This essay describes the process of investigating and concluding to a design for Berthold Brecht?s The Threepenny Opera. Through theoretical references and actual observations of todays society, the different worlds that consist the play are described and analyzed, as well as the main characters and their surrounding groups. In the end, the final design is presented together with proposals for the costumes of the main characters. The basic dramatic situations are presented in their final form with photos of the model, depicting the changes of the stage.

Made available in DSpace on 2016-04-01T17:55:16Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-09-30. Added 1 bitstream(s) on 2016-04-01T18:01:17Z : No. of bitstreams: 1 000859851.pdf: 1071534 bytes, checksum: 4b1b229e9b422570d5972fcbf79ab7be (MD5) / O objetivo desta pesquisa é discutir alguns aspectos da construção teatral de Augusto Boal, tendo como paradigma estético-político a poética de Bertolt Brecht. Com esse procedimento, identificam-se alguns encontros e desencontros da poética de Boal com certas perspectivas brechtianas. Para mais compreensão desses momentos, a seguinte divisão é realizada: 1) alguns encontros e desencontros históricos; 2) alguns encontros e desencontros políticos; 3) alguns encontros e desencontros estéticos. Tal procedimento serve apenas como organização temática, não anulando o fato de se discutir, de forma correlacionada os aspectos históricos, políticos e estéticos na produção de Augusto Boal. Ao se levantarem determinadas hipóteses, muitos pontos de intersecção surgem e contribuem para entender não apenas o teatro de Boal, mas também a representação que a sua obra tem para a história do teatro brasileiro. Nesse contexto, não é possível tratar do teatro de esquerda no Brasil, sem abordar a chegada da obra de Brecht no país. Em razão disso, aparece o pressuposto de que compreender a importância do teatro de Augusto Boal significa entender como o trabalho de Brecht serve de modelo para o desenvolvimento da poética do brasileiro. / The objective of this research is to discuss some aspects of the theatrical context of Augusto Boal, whose aesthetic-political paradigm is the poetics of Bertolt Brecht. With this procedure, some agreements and disagreements of Boal's poetic are identified with certain prospects of Brecht. In order to fully understand it, the following division is carried out: 1) some historical agreements and disagreements; 2) some political agreements and disagreements; 3) some aesthetic agreements and disagreements. This procedure only serves as a thematic organization, not changing the importance of discussing, in a correlated way, the historical, political and aesthetic production of Augusto Boal. While considering certain hypotheses, many crossover points arise and help to understand not only the theater of Boal, but also the significance that his work has for the history of Brazilian theater. In this context, it is not possible to deal with the left-wing theater in Brazil without addressing the arrival of Brecht's work in the country. As a result, there is an assumption that understanding the importance of Augusto Boal theater means understanding how Brecht's work serves as a model for the development of Brazilian poetic.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-12-06T14:33:27Z No. of bitstreams: 1 2016_DimasCaltagironiGonçalvesDantas.pdf: 3612058 bytes, checksum: 85d2bf679d254cfd343a31d46254401b (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2017-01-25T18:36:09Z (GMT) No. of bitstreams: 1 2016_DimasCaltagironiGonçalvesDantas.pdf: 3612058 bytes, checksum: 85d2bf679d254cfd343a31d46254401b (MD5) / Made available in DSpace on 2017-01-25T18:36:09Z (GMT). No. of bitstreams: 1 2016_DimasCaltagironiGonçalvesDantas.pdf: 3612058 bytes, checksum: 85d2bf679d254cfd343a31d46254401b (MD5) / O presente estudo, após uma breve descrição sobre democracia diante as colaborações teóricas de Giovani Sartori (1994), Robert Dahl (1997) e Joseph Schumpeter (1984), teve por norte analisar, sob o enfoque de Marilena Chauí (2001), a relevância da cidadania para o contexto participativo do aluno na Gestão Democrática Escolar. Neste sentido, fundamenta a dialogicidade como categoria analítica e, através das colaborações teóricas de Mikhail Bakhtin, Walter Benjamin, Bertolt Brecht, Augusto Boal e Paulo Freire, colabora com a proposição de um instrumento de participação do aluno para o Centro de Ensino Médio 417 de Santa Maria, Distrito Federal. Por meio de exercícios de experimentação e oficina com a peça didática “A Exceção e a Regra”, de Bertolt Brecht, propõe a integração entre pesquisa-ação e modelo de ação, apresentando uma proposta metodológica estético-social, aqui denominada prática-ação. / This dissertation, after a brief description of democracy on the theoretical contributions of Giovani Sartori (1994), Robert Dahl (1997) and Joseph Schumpeter (1984) analyzes , from the standpoint of Marilena Chauí (2001), the relevance of citizenship for participatory context student in the school democratic management . In this sense, based dialogicity as an analytical category, and through the theoretical contributions of Mikhail Bakhtin, Walter Benjamin, Bertolt Brecht, Augusto Boal and Paulo Freire, collaborates with the proposition of a student participation instrument for Teaching Center East 417 Santa Maria, Distrito Federal. Through experimentation and workshop exercises with the learning play "The exception and the rule" of Bertolt Brecht, proposes the integration between action research and action model, presenting an aesthetic and social methodological proposal, here called practical action.

Na pesquisa desenvolvemos um percurso por Bertolt Brecht na especificidade do seu exílio. Objetivamos traçar relações entre sua posição de exilado e as camadas do pensamento brechtiano verificado por Fredric Jameson (2013), no livro Brecht e a questão de método. A constituição do exílio de Brecht é entendida como um deslocamento, dentro do estado de exceção, de uma situação de exílio para uma posição de exílio (DIDI-HUBERMAN, 2008) que, entre diferentes características, evidencia a própria exceção (AGAMBEN, 2004). Ao final do percurso, trabalhamos, a partir de autores da psicanálise e do pensamento utópico, com a hipótese de que Brecht fez de sua situação de exílio um sintoma. / In this research, a path was developed for Bertolt Brecht specifics of his exile. The main focus was to draw relations between his position as an exiled person and the layers of brechtian thoughts verified by Fredric Jameson (2013), in the book Brecht method. The nature of Brecht's exile is understood as a displacement, within a state of exception, of an exile situation to a position of exile (DIDI-HUBERMAN, 2008) in which, among different characteristics, Brecht puts in evidence himself his own exception (AGAMBEN, 2004). At the end, psychoanalyst authors and utopian thinkers were used, bearing in mind the hypothesis that Brecht made a symptom out of his exile situation. / En la pesquisa desarrollamos un recorrido por Bertolt Brecht en la especialidad del su exilio. Objetivamente trazar relaciones entre su posición de exilado y las capas del pensamiento brechtiano verificado por Fredric Jameson (2013), en el libro Brecht y el Método. La constitución del exilio de Brecht es entendida como un desplazamiento, dentro del estado de excepción, de una situación del exilio para una posición de exilio (DIDI-HUBERMAN, 2008) que, entre distintas características, evidencia la propia excepción (AGAMBEN, 2004). Al fin del recurrido producimos, a partir de autores de la psicoanálisis y del pensamiento utópico, con la hipótesis de que Brecht hizo de su situación de exilio un síntoma.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2010. / Submitted by Allan Wanick Motta (allan_wanick@hotmail.com) on 2011-01-20T16:36:08Z No. of bitstreams: 1 2010_FranciscoPereiraNunes.pdf: 2490735 bytes, checksum: a26621da05b643088babe740ea9b1936 (MD5) / Approved for entry into archive by Gomes Neide(nagomes2005@gmail.com) on 2011-01-20T18:25:52Z (GMT) No. of bitstreams: 1 2010_FranciscoPereiraNunes.pdf: 2490735 bytes, checksum: a26621da05b643088babe740ea9b1936 (MD5) / Made available in DSpace on 2011-01-20T18:25:52Z (GMT). No. of bitstreams: 1 2010_FranciscoPereiraNunes.pdf: 2490735 bytes, checksum: a26621da05b643088babe740ea9b1936 (MD5) Previous issue date: 2010 / O trabalho proposto nesta dissertação tem como objetivo abordar algumas funções pertinentes ao teatro: a política, a terapêutica, a social e a pedagógica. Para isso, o estudo analisa três teóricos que nas suas práticas, enfatizaram essas funções, o dramaturgo alemão Bertolt Brecht, o médico romeno Jacob Levi Moreno e o diretor teatral brasileiro Augusto Boal. As modificações que esses autores trouxeram com suas teorias e práticas, bem como, as relações criadas com a plateia. Um público sentado e incomodado com o teor político do texto no teatro de Brecht; mas que sobe ao palco, sai de seus assentos e acaba assumindo outros papéis nos teatros de Moreno e Boal. O trabalho também é uma reflexão sobre os papéis que o autor vem exercendo de professor e de diretor teatral com jovens e adultos da periferia de Brasília: Varjão, Taguatinga e Ceilândia, adicionado a isso, eu procuro estabelecer relações entre a minha prática e os teóricos citados. _______________________________________________________________________________ ABSTRACT / This paper aims to talk about some functions related to the theatre: the politic, therapeutic, social and pedagogical ones. Thus, this project analyzes three theorists that emphasize these functions in their practice: the German playwright Bertolt Brecht, the Romanian doctor Jacob Levi Moreno and the Brazilian theatrical director Augusto Boal. The modifications what these authors brought with their theories and practices, as wall as, the relations grow up with the audience. A public sitting and bothered by the political drift of the text in the theater of Brecht, but that rises to the stage, leaves from their seats and finishes taking over other papers in the theaters of Moreno and Boal. This project is also a reflection related to the functions that the author has been working as a teacher and a theatrical director with young persons and adults of the periphery of Brasília: Varjão, Taguatinga and Ceilândia, in addition to this fact; I intend to make links between my practice and the theorists studied.

Na pesquisa desenvolvemos um percurso por Bertolt Brecht na especificidade do seu exílio. Objetivamos traçar relações entre sua posição de exilado e as camadas do pensamento brechtiano verificado por Fredric Jameson (2013), no livro Brecht e a questão de método. A constituição do exílio de Brecht é entendida como um deslocamento, dentro do estado de exceção, de uma situação de exílio para uma posição de exílio (DIDI-HUBERMAN, 2008) que, entre diferentes características, evidencia a própria exceção (AGAMBEN, 2004). Ao final do percurso, trabalhamos, a partir de autores da psicanálise e do pensamento utópico, com a hipótese de que Brecht fez de sua situação de exílio um sintoma. / In this research, a path was developed for Bertolt Brecht specifics of his exile. The main focus was to draw relations between his position as an exiled person and the layers of brechtian thoughts verified by Fredric Jameson (2013), in the book Brecht method. The nature of Brecht's exile is understood as a displacement, within a state of exception, of an exile situation to a position of exile (DIDI-HUBERMAN, 2008) in which, among different characteristics, Brecht puts in evidence himself his own exception (AGAMBEN, 2004). At the end, psychoanalyst authors and utopian thinkers were used, bearing in mind the hypothesis that Brecht made a symptom out of his exile situation. / En la pesquisa desarrollamos un recorrido por Bertolt Brecht en la especialidad del su exilio. Objetivamente trazar relaciones entre su posición de exilado y las capas del pensamiento brechtiano verificado por Fredric Jameson (2013), en el libro Brecht y el Método. La constitución del exilio de Brecht es entendida como un desplazamiento, dentro del estado de excepción, de una situación del exilio para una posición de exilio (DIDI-HUBERMAN, 2008) que, entre distintas características, evidencia la propia excepción (AGAMBEN, 2004). Al fin del recurrido producimos, a partir de autores de la psicoanálisis y del pensamiento utópico, con la hipótesis de que Brecht hizo de su situación de exilio un síntoma.

Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T03:06:15Z (GMT). No. of bitstreams: 1 Oliveira_GislaineCristinade_M.pdf: 1237032 bytes, checksum: e0439915fc28f1aea1eadc16a98391e2 (MD5) Previous issue date: 2011 / Resumo: Este trabalho consiste em uma leitura do livro O método Brecht de Fredric Jameson. Um dos mais importantes teóricos do pós-modernismo, Jameson, discute nesse livro a validade de Brecht para os dias de hoje e demonstra como as ideias, narrativas e linguagem brechtianas constituem um método que também se confunde com certa atitude dialética. Devido à complexidade da exposição de Jameson, foram eleitos alguns fios condutores para organizar as discussões. Os objetivos do trabalho são, portanto, explorar os argumentos do crítico, desemaranhá-los e tentar explicitar seu funcionamento, em especial no contexto brasileiro. Para esse propósito, procedeu-se uma leitura detalhada das proposições de Jameson e foram levadas em conta outras contribuições de estudiosos a respeito dos mesmos temas. Os resultados foram três textos que constituem os capítulos desse trabalho: uma reflexão sobre o histórico de Brecht no Brasil confrontada aos pressupostos e conhecimentos necessários à leitura de O método Brecht, uma paráfrase das ideias e hipóteses principais do livro juntamente com a discussão sobre a centralidade do ator no trabalho brechtiano e, por fim, o comentário sobre a própria escrita de Jameson / Abstract: This work consists of a reading of Fredric Jameson's book, Brecht and Method. One of the most important theorists of postmodernism, Jameson discusses in this book the validity of Brecht to the present day; he shows how ideas, narratives and language make up a brechtian method that also merges with what could be called a dialectical attitude. Due to the complexity of Jameson?s exposition, some theoretical threads were choosen to organize the discussion. The objectives of this study are therefore exploring the critic?s arguments, unraveling them and trying to explain the way they operate, particularly in the Brazilian context. For this purpose, a detailed reading of Jameson?s propositions was carried out and contributions from other scholars about the same topics were taken into account. From that the three chapters this thesis result: a confrontation between the reflection on Brecht's history in Brazil and an explanation of the knowledge required to read Brecht and Method, a paraphrase of the book's main ideas and hypothesis along with the discussion of the centrality of the actor in Brechtian work and, finally, a commentary on Jameson's writing / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Eulenspiegel est une des rares figures littéraires du XVIe siècle à jouir jusqu’à aujourd’hui d’une renommée considérable en Allemagne. Pourquoi et comment Eulenspiegel demeure-t-il particulièrement présent dans le paysage littéraire allemand après 1945 ? Ce travail se concentre sur des réécritures du recueil de farces Ein kurtzweilig Lesen von Dil Ulenspiegel, l’oeuvre la plus ancienne dans laquelle apparaît Eulenspiegel. L’étude préalable de ce recueil montre que, tel Janus, il présente deux visages : l’un promeut les normes établies, relevant de l’ordre juridique, religieux ou social, tandis que l’autre incite à transgresser ces dernières. L’ambivalence du recueil est due à sa composante comique et à l’absence d’une délimitation claire entre l’autorisé et l’interdit, entre le souhaitable et le répréhensible. L’analyse des transpositions du recueil produites par Bertolt Brecht, Christa et Gerhard Wolf et Thomas Brasch met au jour les procédés employés relevant de l’inter- et de l’hypertextualité, tels que les définit Gérard Genette. L’étude de la Ballade de Günther Weisenborn éclaire les textes de B. Brecht, nourris par l’échange entre les deux auteurs. Cette pièce sert de contrepoint aux autres réécritures pour distinguer les transpositions du recueil et les adaptations de la figure. Les réécritures analysées attribuent à Eulenspiegel, dans des contextes historiques différents, une fonction de résistance combinée à une fonction identitaire. Les métamorphoses d’Eulenspiegel s’inscrivent dans une veine comique de la littérature allemande qui plonge ses racines dans la farce médiévale. / Eulenspiegel is one of the rare literary figures of the 16th century to enjoy until today a significant celebrity in Germany. Why and how does Eulenspiegel remain particularly present in the German literary landscape after 1945? This work concentrates on rewritings of the chapbook Ein kurtzweilig Lesen von Dil Ulenspiegel, the most ancient work in which appears Eulenspiegel. The preliminary study of this collection of pranks shows that, such Janus, it presents two faces: the one promotes the established norms, related to the legal, religious or social order, whereas the other one incites to break these last ones. The ambivalence of the chapbook is due to its comic component and to the absence of a clear demarcation between what is authorized and what is prohibited, between the desirable and the reprehensible. The analysis of the transpositions of the chapbook produced by Bertolt Brecht, Christa and Gerhard Wolf, and Thomas Brasch brings to light the employed processes related to inter- and hypertextuality, such as Gérard Genette defines them. The study of the Ballad of Günther Weisenborn sheds light on the texts of B. Brecht, fed by the exchange between both authors. This play acts as counterpoint to the other rewritings to distinguish the transpositions of the chapbook and the adaptations of the figure. The analyzed rewritings attribute to Eulenspiegel, in different historic contexts, a function of resistance combined with a function of identity. The metamorphoses of Eulenspiegel belong to a comic vein of the German literature which plunges its roots into the medieval prank.

This study explores how the design of women’s social space of action is presented in Hagar Olsson’s play S.O.S: Save our souls (1928). The focus of the study is on the female main character of the play, Maria. The analysis model consists of close reading with the play's melodramatic elements as a starting point. The theoretical framework for the study is the epic theater tradition where Bertolt Brecht has an important influence. The study shows that there is an existing deficiency condition regarding women´s social space of action. This design interprets as a space where women´s happiness and freedom experiences as difficult to access. There is also a critique towards this design through Maria and her actions. The critique is targeted towards long-standing social constructions. However, it should be pointed out that the play takes plays in a bourgeoise environment. Therefore, the design of the space as well as the critique targets towards this environment. The study also shows that Maria´s actions combined with the play opens up for a possible new space where contemporary bourgeoise women allows to act beyond their expectations. This design creates a possibility for women to follow their own way to happiness.

This thesis presents evidence which supports Bertolt Brecht's oft-quoted statement that the Bible was the book which exerted the greatest influence upon his writings. While Brecht's early works, Die Bibel (1913), and Die Dreigroschenoper (1928), serve as the main examples, there are also references to biblical allusions from a number of his other writings and some of his poetry. There is general information on Brecht's religious background and en his extensive biblical knowledge which enabled him to use the Bible as one of his principal sources. Brecht's manner of usage and adaptation of religious and biblical material to suit his purposes is noted. As well, a consideration of the views and findings of a number of critics and writers with an interest in Brecht both as an individual and as a writer and poet, provides a degree of clarification of Brecht's approach to the Bible. Included too is sane detail which could posit the Bible as a possible catalyst in Brecht's examination of Marxism as a viable alternative to religion in meeting the needs and aspirations of mankind and of society.