Este estudo busca examinar o teatro de Chico Buarque enquanto dramaturgia, tratar de sua concretização em espetáculo, expor a recepção crítica de cada texto e das montagens mais significativas, relacionar o conjunto da obra ao contexto histórico dos anos de 1968 a 1978 no Brasil. Acompanhando a trajetória do teatro de Chico Buarque, este trabalho traça um painel das difíceis relações entre os artistas, protagonistas de uma atividade que requer a liberdade como princípio e fim, e os homens da última ditadura militar da história brasileira, impositores da censura e praticantes da repressão oficial ou à margem da lei. A presente dissertação compõe-se por uma introdução ao tema, cinco ensaios relativos a cada uma das obras dramatúrgicas do autor e algumas considerações finais. / This study intends to examine the theater by Chico Buarque as playwriting, broach its realization as dramatic spectacle, expose the critic’s judgements on the author’s texts and their most important putting on a show, relate his plays with the historical context of the 1968 to 1978 decade in Brazil. Observing the trajectory of the theater by Chico Buarque, this work delineates a panel of the conflitive relationships between the artists − who are engaged in an activity that requires liberty as principle and purpose − and the men committed to inflict censure and execute the official or lawless repression during the last military dictatorship in Brazil. This dissertation is composed by an introduction to the theme, five essays concerning to each dramatic work by the author and some final considerations.

Barbara Garson’s controversial play, MacBird!, was written and produced during the Vietnam War era and Johnson administration. The satirical Shakespeare adaptation equates LBJ with Macbeth, the villainous tragic hero who murders his king in order to gain the Scottish crown. The implication that Johnson was responsible for the assassination of JFK created a fury of controversy among critics and the public, as well as the political leaders who were parodied. The play was first published and circulated in 1966 as an underground leaflet. In 1967, it was produced off-Broadway with a cast that featured actors Rue McClanahan, William Devane, Cleavon Little, and Stacy Keach, who won an Obie Award for his performance of the title role. The show launched the careers of these actors. Critics were divided in their reviews of the play’s literary merit, but all seemed to agree that the piece was shocking and significant because it flew in the face of patriotism and of reverence for presidential authority. At the time of its production, acclaimed theater critic Robert Brustein named MacBird! “the most explosive play” of the Sixties theater movement. This dissertation presents the history of the play, within its social and political setting, from its inception through its production and abrupt disappearance at the peak of its success, which coincided with the assassination of Robert Kennedy. Relying upon methodology that includes primary and secondary sources, as well as interviews with the playwright and others involved in the play, this work presents the publication and production history of MacBird!, public and White House response to the play, a contextual analysis under a feminist lens, and a final chapter on MacBird! as a precursor to feminist adaptations of canonical works, Sixties-era Macbeth adaptations, and the notable women whose work intersected in MacBird! MacBird! was a tremendous event in theater history; it belongs at the fore of adaptation studies, particularly Shakespeare and feminist adaptation studies; it is a prime model of performance as a political tool and therefore earns a central place in performance studies; and because it is an attack on patriarchal power and a rare example of a Sixties radical play written by a woman, Barbara Garson needs to be recognized among remarkable women of theater. / text

將行銷學概念用來進行規劃表演藝術的推廣策略，因此將表演藝術觀賞者視為消費者 。消費者分析是進行策略規劃的重要依據，故消費者研究相當重要。消費者研究最初 是以人口變項為主，而為了深入了解消費者，因而發展出生活型態的研究取向，本論 文之研究核心是表演藝術觀賞者的生活型態。 生活型態的理論基礎源於心理學，到了一九六０年代被引用到行銷學領域。生活型態 是一個理論化、抽象化的概念，其操作化概念是心理統計變項。心理統計變項的測量 指標有兩部分：一是A.I.O.三面向，一是人口變項。本研究所採用的表演藝術觀賞者 之A.I.O.量表，有兩種，一是特定化量表，將表演藝術視為一種產品，測量與這種產 品有關的活動、興趣與意見。另一是一般化量表，測量觀賞者一般日常生活中的活動 、意見與興趣。 本研究以問卷調查方式，針對政治大學三年級學生進行調查，以因素分析及區別分析 為統計分析方法，探討表演藝術觀賞者與非觀賞者在生活型態方面有何不同。 本研究除了將「消費者行為」的理論應用到觀賞者研究之外，並可作為國內表演藝術 團體及單位推展表演藝術活動之參考。

Discute a construção de um conjunto de edifícios e galerias comerciais em meio ao processo de metropolização e modernização da cidade de São Paulo no século XX. Produtos de um momento de desenvolvimento acelerado da indústria imobiliária, no qual a verticalização na área central era incentivada e ao mesmo tempo controlada pela administração municipal, estes edifícios, datados dos anos 50 e 60 em sua maioria, foram empreendidos por grupos de investidores brasileiros associados a imigrantes europeus, escritórios de arquitetura e construtoras. Considerando sua origem histórica, ao investigar as referências européias, norte-americanas e principalmente a história paulistana, propõe-se a compreensão de sua produção pelo viés arquitetônico, social e mercadológico. O trabalho identifica as especificidades da construção dos edifícios e galerias comerciais resgatando o momento de constituição do centro novo como uma nova área de investimentos, em especial, no setor terciário. Contribui também para as pesquisas sobre os novos programas e novas tipologias ligadas às demandas da metrópole paulistana na segunda metade do século XX. / The construction of a set of commercial buildings and galleries is discussed as part of the metropolization and modernization of the city of São Paulo in the 20th century. Products of a period of accelerated development of the real estate industry, during which the verticalization in the downtown area was encouraged and at the same time controlled by the municipal administration, these buildings, most of them dating back to the 50 and 60\'s, were the enterprise of groups of brazilian investors associated with european immigrants, architectural offices, and builders. Considering their historical origin, when investigating the european and north american references and mainly the history of the city, we propose the understanding of their production from an architectural, social, and marketing viewpoint. The present work identifies the specificities of the construction of the commercial buildings and galleries by recovering the time when a new downtown area was constituted as a new area of investment, especially in the tertiary sector. It also contributes to research about the new programs and typologies linked to the demands of the São Paulo metropolis in the second half of the 20th century.

Discute a construção de um conjunto de edifícios e galerias comerciais em meio ao processo de metropolização e modernização da cidade de São Paulo no século XX. Produtos de um momento de desenvolvimento acelerado da indústria imobiliária, no qual a verticalização na área central era incentivada e ao mesmo tempo controlada pela administração municipal, estes edifícios, datados dos anos 50 e 60 em sua maioria, foram empreendidos por grupos de investidores brasileiros associados a imigrantes europeus, escritórios de arquitetura e construtoras. Considerando sua origem histórica, ao investigar as referências européias, norte-americanas e principalmente a história paulistana, propõe-se a compreensão de sua produção pelo viés arquitetônico, social e mercadológico. O trabalho identifica as especificidades da construção dos edifícios e galerias comerciais resgatando o momento de constituição do centro novo como uma nova área de investimentos, em especial, no setor terciário. Contribui também para as pesquisas sobre os novos programas e novas tipologias ligadas às demandas da metrópole paulistana na segunda metade do século XX. / The construction of a set of commercial buildings and galleries is discussed as part of the metropolization and modernization of the city of São Paulo in the 20th century. Products of a period of accelerated development of the real estate industry, during which the verticalization in the downtown area was encouraged and at the same time controlled by the municipal administration, these buildings, most of them dating back to the 50 and 60\'s, were the enterprise of groups of brazilian investors associated with european immigrants, architectural offices, and builders. Considering their historical origin, when investigating the european and north american references and mainly the history of the city, we propose the understanding of their production from an architectural, social, and marketing viewpoint. The present work identifies the specificities of the construction of the commercial buildings and galleries by recovering the time when a new downtown area was constituted as a new area of investment, especially in the tertiary sector. It also contributes to research about the new programs and typologies linked to the demands of the São Paulo metropolis in the second half of the 20th century.

During the 1960's Guatemalan stability began to falter due to a political and social breakdown; guerilla violence and government repression emerged from this decade as common occurrences. In response to the instability within Guatemala, the US focused on providing significant financial aid to bolster a weak economy, while simultaneously working with the Guatemalan police and military to create more efficient and modern internal security forces capable of combating Communist subversion. Despite US attempts to foster stability, in 1963 President Miguel Ydigoras Fuentes was removed from office by a military coup organized by his opponents within Guatemala. The Lyndon B. Johnson administration continued to support the Guatemalan government and continued to provide economic and military assistance. Despite US assistance, the internal social and political divisions in Guatemala continued to result in violence. In the midst of the escalating violence, elections were held in 1966 and the center left candidate Julio Cesar Mendez Montenegro was elected as the new president of Guatemala. The election of a politically left president further radicalized the Guatemalan right, which resulted in attempted coups and acts of terror. The violence from the leftist guerillas and the radical rightist elements forced Mendez Montenegro to allow the military to use harsh counter-terror strategies to bring the country under control. Despite negative developments, the US consistently tried to help build Guatemalan stability. Unfortunately, its policies ignored the socio-economic inequalities, and internal division which was the biggest problem facing the nation. The internal political division that created the violence and instability made it impossible for any US assistance to have a meaningful impact. During the 1960's these developments in Guatemala paved the way for the violence and genocide of the 1980's and solidified a policy of US involvement that was inadequate and ineffective.

This essay deals with the question of lines of development within the politics in the rural municipality of Nyed 1950-1962. The aim is to explore how local politics and policies were handled from two perspectives. Firstly the issue of conflict and consensus or majority rule and consensus. Here Arend Lijphard's theory of majority and consensus provides a theoretical base for the essay. Secondly the aim is to explore the actions of the local politicians with regards to leisure time policies to find out whether or not they ideologically belonged to the concept of ”folkhemmets kommun” by Ulla Ekström von Essen. The source material for this essay has been the minutes from the two major bodies of local politics in Nyed, kommunalfullmäktige and kommunalnämnden. The minutes from folkskolestyrelse has also been studied in specific policy cases. An interview with local ex-politician Sven Bjureld (c) has also been conducted to give a fuller view of the topic than the study of minutes can give. In the essay the conclusion is drawn that the politicians were part of the ideology of Folkhemmets kommun and that it was the social democrats that were the driving force in that development. It is furthermore concluded that the level of conflict was relatively low and that the municipality can be grouped as a consensus municipality according to Lijphard's theory. There were however three distinct areas of policy where there were more conflict that others: real estate policy, leisure time policy and education policy. The usage of motions as a political weapon was quite low during the period with 12 motions written. It was primarily the social democrats that used this weapon. The essay also points out the fact that there was a movement during the period with regards to how the task of the local politicians were viewed. In the beginning of the period the politicians primarily saw their role as a passive one whereas in the end they saw themselves as having an active role in making the municipality viewed in a positive way by the inhabitants and other members of the public. With regards to development over time it is concluded in the essay that there was a breach around 1955/1956. After that time politics in Nyeds rural municipality started to follow the lines of political parties.

The aim of this study is to analyse the contemporary art critical reception of Siri Derkert’s Ristningar i naturbetong (translates to Engravings in natural concrete) (1965) at the metro station of Östermalmstorg in central Stockholm, and further contextualising the reception within the art debate of modern and public art in 1960’s Sweden. Using linguist Norman Fairclough’s three step-discourse analysis as both methodological and theoretical starting points, combined with art historian Wolfgang Kemp's reception aesthetics, archived newspaper articles, principally from the year 1965, are read and analysed in the study. Aided by a thematic division of the analysis through the themes expression, content, material and permanence some broad conclusions can be made. The results of the study conclude the reception of Derkert’s public work of art as generally positive. There is a consensus in the view of Ristningar i naturbetong in its originality, expressivity, modernity and, in regards to material and technique, experimentality. The artwork’s musical elements, political statements and use of the Norwegian natural concrete, are to a high extent represented in the analyzed articles. In several places the language connotes religious themes in its comparisons of Derkert’s artwork to churches and cathedrals, an element in the reception that is interpreted as a way to enhance the future understanding and potential of the work of art.

En suivant la trajectoire de quatre leaders africains au temps des indépendances, Barthélémy Boganda (République centrafricaine), Patrice Lumumba (République du Congo), Félix Moumié et Ruben Um Nyobè (Cameroun), ce travail cherche à explorer par le biais de l’anthropologie historique, de la méthode comparative et à l’échelle de l’Afrique centrale, en quoi l’assassinat politique peut constituer un moyen de réguler les relations internationales et peut être un fondement de la construction nationale de leur pays d’origine. Au fil de l’itinéraire politique de ces leaders, seront évoquées leurs désillusions onusiennes et panafricaines qui resserrent sur eux l’étau mortel d’une Realpolitik entre bipolarisation et néocolonialisme. L’autre hypothèse explorée est la suivante : il serait possible par le biais de l’Histoire comparée de faire émerger des invariants à l’assassinat politique sous forme de processus récurrents comme l’arme judiciaire, l’arme médiatique, l’absence de sépultures décentes, la damnatio memoriae dont ils sont frappés qui aboutit a contrario à une inversion symbolique et iconique. L’étude s’appuie sur de nombreuses sources qui se sont complétées afin de reconstituer l’enchaînement des évènements et de nouvelles interprétations : archives privées inédites, archives publiques dont certaines ont été déclassifiées pour cette étude, sources audiovisuelles et imprimées, témoignages oraux inédits recueillis par l’auteure. / Through a close examination of the trajectory of four African leaders, Barthélémy Boganda (Republic of Central Africa), Patrice Lumumba (Republic of Congo), Félix Moumié et Ruben Um Nyobé (Cameroun), during the independence era, and by means of the historical anthropology, the comparative method and focusing on Central Africa, this study tries to explore to what extent political assassination could constitute a way of regulating international relationships and lay the foundations of the national construction of their country of origins. Along their political career path, their UN-related and Pan–Africanism disillusionment that tightens around them the lethal noose of a Realpolitik caught between bipolarization and neo-colonialism will be referred to. The other hypothesis developed here is as followed : it could be possible through comparative history to bring out invariance within political assassination under the forms of recurrent processes such as the judiciary weapon, the media weapon, the lack of a decent burial place and the damnatio memoriae they’ve been sentenced to which all contrastingly led to a symbolic and iconic reversal. The study relies on numerous sources that complete each other in order to reconstitute the chain of events and allow new interpretations: private exclusive archives, public archives, some of which having been declassified for this purpose, audio-visual and printed sources, exclusive oral narratives collected by the author.

Made available in DSpace on 2016-04-27T19:30:19Z (GMT). No. of bitstreams: 1 Valeria Aparecida Alves.pdf: 11158129 bytes, checksum: 197fdc3394b6120655436bb40ebb7714 (MD5) Previous issue date: 2011-06-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of study of this research has singled out Torquato de Araújo Neto, who experienced political, economical, and cultural transformations in the late 1950 s and the early 1970 s. He participated actively in the tropicalism movement in music and in the marginal or underground movie production. He also used the press, a privileged medium, to debate and explicit the context in which he was living. From the analysis of Torquato Neto s life s path and discourse, this work aimed at problematizing the Brazilian cultural production during the period of authoritarianism and at discussing the proposals for a renewed Brazilian popular music, the debate among artists and intellectuals, and the various forms of resistance. The research was carried out using the following sources of information: song lyrics, three newspaper columns - Música Popular, published in the Sports newspaper in 1967, Plug, published in Correio da Manhã in 1970, and Geléia Geral, published in Última Hora also in 1970. Other sources were letters, notes, poems, and images about the tropicalism movement found on record covers, in O Estado de São Paulo, Folha de São Paulo and Folha da Tarde newspapers, and in Veja magazine. Videos which registered the stage performance of the movement participants were also used. It is possible to conclude that, during the period of time when increasing measures were taken to curtail freedoms and to repress, a number of artists and intellectuals resisted that arbitrariness and protested against the established order, using the defense that Creating is resisting. They marginally produced, searched for alternative spaces and a new aesthetic language. They displayed anarchic behavior in relation to political and cultural order. They revendicated freedom in every aspect of life, and Torquato Neto was the spokesman of this defense movement / A pesquisa ora apresentada privilegiou como objeto de estudo Torquato de Araújo Neto. Sujeito que vivenciou as transformações políticas, econômicas e culturais ocorridas entre o final dos anos 50 e início da década de 1970. Participante ativo do tropicalismo musical e da produção do cinema marginal ou underground, ocupou espaço privilegiado a imprensa para debater e explicitar o contexto vivido. Buscou-se a partir da análise da trajetória e discurso de Torquato Neto, problematizar a produção cultural brasileira durante o período de vigência do autoritarismo e discutir as propostas de renovação para a Música Popular Brasileira, o debate entre artistas e intelectuais e as diversas formas de resistência. As fontes utilizadas para o desenvolvimento da pesquisa foram: as letras das canções, as colunas Música Popular , publicada no jornal dos Sports, no ano de 1967, Plug , no Correio da Manhã e Geléia Geral , no jornal Última Hora, ambos na década de 1970, além de cartas, anotações e poemas, as imagens produzidas sobre o movimento tropicalista, encontradas nas capas dos discos, nas fotos publicadas na imprensa, nos jornais O Estado de São Paulo, Folha de São Paulo e Folha da Tarde e na revista Veja, além dos vídeos que registraram a performance de seus integrantes nos palcos. Através desta pesquisa, conclui-se que durante o período de ampliação das medidas de cerceamento das liberdades e repressão, uma parcela de artistas e intelectuais resistiu ao arbítrio e protestou contra a ordem estabelecida, assumindo a defesa de que Criar é resistir . Produziram à margem, buscaram espaços alternativos e uma nova linguagem estética. Assumiram uma postura anárquica em relação à ordem política e cultural. Reivindicavam liberdade, em todos os sentidos, e Torquato Neto foi porta-voz dessa defesa