Stuttgart, Univ., Diss., 2003.

Zugl.: Heidelberg, Univ., Diss., 2009

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura / Proyecto Fondecyt Iniciación 11130269

My master thesis inspects the phenomenon of anxiety in Samuel Beckett's Endgame. In this thesis, anxiety is seen from the phenomenological perspective . However, the explanation of anxiety by psychology and psychiatry is offered as well, so that more complex understanding is enabled. An analysis of Beckett's play is highly influenced by phenomenology, especially by Martin Heidegger, and also by the daseinsanalysis. In these connotations, we inspect Endgame, especially the situation of characters on the stage and the world of the play itself as a mirroring of the real world. We show that human existence is one of the most significant sources of anxiety, that it is innate to almost every human being from time to time, and that it has a remarkable dramatic potential. Although there is no final explication of Beckett's play, my thesis attempts to get closer to its understanding through the phenomenon of anxiety. As a part of this thesis, the translation of one part of Stanley Cavell's essay called Ending the Waiting Game is included, which tries to explain the meaning of Endgame in a different way.

Made available in DSpace on 2014-11-10T11:09:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-06-27Bitstream added on 2014-11-10T11:58:09Z : No. of bitstreams: 1 000795419.pdf: 1895559 bytes, checksum: 489e141580aeb49a2993a507a832343a (MD5) / Nesta pesquisa investigamos como alguns artistas envolvidos na encenação de peças curtas do teatro de Samuel Beckett no Brasil lidaram com o trabalho de criação vocal das mesmas, se houve algum tipo de preparo ou não, que tipo de problemas encontraram etc. Foram entrevistados sete artistas que estiveram envolvidos em alguma montagem brasileira entre os anos de 1985 e 2012. O resultado das conversas dá uma noção de como foi o envolvimento deles com a obra beckettiana e que tipo de impacto ela teve na relação deles com a criação, sobretudo no tocante à maneira como a palavra era colocada em cena. Os relatos abriram possibilidades de reflexões acerca do papel do intérprete em um tipo de teatro rigoroso como o de Beckett, de como entendem a relação entre corpo e voz, ou como lidam com a criação de personagens, que frequentemente não parece possível dentro de uma abordagem psicológica ou realista, mas sim a partir de aspectos bem materiais da encenação, como a movimentação, a respiração, a partitura sonora e vocal. Por fim, percebemos que não houve um preparo técnico vocal específico dos artistas consultados e que a criação vocal foi compreendida como a consequência de um trabalho que engloba noções de entrega do ator, de representação e resentificação, discussões sobre formas de se trabalhar a personagem, de rituais de preparação, entre outras, abrindo campo para discutir o valor da técnica vocal no desempenho de tal tipo de teatro. / This research investigated how some Brazilian performers prepared themselves vocally to play Samuel Beckett’s short theatre. If there was some sort of preparation or not,what kind of problems encountered etc. Seven artists were interviewed who were involved in some Brazilian theatrical productions between the years 1985 and 2012. The result of these conversations gives a sense of how their involvement was with Beckett's work and what kind of impact it had on their relationship with creation particularly with regard to the way the word into the performance. The reports opened possibilities for reflections on the role of the performer in a type of rigorous theater like Beckettian theatre. Understanding how the relationship between body and voice or how they deal with the creation of characters which often does not seem possible within an approach psychological or realistic, but from material aspects of staging such as movement, breathing, sound and vocal scores. Finally, we realized that not there was a vocal specific technical preparation of the performers and the vocal creation was understood as the result of a work which encompasses notions of the commitment of the actor, representation and presentification, the discussions of ways to work the character, rituals of preparation, among others, opening the field to discuss the value of vocal technique in the performance of this kind of theater.

Made available in DSpace on 2014-12-02T11:16:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-09-27Bitstream added on 2014-12-02T11:21:19Z : No. of bitstreams: 1 000738930.pdf: 808052 bytes, checksum: 6e15b2b2fe9dc1fcc89676bc9d150bfb (MD5) / A restrição de movimentos é uma das características mais marcantes das rubricas de Beckett. Confinados em cadeiras, vasos, enterrados, não podendo sentar-se, com dificuldades de andar ou de se mover, seus personagens exigem do ator um contato constante com o desconforto, portanto, para um contato concreto com o próprio corpo. Veremos por quais meios a terminologia criada pelo autor ao analisar a obra dos pintores Abraham van Velde e Gerardus van Velde, que estabelece uma polaridade fundamental entre um “olho/carrasco” e uma “coisa/vítima” ao tratar da impossibilidade da representação pictórica, serve como instrumental teórico para uma compreensão de seu projeto teatral. Para tanto, aplicaremos este modelo para investigar sua dramaturgia e sua experiência como diretor teatral, focando-nos nas singularidades do trabalho do ator / The restriction of movement is a major characteristic in Beckett’s indications to the actors. Confined in chairs, urns, or buried, not being able to sit, to walk or to move, Beckett’s characters require from the actor a constant contact with discomfort, thus, with his own body. We’ll see by wich means his terminology conceived to analyse the paintings of Abraham and Gerardus van Velde, that states a major duality between a “eye/executioner” and a “thing/victim” revealing the impossibility of pictoric representation, could be considered a valid theoretic apparatus to understand his theater. Thereunto, we will apply this model to analyse his dramaturgy and experience as a theater director, focusing in singularities of the actor’s work

Made available in DSpace on 2013-08-07T18:55:35Z (GMT). No. of bitstreams: 1 000346085-Texto+Completo-0.pdf: 922279 bytes, checksum: 42f43e4daa3e7a56028f9c873c41fe44 (MD5) Previous issue date: 2006 / This dissertation posits double sides of Kant’s “Critique of aesthetical judgment”, examining its development in the understanding of the aesthetic phenomenon. The first side is represented by the pleasure of beauty, an indication of harmony between the way in which the natural world gets organized and the cognitive powers (imagination and understanding) in free play. Although the judgments of taste are reflective and not determined by a concept, the pleasure that comes with them works as a kind of sensitive guarantee of our general power of conceptualizing. The second side is represented by the experience of the “shock”, the rupture of such harmony, which is called sublime. Sublime, along with the genius and the aesthetic ideas, indicates the insufficiency of the subject, seen as someone who has concepts, in the understanding of certain objects. Taking into account this negative strength, sublime allows us a way to examine the contemporary art, mainly in the literature. The novel The Unnamable, by Samuel Beckett, is an example of a piece in which it is possible to perceive the developments of the experience of sublime, seen from three basic points of view: 1) the construction of a narrative which formal dynamics is characterized by constant doubts and self-negations, preventing an aesthetic comprehension from happening as organic totality; 2) the presence of poetical passages that evoke in the reader the meeting with the unsayable and the “non-silence” that is hidden there; 3) the manner the self-conscious “self” and organizer of the world, a common element in the philosophy of consciousness, is transformed into a minimum “self” characterized by the suspicion about his / her own existence. / O trabalho expõe a dupla face da “Crítica da faculdade de juízo estética” de Kant, explorando seus desdobramentos na compreensão dos fenômenos estéticos. A primeira face é representada pelo prazer da beleza, índice de harmonia entre o modo como o mundo natural se organiza e as faculdades do conhecimento (imaginação e entendimento) em livre-jogo. Apesar de os ajuizamentos de gosto serem reflexivos, não determinados por um conceito, o prazer que os acompanha funciona como uma espécie de garantia sensível da nossa capacidade de conceptualizar em geral. A segunda face é representada pela experiência do abalo, da ruptura de tal harmonia, que leva o nome de sublime. O sublime, juntamente com as figuras do gênio e das idéias estéticas, indica para a insuficiência do próprio sujeito como portador de conceitos na compreensão de certos objetos. Considerando essa força negativa, o sublime fornece uma porta de entrada para o exame da arte contemporânea, principalmente na literatura. O romance O inominável, de Samuel Beckett, é um dos casos em que é possível constatar os desdobramentos da experiência do sublime, a partir de três aspectos básicos: 1) a construção de uma narrativa cuja dinâmica formal é caracterizada por constantes dúvidas e autonegações, impedindo uma compreensão estética como totalidade orgânica; 2) a presença de passagens poéticas que evocam no leitor o encontro com o indizível e o “não-silêncio” que aí se esconde; 3) como o “eu” autoconsciente e organizador do mundo, elemento recorrente da filosofia da consciência, é transformado num “eu” mínimo marcado pela suspeita sobre sua própria existência.

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa / Our objective is to visualize how Beckett show us the ideas explained before in “Murphy” and how he configured them and gave them form through the story and the characters. In order to do so, we will support our analysis with the concepts presented by the theory of chaos and the ideas developed by Jacques Derrida in his theory of Deconstruction. All this in order to understand the phenomena of contradiction presented as the central element in the novel. We also will see how the symbolism present in the novel is used as a way to reinforce and clarify this phenomenon and finally we will be able to see how we can identify our human condition through this novel.

Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T13:58:20Z (GMT). No. of bitstreams: 1 Salmistraro_Renan_M.pdf: 708758 bytes, checksum: 70105929fb47a6129b578e18b85a13d9 (MD5) Previous issue date: 2012 / Resumo: Malone meurt joga com a tradição realista do romance. Esse jogo reflete na criação do enredo, dos personagens e do estilo da narrativa e reflete como Beckett interpreta o que comumente é encarado como a realidade / Abstract: Malone meurt is a joke of the realistic narrative. The novel's structure - the characters, the events, and the style of the narrative - is an example of how Beckett interprets what is considered as the real world / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária