Thesis (doctoral)--Universität, Wien, 1961. / Includes bibliographical references (p. 424-438) and index.

Thesis (M.A.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 59-61). Also available in print.

The thesis continues the work undertaken in recent years by (in alphabetical order) James J. Marino, Scott McMillin, Paul Menzer, Simon Palfrey, Tiffany Stern, Evelyn Tribble, and others to put to use what is now known about the purpose, distribution, and usage of early modern actors' parts. The thesis applies the new methodology of reading 'in parts', or reconstituting early modern plays 'in parts', to the body of plays written by Ben Jonson. The aim of the project is to offer a reconsideration of Jonson as a man of theatre, interested not only in the presentation of his works in print, but also in their production at the Globe and at Blackfriars. By reconstructing and examining the parts through which the actors performing in Jonson's plays accessed their characters, the thesis proposes answers to the questions: how can we read and analyse Jonson's plays differently when looking at them in terms of actors' parts; did Jonson write with parts in mind; what did Jonsonian parts have to offer actors by way of challenge and guidance; what can we learn from parts about Jonson's assumptions and demands with regard to the actors; and how did actors themselves respond to those demands. These questions are significant because they engage critically with the tradition of seeing Jonson as a playwright dismissive of actors and distrustful of the theatre; they seek to establish a perspective that allows us to assess Jonson's abilities to instruct and challenge his actors through staging documents. More generally, the research contributes to the studies of the early modern rehearsal and staging practices and invites consideration of Shakespeare's part-writing techniques in contrast with those of his major rival. With no surviving early modern parts from Jonson's plays (indeed with only a handful of surviving parts from the period), the first task is to determine the level of accuracy with which the parts can be reconstructed from Jonson's printed plays. Stephen Orgel was by no means the first critic who used the example of Sejanus to assert that Jonson habitually doctored his plays before they were published, but his view has become a critical commonplace. This thesis re-examines the case of Jonson's revisions and concludes that, far from being representative, the 1605 Sejanus quarto is an anomaly which Jonson himself needed to account for in his address to the reader. It is true that Jonson cultivated a distinct style of presentation of printed material, but the evidence that he extensively tampered with the texts themselves after they were performed is scarce (again, the revisions found in the Folio versions of Every Man in His Humour and Cynthia's Revels are addressed and found to be exceptional, rather than typical), while the evidence of his pride in the original compositions and performances is much stronger. Since such enhancements as dedicatory poems, arguments (i.e. plot summaries), character sketches, or marginalia have no bearing on the shapes of actor's parts, they do not in any way compromise the reliability of the printed texts as sources from which Jonson's parts can, argues the thesis, be reconstructed with reasonable accuracy. Jonson, himself an actor and apparently a friend and admirer of a number of great actors of his age (Edward Alleyn, Nathan Field, Richard Robinson, Salomon Pavy, Richard Burbage), knew from personal experience how much depended on actors mastering, or, in their terminology, being 'perfect' in, their parts. By granting the actor access only to select portions of the complete play-text (i.e. his own lines and cues), the part effectively regulated the performance in cases when the actor had only limited knowledge of the rest of the play. Such cases seem to have been very common: documentary evidence suggests that actors had to learn their parts on their own over the course of a few weeks, and only then attended group rehearsals, most of which were concerned with 'business', not text which had already been learned. While some might have attended a reading of the play (if one was arranged for the benefit of the sharers, for instance), or gained more information about the play from their fellow actors, the parts remained their chief means of internalising their text and acquiring a sense of the play they were in. Jonson, who was not a resident playwright with any company performing in London and thus probably did not always have easy and regular access to the actors, could sometimes have taken advantage of the actors' dependence on their parts and crafted the parts as a means of exercising control over the performances of his plays. Building on this premise, the thesis examines various features of actors' parts that would have made a difference to an actor's performance. It draws on recent advancements in the studies of textual cohesion (linguistic features such as reference, substitution, ellipsis, etc.) to point out how the high and low frequency of cohesive ties (pairs of cohesively related words or phrases) in various sections of the part would have given an actor a good idea of how prominent his part was at any given moment. It examines Jonson's use of cues and patterns of cueing: like Shakespeare, Jonson was fond of using repeated cues to open up a space for improvisation, and he seems to have been aware of the need to provide the apprentices in the company with parts cued by a limited number of actors so as to allow for easier private rehearsals with their masters. The thesis also examines the common feature of Jonson's 'split jokes' - jokes that are divided across multiple parts - and asks whether any kind of comic effect can be achieved by excluding the punch line of a joke from the part that contains its setup, and the setup from the part that delivers the punch line, offering a fresh look at the nature of early modern comedy. In structural terms, the thesis considers how a narrative constituted solely by the lines present on an actor's part can diverge from the narrative of the play as a whole and how an understanding of a play as a text composed of actors' parts, as well as of acts and scenes, can help to refine arguments about Jonson's assumptions about the strengths of the companies for which he wrote. What emerges is an image of Jonson who, far from concerned only with readership, consciously developed a brand of comedy that was uniquely suited to, perhaps even relying on, the solipsistic manner in which the actors received and learned their parts.

Esta dissertação aborda, de maneira analítico-descritiva, um fenômeno de crescente importância nas relações internacionais: a atuação diplomática dos governos não centrais, também conhecidos como entes subnacionais. Dentro do contexto da pós Guerra-Fria e do vigente processo de globalização, após a década de 1980, é analisado como os entes subnacionais de diversos países do mundo, além do Brasil, se comportam diante das novas demandas globais e face à seus interesses específicos. A partir da premissa teórica da interdependência complexa, o trabalho estuda o início e o desenvolvimento deste processo de atuação internacional dos entes subnacionais, fenômeno conhecido como paradiplomacia. A análise se estende ao plano internacional, em um primeiro momento, demonstrando, de maneira geral, a importância da paradiplomacia em diferentes países do mundo, com ênfase nos casos de maior relevância para o trabalho. Num segundo momento, estuda-se, em particular, a prática da paradiplomacia no Brasil, relatando suas concepções e seu desenvolvimento, bem como os principais casos brasileiros e seus resultados práticos. O trabalho conclui que a democratização dos Estados nacionais, o federalismo e os processo de integração regional são tendencialmente estimuladores da paradiplomacia dos governos não centrais. / This dissertation approaches in a descriptive way a new perspective in International Relations: the international action of non-central governments, or sub national actors. Inside an after-Cold-War context and the present globalization process, started in the 80’s, is analyzed as the sub national actors from different countries in the world, besides Brazil, behaved and as yet behave facing new global demands, observing the process also in the Nation-States which they belong to. From the theoretical premise of the complex interdependence, supported by the globalization tool, it is approached the beginning and the development of this international entailing process of the sub national beings, which is known as paradiplomacy. The analysis stretches out to the international plan in the first moment, demonstrating, in a wide range, the importance of the paradiplomacy in different countries of the world, exemplifying with cases of bigger relevance to this monography, and demonstrating the misdeeds and benefits of this practice. In a second moment, it is analyzed in particular the practice of the paradiplomacy in Brazil, mentioning its conception and development, in the same way as the global cases, and also mentioning, in a wide manner, the main Brazilian cases of paradiplomacy, just like its practical results.

A pesquisa de dissertação intitulada Entre Texto e Palco: Um Estudo sobre a Preparação do Espetáculo e dos Atores pelas Companhias Profissionais Elisabetanas se propõe a analisar alguns elementos relevantes no tocante à organização do espetáculo teatral pelas companhias profissionais elisabetanas. Os objetivos da pesquisa foram estudar a preparação das peças pelas companhias, quais os manuscritos estruturados para preparar o espetáculo e aqueles que seriam entregues aos atores, as partes; compreender a preparação do espetáculo pelos atores e o sistema de repertório, bem como a distribuição de seus papéis e a tradição do sistema de transmissão de papéis entre os atores, tentando verificar se existia algum procedimento de trabalho, instrução, estudo, ensaio, leituras; e por fim, do modo de interpretação, se havia uma noção determinada sobre a representação cênica, que descobrimos era reconhecida no período como passionating, conceito sobre a arte de interpretar do ator. A pesquisa foi bibliográfica, investigativa e de análise de fragmentos de duas peças de Shakespeare, A Tragédia de Hamlet, Príncipe da Dinamarca e Sonho de uma Noite de Verão. Passagens foram pinçadas dessas duas peças de modo que realizamos um estudo comparativo e de análise nos servindo de pontuais perspectivas de críticos que contribuíram imensamente na fundamentação de nossa articulação a respeito dos elementos acima citados e que moveram a pesquisa. Na delimitação do problema quatro foram os autores que fundamentaram nossa dissertação. São críticos que tiveram acesso direto aos manuscritos do período, são eles: David Bradley, Andrew Gurr, Tiffany Stern e John Astington por abordarem em muitos dos seus estudos a temática sobre a questão organizacional do espetáculo como um todo. Desses autores, apropriamo-nos da discussão a respeito do Book e do Plot, documentos que faziam referência à preparação do espetáculo. Investigamos a relevância desses documentos que, pela análise dos autores, indicam como o espetáculo era preparado pelos atores das companhias profissionais elisabetanas. / The dissertation research titled Between Text and Stage: a Study on the Preparation of the Spectacle and the Actors of the Elizabethan Professional Companies, intends to analyze some relevant elements regarding the organization of the Elizabethan theatrical spectacle by the actors of the Elizabethan professional companies. The research objectives were to study the preparation of plays by the companies, which manuscripts were structured to prepare the spectacle and those that would be delivered to the actors, the parts; to comprehend the preparation of the spectacle by the actors and the repertory system, as well as the distribution of its roles, the tradition of the transmission system between the actors, analyzing whether there were some work procedure, instruction, study, gathering, readings; and finally, the mode of interpretation, if there was a certain notion about the art of representation, which we discovered it were recognized in the period as passionating: concept on the art of interpretation. The research was bibliographic, investigative and analitic of fragments from two Shakespeare‟s plays - Midsummer Night’s Dream and Hamlet, Prince of Denmark. Passages were plucked from these two plays so we conducted an analitic study on them approaching specific perspectives of critics who have contributed immensely in the grounds of our articulation on the elements mentioned above. These critics had direct access to the manuscripts of the period, they are: David Bradley, Andrew Gurr, Tiffany Stern e John Astington. They addressed many of their studies on the subject organizational issue of the spectacles as a whole. From these authors, we assumed the discussion of Book and Plot, documents that referred to the preparation of the spectacles. We investigate the relevance of these documents, the authors' analysis, indicate how the show was prepared by the actors of the Elizabethan professional companies.

Orientadora: Lucia Regina Vieira Romano / Banca: Elizabeth Lopes / Banca: Vinicius Torres Machado / Resumo: Partindo da minha formação enquanto atriz junto ao Odin Teatret, e de todos os estudos que as(os) integrantes desse grupo têm realizado acerca do vocabulário da atriz e do ator, busquei conectar teoria e prática, retomando o treinamento que é desenvolvido nessa tradição. Logo no início da pesquisa, o princípio da oposição, por sua recorrente presença nos exercícios e também nos escritos, mostrou-se relevante dentro do processo formativo desse grupo, especialmente no que diz respeito ao desenvolvimento da presença e criação cênicas. Debrucei-me sobre o conceito deste princípio e suas formas de manifestação, levando-me a subdividi-lo em outros quatro: a contraposição, a resistência, a pré-ação e a introversão e extroversão, e ainda, a relacioná-lo com outros estudos, tais como: a mímica moderna de Decroux, a biomecânica de Meyerhold e a expressividade corpórea de Delsarte. Também levei a oposição para dentro da minha cultura, através da Capoeira Angola e do samba brasileiro. Enquanto que, para seu trato em contexto de formação da atriz e do ator, trouxe sua explanação através dos exercícios conduzidos pelas atrizes Julia Varley, Iben Nagel Rasmussen, Roberta Carreri e pelo ator Jan Ferslev, do Odin Teatret, sem deixar, contudo, de abordar o contexto desse trabalho, permeado pela vivência com o grupo em sua sede, na Dinamarca. Tendo esta pesquisa, prioritariamente, um caráter prático e artístico, houve a sua materialização através da criação da demonstração de trabalho O oposto... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Starting from my training as an actress with Odin Teatret, and all the studies that the members of this group have done on the actress and the actor's vocabulary, I sought to connect theory and practice, returning to the training that is developed in this tradition. At the beginning of the research, due to its recurrent presence in the exercises and in the writings, the principle of opposition presented itself as relevant within this formative process, especially with regard to the development of scenic presence and creation. I focused on this principle concept and its manifestation forms, leading me to subdivide it into four others: counterposition, resistance, pre-action and introversion and extraversion, and also to relate it to other studies, such as: the Decroux's Modern Mime, Meyerhold's biomechanics and Delsarte's corporeal expressiveness. I also brought the opposition into my culture, through Capoeira Angola and Brazilian samba. While, for its use inside the actress and the actor' training, I exposed the exercises conducted by the actresses Julia Varley, Iben Nagel Rasmussen, Roberta Carreri and the actor Jan Ferslev, from Odin Teatret. However, it did not fail to address the context of this work, which was filled up by living with the group at its headquarters in Denmark. Having this research, as a matter of priority, a practical and artistic approach, its materialization came with the creation of the word demonstration The opposite, making possible to relive the practical experience with a pedagogical bias. In addition to the exercises and the historical influences, through the characters and scenes of the performance Stars and The Butterfly Nightmare, and the work demonstration The opposite, all directed by Varley, I presented the incorporation of the opposition in the creation, which proved to be a useful tool in the actress and actor's formation. / Mestre

Previous research shows that there is a demand of enhancing our understanding about the local actor as a mechanism for peacebuilding, suggesting a need for further investigation about the phenomena amid the growing complexity and decentralization of scenes in conflict. The research in this study draws together empirical data on an informal local peace committee (LPC) conducted in Laikipia, northern Kenya; a county which have experienced a multitude of conflict dynamics recently involving state and non-state actors, to know more about their role as local peacebuilders. The case is analyzed through the analytical framework of Peace Formation that have been constructed via feasible ‘post-liberal peace’ components emphasizing local agency in relation to their socio-political environment in order to maintain sustainable processes of peace on the ground. Findings shows that the informal LPC have filled a conflict management and governance vacuum by emerging; and resting on; traditional structures and critical social networks, while at the same time adjusting its services to new landscapes of conflict through illiberal practices, in turn providing explanatory power to the conditions set forward by the analytical framework. Though, findings also reveal that the informal LPC faces several challenges enforced coercively through security forces, political interests by the Kenyan Government, and even the UN-backed peace infrastructure itself. Consequently, the informal LPC expressed retaliation through violence and became accordingly an actor that enforced cycles of conflict on several fronts, instead of just working for peace. Thus, the role of the local actor as a mechanism for peacebuilding remains uncertain in this research, due to the articulation of both peace and conflict activities. In this, a new concept is briefly highlighted for the reader that seeks to move beyond static views of locality, termed ‘grey peacebuilding’.

Orientador: José Paulo Alves Fusco / Banca: Marcel Andreotti Musetti / Banca: Fernando Bernardi de Souza / Resumo: Esta pesquisa analisa as estruturas e os relacionamentos em uma rede de empresas do setor metal-mecânico, localizada no interior do Estado de São Paulo. Entende-se que, por meio da atividade econômica de cada empresa, forma-se a estrutura da rede de empresas, na qual são negociados insumos e produtos entre os atores. Nessa mesma estrutura, configura-se uma rede de relações organizacionais que pode influenciar o desempenho da empresa, por meio de seus laços relacionais diretos ou indiretos. Os resultados das atividades organizacionais dependem das relações e posicionamento dos várioss atores da rede de empresas (fornecedores, clientes, provedor logístico, agente financeiro, associações, entre outros). Nesse contexto, esta dissertação apresenta uma revisão da literatura sobre redes de empresas, ferramentas de análise de redes, análise posicional das redes e valor. O principal objetivo é compreender como o posicionamento dos atores pode influenciar a formação de valor, em função das operações exploradas por uma rede de empresas em um determinado negócio. Para tanto, propõe-se uma abordagem metodológica para analisar de que modo os aspectos de posicionamento (estruturais e relacionais) dos atores influenciam a formação de valor. A rede de empresas foi delimitada e mapeada a partir de uma empresa da rede (ator central). Foram escolhidos outros três atores com maior interação e intensidade no relacionamento com o ator central. Na pesquisa de campo, foram identificados os principais elementos para a formação de valor. O método de pesquisa utilizado é principalmente qualitativo e os dados obtidos serviram como exemplo de aplicação de uma rede de empresas do setor metal-mecânico. A técnica utilizada foi a de etapas formais de estudo de caso para garantir a validade do trabalho. O uso da abordagem metodológica proposta envolve os aspectos ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This theses examines the structures and relationship in an inter-firm network or the metal-mechanic sector, located in a specific region of the Sao Paulo state in Brazil. It is understood that by means of economic activity of each company is formed the structure of the inter-firm network, in which are traded materials and products among the actors. On the same structure, it is configured a networkt of organizational relationships that can influence the performance of the company, through indirect or direct relational ties. The results of the organizational activities depend of relations and positioning of various actors of the interfirm network (suppliers, customers, logistics provider, financial agents and associations, among others). In this context, this research presents a review of the literature on inter-firm networks, network analysis tools, positional analysis of networks and value. The main goal is to understand how the positioning of the actors (in this case, a business unit) may influence the formation of value, depending of the operations used by an inter-firm network. In addition, it proposes a methodological approach to analyze how the positioning aspects (structural and relational) of actors influence the formation of value. The inter-firm network has been defined and mapped from a company (central actor). Three actors were chosen, based on greater intensity and interaction in the relationship with this central actor. In the field research have been identified the main elements for the value formation. The methodological approach is mainly qualitative, and the data obtained was used as an application example in an inter-firm network of the metal-mechanic sector. The research method which was used is the formal steps of the case study to ensure the validity of the work. The use of a methodological approach involves the structural and relational aspects of the network studied ... (Complete abstract click electronic access below) / Mestre

Orientador: Alexandre Luiz Mate / Banca: Carminda Mendes André / Banca: José Pacheco / Banca: Mei Hua Soares / Banca: Reynúncio Napoleão de Lima / Resumo: Apresento na pesquisa reflexão a respeito da formação de atores e atrizes em consigna livre, imbricando antecedentes histórico-conceituais à observação das práxis estético-político-pedagógicos de três instituições que oferecem cursos de atuação: Escola Livre de Teatro de Santo André (ELT), Núcleo de Artes Cênicas (NAC) e SP Escola de Teatro. Com base em pressupostos característicos da forma de produção coletivo-colaborativa do teatro de grupo e da atoralidade, no concernente à atitude criativa composicional da obra (configurando-se em experimento estético histórico-social), defendo a tese segundo a qual as metodologias experienciadas no processo formativo concernem ao modo como se considera a função social do teatro. Assim, ao estabelecer um campo de disputa simbólica, a arte contra-hegemônica intenta uma busca de alternativas e resistência, que cria novas formas de organização e relações sociais. Nesse sentido, evidenciam-se, na reflexão, as influências do teatro livre, político, agitpropista e do teatro épico para a criação dos estúdios e do sujeito histórico teatro de grupo, coligindo produção artística e formação cultural. Parte da produção teatral europeia, desde o final do século XIX e início do século XX instigou a reação de opositores, que instaurou o processo de retomada do movimento hegemônico realista. No Brasil, a ascendência do livre verificou-se na produção teatral do chamado teatro da militância, principalmente, no Teatro de Arena, Teatro Paulista do Estudante ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: I present in the research reflection about the formation of actors and actresses in free model, imbricating historical-conceptual antecedents to the observation of the aesthetic- political-pedagogical praxis of three institutions that offer courses of action: Escola Livre de Teatro de Santo André (ELT), Núcleo de Artes Cênicas (NAC) e SP Escola de Teatro. Based on typical assumptions of form of collective-collaborative production of the theater group and interpreter as an author, with regard to compositional creative attitude of the work (setting in socio-historical aesthetic experiment), I defend the thesis that the experienced methodologies in formative process concern the way in which the social function of theater is considered. Thus, in establishing a field of symbolic dispute, anti- hegemonic art seeks a search for alternatives and resistance, which create new forms of organization and social relations. In this sense, becomes evident in the reflexion the influence of the free, political, agitprop and epic theater to the creation of the studios and the group theater as a historical subject, gathering artistic production and cultural formation. Part of the European theater production, from the late nineteenth and early twentieth century instigated the reaction of opponents, which set the process of reviving the hegemonic realist movement. In Brazil, the ancestry of the free was verified in the theatrical production of the so-called theater of militancy, mainly in the Teat... (Complete abstract click electronic access below) / Doutor

Orientador(a): Suely Master / Banca: Fábio Miguel / Banca: Joana Mariz de Sousa / Resumo: O objetivo do presente estudo está em verificar de que maneira o treinamento da voz mista favoreceria o trabalho vocal dos participantes. Para tanto, um grupo de atores e atrizes foi submetido a um treinamento vocal do método por um período de três meses. A metodologia do trabalho, de caráter qualitativo, estruturou-se por meio de análise de conteúdo sobre entrevistas semi-estruturadas realizadas com a amostra após o treinamento, e observação auditiva sobre as gravações das aulas realizadas. Os parâmetros analisados foram consciência vocal e apropriação técnica. Ambos foram elaborados no decorrer desta pesquisa, e subdivididos em quatro níveis cada. Todos os participantes foram classificados quanto aos parâmetros observados. Os resultados encontrados apontam que, mesmo com um cronograma de treinamento reduzido, todos os participantes obtiveram resultados positivos e satisfatórios após o período de treinamento. Podemos concluir que todos os artistas ampliaram a suas percepções sensoriais e corporais quanto ao uso da voz, percebendo melhor seus instrumentos, e como melhor utilizá-los. O treinamento trouxe uma abertura ao espectro de autoconhecimento desses artistas ampliando seus repertórios pessoais, podendo, a partir de então, reverberar em suas criações artísticas / Abstract: The purpose of the present study is to verify how the training of the mixed voice would favor the vocal work of the participants. For that, a group of actors and actresses underwent a vocal trainin g of the method for a period of three months. The qualitative methodology of the work was structured by content analysis on semi - structured interviews conducted with the sample after the training, and auditory observation on the recordings of the classes performed. The parameters analyzed were v ocal awareness and technical appropriation. Both were elaborated in the course of this research, and subdivided into four levels each. All participants were classified according to the observed parameters. The resul ts show that, even with a reduced training schedule, all the participants obtained positive and satisfactory results after the training period . We can conclude that all artists have broadened their sensory and bodily perceptions regarding the use of voice, better perceiving their instruments, and how they can use them better. The training brought an opening to the spectrum of self - knowledge of these artists expanding their personal repertoires, and from then on, reverberate in their artistic creations / Mestre