The diploma thesis juxtaposes Heidegger's concept of authenticity and the notion of an actor supported by the most prominent theories of acting in the 20th century. In an attempt to explore the actor's relationship to authenticity, the thesis also tries to find the common areas of phenomenology and theater studies. The main question of the work is if the theory of authenticity of Dasein can be applied to an actor. The question is answered by the text itself in an effort to apply Heidegger's authenticity to an actor.

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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.

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PhD / This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.

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

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

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

Zugl.: Karlsruhe, Univ., Diss.