Made available in DSpace on 2013-08-07T19:02:37Z (GMT). No. of bitstreams: 1 000447108-Texto+Completo-0.pdf: 1663346 bytes, checksum: d5d350da1ba7cdbdfd1d05edfca19119 (MD5) Previous issue date: 2013 / It’s sketchy a study about of poetic textuality in the Antonin Artaud’s poems and in the David Nebreda’s designed writes. Used the hermeneutics of difference by the way of Jacques Derrida’s desconstruction. In each of authors are examined three theoretical points: first, beyond articulation of scripture concept and its derivation in difference, trail and hymen, from desconstruction; next, it’s thought the psychossomatic concept inside of a psychoanalytical approach, whose body and psychic cause strong interference; by the last, the subjectile concept is examined in a dimension of madness and loss of rationality in contemporary aesthetic production, for there is the subdivision of poetic activity with its add attempt a pictographic support to texts, dismantling the standard perception of reading separated from subjective process. Looking up a reading which interpreter implication is important for a specific play with madness, both in the clinic as in the researcher personal analysis, in order to draw a parallel attached to artistic activity of Artaud and Nebreda. / É delineado um estudo acerca da textualidade poética nos poemas de Antonin Artaud e nos escritos desenhados de David Nebreda. Utiliza-se a hermenêutica da diferença pela via da desconstrução de Jacques Derrida. Em cada um dos autores são examinados três pontos teóricos: primeiro, através da articulação do conceito de escritura e sua derivação em diferensa, rastro e hímen, a partir da desconstrução; em seguida, é pensado o conceito de psicossomática dentro de uma perspectiva psicanalítica, cujo como corpo e psiquismo causam forte interferência; por fim, o conceito de subjétil é examinado em uma dimensão de enlouquecimento e de perda da racionalidade na produção estética contemporânea, pois há o fracionamento da atividade poética com a sua tentativa de adicionar um suporte pictográfico aos textos, desmantelando a percepção tradicional de leitura separada dos processos subjetivos. Busca-se uma leitura dos textos em que a implicação do intérprete se faz premente em um jogo específico com a loucura, tanto na clínica quanto na análise pessoal do pesquisador, de forma a traçar um paralelo unido à atividade artística de Artaud e Nebreda.

Mestrado (dissertação)—Universidade de Brasília, Instituto de Artes, 2011. / Submitted by Shayane Marques Zica (marquacizh@uol.com.br) on 2011-10-10T18:56:52Z No. of bitstreams: 1 2011_RaquelRibeiroMartins.pdf: 6041220 bytes, checksum: da1ed36fac764a342136a643d09bd77b (MD5) / Approved for entry into archive by Jaqueline Ferreira de Souza(jaquefs.braz@gmail.com) on 2011-10-13T11:34:32Z (GMT) No. of bitstreams: 1 2011_RaquelRibeiroMartins.pdf: 6041220 bytes, checksum: da1ed36fac764a342136a643d09bd77b (MD5) / Made available in DSpace on 2011-10-13T11:34:32Z (GMT). No. of bitstreams: 1 2011_RaquelRibeiroMartins.pdf: 6041220 bytes, checksum: da1ed36fac764a342136a643d09bd77b (MD5) / A partir do imenso território conceitual estabelecido pelo termo performance, esta pesquisa se estabelece. Entre as multiplicidades de compreensão que essa expressão agencia, foram trabalhadas as categorias performances culturais e performances artísticas. É por meio da intersecção e da conseqüente contaminação desses territórios tão demarcados a primeira vista que se forjam linhas de fuga às apreensões hegemônicas que interpelam os dois universos. Dessa forma, o presente trabalho caracteriza-se como uma investigação das possibilidades de relação entre os universos conceituais performance artística e performance cultural em atenção às suas dinâmicas de realização e aos discursos elaborados sobre elas no contexto específico das manifestações da cultura popular. Para tanto, o jongo compõe o mapa do trabalho como um estudo de caso que permite compreender a realização performática de expressões híbridas, cujas dimensões culturais e artísticas encontram-se indissociáveis. Sem negar as singularidades as quais esses termos são remetidos, o fluxo investigativo foi deslocado da identificação dos territórios de cada plano em questão para a percepção do grau de porosidade de suas fronteiras e das possibilidades de desterritorialização. Diante disso, permearam a pesquisa os seguintes aspectos: a interdisciplinaridade, a multiplicidade e a heterogeneidade. Com a intenção de viabilizar as relações pretendidas entre as categorizações do termo performance a partir do jongo, foram escolhidas as seguintes grandezas relacionais que compõem a multiplicidade das performances: o corpo em ação, o espaço e o tempo. O estudo dessas dimensões materializadas no jongo compõe a estratégia metodológica da pesquisa. A necessidade aqui destacada de compreender essas dimensões em suas operações conceituais historicamente estabelecidas, ou seja, seus elementos social e culturalmente atribuídos, não se contrapõe ao entendimento de que elas apresentam-se conectadas em rizomas. Essas reflexões foram construídas a partir de revisão bibliográfica e pesquisa de campo. São consideradas, em especial, as contribuições de Antonin Artaud. Além de investigar obras que se debruçam sobre o discurso artaudiano, buscou-se provocar diálogos entre estudiosos de diversas áreas interessados nas artes performativas na perspectiva de (re)pensar as fronteiras – e suas porosidades – entre as dimensões culturais e artísticas das práticas humanas. _______________________________________________________________________________ ABSTRACT / From the immense territory established by the conceptual term performance, this research is established. Among the multitude of understanding that this term agency, the categories “cultural performances” and “artistic performances” were explored. It is through the intersection and the consequent contamination of the territories so marked at a first sight that arise escape routes of the hegemonic understandings of these two universes. Thus, this work is characterized as an investigation of possible relationship between the conceptual universes “artistic performance” and “cultural performance” in attention to their dynamic and the discourses about them in the specific context of the manifestations of popular culture. For this, “jongo” defines the map of this research as a case study to understand the performative hybrid expressions, which cultural and artistic dimensions are inseparable. Without denying the singularities which these terms are sent, the flow was shifted from the investigative identifying areas of each plan in question to the perception of the porosity of borders and the possibilities of deterritorialization. The following aspects permeated the research: interdisciplinarity, multiplicity and heterogeneity. With the purpose of ensuring the desired relationship between the categorizations of the term performance from “jongo”, were chosen the following relational quantities that make up the multitude of performances: the body in action, space and time. The study of these dimensions in “jongo” is the research methodological strategy. The need here to understand the dimensions highlighted in its conceptual operations historically established is not opposed to the understanding that they have to be connected in rhizomes. These reflections were constructed from literature review and field research. Are considered, in particular, the contributions of Antonin Artaud. Besides investigating the works that focus on the speech Artaudian aimed to provoke dialogue among scholars from various fields interested in the performing arts in view of (re)think the boundaries – and their pores – between the artistic and cultural dimensions of human practices.

The purpose of this thesis is to examine Webster's The Duchess of Malfi, a representative example of the Jacobean "horror" play, in terms of its possible relationship to Antonin Artaud's Theatre of Cruelty, a dramatic theory chiefly propounded in The Theater and its Double. The introductory section outlines the basic aims and principles of a Theatre of Cruelty as postulated by Artaud, and attempts to show why, in view of recent theatrical experiments, Webster's play might profitably be investigated within this twentieth century context. The first two chapters proceed to a discussion of Webster's complex theatrical form, attempting to show how and why he makes full use of any available dramatic and theatrical device and convention to aid in the presentation of his personal vision of man and society. The play is thus first examined in the context of Total Theatre, a principle basic to a Theatre of Cruelty. The central chapters of the thesis investigate the thematic lines in The Duchess of Malfi, and attempt to show how in spite of the many components from which the play is constructed, there nevertheless emerges a unified and coherent dramatic vision. This vision is seen as being developed in three ways, separable for purposes of discussion but ultimately closely inter-related, namely visual imagery, verbal imagery and characters-in-action. Thematic presentation through visual and verbal imagery is discussed in Chapter III, while Chapter IV deals in more detail with aspects of characterization. The argument advanced in Chapter IV is that Webster's method of characterization is based on what is basically a simple Good and Evil contrast, with the characters developed as opposed Forces or symbols. The characters in action, seen as opposed Forces, constitute a third presentation of the central themes, working with and strengthening the presentation of the themes as explored in the visual and verbal imagery. The final chapter of the thesis examines the play in somewhat more general terms. An attempt is made to relate The Duchess of Malfi to more traditional genres—tragedy, comedy and satire. Webster's particular use of certain features of these traditional forms is discussed. Because the play is imperfect if measured against the accepted conventions of tragedy, the theory is advanced that it might be viewed as related philosophically to the contemporary Theatre of the Absurd, on which the Theatre of Cruelty has had considerable formative influence. Throughout the discussion of themes and characterization, references to Artaud and interpretations of Artaud's ideas are included wherever possible to point out the closeness of the relationship between The Duchess of Malfi and Artaud's Theatre of Cruelty. The thesis advanced throughout is that the play contains within itself elements which were not formally advanced as an approach to drama until this century. In effect, a Jacobean Theatre of Cruelty is being suggested as existing in fact if not in name. Concluding remarks suggest that if the felt relationship between The Duchess of Malfi and the Theatre of Cruelty is seen to be a valid one, an investigation of other works by Jacobean dramatists might prove of use in giving meaning and significance to much of the violence, horror and grotesquery which appears in the plays of the period. The response of the Jacobean dramatists to their times can be seen as in many ways analogous to the response to the human condition in the dramas of the contemporary avant-garde. / Arts, Faculty of / English, Department of / Graduate

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

A presente pesquisa teve como ponto de partida a experiência com docentes que recebem crianças consideradas da educação especial em duas escolas públicas de uma cidade do interior do Rio Grande do Sul. O estudo investigou o modo como as Rodas de Conversa podem contribuir para a formação continuada de educadores que recebem alunos de inclusão. O objetivo principal foi ofertar condições para que as professoras narrassem suas experiências cotidianas com esses alunos e que, por meio dessas narrativas, pudessem apostar mais na construção de um saber singular acerca de seu fazer docente. As interrogações norteadoras da pesquisa foram: é possível que se produzam movimentos nas narrativas e, quiçá, nas posições discursivas das educadoras através das Rodas de Conversa? As Rodas seriam potentes como dispositivo de formação dirigida a educadores que recebem alunos de inclusão? A metodologia utilizada para a condução e a análise do material foi inspirada na escuta psicanalítica – a atenção flutuante, do lado da pesquisadora; a associação livre, na fala dos docentes; e a temporalidade do a posteriori, na análise dos materiais –, conjugada aos efeitos ético-metodológicos advindos do tema da experiência em Walter Benjamin. As Rodas, pela escuta da dimensão da experiência dos docentes, funcionaram como espaços de acolhimento aos alunos considerados da educação especial, onde muitas vozes, palavras e vivências puderam ser enunciadas, criando assim condições para que se desse o trânsito da “Mão Única” para as “Passagens”. É nesse sentido que apostamos na construção do saber da experiência como via de travessia para uma micropolítica de inclusão nas escolas. / The present research had as a starting point the experience with teachers who assist children with special needs in two public schools in a countryside city of Rio Grande do Sul. The study investigated the way the Conversation Rounds can contribute to the continuous education of teachers who have students from inclusion. The main purpose was to offer conditions for the teachers to talk about their daily experiences with these students and, through these narratives, they could invest more in the development of singular knowledge involving their teaching practice. The questions which guided this research were: Is it possible to produce movement in the narratives and, perhaps, in the discursive attitude of the teachers? Would the Rounds be powerful to a formative proposal directed to the teachers who work with special needs education? The methodology used to conduct and analyze the material at the Rounds was inspired in the psychoanalytic listening – by the researcher’s suspended attention, the free association at the teacher’s talking and the deferred temporality at the material analysis - combined with the ethics-methodological effects from Walter Benjamin’s theme of experience. Using elements like listening, experience, knowledge and truth, several voices, words and experiences could be interlaced and thus, being a way to make working and welcoming special needs students more creative. We can say that the Conversation Rounds, when they go from a “One-way” to “Passages”, they point to the development of knowledge based on experience and, thus having the possibility of becoming an inclusion micro-policy at schools.

Notre recherche porte sur la corporéité de la voix et sur l'étude des possibilités signifiantes de celle-ci. Son objectif premier est de démontrer que la voix en tant que matière sonore - c'est-à-dire la voix prise en dehors de sa fonction de support à la parole - peut développer sa propre forme de langage, et que ce langage corporel peut être utilisé comme épicentre d'une création scénique. L'essai scénique Une petite longueur d'onde consiste en une application pratique de cette recherche. D'une part, il explore la capacité de la voix à dégager du sens sans les mots, en communiquant à la scène des émotions, des états et des sensations. D'autre part, il utilise la voix tel un matériau, afin d'explorer comment celle-ci peut être modelée, façonnée et organisée et, ainsi, proposer d'autres significations. Complémentaire de notre essai scénique, l'essai critique La voix sans les mots, un langage corporel à la scène trace, dans un premier chapitre, un bref état des lieux du travail de la voix à la scène à travers l'étude de trois démarches : celles d'Antonin Artaud, du Roy Hart Théâtre et de Claude Régy. Le deuxième chapitre tente, quant à lui, de définir les liens entre la voix et le sensible, tant par la manifestation des émotions à travers la voix que par le rapport qu'elle entretient avec les sens de l'ouïe et de la vue. Enfin, le dernier chapitre s'intéresse à la voix et à sa signification, plus précisément aux possibilités d'intervenir sur la voix afin d'en transformer le sens. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : corps, langage, matière sonore, sensible, signification, voix

A presente pesquisa teve como ponto de partida a experiência com docentes que recebem crianças consideradas da educação especial em duas escolas públicas de uma cidade do interior do Rio Grande do Sul. O estudo investigou o modo como as Rodas de Conversa podem contribuir para a formação continuada de educadores que recebem alunos de inclusão. O objetivo principal foi ofertar condições para que as professoras narrassem suas experiências cotidianas com esses alunos e que, por meio dessas narrativas, pudessem apostar mais na construção de um saber singular acerca de seu fazer docente. As interrogações norteadoras da pesquisa foram: é possível que se produzam movimentos nas narrativas e, quiçá, nas posições discursivas das educadoras através das Rodas de Conversa? As Rodas seriam potentes como dispositivo de formação dirigida a educadores que recebem alunos de inclusão? A metodologia utilizada para a condução e a análise do material foi inspirada na escuta psicanalítica – a atenção flutuante, do lado da pesquisadora; a associação livre, na fala dos docentes; e a temporalidade do a posteriori, na análise dos materiais –, conjugada aos efeitos ético-metodológicos advindos do tema da experiência em Walter Benjamin. As Rodas, pela escuta da dimensão da experiência dos docentes, funcionaram como espaços de acolhimento aos alunos considerados da educação especial, onde muitas vozes, palavras e vivências puderam ser enunciadas, criando assim condições para que se desse o trânsito da “Mão Única” para as “Passagens”. É nesse sentido que apostamos na construção do saber da experiência como via de travessia para uma micropolítica de inclusão nas escolas. / The present research had as a starting point the experience with teachers who assist children with special needs in two public schools in a countryside city of Rio Grande do Sul. The study investigated the way the Conversation Rounds can contribute to the continuous education of teachers who have students from inclusion. The main purpose was to offer conditions for the teachers to talk about their daily experiences with these students and, through these narratives, they could invest more in the development of singular knowledge involving their teaching practice. The questions which guided this research were: Is it possible to produce movement in the narratives and, perhaps, in the discursive attitude of the teachers? Would the Rounds be powerful to a formative proposal directed to the teachers who work with special needs education? The methodology used to conduct and analyze the material at the Rounds was inspired in the psychoanalytic listening – by the researcher’s suspended attention, the free association at the teacher’s talking and the deferred temporality at the material analysis - combined with the ethics-methodological effects from Walter Benjamin’s theme of experience. Using elements like listening, experience, knowledge and truth, several voices, words and experiences could be interlaced and thus, being a way to make working and welcoming special needs students more creative. We can say that the Conversation Rounds, when they go from a “One-way” to “Passages”, they point to the development of knowledge based on experience and, thus having the possibility of becoming an inclusion micro-policy at schools.

A presente pesquisa teve como ponto de partida a experiência com docentes que recebem crianças consideradas da educação especial em duas escolas públicas de uma cidade do interior do Rio Grande do Sul. O estudo investigou o modo como as Rodas de Conversa podem contribuir para a formação continuada de educadores que recebem alunos de inclusão. O objetivo principal foi ofertar condições para que as professoras narrassem suas experiências cotidianas com esses alunos e que, por meio dessas narrativas, pudessem apostar mais na construção de um saber singular acerca de seu fazer docente. As interrogações norteadoras da pesquisa foram: é possível que se produzam movimentos nas narrativas e, quiçá, nas posições discursivas das educadoras através das Rodas de Conversa? As Rodas seriam potentes como dispositivo de formação dirigida a educadores que recebem alunos de inclusão? A metodologia utilizada para a condução e a análise do material foi inspirada na escuta psicanalítica – a atenção flutuante, do lado da pesquisadora; a associação livre, na fala dos docentes; e a temporalidade do a posteriori, na análise dos materiais –, conjugada aos efeitos ético-metodológicos advindos do tema da experiência em Walter Benjamin. As Rodas, pela escuta da dimensão da experiência dos docentes, funcionaram como espaços de acolhimento aos alunos considerados da educação especial, onde muitas vozes, palavras e vivências puderam ser enunciadas, criando assim condições para que se desse o trânsito da “Mão Única” para as “Passagens”. É nesse sentido que apostamos na construção do saber da experiência como via de travessia para uma micropolítica de inclusão nas escolas. / The present research had as a starting point the experience with teachers who assist children with special needs in two public schools in a countryside city of Rio Grande do Sul. The study investigated the way the Conversation Rounds can contribute to the continuous education of teachers who have students from inclusion. The main purpose was to offer conditions for the teachers to talk about their daily experiences with these students and, through these narratives, they could invest more in the development of singular knowledge involving their teaching practice. The questions which guided this research were: Is it possible to produce movement in the narratives and, perhaps, in the discursive attitude of the teachers? Would the Rounds be powerful to a formative proposal directed to the teachers who work with special needs education? The methodology used to conduct and analyze the material at the Rounds was inspired in the psychoanalytic listening – by the researcher’s suspended attention, the free association at the teacher’s talking and the deferred temporality at the material analysis - combined with the ethics-methodological effects from Walter Benjamin’s theme of experience. Using elements like listening, experience, knowledge and truth, several voices, words and experiences could be interlaced and thus, being a way to make working and welcoming special needs students more creative. We can say that the Conversation Rounds, when they go from a “One-way” to “Passages”, they point to the development of knowledge based on experience and, thus having the possibility of becoming an inclusion micro-policy at schools.

This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.

Made available in DSpace on 2015-04-14T13:38:52Z (GMT). No. of bitstreams: 1 447108.pdf: 1663346 bytes, checksum: d5d350da1ba7cdbdfd1d05edfca19119 (MD5) Previous issue date: 2013-01-11 / It s sketchy a study about of poetic textuality in the Antonin Artaud s poems and in the David Nebreda s designed writes. Used the hermeneutics of difference by the way of Jacques Derrida s desconstruction. In each of authors are examined three theoretical points: first, beyond articulation of scripture concept and its derivation in difference, trail and hymen, from desconstruction; next, it s thought the psychossomatic concept inside of a psychoanalytical approach, whose body and psychic cause strong interference; by the last, the subjectile concept is examined in a dimension of madness and loss of rationality in contemporary aesthetic production, for there is the subdivision of poetic activity with its add attempt a pictographic support to texts, dismantling the standard perception of reading separated from subjective process. Looking up a reading which interpreter implication is important for a specific play with madness, both in the clinic as in the researcher personal analysis, in order to draw a parallel attached to artistic activity of Artaud and Nebreda. / ? delineado um estudo acerca da textualidade po?tica nos poemas de Antonin Artaud e nos escritos desenhados de David Nebreda. Utiliza-se a hermen?utica da diferen?a pela via da desconstru??o de Jacques Derrida. Em cada um dos autores s?o examinados tr?s pontos te?ricos: primeiro, atrav?s da articula??o do conceito de escritura e sua deriva??o em diferensa, rastro e h?men, a partir da desconstru??o; em seguida, ? pensado o conceito de psicossom?tica dentro de uma perspectiva psicanal?tica, cujo como corpo e psiquismo causam forte interfer?ncia; por fim, o conceito de subj?til ? examinado em uma dimens?o de enlouquecimento e de perda da racionalidade na produ??o est?tica contempor?nea, pois h? o fracionamento da atividade po?tica com a sua tentativa de adicionar um suporte pictogr?fico aos textos, desmantelando a percep??o tradicional de leitura separada dos processos subjetivos. Busca-se uma leitura dos textos em que a implica??o do int?rprete se faz premente em um jogo espec?fico com a loucura, tanto na cl?nica quanto na an?lise pessoal do pesquisador, de forma a tra?ar um paralelo unido ? atividade art?stica de Artaud e Nebreda.