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.

Analisamos, neste trabalho, o filme Anticristo (2009), do cineasta Lars von Trier, tomando como base um viés crítico que contemplasse a relação entre sua construção formal e seus conteúdos implícitos e explícitos. Assim como outras obras do artista, igualmente questionadoras, perturbadoras e políticas, Anticristo mostra-se capaz de apontar dinâmicas histórico-sociais relevantes para a compreensão de seu tempo, além de desnudar diversas características substanciais do pensamento hegemônico, espantosamente naturalizadas. Nesses termos, a tese proposta é a de que o filme reapropria-se de um método estéticopolítico brechtiano com o fim de criar uma contraposição ao modelo dramático que orienta grande parte das produções cinematográficas mainstream. Sendo responsável por sua estruturação mais ampla, essa reapropriação vincula-se à formatação do foco narrativo do filme, associado à personagem masculina e plasmado com várias nuances de obras de Strindberg e de Freud, bem como do Expressionismo. Configura-se, portanto, essencial o exame da inter-relação que Anticristo apresenta entre os planos histórico e social, e os planos do indivíduo e de sua subjetividade, inclusive de sua construção psíquica. A partir dessa análise revelam-se contradições fundamentais da sociedade ocidental, sobretudo no que se refere às questões de gênero, guarnecidas pela inquietante alusão que o filme faz à caça às bruxas. / In this thesis, we analyze the film Antichrist (2009), by Lars von Trier, from a critical perspective that contemplates the relationship between its formal construction and its implicit and explicit content. As with other works by the artist, equally questioning, disturbing and political, Antichrist has shown itself capable of pointing out historical and social dynamics that are relevant to the comprehension of its time; it also lays bare several substantial characteristics of the hegemonic thinking, which are naturalized in an unsettling way. Accordingly, the proposed thesis is that a Brechtian aesthetic-political method is reappropriated by the film, in order to counterpoint the dramatic model that guides much of the mainstream film productions. Being responsible for the broader structuring of Antichrist, this re-appropriation is linked to the design of the films narrative perspective, which is associated to the male character and shaped by various nuances of works by Strindberg and Freud, and also of Expressionism. The examination of the interrelationship between the historical and social level, and the level of the individual and of his subjectivity, including his mental construction, becomes thus essential in Antichrist. From such analysis, fundamental contradictions of Western society can be unveiled, especially the ones regarding gender issues, which are furnished by the uncanny allusion to the Witch Hunt brought up by the film.

Sob a perspectiva de um reexame do momento de formação do teatro épico contemporâneo, esta dissertação consiste num estudo sobre o trabalho colaborativo de Bertolt Brecht e Kurt Weill nos anos de 1926 a 1933, com ênfase para o assim chamado teatro de atualidades elaborado pelos artistas. Tomando como linha condutora os três momentos centrais da República de Weimar (a crise de 1919-1923, a estabilização econômica e o craque de 1929) tentamos apreender como lírica, teatro e música confluíram criticamente na criação de um teatro político à altura das questões suscitadas pelo processo histórico de realinhamento capitalista sob o governo de coalizão de esquerda SPD/USPD, bem como de suas complexas implicações na cultura. Para tanto, em diálogo com a crítica literária brasileira e alemã, realizamos uma leitura da obra do jovem Brecht pautada pela questão do reaproveitamento que o dramaturgo fizera da música em seu livro de estreia como lírico, Hauspostille (1927), onde certo veio da cultura urbana anticapitalista dos cabarés da belle époque foi mobilizado, através da influência da lírica e do teatro de Frank Wedekind. Noutro nível, sob a linha condutora do projeto brechtiano de uma ópera culinária, procuramos traçar um apanhado das questões que marcaram a formação da linguagem musical de Kurt Weill, problematizando o desenvolvimento de seu trabalho coletivo com o Novembergruppe, sua abordagem da ópera moderna e da música utilitária e finalmentee seu pensamento sobre as potencialidades estético-políticas do rádio. O trabalho se conclui, enfim, pela análise de três obras da parceria Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) e A ópera dos três vinténs (1928). / Through the perspective of a re-examination of contemporary Epic Theater, this dissertation consists of a study about the collaborative work of Bertolt Brecht and Kurt Weill from 1926 to 1933, centered upon the so called Zeittheater invented by both artists. By following the thread between the three main periods of Weimar Republic (the 1919-1923 political crisis, the stabilization period and the economical crash of 1929) our intention was to understand how Brechts previous lyric poetry, music and theatre enabled the autor to critically incorporate into his political theater matters brought up by the context of capitalistic re-alignment made by the left coalision government of SPD/USPD, as well as the impact of this complex political setting on culture. In order to do so and to maintain a dialoge with both brazillian and german literary criticism, we have sketched a reading of young Brechts work, focused on the appreciation of the influence of Frank Wedekinds lyric poetry and theater where a certain tendence of belle époque anti-capitalistic cabaret culture is registered on Brechts music, mainly through an interpretation of his first poetry book Hauspostille (1927). On another level, we have sketched the central issues that oriented the making of a new musical language by Kurt Weill, especifically the meaning of his collective work with Novembergruppe, his approach on Gebrauchsmusik and modern opera, his essays about aesthetical and political potencialities of radio and how they combined with Brechts project of culinary operas. Lastly this study is concluded by the analysis and interpretation of three different works by Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) and The Threepenny Opera (1928).

Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Rita Alves Miranda.pdf: 2197473 bytes, checksum: 27e1b604e4f02f387a522aa42435e2a0 (MD5) Previous issue date: 2013-10-23 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This master s thesis aims to approach the passage of Bertolt Brecht through the theater history and the influence of his proposal for the contemporary art. Initially, we analyzed Brecht s criticism towards some traditional conceptions of theater and the path taken by the author to think the crisis of drama that had settled times before. Along the way were considered some references and possible objections from Brecht to Aristotle and the Aristotelian model of theater. In this controversial debate, we analyzed the references to the Greek philosopher, to clarify weather Brecht really wanted to reject Aristotle, or he proposed an appropriation of that formal model. It is known that the Aristotelian model of theater was removed from the Poetics of Aristotle and suffered different appropriations in different epochs, one of them being the bourgeois reading. This view is refuted by Brecht, when he analyzes the reality of bourgeois drama and realizes that it was necessary that it be revised immediately, because the theater is no longer affecting the people, in the sense that their willingness depended on a relationship of passivity on the part of viewers. Facing this crisis of drama, some artists tried to reformulate it without however succeeding. Brecht, when began his work, had knowledge of these attempts and facing their failures, the goal was to make theater inaugurate a new place in society. In search of the best place he has in mind a place of production of consciousness, radically opposed to the bourgeois-capitalist logic that sought the alienation of individuals. So, now located outside the debate of reckoning with the past, Brecht focuses on your present and faces the ideas of György Lukács which oppose Brecht by thinking art in a different manner and attributing to him the image of Formalist. We also deal whit defending Brecht from these charges. This dissertation, different from common aspect of texts on Bertolt Brecht is not intended to scrutinize the techniques developed by the playwright in the formulation of the Epic Theater, or talking about the formal aspects of his work, but it is based on a philosophical approach, passing briefly through a few moments of the author s thought until it reaches the stage considered as a mature conception of theater, which is also the last phase of his career, when he revised many of his previous positions. This phase is one in which he writes pieces like The Good Soul of Setsuan (1939-1942) and Life of Galileo (1938-1939). Being so, our focus was this mature conception of the author s work and the characteristics of his thinking at that time, thinking that we take as very Brechtian itself. We focus at this moment of his work, to show the compatibility of his thought and a contemporary conception of theater / Este trabalho tem por objetivo abordar a passagem de Bertolt Brecht pela história do teatro e a influência de sua proposta na fase contemporânea da arte. Inicialmente, analisamos a crítica de Brecht dirigida a algumas concepções tradicionais de teatro e o caminho percorrido pelo autor para pensar a crise do drama que se instalara tempos antes. Nesse percurso foram consideradas algumas referências e possíveis objeções de Brecht a Aristóteles e ao modelo aristotélico de teatro. Nesse debate polêmico, analisamos as referências ao filósofo grego, a fim de esclarecer se o que Brecht pretendia era rejeitar mesmo Aristóteles, ou mais uma apropriação daquele modelo formal. Sabe-se que o modelo aristotélico de teatro foi retirado da obra Poética de Aristóteles e que sofreu apropriações segundo as épocas, sendo uma delas a leitura burguesa. Essa leitura é rebatida por Brecht que revê a realidade do drama burguês e percebe que era preciso que ele fosse revisto imediatamente, pois o teatro já não atingia mais as pessoas, mas sua disposição dependia de uma relação de passividade por parte dos espectadores. Frente a dessa crise do drama, alguns artistas, tentaram reformulá-lo sem, no entanto, obter sucesso. Brecht, quando deu início a seu trabalho, já tinha conhecimento dessas tentativas e diante desses fracassos, o objetivo era fazer o teatro inaugurar um novo lugar dentro da sociedade. Em busca do melhor lugar, ele tem em mente um lugar de produção de consciências, opondo-se radicalmente à logica burguesa-capitalista que buscava a alienação dos indivíduos. Assim, localizado já fora do debate de acerto de contas com o passado, Brecht concentrase em seu presente e enfrenta György Lukács que se opõe a Brecht ao pensar a arte de uma forma diferente, atribuindo a este a imagem de Formalista. Nos ocupámos de defender Brecht também dessas acusações. Esta dissertação, diferente do aspecto comum de textos sobre Bertolt Brecht não se propõe a analisar minuciosamente as técnicas desenvolvidas pelo dramaturgo na formulação do Teatro Épico, ou a falar dos aspectos formais de sua obra, senão que se apoia numa abordagem filosófica, que passa rapidamente por alguns momentos do pensamento do autor até chegar à fase considerada como fase de uma concepção madura de teatro, que é também a última fase de sua carreira, quando ele reviu muitas de suas posições anteriores. Esta fase é aquela em que ele escreve peças como A Alma Boa de Setsuan (1939-1942) e Vida de Galileu (1938- 1939). Neste momento do trabalho nosso foco foi essa dada concepção madura da obra do autor e as características de seu pensamento nessa época, pensamento que tomamos como próprio brechtiano. Concentramos nossa atenção neste momento da obra, a fim de mostrar a compatibilidade desse pensamento e uma concepção de teatro contemporânea

Submitted by Beatriz Georgopoulos Calló (beatriz.callo@outlook.com) on 2018-07-29T02:34:34Z No. of bitstreams: 1 dissertação versão final.pdf: 993814 bytes, checksum: 4ee264fa1dea60a8396f6b45e41930ff (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-07-30T17:10:06Z (GMT) No. of bitstreams: 1 callo_bg_me_ia.pdf: 993814 bytes, checksum: 4ee264fa1dea60a8396f6b45e41930ff (MD5) / Made available in DSpace on 2018-07-30T17:10:06Z (GMT). No. of bitstreams: 1 callo_bg_me_ia.pdf: 993814 bytes, checksum: 4ee264fa1dea60a8396f6b45e41930ff (MD5) Previous issue date: 2018-06-28 / O teatro de grupo de São Paulo é responsável pela maior parte da produção teatral da cidade. Decorrente de processos de luta da categoria, esse sujeito histórico foi o grande ator social no que tange a descentralização e a democratização dos espetáculos de teatro. A partir dessa reunião de artistas e pensadores de teatro, é formulada e promulgada a Lei de Fomento ao Teatro Para a Cidade de São Paulo, que prevê a destinação de recursos públicos para a manutenção dos coletivos. Circunscrita nessa esfera está a Brava Companhia, grupo da periferia da Zona Sul da cidade de São Paulo, que realiza seu trabalho militante, transitando com os expedientes brechtianos, que estão presentes em grande parte da pesquisa estética dos grupos paulistanos. O trabalho analisa essa influência de Bertolt Brecht no trabalho da Companhia, tendo a peça Este lado para cima – isto não é um espetáculo como objeto dessa análise. / The group theater of Sao Paulo is responsible for most of the city's theatrical production. Due to the struggle processes of the category, this historical subject was the great social actor in what concerns the decentralization and democratization of theater plays. From this organization of artists and theater thinkers, the Law for the Promotion of Theater for the City of São Paulo, which implicates the destination of public resources for the maintenance of the collectives, is formulated and promulgated. Circumscribed in this sphere is the Brava Companhia, a group on the outskirts of the South Zone of the city of São Paulo, which carries out its militant work, transiting with the Brechtian expedients, which are present in most of the aesthetic research of the groups from Sao Paulo. The work analyzes this influence of Bertolt Brecht on the work of the Company, having the piece Este lado para cima – isto não é um espetáculo [This side up - this is not a spectacle] as object of this analysis.