Esta dissertação caracteriza-se como memorial reflexivo de uma pesquisa empírica, que se enquadra no campo de estudos dos processos de criação cênica. A pesquisa se articula em torno da questão da imersão na cena contemporânea, aqui despertada pelo contato com obras que têm como denominador comum a relação intrínseca da cena e da tecnologia e, ao mesmo tempo, investem na experiência de inundamento sensorial de seus espectadores. A partir dessa perspectiva, investigo procedimentos que possam promover essa experiência teatral imersiva. Para isso, desenvolvo uma pesquisa em dois módulos. O primeiro, um estudo bibliográfico, que visa reconhecer tensões conceituais sobre a perspectiva da imersão. Neste reconheço os princípios de provocação do efeito imersão para serem aplicados no segundo módulo da pesquisa. O segundo módulo dedico à investigação empírica por meio do agenciamento de um experimento cênico conduzido pelos disparadores de imersão discriminados nos desdobramentos teóricos. Esses desvendados por articulação de dispositivos tecnológicos com elementos da linguagem teatral: tempo, espaço, presença, dimensão real e ficcional e manipulação dos sentidos. A partir dessa premissa, desenvolvi o experimento cênico “Insônia”. Disseco o processo de criação e, por consequência, problematizo as descobertas e soluções cênicas encontradas no caminho. / This dissertation distinguishes as a memorial of an empirical research, that belongs to the research field of theatrical creation processes. This research revolve around the notion of immersion in the contemporary scene. In this work is considered by recent contact with theater plays that makes uses of technology and bets in the experience of sensory flooding the spectators. From this perspective, i develop a research about the procedures that might produce this immersive theatrical experience. For achieving that I divide this work in two modules. The first module, a bibliographical study, that wishes to recognize conceptual tensions about the notion of immersion. Here I recognize the principles of provoking this immersion effect for then applying in the second module of the research. In the second module I devote to the empirical research by the means of arranging a theatrical experiment conducted by the immersion triggers found in the conceptual studies. These were discovered by linking technological devices and elements of theatre language: time, space, presence, real and fictional dimensions and sense manipulation. Having this as premise, I developed the theatrical experiment called “Insônia”. I analyze the creative processes and problematize the discoveries and scenic solutions found along the way.

Este trabalho apresenta e analisa a Consulta Encenada a partir do encontro entre arte e a especialidade de Medicina de Família e Comunidade no Projeto de Habilidades de Comunicação do Departamento de Medicina Social da Universidade Federal do Rio Grande do Sul. A pesquisa descreve o processo de criação de personagens, feito de forma peculiar, em colaboração entre atores e médicos, com inspiração em histórias de pacientes reais complementadas pela ficção. A criação, a relação entre as subjetividades dos atores e dos médicos na cena, a noção de fé cênica, o contato e atualização dos sentimentos e da memória foram essenciais para a construção do trabalho. A partir de entrevistas e de materiais como anotações, roteiros e transcrição de uma Consulta Encenada, foi possível descrever e analisar o processo de desenvolvimento do Projeto ancorando-se em estudos sobre o trabalho criativo do ator desenvolvidos por Stanislavski e Grotowski. A verdade dos sentimentos e a ideia de jogo são fundamentais para compreender o papel do ator na experiência. / This work presents and analyses the so-called Staged Appointment (Consulta Encenada) developed from the meeting between art and the area of Medical Studies called Family and Community, in the Project of Communication Skills at Universidade Federal do Rio Grande do Sul. The research describes the process of creating characters, which is done in a very peculiar way, in collaboration with actors/actresses and physicians, based on real patients’ life stories complemented by fictional work. The creation, the relation between the subjectivity of the actors/actresses and physicians on stage, the concept of staging faith, as well as the contact and updating of the senses/feelings and the memories were considered essential to the construction of this work. Also, it was from interviews and from material such as annotations, scripts and the transcription of a Staged Appointment that we were able to describe and analyze the developing process of the Project having as a fundamental basis the studies of the acting creative work developed by Stanislavski and Grotowski. The truth of the feelings and the idea of the game are fundamental to understand the role of the actor/actress in the experience.

A presente pesquisa investiga o conceito de modelo de ação, um dos elementos que configuram a proposta de Bertolt Brecht para o exercício com suas peças didáticas. Para isso, em um primeiro capítulo, são contextualizados os aspectos que fundamentam essa proposta por meio de uma análise da situação em que tais ideias foram elaboradas. No capítulo seguinte, analisa-se com maior detalhamento as considerações do dramaturgo alemão referentes ao conceito de modelo de ação. Ainda neste capítulo, um experimento denominado Sete vezes Sr. Schmitt é abordado como possibilidade na prática com a peça didática. Por fim, no terceiro capítulo, descreve-se e examina-se os procedimentos artísticos e a encenação intitulada BadenBaden, tanto nos âmbitos das premissas que embasaram esse trabalho quanto nas repercussões desse processo para os artistas envolvidos. Dessa forma, especula-se acerca dos vínculos entre a proposta brechtiana das peças didáticas e a prática de encenação contemporânea, no campo da Pedagogia do Teatro. / The current research aims at investigating the concept of action model, one of the elements that constitutes Bertolt Brecht\'s proposal for the exercise with his own learning plays. In the first chapter, the founding aspects of his proposal are contextualized through an analysis of the context in which those ideas were conceived. The next chapter analyzes with more specific details the German dramaturge\'s considerations referring to the concept of action model; in the same chapter, the experiment called \"Seven times Mr. Schmitt\" is described as a possibility in the practice with the learning play. Finally, in the third chapter, the artistic procedures are described and analyzed, and the staging entitled BadenBaden, both in the premises that justify this research, as well as the repercussion of this process for the artists involved. Thus, the connections between Brecht\'s proposal for the learning plays and the contemporary staging practice are evaluated, in the context of the Theater Pedagogy.

Cette thèse propose d’étudier les enjeux et les répercussions de l’introduction du dispositif de la réalité augmentée dans l’espace muséal assurant, de ce fait, deux fonctions principales : « médium de médiation » et « médium de création ».La première partie s’intéresse à la présentation de la réalité augmentée. Elle précise, en premier lieu, sa définition, son histoire d’invention, ses différents outils techniques, ainsi que ses multiples usages dans différents domaines d’application. Elle essaie, en deuxième lieu, de démontrer, à partir de l’analyse de quelques expériences artistiques pionnières, l’ancrage de la réalité augmentée dans l’histoire de l’art. La deuxième partie consacrée à la « mise en scène » de l’espace muséal, examine, d’abord, l’implication de la réalité augmentée dans la mise en place de deux stratégies de « médiation in situ » : « médiation documentaire » et « médiation par appropriation ». Ensuite, elle ambitionne, en se référant à quelques exemples de musées, de dégager les principaux avantages et inconvénients liés à l’adoption de la réalité augmentée comme « médium de médiation ». Axée sur la « mise en oeuvre » de l’espace muséal, la troisième partie aborde la réalité augmentée comme étant un « médium de création ». Elle présente, d’abord, l’histoire du passage de l’espace d’exposition muséal en « oeuvre-exposition ». Elle focalise, ensuite, son intérêt sur l’œuvre We AR in MoMA (2010) du collectif Manifest.AR. De l’analyse des étapes du processus de création de celle-ci, il en découle, enfin, la mise en évidence de notions corollaires telles que : hacktivisme, « musée portatif », « ville augmentée ». / This thesis proposes to study the issues and the repercussions of the introduction of the augmented reality device in the museum space, thus ensuring two main functions : "medium of mediation" and "medium of creation".The first part focuses on the presentation of augmented reality. It specifies, firstly, its definition, its history of invention, its various technical tools, and its multiple uses in different fields of application. Secondly, it try to demonstrate, from the analysis of some pioneering artistic experiences, the anchoring of augmented reality in the history of art. The second part devoted to the "staging" of the museum space, examines first, the involvement of augmented reality in the setting up of two "in situ mediation" strategies : "documentary mediation" and "mediation by appropriation". Then, it aims to identify, by referring to a few examples of museums, to the main advantages and disadvantages of adopting augmented reality as a "mediation medium". Axed on the "implementation" of the museum space, the third part studies augmented reality as a "medium of creation". First, it presents the history of the transition from the museum space of exhibition to a "work-exhibition". Then, it focus its interest on the work We AR in MoMA (2010) of the collective Manifest.AR. From the analysis of the stages of the creation process of this one, it results, finally, the highlighting of corollary notions such as : hacktivism, "handled museum", "augmented city".

<p>The vervet monkey, Chlorocebus aethiops, an Old World monkey, has been often used in biomedical research programs (toxicological studies and fertility) because of the inaccessibility of relevant human tissues. Data from nonhuman primates have been a vital component of advances in areas such as infertility, contraception, and other reproductive processes because of the phylogenetic closeness of the primates to humans. The aims and objectives of the study were 1) to describe the gross morphology, histology and ultrastructure of the male reproductive system, 2) to describe and compare the processes of spermatogenesis and spermiogenesis of the vervet monkey to humans and other nonhuman primates, and 3) to evaluate the vervet monkey as a possible experimental model for future human reproductive studies.</p> <p>Twenty-nine adult male vervet monkeys, aged between 5 and 11 years, were used. Gross morphological features of different organs of the reproductive tract were recorded. Light and electron microscopic techniques, and methacrylate sections were used on selected tissues of the reproductive tract. The results showed that the vervet monkey has a male&nbsp / reproductive system similar to many non-human primates studied and man. The epididymis was distinctively subdivided into the caput, corpus, and the caudal regions. No significant differences were observed on the epithelial height of these three regions. Four cell types, apical, principal, and basal cells, and the intraepithelial lymphocytes were observed. The basal cell distribution showed significant differences among three regions of the epididymis (P &le / 0.01). There were numerous phagocytic vesicles found in three regions of the epididymis. The Sertoli cells showed perforated sleeve-like processes which encased elongated and mature spermatids ready for spermiation. The nuclei of the Sertoli cells were found to be multilobed (4 to 5) compared to the less lobular nuclei of the human Sertoli cells (2 to 3). The Leydig cells showed typical features of steroidogenic cells with abundant smooth endoplasmic reticulum, numerous large mitochondria, and few rough endoplasmic reticulum.</p> <p>It was concluded that the gross morphology and structure of the reproductive tract of the vervet monkey has many similarities to humans and other mammals. Secondly, the organization of spermatogenesis is similar to that found in humans, and is commonly known as a helical arrangement. The results further suggest that the vervet monkey could be regarded as suitable model for human male reproductive studies.</p> <p>&nbsp / </p>

This study examines the cultural and religious politics of dancing in late sixteenth- and early seventeenth-century England. Although theologically dance was considered morally neutral, as a physical, embodied practice, context determined whether each occurrence was deemed acceptable or immoral. Yet, judging and interpreting these contexts, and thus delineating the boundaries between appropriate and inappropriate behaviour, was contested and controversial. Advocates argued that dance enabled controlled, graceful movement and provided a harmless outlet for youthful energy. Opponents decried it as a vain, idle, and lascivious indulgence that led to illicit sexual liaisons, profanation of the sabbath, and eternal damnation. The first chapter introduces early dance fundamentals, describing steps, genres, and sources. The chapter also discusses venues in which people danced, times of day and seasons that were most popular, and demographic details for dancers in western England. Chapter 2 demonstrates how, by varying details of their performance, dancers could influence a dance’s appropriateness, as well as express aspects of identity, such as gender and social rank. Chapter 3 examines how clergymen and religious reformers addressed and tried to undermine pro-dance arguments through their treatment of biblical dance references in sermons and treatises. Chapters 4 and 5 feature case studies of parochial clergymen and lay persons whose opinions about dancing became flashpoints for local controversies. They explain why prosecutions for dancing were so sporadic and geographically scattered: dancing practices rarely entered the historical record unless a “perfect storm” of community tensions and personal antagonisms created irreconcilable differences that led to violence or court cases. The dissertation argues that a category, such as festive traditionalist, is needed to describe those who conformed to or embraced Protestant worship but who strongly resisted attempts to “reform” their behaviour outside of the church.

<p>The vervet monkey, Chlorocebus aethiops, an Old World monkey, has been often used in biomedical research programs (toxicological studies and fertility) because of the inaccessibility of relevant human tissues. Data from nonhuman primates have been a vital component of advances in areas such as infertility, contraception, and other reproductive processes because of the phylogenetic closeness of the primates to humans. The aims and objectives of the study were 1) to describe the gross morphology, histology and ultrastructure of the male reproductive system, 2) to describe and compare the processes of spermatogenesis and spermiogenesis of the vervet monkey to humans and other nonhuman primates, and 3) to evaluate the vervet monkey as a possible experimental model for future human reproductive studies.</p> <p>Twenty-nine adult male vervet monkeys, aged between 5 and 11 years, were used. Gross morphological features of different organs of the reproductive tract were recorded. Light and electron microscopic techniques, and methacrylate sections were used on selected tissues of the reproductive tract. The results showed that the vervet monkey has a male&nbsp / reproductive system similar to many non-human primates studied and man. The epididymis was distinctively subdivided into the caput, corpus, and the caudal regions. No significant differences were observed on the epithelial height of these three regions. Four cell types, apical, principal, and basal cells, and the intraepithelial lymphocytes were observed. The basal cell distribution showed significant differences among three regions of the epididymis (P &le / 0.01). There were numerous phagocytic vesicles found in three regions of the epididymis. The Sertoli cells showed perforated sleeve-like processes which encased elongated and mature spermatids ready for spermiation. The nuclei of the Sertoli cells were found to be multilobed (4 to 5) compared to the less lobular nuclei of the human Sertoli cells (2 to 3). The Leydig cells showed typical features of steroidogenic cells with abundant smooth endoplasmic reticulum, numerous large mitochondria, and few rough endoplasmic reticulum.</p> <p>It was concluded that the gross morphology and structure of the reproductive tract of the vervet monkey has many similarities to humans and other mammals. Secondly, the organization of spermatogenesis is similar to that found in humans, and is commonly known as a helical arrangement. The results further suggest that the vervet monkey could be regarded as suitable model for human male reproductive studies.</p> <p>&nbsp / </p>

In this dissertation, I advance the question of what it means for applied theatre artists to give voice to the community members with whom they work. The study engages with some of the ethical and aesthetic tensions that emerge when one group of people (artists) is entrusted with giving dramatic form to the lived experience of another group (community members). The central premise of the dissertation is that when community participants increase their independent capacity to devise dynamic and compelling theatre, they achieve greater agency. Using a grounded theory analysis, I theorize qualities and characteristics that contribute to the staging of aesthetically arresting theatre, organized into a conceptual lexicon. This praxis-based study is intended to enable applied theatre practitioners to more directly give voice to their community partners. The dissertation presents a vocabulary that offers community participants and professional artists a mutually understood language with which to engage the power of the theatrical event. / Graduate

This study examines the cultural and religious politics of dancing in late sixteenth- and early seventeenth-century England. Although theologically dance was considered morally neutral, as a physical, embodied practice, context determined whether each occurrence was deemed acceptable or immoral. Yet, judging and interpreting these contexts, and thus delineating the boundaries between appropriate and inappropriate behaviour, was contested and controversial. Advocates argued that dance enabled controlled, graceful movement and provided a harmless outlet for youthful energy. Opponents decried it as a vain, idle, and lascivious indulgence that led to illicit sexual liaisons, profanation of the sabbath, and eternal damnation. The first chapter introduces early dance fundamentals, describing steps, genres, and sources. The chapter also discusses venues in which people danced, times of day and seasons that were most popular, and demographic details for dancers in western England. Chapter 2 demonstrates how, by varying details of their performance, dancers could influence a dance’s appropriateness, as well as express aspects of identity, such as gender and social rank. Chapter 3 examines how clergymen and religious reformers addressed and tried to undermine pro-dance arguments through their treatment of biblical dance references in sermons and treatises. Chapters 4 and 5 feature case studies of parochial clergymen and lay persons whose opinions about dancing became flashpoints for local controversies. They explain why prosecutions for dancing were so sporadic and geographically scattered: dancing practices rarely entered the historical record unless a “perfect storm” of community tensions and personal antagonisms created irreconcilable differences that led to violence or court cases. The dissertation argues that a category, such as festive traditionalist, is needed to describe those who conformed to or embraced Protestant worship but who strongly resisted attempts to “reform” their behaviour outside of the church.

Diss. (sammanfattning) Linköping : Univ., 2002. / Härtill 5 uppsatser.