Thesis (doctoral)--Universität, Hamburg, 2007. / Includes bibliographical references (p. [325]-336).

[pt] Esta tese aborda o território de uma arte épica na filosofia de Walter Benjamin e no teatro de Bertolt Brecht. O épico é visto aqui em um contexto de politização da arte do século XX, que atingiria uma de suas expressões mais significativas e experimentais no teatro de Brecht. Benjamin irá figurar não só como um importante leitor de Brecht, mas como um pensador do épico. Suas leituras da década de 1930 sobre uma arte política e sobre o narrador terão um papel importante. O narrador será pensado como narrador de situações políticas, e em conexão com um teatro que, como apontou Brecht, adquire novas possibilidades de narrar. Trataremos também das concepções de um teatro épico, ou proletário, do encenador Erwin Piscator, e das leituras do escritor e crítico Alfred Doblin sobre uma obra épica. / [en] This thesis focus on the territory of an epic art in the philosophy of Walter Benjamin and in the theater of Bertolt Brecht. The epic is seen here in the context of politicization of twentieth-century art, which would achieve one of its most significant and experimental expressions in the Brecht theater. Benjamin will figure not only as an important reader of Brecht, but as a thinker of the epic. His readings of the 1930s on political art and on the narrator will have an important role. The narrator will be thought of as a narrator of political situations, and in connection with a theater which, as Brecht pointed out, acquires new possibilities to narrate. We will also deal with the conceptions of an epic theater, or proletarian, of the director Erwin Piscator, and the readings of the writer and critic Alfred Doblin on an epic work.

Submitted by NATALIA KNEIPP RIBEIRO GONÇALVES null (nataliakneipp@yahoo.com.br) on 2016-05-09T18:42:33Z No. of bitstreams: 1 TESE_NATALIA_final_rev_repositorio.pdf: 2362286 bytes, checksum: a857cd8026881e08ef411c76c41566ac (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-05-10T17:10:28Z (GMT) No. of bitstreams: 1 concalves_nkr_dr_arafcl.pdf: 2362286 bytes, checksum: a857cd8026881e08ef411c76c41566ac (MD5) / Made available in DSpace on 2016-05-10T17:10:28Z (GMT). No. of bitstreams: 1 concalves_nkr_dr_arafcl.pdf: 2362286 bytes, checksum: a857cd8026881e08ef411c76c41566ac (MD5) Previous issue date: 2016-03-09 / Pró-Reitoria de Pós-Graduação (PROPG UNESP) / O presente trabalho caracteriza-se como pesquisa bibliográfica e tem como objetivo a compreensão da didática a partir do estudo das peças didáticas de Bertolt Brecht (1898-1956), as quais são uma tipologia do teatro épico brechtiano e compreendem as seguintes obras: “O voo sobre o oceano” (escrita em 1928/1929); “A peça didática de Baden-Baden sobre o acordo” (escrita em 1929); “Aquele que diz sim”/“Aquele que diz não” (encenadas sempre em conjunto, escritas em 1929/1930); “A decisão” (escrita em 1929/1930); “A exceção e a regra” (escrita em 1929/1930) e “Os Horácios e os Curiácios” (escrita em 1934); além dos fragmentos “O malvado Baal, O Associal” e “Decadência do egoísta Johann Fatzer”. A didática é a categoria central deste trabalho, o universo são as peças didáticas de Bertolt Brecht e o método de análise é o materialismo histórico e dialético. Pretendemos contribuir com a discussão dos processos pedagógicos, sobretudo no que se refere à práxis pedagógica escolar e, para tanto, os caminhos trilhados em nossa pesquisa partiram da análise do conceito de didática presente na obra “Didática Magna”, de Comênio (1592-1670), que é um marco referencial da Pedagogia Moderna, e se dirigiram ao estudo da didática nas peças didáticas brechtianas. Compomos um panorama sobre as condições sócio-históricas do teatro europeu, em fins do século XIX e início do século XX; enfatizamos as aproximações e distanciamentos do expressionismo e do teatro político de Erwin Piscator (1893-1966) em relação ao desenvolvimento do teatro épico brechtiano; discutimos o elemento didático presente em peças anteriores às didáticas; e, por fim, analisamos as peças didáticas e seus fundamentos. Assim, consideramos que a didática compreendida a partir das peças didáticas propicia que o ensino seja posto em cena e aponta possibilidades ao diálogo entre o teatro e a educação escolar na perspectiva da práxis. / This work is characterized as bibliographic search and has aimed to understand the teaching from the study of learning plays of Bertolt Brecht (1898-1956) which are a type of Brechtian epic theater and consist the following works: “The Ocean Flight” (written in 1928/1929); “The learning play of The Baden-Baden Lesson on Consent” (written in 1929); “He Who Says Yes”/ “He Who Says No” (always together staged, written in 1929/1930); “The Decision” (written in 1929/1930); “The Exception and the rule” (written in 1929/1930) and “The Horations and the Curiatians” (written in 1934); beyond the fragments “Bad Baal, the Antisocial Man” e “ Demise of the Egotist Johann Fatzer”. The teaching is the central category of this work, the universe are the learning plays of Bertolt Brecht and the method of analysis is the historical and dialectical materialism. We intend to contribute to the discussion of pedagogical processes, particularly with regard to school pedagogical praxis and, therefore, the paths in our research set out the teaching this concept analysis in the work “Magna Didactics”, of Comênio (1592-1670), wich is a reference point of the Modern Education, and headed to the study of teaching in Brechtian learning plays. We compose an overview of the socio-historical conditions of european theater, in the late nineteenth century and early twentieth century; we emphasize the similarities and differences of expressionism and political theater of Erwin Piscator (1893-1966) for the development of Brechtian epic theater; we discuss this didactic element in previous parts to learning; and finally, we analyze the learning plays and its fundamentals. Like this, we consider that the didactic understood from the learning plays provides that education be put into play and points out possibilities for dialogue between theater and education from the perspective of praxis.

Contemporains capitaux, mythifiés de leur vivant, Artaud et Brecht sont morts en ignorant tout l’un de l’autre. Ce tandem imaginaire s’est néanmoins vu érigé en grand antagonisme de l’avant-garde. Au dualisme théâtral Cruauté vs Distanciation se sont superposées les confrontations esthétiques (performance vs brechtisme), politiques (situationnistes vs staliniens), idéologiques (transgression libertaire vs totalisation marxiste), philosophiques (critique postmoderne vs rationalisme occidental).Par-delà cette réduction instrumentale à deux machines de guerre théoriques adverses, un enjeu essentiel unit pourtant Brecht et Artaud : comment changer le monde ou la vie ? De cette Révolution infinie dont le théâtre n’est qu’un aspect, cette thèse explore les sens par la comparaison de leurs œuvres complètes en croisant littérature, philosophie et politique. Au-delà d’options divergentes, Artaud et Brecht partagent des problèmes, des rejets, des axes. I. Mythologies. Artaud et Brecht traquent la Révolution en brûlant ses mythes : embraser la terre (destruction, dégénérescence, décadence) ; changer la vie (paganisme, anarchismes, avant-gardes) ; transformer le monde (marxisme, indianisme). II. Pathologies. Pour éradiquer la contre-Révolution et canaliser la flambée des masses, ils attaquent la diversion religieuse, l’abrutissement par l’emprise (sexuelle, occulte, idéologique), et la domination (de l’inertie à la fureur fasciste). III. Philosophies & Dramaturgies. Dans le creuset du théâtre, sur deux scènes ontologiques, Brecht et Artaud forgent leurs Révolutions comme saut, dépassement, renversement et commencement. De leur géniale traversée, reste le brasier révolutionnaire de l’œuvre. / Artaud and Brecht, contemporaries transformed into mythological figures during their own life-times, died without having any knowledge of one another. They became, however, an imaginary couple, as it were, the two great antagonists of the avant-garde. The duality they represented —theatre of cruelty vs. theatre of alienation— acquired further meanings: aesthetic (performance vs. brechtian), political (situationist vs. stalinist), ideological (libertarian transgression vs. Marxist totalisation), and philosophic (post-modernist critique vs. western rationalism).Nevertheless, beyond the polemics, one essential concern united Brecht and Artaud: How to change the world and life? This thesis explores the meanings of that infinite revolution of which the theatre is but one aspect, by comparing their oeuvre as literature, philosophy, and politics. Their positions differed, but Artaud and Brecht shared the same problems and terms of discussion, and rejected the same solutions.I. Mythologies: Both of them pursued revolution while attacking its myths: setting the world alight (destruction, degeneracy, decadence); changing life (paganism, anarchism, the avant-gardes), transforming everything (Marxism, indianism).II. Pathologies: in order to resist Counter-Revolution and focus the ardour of the masses, they attack religion as a diversion; sexual, occult and ideological brutalisation; and all forms of domination (from passivity to fascist frenzy).III. Philosophies and dramaturgies: It is in the theatre that Artaud and Brecht forged their revolutions in the form of great leaps forward, reversals and new beginnings.What remains of their work is its incandescent revolutionary core.

No description available.

Thesis advisor: Scott T. Cummings / This Senior Honors Thesis evolved from a personal fascination with the intersection of art and science both in drama and on a grander theoretical scale. It is a three-part investigation with each part written in different voice with a different intention. The first is a short personal introduction offering insight to the genesis of the project. This is followed by a comparative dramaturgical analysis of two science plays, Bertolt Brecht's GALILEO and Michael Frayn's COPENHAGEN, examining the role of science in drama. The final component is a philosophical dialogue on the model of Brecht's MESSINGKAUF DIALOGUES which articulates larger philosophical questions in an examination of the similarities and differences between science and art. / Thesis (BA) — Boston College, 2006. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Theater. / Discipline: College Honors Program.

Este trabalho estuda a construção da cena nas montagens brechtianas dirigidas por Irene Brietzke, destacada diretora gaúcha das últimas décadas do século passado, buscando documentar e resgatar seu processo criativo, analisar os pontos de contato e as divergências com as teorias formuladas por Bertolt Brecht e fazer um levantamento iconográfico das mesmas. Resgatamos a memória das peças brechtianas, uma a cada capítulo, através das respectivas fichas técnicas, fotos, declarações e matérias publicadas na imprensa e dos depoimentos colhidos com Brietzke. É utilizado o nome dos espetáculos para denominar os capítulos e em cada um deles a discussão é focalizada sobre os pontos teóricos que a encenação sugere e que são relacionados com questões como a inserção histórica das montagens, o pós-brechtiano e o pós-dramático, o efeito de estranhamento, a recepção teatral, o papel da música na encenação e a construção da cena. Este trabalho articula diálogos com as vozes e idéias de Bertolt Brecht, Gerd Bornheim, Hans-Thyes Lehmann, Patrice Pavis, Marco de Marinis, entre outros. Buscamos destacar os principais diferenciais de seu trabalho, como o uso das comédias, debochadas e escrachadas, da presença marcante e essencial da música na cena brietzkiana, o grau de fidelidade à Brecht e várias outras questões que transpassam a obra de Brietzke. / The purpose of this paper is to study the scenery construction in the Brechtian setting productions directed by Mrs. Irene Brietzke, distinguished “gaucha” stage director in the last decades of the 20th Century, in an attempt to document and retrieve her creative process, to analyze the contact points and divergences connected to the theories stated by Bertolt Brecht, and to conduct an iconographic survey of them all. We retrieve the memory of the Brechtian pieces, one in each chapter, by means of their respective technical files, pictures, statements and articles set forth in the press, and the testimonies gathered with Brietzke. The names of the public performances are utilized to denominate the chapters, the discussion in each one is focused on the theoretical points the stage plays suggest and are related to matters, such as the historical insertion of productions, the post-Brechtian and the postdramatic, the strangeness effect, the theatric reception, the music role in the production and the scene construction. This paper articulates dialogs with voices and ideas of Bertolt Brecht, Gerd Bornheim, Hans-Thyes Lehmann, Patrice Pavis, Marco de Marinis, among others. We try to highlight the main differentials of her work, such as the comedies’ use, mocking and quizzical style, the essential and noteworthy presence of the music in the Brietzkian scene, the extent of faithfulness degree to Brecht and many other questions that overstep the Brietzke’s work.

Thesis (M. Phil.)--University of Hong Kong, 1974. / Mimographed. Also available on microfilm.

Zugl.: Bayreuth, Univ., Diss., 2008

Zugl.: Berlin, Freie Univ., Diss., 2009