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Canção de ninar : um encontro entre o clownesco e BeckettPadilha, Priscila Genara January 2011 (has links)
Ce mémoire a comme sujet la création du spectacle Berceuse de Samuel Beckett où j`étais d`abord comédienne et après metteur en scène. D`abord, je fais des analyses sur les rapports entre la figure du clown et celle de la tradition du théâtre de l`absurde pour vérifier le potentiel clownesque dans l` oeuvre de Samuel Beckett. Je fais aussi, des expérimentations sur le style du clown: d`abord je me met en scène moi même et ensuite je mets en scène une autre comédienne.J` utilise les techniques budistes du vide et du hasard et aussi l`action physique (Stanislavski) pour les adapter à la pratique artistique en développant différents possibilités de ce style. J`adapte l`analyse active de C. Sanislavski pour étudier le texte de Beckett, en remplaçant l`action physique par la sensation et l`évènement par l`image. Le mot personnage est aussi adapté et est reconnu comme figure. La création Berceuse est un spectacle qui a été construit dans un processus riche en expérimentations. Dans ce mémoire je raconte les chemins et territoires habités par la création artistique dont la proposition d`une rencontre entre Beckett et le style clown a eu des bons résultats. Le résultat a été un tiers , une figure clownesque différente. Une figure que réinvente et se prolonge dans l` abandon et la puissance, dans la faillite et l`échec. Des conditions clownesques en Beckett. / Este memorial reflexivo se refere à prática de direção e atuação vivenciadas na montagem de Canção de Ninar de Samuel Beckett. Traço linhas paralelas e transversais entre a figura do clown e a tradição do absurdo para verificar o potencial clownesco de Beckett. Reflito aqui minhas experimentações clownescas, primeiro me auto dirigindo e depois dirigindo uma atriz. Procedimentos com o vazio, o acaso, a ação física são transformados em uma prática que prioriza as várias facetas do clown. A ação física torna-se sensação e o acontecimento transforma-se em imagem. A personagem escapa por linhas intensivas e aqui é chamada de Figura. Realização da obra homônima de Beckett, Canção de Ninar é um espetáculo resultante de um processo rico em experimentações. Relato, pois, os caminhos e territórios habitados na criação de um clown que com Beckett compõe um bom encontro. Um terceiro, um diferente, uma figura clownesca é criada. Uma figura que se reinventa e se desdobra no desamparo e na potência, na falência e no fracasso. Condição clownesca em Beckett.
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Beckett-we : em busca de uma poética do vazioBrito, Luciana January 2016 (has links)
Em Busca de uma Poética do Vazio é uma pesquisa teórico-prática fomentada no Núcleo de Pesquisa Beckett-we – espaço de criação, desconstrução e de transbordamentos criativos a partir do universo de Samuel Beckett. Criado no ano de 2012 em Canoas/RS, o Núcleo dá voz aos aqui chamados esgotados, sujeitos contemporâneos que encontram em Beckett uma possibilidade de diálogo e caos. Os participantes não são atores, nem bailarinos, nem pesquisadores, são PIM: massa de corpos que não aguentam mais, unidos por uma pequena vida – extrato de existência em comum, que transcende as referências culturais, geográficas, étnicas ou históricas – PIM é plural. Este escrito é composto pelas vozes de esgotados, de Beckett, por minha voz, por fluxos de pensamento que me atravessaram durante a pesquisa e pela voz de referências significativas neste estudo: Gilles Deleuze, Suely Rolnik, Peter Pál Pelbart, dentre outros tantos. São analisadas performances criadas durante três anos do Núcleo, a partir dos textos: Todos os que Caem (Beckett - 1957) que se transformou em Eu, Ser Pulsante e Semivivo (2013) e Eleutheria (Beckett - 1947) metamorfoseado em sobre.vida (2015), Ensaio sobre a Liberdade (2014) e inspiração (2014). Buscando fazer um paralelo estrutural com a obra Como É (Beckett, 1961), que se passa em um buraco enlameado, no qual um personagem procura seu parceiro – PIM -, esta pesquisa se propõe a investigar os caminhos que foram inventados durante as práticas, visando se aproximar de uma possível metodologia que se encontra no vazio, buscando constantemente a instabilidade – seja através da tentativa de esvaziamento de referências, no diálogo com os esgotados que são desconhecedores de Beckett ou na renovação constante de PIM. No ato de esvaziar-se e se deixar atravessar pelas vozes e impulsos dos envolvidos, alimentados pelo universo beckettiano, esta dissertação sugere a figura do cartógrafo, desenvolvida por Rolnik, como um possível caminho para a prática criativa no vazio. / In Search of a Poetic of Emptiness is a theoretical-practical research fomented in the Núcleo de Pesquisa Beckett-we (Research Group Beckett-we) - space of creation, deconstruction and creative overflows based on the universe of Samuel Beckett. Created in the year of 2012 in Canoas/RS, the group gives voice to the ones here called the exhausted , contemporary subjects that find in Beckett a possibility of dialogue and chaos. The participants are not actors, nor dancers, nor researchers, they are PIM: a mass of bodies that cannot bear anymore, united by a little life - extract of a common existence, that transcends the cultural, geographical, ethnic or historical references - PIM is plural. This writing is composed by the voices of the exhausted, Beckett’s voice, my own voice, by flows of thoughts that crossed me while researching and by the voice of significative references in this study: Gilles Deleuze, Suely Rolnik, Peter Pál Pelbart, among so many others. Here we analyse performances created during the three years of the group, based on the texts: All that fall (Beckett - 1957) that became Eu, ser pulsante e semivivo [Me, pulsing being and halfalive (2013) and Eleutheria (Beckett - 1947) metamorphosed in sobre.vida [about.life] (2015), Ensaio sobre a Liberdade [Essay about Freedom] (2014) and inspiração [inspiration] (2014). Aiming to create a structural parallel with the work How it is (Beckett - 1961), that passes in a muddy hole, in which one character looks for his partner - PIM -, this research proposes itself to investigate the paths that were invented during the practices, aiming to approach a possible methodology found in the emptiness, searching constantly the instability - be it through the attempt of emptying references, in the dialogue with the exhausted who are unfamiliar with Beckett or in the constant renovation of PIM. In the act of emptying itself and letting it be crossed by the voices and impulses of the involved, fed by the beckettian universe, this dissertation suggests the figure of the cartographer, developed by Rolnik, as a possible path for the creative practice in the emptiness.
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Canção de ninar : um encontro entre o clownesco e BeckettPadilha, Priscila Genara January 2011 (has links)
Ce mémoire a comme sujet la création du spectacle Berceuse de Samuel Beckett où j`étais d`abord comédienne et après metteur en scène. D`abord, je fais des analyses sur les rapports entre la figure du clown et celle de la tradition du théâtre de l`absurde pour vérifier le potentiel clownesque dans l` oeuvre de Samuel Beckett. Je fais aussi, des expérimentations sur le style du clown: d`abord je me met en scène moi même et ensuite je mets en scène une autre comédienne.J` utilise les techniques budistes du vide et du hasard et aussi l`action physique (Stanislavski) pour les adapter à la pratique artistique en développant différents possibilités de ce style. J`adapte l`analyse active de C. Sanislavski pour étudier le texte de Beckett, en remplaçant l`action physique par la sensation et l`évènement par l`image. Le mot personnage est aussi adapté et est reconnu comme figure. La création Berceuse est un spectacle qui a été construit dans un processus riche en expérimentations. Dans ce mémoire je raconte les chemins et territoires habités par la création artistique dont la proposition d`une rencontre entre Beckett et le style clown a eu des bons résultats. Le résultat a été un tiers , une figure clownesque différente. Une figure que réinvente et se prolonge dans l` abandon et la puissance, dans la faillite et l`échec. Des conditions clownesques en Beckett. / Este memorial reflexivo se refere à prática de direção e atuação vivenciadas na montagem de Canção de Ninar de Samuel Beckett. Traço linhas paralelas e transversais entre a figura do clown e a tradição do absurdo para verificar o potencial clownesco de Beckett. Reflito aqui minhas experimentações clownescas, primeiro me auto dirigindo e depois dirigindo uma atriz. Procedimentos com o vazio, o acaso, a ação física são transformados em uma prática que prioriza as várias facetas do clown. A ação física torna-se sensação e o acontecimento transforma-se em imagem. A personagem escapa por linhas intensivas e aqui é chamada de Figura. Realização da obra homônima de Beckett, Canção de Ninar é um espetáculo resultante de um processo rico em experimentações. Relato, pois, os caminhos e territórios habitados na criação de um clown que com Beckett compõe um bom encontro. Um terceiro, um diferente, uma figura clownesca é criada. Uma figura que se reinventa e se desdobra no desamparo e na potência, na falência e no fracasso. Condição clownesca em Beckett.
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Caligrafia apagada = silêncio na escrita de Esperando Godot / Off calligraphy : the silence on the play Waiting for GodotMelo, Gedivânio Feitosa Mateus 19 August 2018 (has links)
Orientador: Mario Alberto de Santana / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T23:51:27Z (GMT). No. of bitstreams: 1
Melo_GedivanioFeitosaMateus_M.pdf: 950720 bytes, checksum: a03d9be3609069f0698b30f07a486418 (MD5)
Previous issue date: 2011 / Resumo: Considerando o Silêncio como um elemento inerente aos processos de criação do teatro moderno, esta pesquisa dedica-se à investigação do Silêncio na obra "Esperando Godot", de Samuel Beckett, construindo cuidadosa reflexão sobre a sua presença em categorias específicas da dramaturgia beckettiana. As inquietações que surgiram ao longo da pesquisa convergiram para que essa análise se configurasse a partir da seguinte proposição: o Silêncio que subsiste em "Esperando Godot" não se restringe à partitura das rubricas e ao dialogismo pautado na palavra, mas na dialética construída a partir da linguagem de seus elementos cênicos inseridos na escrita e no visual estético. Por ora, esta pesquisa denomina "Caligrafia Apagada" o Silêncio aqui investigado / Abstract: Considering the Silence as an inherent element to creation processes of Modern Theater, this research is devoted to research the Silence on the Play "Waiting for Godot" by Samuel Beckett, building careful reflection on its presence in specific categories in the Beckettiana dramaturgy. The concerns that arose during the research have converged to make this analysis shaped by the following proposition: The Silence that remains in "Waiting for Godot" is not restricted to the punctuation of the rubrics and dialogism based on the word, but in the dialectic constructed from the language of their scenic elements inserted in the writing and the visual aesthetic. For now, this research is called "Off Calligraphy" Silence here investigated / Mestrado / Artes Cenicas / Mestre em Artes
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La voix et l'os : poétiques du dépouillement chez Saint-Denys Garneau et Samuel BeckettBernier, Frédérique, 1973 Apr. 11- January 2008 (has links)
No description available.
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Reading Beckett and Yeats from a crosscultural perspective: a reader-oriented approach.January 2005 (has links)
Li Mei-yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 101-106). / Abstracts in English and Chinese. / Abstract --- p.i / 摘要 --- p.iii / Acknowledgements --- p.iv / Contents --- p.vi / Introduction: Questions about Reading --- p.1 / Chapter Chapter 1 --- Waiting for Godot and the Issue of Absurdity --- p.28 / Chapter Chapter 2 --- At the Hawk's Well and the Drama of the Interior --- p.59 / Conclusion --- p.90 / Note --- p.100 / Works Cited --- p.101
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The Psychic Work of Reading: Form and Unconscious Affect in the Wake of ModernismAmoretti, Valerio January 2019 (has links)
This dissertation articulates the relationship between literary form and unconscious affect in fictions by Cesare Pavese, Samuel Beckett and Alain Robbe-Grillet. Drawing from contemporary psychoanalytic object-relations theory, including the work of W.R. Bion and the Bionian school, it defines three paradigmatic forms of psychic work — reparation, containment and construction — that structure the intersubjective unconscious responses to specific formal challenges. It claims that the psychic work involved in meeting those challenges is both “historical” — in the sense that it reveals elements of each text’s historicity and political valence within their cultural setting — and “productive,” in the sense that it entails a degree of psychic growth for the reader.
This dissertation bridges literary history, psychoanalytic theory and reader-response theory. It seeks to intervene in each discipline’s debates: in literary-historical terms, it argues that the psychic work of reading must be understood as constitutive of the texts’ expression of the context of the postwar and as part of their struggle to move beyond the aesthetic of modernism. In psychoanalytic terms, it joins in the lively discussion about the historical specificity of the mechanisms theorized by object-relations theory. Finally, at the level of literary theory, it seeks to affirm the value of Bion’s model of object-relations in theorizing reading as a transformative process characterized by intense unconscious, intersubjective activity.
The dissertation is organized in three literary chapters, followed by a theoretical chapter. Taken together, the first three chapters represent the evidence for the need of a concept of psychic work in reading late modernist fiction and for the potential payoffs of formulating such a concept. Chapter 4 consists of four theoretical “notes,” addressing, in broad terms, the resonance of intersubjective notions of psychic work for reading, criticism and literary theory.
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Le jeu dans la sociologie : du phénomène au conceptMorissette, Jean-François January 2010 (has links) (PDF)
Cette thèse présente une étude théorique et épistémologique du concept de jeu -étude qui, tout en prenant ancrage dans la tradition sociologique, se fonde sur l'herméneutique de H.G. Gadamer ainsi que sur la dialectique hégélienne. Divisée en deux parties -respectivement intitulées Sociologie(s) du jeu et Herméneutique et dialectique du jeu -la thèse examine, dans un premier temps, les principaux textes fondateurs de la pensée sociologique sur le jeu, en suivant l'exigence formulée par l'herméneutique de Gadamer d'un dialogue avec autrui et d'une appropriation et d'une reconnaissance de la légitimité de son propos. Au travers de ce dialogue; les concepts et les représentations qui ont tissé la pensée sociologique du jeu sont identifiés et ressaisis. La première partie de la thèse compte trois chapitres correspondant chacun aux trois principales bases épistémologiques de la sociologie -le situationnisme ou interactionnisme, le monisme ou holisme et l'individualisme méthodologique -qui, elles-mêmes, renvoient à trois manières différentes de concevoir le jeu, c'est-à-dire, respectivement: le jeu comme métaphore de la socialité (Ch. 1), le jeu comme prisme de la civilisation (Ch. 2) et enfin, le jeu comme instrument d'analyse de l'action rationnelle (Ch. 3). Dans un deuxième temps, la thèse relit et relie les différentes études sociologiques sur le jeu en retournant au phénomène du jeu principalement le théâtre, mais aussi les échecs et le hockey -en compagnie de la dialectique hégélienne et du processus de suppression-conservation qui la structure. Se divisant également en trois chapitres, la deuxième partie de la thèse se présente comme un exposé des différentes médiations au travers desquelles le jeu se réalise progressivement. Dans son moment subjectif (Ch. 4), le jeu est travaillé par la médiation des émotions, de l'imagination et du style. L'intermédiation de la liberté, de la règle et de la mesure constitue, par ailleurs, le jeu dans son moment objectif (Ch. 5). Et enfin, dans son moment esthétique (Ch. 6), le jeu accède à la qualité de représentation, voire d'une belle représentation, et il se configure et se montre au travers de l'articulation dialectique de ses qualités musicales, plastiques et dramatiques. En somme, l'examen du devenir du jeu qui est ici mené
« fait voir » et « voit-faire » le jeu en le voilant et en le dévoilant à la fois, et ce dans la mesure où la mise à jour des différentes médiations par lesquelles le jeu se constitue, se forme et se déploie sur le plan phénoménal dévoile et fait voir le jeu en tant que concept, mais au travers de son dévoilement, le concept jette en quelque sorte un voile sur le phénomène du jeu et le « fait-voir » et le « voit-faire » en sa qualité de symbole du symbolique, ainsi qu'en son activité de formation de soi, du social et du beau. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Jeu, Sociologie, Théâtre, Hockey, Jeu d'échecs, Gadamer, Hegel, Samuel Beckett.
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Textualizing the future: Godard, Rochefort, Beckett and dystopian discourseMonty, Julie Anne 28 August 2008 (has links)
Not available / text
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"Living in truth" : moral and political intersections in Samuel Beckett, Tom Stoppard, and Václav HavelHarger, Jennifer Leigh 26 July 2011 (has links)
Often considered to be apolitical playwrights, Samuel Beckett and Tom Stoppard each dedicated dramatic works to dissident Czech playwright (and later President) Václav Havel in the late 1970s and early 1980s—during his imprisonment for his role in writing and distributing the dissident document Charter 77. These dramatic works, with a few others, collectively mark simultaneous, parallel shifts in Beckett’s and Stoppard’s careers toward uncharacteristically explicit political engagement. This report examines these works—Beckett’s Catastrophe and What Where, and Stoppard’s Every Good Boy Deserves Favor and Professional Foul—through the lens of Havel’s political philosophy, especially as expressed in his 1978 essay “The power of the powerless.” This report argues that Havel’s model of apolitical resistance to injustice, a model he calls “living in truth,” expresses humanist values that these playwrights had long affirmed in their art. Their shared moral vision, along with sympathy for Havel’s plight under a totalitarian regime that distorted language as a tool of oppression, was the catalyst for their new, direct involvement in political matters. The report establishes the historical context of the Soviet-dominated Communist regime in Czechoslovakia, along with relevant biographical and professional narratives for each figure. It then examines closely this selection of Beckett’s and Stoppard’s dramatic works and their shared thematic concerns, and demonstrates how they artistically embody and communicate Havel’s model of “living in truth.” / text
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