Orientador: Matteo Bonfitto Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-29T00:16:22Z (GMT). No. of bitstreams: 1 Caniatto_Fabio_M.pdf: 3451940 bytes, checksum: f5c50511d2ed464c3bddb60fc4e70e06 (MD5) Previous issue date: 2011 / Resumo: Esta dissertação tem como objeto de estudo o processo de criação do espetáculo "100 Shakespeare" produzido pela Pia Fraus Teatro no ano de 2006. O espetáculo reúne nove textos de William Shakespeare apresentados de forma não linear, praticamente sem o uso da palavra e com recursos da linguagem do Teatro de Animação. Utiliza técnicas de manipulação de bonecos como bunraku, luz negra, vara, direta, além da manipulação de objetos e uso de máscaras. "100 Shakespeare", como construções narrativas da companhia anteriores a esta, reconfigura as técnicas de manipulação de bonecos. Esta reconfiguração e seu modus operandi trouxe aos atores criadores, seres naturalmente exercitantes da busca expressiva, um olhar mais apurado ao nível de consciência de sua expressividade e como ela pode ser transferida ao boneco ou objeto. Para isso foi analisada, passo a passo, a elaboração de cada cena componente do trabalho e o comportamento do corpo do ator em relação à construção estética dos bonecos e suas técnicas de manipulação. Objetivamente o estudo busca mostrar formas de instrumentalização do manipulador de bonecos, aqui chamado de ator/manipulador, através da elaboração e gradação da transmissão de sua expressividade ao boneco e também da alteridade presente na criação da identidade de cada personagem / Abstract: This thesis is to study the process of creating the show "Shakespeare 100" produced by Pia Fraus Theatre in 2006. The show brings together nine texts of William Shakespeare presented in a nonlinear manner, almost without the use of words and language features of the Animation Theater. It uses techniques such as manipulation of Bunraku puppets, black light, stick, direct, and the manipulation of objects and use of masks. "100 Shakespeare," as narratives of the company prior to this, reconfigures the techniques of manipulating puppets. This reconfiguration and its modus operandi brought to the actors creators, search retreatants beings naturally expressive, a closer look at the level of awareness of their expression and how it can be transferred to the puppet or object. For it was analyzed, step by step, the preparation of each scene component of the work and behavior of the actor's body in relation to the aesthetic construction of the puppets and their manipulation techniques. Objectively, the study seeks to show ways of manipulation of the puppeteer, here called the actor / handler, through the development and transmission of gradation expressivity as well as the puppet of otherness present at the creation of the identity of each character / Mestrado / Artes Cenicas / Mestre em Artes

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Mary Woodbery / Caption title / Typescript / M.A. Florida State College for Women 1908

In this dissertation, I examine the influence of Pyrrhonist skepticism over Shakespeare’s sonnets. Unlike academic skepticism, which begins from a position of doubt, Pyrrhonist skepticism encourages an embrace of multiple perspectives that, according to Sextus Empiricus, leads first to a suspension of judgment and ultimately to a state of tranquility. The Pyrrhonian inflection of Shakespeare’s sonnets accounts for the pleasure and uncertainty they cultivate in readers. By offering readers multiple perspectives on a given issue, such as love or infidelity, Shakespeare’s sonnets demonstrate the instability of information, suggesting that such instability can be a source for pleasure. One essential tool for the uncertainty in the sonnets, I argue, is the figurative language they draw from a variety of fields and discourses. When these metaphors contradict one another, creating fragmented images in the minds of readers, they generate a unique aesthetic experience, which creates meaning that transcends the significance of any of the individual metaphors. In the first two chapters, I identify important contexts for Shakespeare’s sensitivity to the pliability of figurative language: Reformation-era religious tracts and pamphleteers’ debates about the value and function of the theater. In Chapter 3, I examine Shakespeare’s response to the Petrarchan tradition, arguing that he diverges from the sonneteers, who often use figurative language in an attempt to access and communicate stable truths. Shakespeare creates epistemological instability in sonnets both to the young man and to the dark lady, and, as I argue in Chapter 4, this similarity offers readers an opportunity to think beyond traditional divisions between the two sonnet subsequences.

This thesis is an analysis of the comic and tragicomic styles that are evident in plays written by Beaumont and Fletcher.

This monograph is an analytical study of the character of Sir John Falstaff in The First and Second Parts of Henry The Fourth, and The Merry Wives of Windor, by William Shakespeare, its purpose being to assist in an accurate portrayal of the character upon the stage. It is, then, an acting thesis in three parts: a study of the historical element of the character, analysis of the masterpieces as created by Shakespeare, and an intensive research of the character as portrayed by the best actors from Shakespeare's original production in the Globe Theatre to the present day.

A number of recent successful authorship studies have relied on a statistical analysis of language features based on function words. However, stylometry has not been extensively applied to Elizabethan and Jacobean dramatic questions. To determine the effectiveness of such an approach in this field, language features are studied in twenty-four plays by Shakespeare and eight by Fletcher. The goal is to develop procedures that might be used to determine the authorship of individual scenes in The Two Noble Kinsmen and Henry VIII. Homonyms, spelling variants and contracted forms in old-spelling dramatic texts present problems for a computer analysis. A program that uses a system of pre-edit codes and replacement /expansion lists was developed to prepare versions of the texts in which all forms of common words can be recognized automatically. To evaluate some procedures for determining authorship developed by A. Q. Morton and his colleagues, occurrences of 30 common collocations and 5 proportional pairs are analyzed in the texts. Within-author variation for these features is greater than had been found in previous studies. Univariate chi-square tests are shown to be of limited usefulness because of the statistical distribution of these textual features and correlation between pairs of features. The best of the collocations do not discriminate as well as most of the individual words from which they are composed. Turning to the rate of occurrence of individual words and groups of words, distinctiveness ratios and t-tests are used to select variables that best discriminate between Shakespeare and Fletcher. Variation due to date of composition and genre within the Shakespeare texts is examined. A multivariate and distributionfree discriminant analysis procedure (using kernel estimation) is introduced. The classifiers based on the best marker words and the kernel method are not greatly affected by characterization and perform well for samples as short as 500 words. When the final procedure is used to assign the 459 scenes of known authorship (containing at least 500 words)almost 112 95% are assigned to the correct author. Only two scenes are incorrectly classified, and 4.8% of the scenes cannot be assigned to either author by the procedure. When applied to individual scenes of at least 500 words in The Two Noble Kinsmen and Henry VIII, the procedure indicates that both plays are collaborations and generally supports the usual division. However, the marker words in a number of scenes often attributed to Fletcher are very much closer to Shakespeare's pattern of use. These scenes include TNK IV.iii and H8 I.iii, IV.i-ii and V.iv.

Because of the lack of information concerning the success or failure of Schubert's bilingual edition and concerning the relationship between the English texts and Schubert's settings, most performers take the conservative route of performing both the songs from Lady of the Lake and the rest of Schubert's English song repertoire only with the German translations. Because of the desirability of performing this repertoire in English for English-speaking audiences, this study examines all of the English songs of Schubert to determine whether the original poems can be successfully substituted for the German translations. Editions of the settings that can be effectively performed with the English texts are included in the appendix, in order to make available editions which reflect Schubert's ambition to make his songs easily accessible to non-German-speaking audiences.

This thesis evaluates tragic characters from three representative tragedies, Macbeth, Antigone, and Death of a Salesman, in terms of Lawrence Kohlberg's six stage theory of moral development. A tragic character's moral judgment is described as being founded on universal values and principles which determine stage placement. The tragic situation is precipitated by conflict experienced by a character between his present stage form of evaluation and the more preferred, differentiated and integrated form of the next higher stage. Since Kohlberg's theory is cognitive-developmental with the moral principle of justice emerging autonomously at the stage six level, its application aids in supporting a view of tragedy based on a moral order having justice as its highest principle and on a continuity independent of historical and cultural influence.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Translation. Johannesburg, 2016 / There are eleven official languages in South Africa. However, only two of these languages – English and Afrikaans – are dominant. It is often argued that this is because the other 9 official languages do not have enough terminology to be used in institutions of higher learning and in technical fields. I argue that the adaptation of literary texts helps in improving the status of African languages. For this purpose this research involves an analysis of Shakespeare’s Romeo and Juliet which has been adapted into an English novel Hill of Fools by Peteni (1976) and later translated into isiXhosa as Kwazidenge (Peteni 1980). The analysis consists of a comparison between extracts from Romeo and Juliet and Kwazidenge via Hill of Fools using Lambert and van Gorp’s (1985) practical model for textual analysis. I argue that as much as Romeo and Juliet can be seen as a difficult text because of Shakespeare’s English, Peteni was successful in adapting the play into isiXhosa. / MT2017