CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A gastrectomia com linfadenectomia ampliada ainda à o padrÃo ouro para o tratamento curativo do cÃncer de estÃmago (CaE), embora este procedimento possa levar a alto Ãndice de morbidade ou mortalidade, principalmente nos pacientes que nÃo apresentem disseminaÃÃo linfÃtica da doenÃa. A pesquisa do linfonodo sentinela (LS), jà consagrada nos tumores iniciais de mama e nos melanomas, apresenta-se cada vez mais freqÃente no trato digestÃrio, em especial no CaE com resultados animadores. Estudos iniciados nos meados do ano 2000 retratam busca crescente e bastante prÃspera para esclarecimento desta questÃo. O objetivo deste trabalho à elaborar um modelo experimental que possa demonstrar tecnicamente, em laboratÃrio, a viabilidade da pesquisa do LS no antro gÃstrico da cadela. Foram estudadas 25 cadelas com peso aproximado de 11 Kg e idade de 01 a 02 anos, sem raÃa definida (SRD), clinicamente saudÃveis, proveniente do Centro de Controle de Zoonoses do MunicÃpio de Fortaleza (CCZ) que tinham programaÃÃo para eutanÃsia. Com escolha aleatÃria, estes animais foram estudados individualmente e semanalmente. Utilizou-se, separadamente, TecnÃcio (99mTc) com traÃador/colÃide Fitato e corante vital azul patente V Guerbert 2,5 % (AP) injetados a 01 cm do piloro, na pequena curvatura no antro gÃstrico da cadela e analisados nos tempos zero, 05, 10, 15 e 20 minutos. ApÃs este perÃodo realizou-se pesquisa âin vivoâ do local de injeÃÃo do marcador e linfonodos encontrados e âex-vivoâ destes linfonodos. Para o estudo com o 99mTc utilizou-se o aparelho Gamma Probe modelo Nuclearlab DGC-II - detector para cirurgia radioguiada e sonda captadora de irradiaÃÃo acoplada com unidade de contagem e rastreamento sonoro e para o AP, visÃo direta. Para a anÃlise estatÃstica utilizou-se o teste de McNemar e o Coeficiente de ConcordÃncia de Kappa. Foi estabelecido em 5% o nÃvel de significÃncia (p≤0,05). Com o uso do 99mTc isolado foi identificado a presenÃa do LS em 20 animais (80%). Quando se utilizou o corante AP isolado a presenÃa do LS foi identificada em 24 animais (96 %). NÃo houve significÃncia estatÃstica quanto ao uso destes marcadores para a pesquisa do LS no antro gÃstrico da cadela. Concluiu-se que (1) O estÃmago da cadela à adequado para modelo experimental de pesquisa âin vivoâ do linfonodo sentinela e (2) O tecnÃcio (99mTc) e corante vital â azul patente V Guerbert 2,5 % (AP) sÃo eficientes como marcadores de linfonodo sentinela do antro gÃstrico da cadela. / The gastrectomy with extensive lymphadenectomy still is the gold standard for the dressing treatment of the gastric cancer (GC), even so these procedures can take high index of morbidity or mortality, mainly in the patients who do not present lymphatic dissemination of the illness. The research of sentinel lymph node (SLN), already consecrated in the initial tumors of breast and the melanomas, presents each time more frequent for upper gastrointestinal cancers, specially in GC with encouraging results. Studies initiated in the middles of 2000 portray increasing and sufficiently prosperous search for clarification of this question. The objective of this work is to elaborate an experimental model that can demonstrate technically, in laboratory, the research viability of SLN in gastric antrum of the dog. 25 female dogs had been studied with approach weight of 11 kg and age of 01/02 years, without definite race (WDR), healthful clinically, proceeding from the Control Center of Zoonosis of Fortaleza City with programming for euthanasia. With random choice, these animals had been studied individually and weekly. It was used, separately, radioisotopic 99mtechnetium labeled phytate and patent blue dye (V Guerbert 2.5%) injected at 01 cm above the piloro, on the small bending in the antrum gastric of the dog and analyzed in the times zero, 05, 10, 15 and 20 minutes. After this period, the injection place of the markers and gastric lymph nodes were appraised âin vivoâ (in the animal) and the gastric lymph nodes âex vivoâ (out of the animal). For the study with the 99mtechnetium it was used the device Gamma Probe model Nuclearlab DGC-II (radioguiada surgery with sounding lead of irradiation connected to unit of counting and sonorous tracking) and for the patent blue dye, direct vision. For the analysis statistics were used the test of McNemar and the Quantify agreement with Kappa. The level of significance was established in 5% (p≤0,05). When the radioisotopic 99mtechnetium labeled phytate was used single, the LS was identified in 20 animals (80%). With the patent blue dye single, in 24 animals (96%). There is no statistic significance with the use of those markers for the LS research in the gastric antrum of the dog. The conclusions are (1) The stomach of the dog is adjusted for experimental model in alive research of the sentinel lymph node (2) The radioisotopic 99mtechnetium labeled phytate and patent blue dye (V Guerbert 2.5%) are efficients as markers of sentinel lymph node of the dogâs gastric antrum.

A presente pesquisa contribui para a análise dos processos de construção da cena teatral contemporânea, verificando a criação do encenador Enrique Diaz, da Cia dos Atores, com enfoque na prática desenvolvida por ele no espetáculo Ensaio.Hamlet. Procura-se estabelecer, neste trabalho, uma reflexão sobre as novas metodologias teatrais que marcam uma ruptura com o modelo dramático tradicional, investigando como se estrutura a construção da cena, da dramaturgia, do trabalho dos atores e do tempo teatral. O que se pretende, aqui, é, além de confirmar as técnicas desenvolvidas por Enrique no espetáculo Ensaio.Hamlet, e que são características de uma nova teatralidade, deixar registrados os procedimentos de criação de um dos mais profícuos artistas contemporâneos, colaborando, assim, com o registro da história do teatro brasileiro. / The current study contributes to the analysis of the constructing process of the contemporaneous scene, by verifying the work by Enrique Diaz (director Cia. dos Atores), focusing on his work called Ensaio.Hamlet. This study also establishes considerations on new theatre/drama methods which do not agree with the conventional drama standard, by examining how construction of scenes, dramatic art, actors acting and of the theatre timing are structured. The purpose of this study is, besides to confirm the techniques developed by Enrique in his play Ensaio.Hamlet, which are characteristics of the new theatre, also to record the creation procedures by one of the most profitable contemporaneous artists, by contributing then with the history record of the Brazilian theatre.

IntroduÃÃo: A Leucemia LinfocÃtica CrÃnica (LLC) à uma neoplasia caracterizada pela proliferaÃÃo clonal de linfÃcitos de aspecto maduro. Apresenta curso clÃnico e prognÃstico heterogÃneo. Rai e Binet criaram sistemas de prognÃsticos clÃnicos que classificam a LLC em baixo, intermediÃrio e alto risco. Surgiram os marcadores biolÃgicos de prognÃstico que aumentaram o poder preditivo na LLC. Objetivo:Caracterizar os marcadores clÃnicos e biolÃgicos de pognÃstico dos pacientes com LLC do ambulatÃrio do Hospital UniversitÃrio Walter CantÃdio (HUWC)/Centro de Hematologia e Hemoterapia do CearÃ/HEMOCE. Metodologia: Trata-se de um estudo retrospectivo, transversal e observacional com 43 pacientes portadores de LLC, recrutados de forma randomisada, no perÃodo de agosto de 2007 a Junho de 2009. Foram coletados dos pacientes dados nos prontuÃrios, entrevista e trÃs amostras com 5,0 ml de sangue venoso perifÃrico em Ãcido etilenodiaminotetraacÃtico (EDTA) para o hemograma, por metodologia automatizada no equipamento CellDynÂ, modelo 3.500; dosagem da Ã2-microglobulina (Ã2-M) sÃrica pelo teste quantitativo automatizado no aparelho MINI- VIDAS (BioMÃrieuxÂ) e imunofenotipagem em citÃmetro de fluxo Beckman Coulter EPICS XL-MCL (Coulter). Em seguida, foi coletado pela punÃÃo da medula Ãssea o aspirado para o mielograma e 4 a 5 ml, em 2 ml de heparina, para a avaliaÃÃo citogenÃtica por bandaâG. A anÃlise dos dados foi realizada utilizando os programas estatÃsticos Biostat 4.0 e GraphPad Prism (versÃo 5.0), o teste Coeficiente de Phi e o teste Coeficiente de Contingencia C. Os testes de Fisher e Qui-quadrado com Ãndice de significÃncia α = 5%. Kaplan-Meier para funÃÃo de sobrevivÃncia e o teste log rank. Os resultados foram gerados usando o software livre R, versÃo 2.7. Resultados: Os pacientes (74,42%) tinham idade acima de 60 anos; 58,14% homens e 41,86% mulheres; a maioria (32,56%) trabalhava na agricultura; pardos (74,42%), procedentes da capital (53,49%); histÃria familiar de LLC desconhecida (46,51%); sintomÃticos ao diagnÃstico (53,49%); com comorbidades (hipertenÃÃo arterial e Diabetes Melitus) (51,16%); estÃgio 0 (34,89%), I e II (51,16%), III e IV (13,95%) de Rai; A (44,19%), B (44,19%) e C (11,62%) de Binet ; tempo de duplicaÃÃo linfocitÃra (TDL) ausente (81,40%); biÃpsia da medula Ãssea com padrÃo nÃo difuso (57,14%); a desidrogenase lÃctica (LDH) normal (83,72%), avaliados ao diagnÃstico. Os exames obtidos durante a evoluÃÃo dos pacientes revelaram um perfil imunofenotÃpico clÃssico de LLC- B, com expressÃo de CD5+, CD19+, CD23+ e imunoglobulina de superfÃcie de baixa expressÃo; a maioria com Zap-70 negativa (77,50%); expressÃo de CD38 negativa (73,81%); Ã2-M aumentada (55,81%); cariÃtipo normal (44,4%) e alteraÃÃes genÃticas em 11, 11% pela citogenÃtica clÃssica. As curvas de sobrevidas dos pacientes com Zap-70 e CD38 negativos apresentaram maior tempo de sobrevida livre de tratamento. ConclusÃo:Os pacientes avaliados eram idosos, com tendÃndia ao diagnostico tardio decorrente do contexto socioeconÃmico; apresentaram LLC indolente, pelos critÃrios de estadiamentos clÃssicos (Rai, Binet, TDL, padrÃo da histologia da medula Ãssea, LDH) e biolÃgicos (as expressÃes da Zap-70 e CD38), exceÃÃo à Ã2-M, porÃm, sem significÃncia. Aqueles com Zap-70 e CD38 negativos apresentaram maior sobrevida livre de tratamento. Pacientes do sexo masculino apresentaram evoluÃÃo e prognÃstico semelhantes ao feminino. O tratamento prevalente foi clorambucil associado à prednisona e nÃo levou os pacientes à remissÃo clÃnica ou hematolÃgica. Os marcadores de prognÃsticos tenderam à correlaÃÃo na identificaÃÃo dos pacientes dentro dos subgrupos de riscos. / Introduction: Chronic lymphocytic leukemia (CLL) is a neoplasm characterized by clonal proliferation of lymphocytes of mature appearance. Clinically and prognostic heterogeneous. Rai and Binet established clinical prognostic systems that classify LLC in low, intermediate and high risk. Soon, the biological markers of prognosis that increased the predictive power of the LLC. Objective: To characterize the clinical and biological markers of pognÃstico of patients with CLL the outpatient department of a university hospital (HUWC) / Center for Hematology and Hemotherapy Cearà / HEMOCE). Methodology: This is a retrospective, cross-sectional and observational 43 patients LLC, recruited so randomisation, from August 2007 to June 2009. We collected patient data from medical records, interview and three samples with 5.0 ml of peripheral venous blood in ethylenediaminetetraacetic acid (EDTA) for blood, for automated methodology CellDyn  equipment, model 3500, measurement of Ã2-microglobulin (Ã2 - M) serum by automated quantitative test on the device MINI-VIDAS (BioMÃrieux Â) and immunophenotyping on flow cytometry Beckman Coulter  EPICS XL-MCL (Coulter). Then collect the puncture of bone marrow aspirate and bone marrow examination for 4 to 5 ml in 2 ml of heparin for cytogenetic evaluation by Banda - G. Data analysis was performed using the statistical programs Biostat 4.0 and GraphPad Prism (version 5.00), the Phi coefficient test and the test coefficient Contingency C. The Fisher and chi-square test with significance level α = 5%. Kaplan-Meier survival function and log rank test. The results were generated using the free software R, version 2.7. Results: The patients (74.42%) were aged over 60 years, 58.14% 41.86% men and women, the majority (32.56%) worked in agriculture; brown (74.42%), coming the capital (53.49%), family history of unknown LLC (46.51%), symptomatic at diagnosis (53.49%), with comorbidity (arterial hypertension and Diabetes Mellitus) (51.16%), stage 0 ( 34.89%), I and II (51.16%), III and IV (13.95%) Rai, A (44.19%), B (44.19%) and C (11.62%) of Binet, lymphocyte doubling time (SRT) absent (81.40%), bone marrow biopsy with non-diffuse pattern (57.14%), lactate dehydrogenase (LDH) normal (83.72%), valued at diagnosis. The tests obtained during the course of the patients showed an immunophenotypic profile of classic B-CLL with expression of CD5 +, CD19 +, CD23 + surface immunoglobulin and low-expression, most with Zap-70 negative (77.50%); expression CD38 negative (73.81%), beta-2 microglobulin increased (55.81%), normal karyotype (44.4%) and genetic alterations in 11, 11% by classical cytogenetics. Survival curves of patients with Zap-70 negative and CD38 showed longer survival free of treatment. Conclusion: The patients studied were elderly, to encourage improve with late diagnosis due to the socioeconomic context, LLC indolent presented by classical staging criteria (Rai, Binet, TDL, standard bone marrow histology, LDH) and biological (the expression of Zap -70 and CD38), except for beta-2 microglobulin, but without statistical significance. Those with Zap-70 and CD38 negative had higher survival free of treatment. Male patients showed progress and prognosis similar to female. The prevalent treatment was associated with chlorambucil prednisone and did not lead patients to clinical remission or hematologic. The prognostic markers of the correlation tended to identify patients within the subgroups of risk.

Informação sobre o estágio de câncer num paciente é fundamental quando médicos avaliam o progresso de seu tratamento. A determinação do estágio de câncer (cancer staging) é um processo que leva em consideração a descrição, localização, características e possíveis metástases dos tumores cancerosos de um paciente. Esse processo deve seguir um padrão de classificação como, por exemplo, o padrão TNM. Porém, na prática clínica, a execução desse processo pode ser tediosa, propensa a erros e gerar incertezas. Com o intuito de amenizar esses problemas, este trabalho tem como objetivo auxiliar radiologistas fornecendo uma segunda opinião na avaliação do estágio de câncer de um paciente. Para isso, tecnologias da Web Semântica, como ontologias e reasoning, foram usadas para classificar automaticamente estágios de câncer. Essa classificação usou anotações semânticas feitas por radiologistas, usando a ferramenta ePAD, e armazenadas no formato AIM. Um protótipo de classificador, baseado no padrão TNM, foi criado. Ele transforma anotações AIM em indivíduos da ontologia AIM4-O e, usando axiomas e regras (escritos na linguagens OWL-SWRL) representando o padrão TNM, ele automaticamente calcula o estágio de câncer de fígado de pacientes. A ontologia AIM4-O foi desenvolvida, como parte desse trabalho, para representar anotações AIM 4 em OWL. Esse classificador TNM foi avaliado, usando-se dados reais de relatórios radiológicos de pacientes do NCIs Genomic Data Commons (GDC), em termos de precisão e revocação, com resultados respectivos de 85,7% e 81,0% (quando comparado aos valores reais de estágio de câncer dos relatórios). Todo o processo foi validado com radiologistas do Radiology Dept. of the Stanford University. / Information about cancer staging in a patient is crucial when clinicians assess treatment progress. Determining cancer stage is a process that takes into account the description, location, characteristics and possible metastasis of cancerous tumors in a patient. It should follow classification standards, such as the TNM Classification of Malignant Tumors. However, in clinical practice, the implementation of this process can be tedious, error-prone and create uncertainty. In order to alleviate these problems, we intend to assist radiologists by providing a second opinion in the evaluation of cancer stage in patients. For doing this, Semantic Web technologies, such as ontologies and reasoning, were used to automatically classify cancer stages. This classification used semantic annotations made by radiologists, using the ePAD tool, and stored using standard AIM format. A TNM based classifier prototype was created. It transforms AIM annotations in AIM4- O ontology individuals and, using axioms and rules (written in OWL-SWRL languages) representing the TNM standard, it automatically calculates patients liver cancer stage. The AIM4-O ontology was developed, as part of this work, to represent AIM 4 annotations in OWL. This TNM classifier was evaluated, using real patients radiology reports, from the NCIs Genomic Data Commons (GDC), in term of precision and recall, with 85.7% and 81.0% respective results (when compared to the actual cancer stages from the reports). The whole process was validated with radiologists from the Radiology Dept. of the Stanford University.

A presente pesquisa analisa e compara o processo criativo de dois filmes de Andrea Tonacci: Interprete Mais, Pague Mais (1974-1995) e Serras da Desordem (2006), com foco na relação do cineasta com os atores documentados, investigando a questão da encenação, performatividade e teatralidade. No primeiro filme, ao documentar a crise de um grupo de teatro, Tonacci explora a teatralidade inerente à realidade que documenta, resultando em uma presentificação que só existe através de seu registro cinematográfico. No segundo filme, ele encena a vida de um índio com o próprio índio, encontrando na reconstituição da vida do outro uma narrativa essencialmente autobiográfica. A comparação dos dois procedimentos visa ao confronto e a uma possível aproximação entre as diferentes formas de mise en scène/mise en présence no ato de filmar do cineasta, bem como a um entendimento das diferentes formas de encenar/presentificar o real no cinema de ficção e documentário. / This work analizes and compares the creative process of two films by Andrea Tonacci: Play More, Pay More (1974-1995) and Hills of Disorder (2006), focusing on the relationship between the filmmaker and the actors, by exploring the notions of staging, theatricality and performativity. On the first film, while showing the crisis faced by a theater group, Tonacci exposes the teatricality inherent to the reality portrayed, resulting in a presentification that only exists through his cinematic device. On the second film, by enacting the story of a native Brazilian, played by the native himself, he finds on the reconstruction of the life of the other a narrative that is essencially autobiographic. A comparison of the two procedures aims at the confrontation and possible approach of these two forms of mise en scène/mise en présence on the very act of filming, through an understanding of the diferent forms of staging/presenting the real on documentary and fiction films.

A pesquisa das práticas de ensino do Teatro como componente curricular da disciplina Arte, na Educação Básica de Alagoas, revelam um sensível distanciamento das propostas contidas nos Parâmetros Curriculares Nacionais voltados para a área. A partir do entendimento dos diversos sentidos da arte e da escola, procurou-se problematizar a aplicação de modalidades pedagógicas voltadas para ações formativas em teatro oriundas de ambientes socioculturais para dentro do contexto escolar sem a necessária transposição didática. Por fim, apontam-se algumas possibilidades de intervenção em vários níveis desta realidade, associando a formação artística e estética a uma perspectiva da encenação. / The research involving acting teaching practices as a curricular component of subject Arts, in Alagoas Basic Education program, reveals a significative detachment from the proposals enclosed in the National Curricular Parameters regarding that specific area. Acknowledging the understanding of the multiple meaning of Art and school, it was intended to scrutinize the application of pedagogic modalities regarding formative actions in acting, from social and cultural environments to the school context without the necessary didactic mediation. Moreover, some possibilities of intervention were pointed out in several levels of that reality, associating the artistic and aesthetic formation to a staging perspective.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-10-24T14:50:08Z No. of bitstreams: 1 danielbrandidocouto.pdf: 2410091 bytes, checksum: 0be97949e3d0076b1e2b736ec3698f14 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-11-23T11:32:38Z (GMT) No. of bitstreams: 1 danielbrandidocouto.pdf: 2410091 bytes, checksum: 0be97949e3d0076b1e2b736ec3698f14 (MD5) / Made available in DSpace on 2018-11-23T11:32:38Z (GMT). No. of bitstreams: 1 danielbrandidocouto.pdf: 2410091 bytes, checksum: 0be97949e3d0076b1e2b736ec3698f14 (MD5) Previous issue date: 2018-07-12 / O presente trabalho investiga a opção da diretora Maria Augusta Ramos pelo uso da encenação no registro de personagens no documentário Juízo (2007). A partir da negativa do registro de menores infratores, que, por lei, devem ter suas identidades preservadas, discute-se a intervenção da diretora não somente como forma de lidar com uma imposição legal, mas como estratégia capaz de potencializar o registro da realidade, dando visibilidade a uma parcela da população marginalizada pelo sistema, e retratada em diferentes condições pelas narrativas audiovisuais brasileiras contemporâneas. / The present study investigates the director Maria Augusta Ramos’ option of using staging for the characters on the documentary Juízo (2007). Due to legal constraints, the minors’ identities must be kept confidential so they cannot be recorded. Therefore, it is discussed the director’s intervention not only as a way of dealing with a statutory requirement but as a strategy to enhance the recording of reality, giving visibility to a portion of the population marginalized by the system and portrayed in different conditions by the contemporary Brazilian audiovisual narratives.

Este estudo aborda o processo criativo da encenação A Princesa Turandot, texto de Carlo Gozzi, realizada por Evguiêni Bagratiónovitch Vakhtângov, no Terceiro Estúdio do Teatro de Arte de Moscou, em 1922. A pesquisa centra-se no entendimento da improvisação teatral como metodologia utilizada para criar e estruturar o referido espetáculo. Inicialmente, são apresentadas as experimentações artísticas de Vakhtângov em suas encenações, e a influência que a redescoberta da Commedia dellArte exerceu em sua trajetória artístico-pedagógica. Para tanto, as principais características da Commedia DellArte são resgatadas como importantes recursos, usados por encenadores russos do início do século XX, aqueles que visavam uma transformação da arte teatral neste período. / This research presents an analysis of the creative process of Princess Turandot, by Carlo Gozzi, directed by Evguiêni Bagratiónovitch Vakhtângov at the Third Studio of Moscows Art Theatre. The main focus falls on the understanding of theatrical improvisation as a specific methodology applied in the creation and structuring of theatrical performances. Thus, Vakhtângovs artistic experiments are discussed, as well as the influence of the rediscovery of Commedia DellArte on his pedagogical trajectory. In that respect, Commedia Dell´Arte is seen as a source of elements which were of great value for Russian directors of the beginning of 20th Century, particularly those who were interested in the renovation of theatre.

Parce qu’elle se donne comme un discours ancillaire chargé d’actualiser le dialogue et de construire la représentation, parce qu’elle semble empiéter sur le terrain réservé du metteur en scène mais ne peut égaler la magie du spectacle, parce qu’elle n’est ni vraiment littéraire ni réellement scénique, la didascalie est longtemps restée le parent pauvre des études théâtrales. Depuis quelques années, elle fait l’objet d’un engouement relatif. D’une part, des études linguistiques décrivent le fonctionnement standard du discours didascalique en synchronie.D’autre part, des études critiques éclairent les poétiques didascaliques d’auteurs en s’intéressant particulièrement aux infractions par rapport à une pure fonctionnalité supposée.Dans cette thèse, nous cherchons à dépasser cette approche clivée en fournissant une poétique générale de la didascalie et, afin de lui donner sens, poids et nuance, nous l’ancrons résolument dans l’histoire en nous fondant sur le théâtre du XXe siècle, de Villiers à Koltès, soit un XXe siècle élargi, solidement ancré dans le XIXe et les yeux déjà tournés vers le XXIe. C’est le moment où la didascalie se redéfinit du fait de l’avènement et de la prise de pouvoir du metteur en scène, le moment où elle sort spectaculairement de son ornière sans pour autant pouvoir ou vouloir se débarrasser totalement d’un fond utilitaire. Elle apparaît alors sans conteste comme une parole boitant "un pied dans le devoir, un pied dans le désir", une parole icarienne tendue entre des catégories théoriquement exclusives. Dans une première partie, nous posons le format du discours didascalique, son territoire,son fonctionnement énonciatif (c’est-à-dire la place exacte qu’il occupe dans la communication dramatique) et ses caractéristiques graphiques (ponctuation, typographie, mise en page). Dans une seconde partie, c’est la fabrique même de l’écriture didascalique qui est étudiée, c’est-à-dire sa tension constitutive entre le pacte qui la régit (clarté, économie) et sa fondamentale aspiration à devenir (devenir-spectacle, devenir-poème, devenir-roman…). / Because they seemingly have to make the dialog work as well as to construct theperformance, because they seem to encroach upon the director’s grounds and yet cannot level with the magic of the actual staging, because they are not a real piece of literature nor do they belong to the show, the stage directions have long been overlooked by theater studies. In the past few years, a mild interest has arisen. On the one hand, linguists describe in a synchronic fashion the generic features of this particular type of discourse. On the other hand, critics wish to seize the specificity of each author’s stage directions, with an emphasis on the breaches of their theoretical functional purity.In this thesis, we intend to go beyond this fragmented approach by offering an overall poetics of stage directions and, in order for it to carry meaning, weight and nuance, we choose to base it on history and, specifically, on XXth century theater, from Villiers to Koltès, an enlarged century, deeply rooted in the XIXth and already glancing at the XXIst. It is then that stage directions redefine themselves as a result of the advent of the director and his coming to power ;it is then that they spectacularly travel out of joint but appear, nonetheless, incapable or unwilling to get rid altogether of their fundamental usefulness. Unequivocally, they prove to be a form of speech limping “one foot in duty, on foot in desire”, an icarian discourse reconciling what is theoretically opposed.This study starts with the format of the stage directions, their territory, their enunciation (i.e. the exact role they play in the dramatic communication), their graphic characteristics (punctuation, typography, lay-out). Then, we investigate the very fabric of stage directions writing, the perpetual tension between the pact that rules them (clarity, economy) and a fundamental drive to become something else (to become stage, to become poem, to become novel…).

L’objet de la thèse est l’illustration des traits distinctifs du travail d’André Antoine au Théâtre Libre. Sa modalité de mettre à la scène est présentée dans son cadre historique à la confluence de nombreux facteurs et elle est lue comme un nœud où plusieurs éléments arrivent à converger. L’analyse des constantes du devenir scénique et des modalités opératives sont mises en rapport avec sa sollicitation continuelle de tous les aspects de l’expérience théâtrale, dictée par l’aversion pour un type de théâtre dépourvu de souffle artistique et ensuite, en dernière analyse, de vérité. On expose la construction de l’espace scénique, inspirée par son attention à l’aspect visuel de la scène, et ses liaisons avec la dramaturgie. Du côté de la dramaturgie on considère le rapport entre Antoine et les auteurs, sa conception dramatique, la constitution du répertoire, l’éclectisme, le caractère de laboratoire et sa contribution à la recherche de la nouvelle formule dramatique. Du côté de la construction de l’espace scénique on considère les décors, les accessoires, l’action des figurants et les effets d’éclairage. On analyse aussi le rôle du Théâtre Libre en rapport avec l’univers théâtral environnant, au moyen d’une réflexion à propos du sens attribuable à son amateurisme, d’une confrontation avec les cercles d’amateurs contemporains et d’un examen de son public. Enfin, on envisage la manière de jouer d’Antoine, sa méthode de construction du personnage et le travail de la troupe / This thesis focuses on the distinctive features of André Antoine’s work at the Théâtre Libre. His staging practice is examined in its historical framework, located at the confluence of various factors, and read as a knot in which several elements come to converge. The constants of his scenic research and of its operative modes are analysed in relation to his ceaseless questioning of the theatrical experience in all its aspects: this approach springs from Antoine’s hostility to a theatre completely devoid of artistic inspiration and, ultimately, of truth. The thesis describes his use of the scenic space, suggested by his attention to the visual aspect of the stage, and its relationships with dramaturgy. As for the dramaturgy, the relations between Antoine and the authors are studied together with his dramatic theory, the making of his repertory, his eclecticism, his experimental attitude and the participation of Théâtre Libre in the search for a new dramatic form. As for the shaping of the scenic space, the thesis examines sceneries, props, the role of walk-ons and light effects. The analysis also takes into account the role of the Théâtre Libre in relation to the contemporary theatrical world, focusing on the meaning of Antoine’s amateurism, on a comparison with the contemporary amateur groups and on the composition of his public. The final part of the thesis is devoted to Antoine’s acting features, to the method through which he built characters and to his company’s work