Zugl.: Bielefeld, Univ., Habil.-Schr., 2007

Thèse (M.A.)--Université Laval, 2009. / Bibliogr.: f. [146-147]. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Thesis (doctoral)--Universität, Bochum, 2000. / Mixed media.

The main topic of this diploma thesis is the Exile Experience in Bertolt Brecht?s Flüchtlingsgespräche. On the background of political and social change this thesis deals with the question of exile identity as well as with the relationship to home, in this case Germany. Further on, there is an analysis of the boundary and virtue motif. Finally, this diploma thesis deals with the change in the use of language and analyses images of exile life in the time of World War Two.

This study describes the relationship between auditorium and stage and their mutual interaction. It addresses the development of theatrical space troughout different historical periods and the concept of site specific. It contains a summary of basic terms concerning theatrical space, spectator, auditorium and site specific. It is based on works of leading experts on the topic.The main objective of this study is to analyze my own acting experience gained in Univerzity Theatre Disk and other theatrical or non theatrical spaces, map the trends and development of auditorium and stage and their subsequent effect on actor´s performance and overall perception of the audience. The relationship between an actor and his audience in each specific performance is created due to many factors such as social facilitation, form of dramatic space and unique communication proces between those who create theatre and their recipients.

This thesis deals with the costume design for the play The Good Person of Szechwan by Bertolt Brecht. The theoretical part focuses on researching the use of costume in epic theatre, the history of Chinese clothing , Chinese mentality and philosophy, and the use and history of masks . The practical part studies the philosophical content of the play, the nature of the characters and situations, and describes the process of development of the design concept.

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.

This thesis is based on the author?s experience of directing J. Ford, Th. Dekker, and W. Rowley?s play The Witch of Edmonton (1621) in Divadlo DISK in February 2012 as a final performance in his Directing Master Studies at the Theatre Faculty. What is at stake in reviving such a little-known play of the Jacobean era, and performing it in Czech Republic? Can a text written as a reaction to a precise event (a real witch trial) and built as a quasi-documentary depiction of the society of the time, within the aesthetic codes of the time, be relevant material for a lively performance today? This thesis argues that yes, and that The Witch of Edmonton can actually be the starting point of what can be ?political theatre? in a form not only belonging to a long tradition of committed entertainment (the play?s prologue promising us ?mirth and matter?), but especially relevant to today?s audiences and artistic stakes. The first part of the thesis is a detailed contextual analysis of the play, the historical period in which it was written, the conditions of performance of the time, the material it is based on and the way it was dramaturgically built as ?political?. The second part focuses on the author?s analytical attempts to extract the text from its historical context, in particular through comparative history and history of ideas and using the concepts of Brecht?s epic theatre, depicting also how this research served as a preparation for the concept of his performance, a concept that is then explicated in detail. The third and last part is a short account and reflection about the rehearsal process and its outcome from the director?s point of view, making a final statement on the achieved practical work.

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.