two institutional forces engaged in the movement: the police and theater criticism. The second force, for its part, had its appearance associated with a whole new juridical rationality, which would grow strong in the country with the opening of Law Schools, and which developed during the consolidation of the written press of the time. Moreover, by analyzing the existence and disappearance of a practice such as the pateada, it is intended to dwell on a historical moment when the spectators behavior and subjectivity started to be regulated in several directions and a new king of audience-scene approach emerged. Therefore, this is about a struggle about the ways in which the audiences manifestations towards the plays and artists could be actualized. Thus, by echoing Foucaults research, it is aimed to describe and analyze the appearance of a new type of rule for the behavior and subjectivity of spectators as to what concerns, to a certain extent, their contemporary configurations. Finally, a perspective is given for the three axes which would formalize the coming into being of a new spectator, much more familiar to us than the 1800s audience of the Pateada: the government; the pair formed by theatrical and educational practices; and the regulation of the very experience of ruling artistic practices.
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Dramaturgia cênica na empresa: do trabalhador anônimo ao ser visível / Dramaturgia cênica na empresa: do trabalhador anônimo ao ser visívelLeslie Evelyn Ruth Marko 24 June 2009 (has links)
Este trabalho busca analisar uma experiência de teatro realizada durante 22 anos com funcionários de uma empresa e refletir sobre a relação possível entre o teatro e a empresa por meio de uma proposta de Dramaturgia Cênica. Para tanto, apresenta-se o resgate histórico do percurso através do levantamento e análise crítica de materiais significativos relativos às diversas encenações realizadas. Estabelece- se, também, um diálogo entre a experiência e alguns referenciais teóricos na perspectiva de um teatro brechtiano para a construção de um modelo que contribua para um processo de humanização, favorecendo transformações pessoais e interferências no ambiente de trabalho e na realidade social em geral. / This dissertation sets out to analyse a theatre work experience developed with employees of one company over the course of 22 years. In it, I seek to reflect on the possible relationship between theatre and the company through a proposal for stage dramaturgy. To achieve this objective, it rebuilts the whole history line of this experience, through a selection and critical analisys of some relevant material about the groups theater productions. It also stabilishes a dialogue between the experience and some theoretical work, particularly about Brechtian theater, aiming to develop a model capable of contributing to the process of humanisation, encouraging personal transformation and changes in the workplace environment and in the broader social reality.
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La représentation rhapsodique : Lorsque la scène invente le texte : Roméo Castellucci, Pippo Delbono, Simon Mcburney, Christoph Marthaler, François Tanguy / Rhapsodic performance : When the stage invents the text : Roméo Castellucci, Pippo Delbono, Simon Mcburney, Christoph Marthaler, François TanguyJolivet-Pignon, Rafaëlle 14 October 2010 (has links)
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.
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Masque et pouvoir : les techniques du camouflage dans le théâtre comique / Mask and power : camouflage techniques in the comic theaterMahmoud Maher Taha, Hosnah 12 May 2012 (has links)
Il y aurait interaction constante entre théâtre comique, masque et pouvoir que nous examinons à travers une lecture intertextuelle et comparative des pièces françaises, francophones et égyptiennes des XIXe et XXe siècles, en mettant l’accent sur les techniques de camouflage et leurs objectifs, témoins d’une continuité entre les cultures. Nous démontrons que la distanciation, bien que rattachée au monde sérieux de la dramaturgie brechtienne, excelle surtout dans le théâtre comique du masque. Ce projet comporte en fait trois parties. Dans une première partie, nous passons en revue dans le premier chapitre les métamorphoses du masque avec ses procédés en arrimant théâtre comique et notion du pouvoir. Nous posons ensuite dans un second chapitre l’assise théorique et méthodologique qui sert de base à notre étude, en abordant le théâtre du masque comme un procédé dramaturgique de distanciation. Nous examinons premièrement la distanciation à travers les zones du texte (didascalies, prologue, spectacle enchâssé), où le théâtre se dit comme tel. Nous consacrons la deuxième partie à l’exploration de tous les procédés d’étrangéisation employés par les dramaturges en vue de distancier le personnage portant le masque du pouvoir, en mettant en lumière son caractère bouffon et carnavalesque. Le travestissement sous ses divers aspects impose un rapport de forces entre les personnages qui se manifeste à travers l’échange verbal et non verbal derrière le masque ainsi que l’espace et la temporalité, et constitue un vecteur de distanciation, comme on le voit dans la troisième partie. Le cadre spatio-temporel, étant le support d’un jeu de faire-semblant, enracine la relation de domination occasionnée par le masque. Du fictif se dégage une image du réel. / There would be constant interaction between comic theater, mask, and power that we examine through a comparative and intertextual reading of French francophone, and egyptian plays from the nineteenth and twentieth centuries; focusing on the techniques of camouflage and their targets, which affirm continuity between cultures. We show that “distanciation”, although attached to the serious world of Brechtian dramaturgy, excels in the comic theater of the mask. This project comprises of three parts. In the first chapter of the initial part, we review the metamorphoses of the mask with its processes, by matching comic theater and concept of power. Then we put in a second chapter ,the theoretical basis and methodology, used as the basis for our study; addressing the theater of the mask as a dramatic process of “distanciation”. Firstly we examine the distance through the zones of the text (stage directions, prologue, & embedded shows), where the theater is presented alike. We devote the second part to the exploration of all the processes employed by the playwrights, in order to distance the character wearing the mask of power, highlighting its comic and carnivalesque aspects. The travesty in its various facets imposes a balance of power (relationship of power) between the characters. Which is manifested through verbal and non verbal exchange behind the mask ,space, and time which are vectors of distanciation (as seen in the third part). The spatio-temporal framework, being the holder of a game of make-believe, rooted the relationship of domination caused by the mask. The fictitious emerges an image of reality.
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L'oeuvre théâtrale d'André Engel : machine et rhizome / The theatrical work of André Engel : machine and rhizomePerruchon, Véronique 19 November 2009 (has links)
Cette thèse explore et analyse l’œuvre théâtrale d’André Engel, metteur en scène français atypique. Depuis 1972, il travaille avec une équipe de création constituée des dramaturges Bernard Pautrat puis Dominique Muller, du décorateur Nicky Rieti et de l’éclairagiste André Diot. André Engel a d’abord créé ses spectacles dans des lieux inédits : haras, usine désaffectée, ancienne mairie, hangar, donnant naissance à des « Objets Théâtraux Non Identifiés » qui marquèrent le théâtre des années soixante-dix et quatre-vingt ; formes que la nécessité de travailler dans les salles fit évoluer. Attaché à la question du spectateur, André Engel a, tout au long de son œuvre, proposé un renouvellement de son statut. De la création « hors les murs » au théâtre en salle, du « détour » par l’opéra à la tentation du cinéma, l’œuvre d’André Engel, constituée en cycles, est une véritable aventure théâtrale, une machine au rhizome complexe qui sort des repères connus. Nourri de philosophie allemande, d’influences deleuziennes et de lectures situationnistes, André Engel est venu au théâtre pour changer le monde. Il crée des événements, des expérimentations, des situations, proposant de nouveaux espaces-temps dans un acte de résistance et de reconquête du monde qui s’associe à une poésie de l’errance, du voyage et de la dérive. Machine de guerre contre « la société du spectacle », le théâtre est, pour André Engel, le lieu et le moyen d’un combat contre le monde aliéné, pour la reconquête de l’authenticité du réel. / This thesis explores and analyzes the theatrical work of André Engel, an unconventional French stage director, working since 1972 with a team composed of dramatists Bernard Pautrat followed by Dominique Muller, designer Nicky Rieti and lighting designer André Diot, as a creative ensemble. André Engel staged his first performances in unusual places : a stud farm, a disused factory, a former town hall, a warehouse, giving birth to « Objets Théâtraux Non Identifiés » : landmarks in the theatre scene of the 70s and 80s. The need to work in conventional theatre brought with it in an evolution of his art. Throughout his work, André Engel proposes a new vision of the status of spectator. From « hors les murs » to more traditional venues, from incursions into opera to the temptations of cinema, these cycles in André Engel’s work are a true adventure in theatre, a machine with a complex rhizome which does not tread well-beaten paths. Nurtured by German philosophy, by the thought of Gilles Deleuze and influenced by readings of the Situationists, André Engel came to theatre in order to change the world. He creates events, experiments, situations, offering as an act of resistance, new dimensions in space and time : re-conquests of a world associated with the poetics of wandering, travelling, being adrift. As a machine for war against « la société du spectacle » as Guy Debord calls it, theatre for André Engel provides the perfect place and means for fighting against a world of alienation, for re-conquering the authenticity of the real.
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”Vänstern har lanserat ett narrativ om att USA:s polis systematiskt jagar och utsätter svarta människor för ’rasism’.” : En komparativ språklig innehållsanalys av artiklar ur Svenska Dagbladet, Fria Tider och The American Spectator utifrån skildringen av Black Lives Matter.Hector, Annika January 2021 (has links)
Syftet med denna uppsats är att undersöka om skildringen av Black lives matter skiljer sig mellan olika tidningar baserat på dess politiska ställningstagande. Genom en kvalitativ innehållsanalys kommer följande frågeställningar att besvaras; Hur ser språkbruket ut i några mediers rapportering om Black Lives Matter? Finns det systematiska skillnader och likheter i språkbruket för olika medier? Vilka ställningstaganden kan urskiljas i nyhetsrapporteringen? Resultatet visar att Fria tider och the American Spectators rubriker, formuleringar och innehåll visar att det präglats av tidningens politiska färg medan Svenska Dagbladet har en mer neutral rapportering. I diskussionen dras slutsatser om vilka följder observationerna i resultatet kan få i förlängningen. Slutsatserna är att majoriteten av artiklarna publicerade på Fria tider och The American Spectator visade på språklig systematik där värdeord och formuleringar användes vilket hade en påverkan över nyhetsrapporteringen då den blev mindre objektiv samt tydde på politiskt ställningstagande i många av artiklarna. I Svenska Dagbladet fanns inte samma språkliga systematik innehållande värdeord eller tendensiösa formuleringar. Språket hade en stor påverkan över helhetsintrycket av artiklarna och med tanke på att sammanhanget är nyhetsrapportering krävdes det få ord eller formuleringar för att urskilja värderingar och urskilja ställningstaganden.
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Operational Modal Analysis of the Stockholm Waterfront Congress CentreGrundström, Ulrika January 2010 (has links)
No description available.
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L'émancipation spectatrice dans le théâtre d'Olivier ChoinièreBéland-Leduc, Anne 09 1900 (has links)
Ce mémoire aborde trois pièces du dramaturge québécois Olivier Choinière, Beauté intérieure (2003), Projet blanc (2011) et Manifeste de la Jeune-Fille (2017), dans le but d’en faire ressortir les possibilités d’émancipation spectatrice. Depuis ses tout débuts, Choinière tient un discours critique sur le spectateur de théâtre, et il cherche conséquemment à l’inclure et à l’impliquer dans ses créations. À la lumière des théories de la réception et surtout de celles de Jacques Rancière dans Le spectateur émancipé, ce mémoire a pour visée d’évaluer les possibilités émancipatrices de l’œuvre de Choinière en analysant les différents moyens qu’il utilise pour inclure le spectateur, tant sur le plan formel que sur le plan politique. Au cœur de la théorie de Rancière figure le paradoxe du spectateur, qui renvoie aux différents moyens utilisés par les dramaturges contemporains pour forcer l’activité spectatrice et qui, selon lui, nuisent à son émancipation. Ce mémoire analysera donc le travail de Choinière en portant une attention particulière à la possible reproduction de ce paradoxe dans le but d’établir un degré d’émancipation spectatrice probable dans les trois pièces choisies. / This master’s thesis addresses three works of the Quebec playwright Olivier Choinière, Beauté intérieure, Projet blanc and Manifeste de la Jeune-Fille with the aim of highlighting the possibilities of spectator emancipation. From his very beginnings, Choinière has held a critical discourse on the theater spectator, and he consequently seeks to include and involve him in his creations. In the light of the theories of reception and especially those of Jacques Rancière in Le spectateur émancipé, this master’s thesis aims to assess the emancipatory possibilities of Choinière's work by analyzing the different means he uses to include the spectator, both formally and politically. At the heart of Rancière's theory is the spectator paradox, which refers to the various means used by contemporary playwrights to force spectator activity and which, according to him, undermine his emancipation. This dissertation will therefore analyze Choinière's work, paying particular attention to the possible reproduction of this paradox in order to establish a degree of probable spectator emancipation in the three chosen pieces.
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