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.

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.

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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.

Art is too ethereal a thing to judge by tangible measure. There is no scale to weigh a performance on, no level to gauge a character’s balance, no plumb line to measure its depth. No critic can appoint an allotment of stars to represent the worth of a production, and the audience, though a vital participant within the performance experience, cannot act as Jury and deliberate together to reach an absolute verdict of approval or disapproval. How then can an actor go about working towards giving a successful performance? The Merry Wives of Windsor was written at a time when wives were not permitted to tread upon the stage at all. During Shakespeare’s era the roles of women were played only by cherub faced young men. The version of The Merry Wives of Windsor which was presented by the University of Central Florida in the fall of 2002 was not, however, set in those pre-femme days. The production was presented as if being performed by a traveling acting troupe of men and women with a repertoire of which The Merry Wives of Windsor was only a part. I was cast as Mistress Ford. Embarking on a Shakespeare play is no small feat. Earnest research on the lives of the Elizabethans will offer up clues into the mindset, customs, beliefs, and theories of the age in which the play was written. Modern day actors preparing themselves to take on a Shakespearian role may also look also to the theories and theatrical trends of his or her own time and those that have led up to it. This research is the foundation on which a performance must be built. The theatrical performer must act as his own instrument in the symphony of his performance. Stage acting is an art form which enfolds many forms of expressive artistic communication. The mind, the body, the voice, the emotions and in my opinion the soul must all come into play to reach the summit of an artistic theatrical performance and the actor’s journey must be comprised of exercises to stretch and strengthen each area of the actor’s instrument. A vigorous vocal regimen must be crafted and adhered to. An analytical investigation of the script is required. The actor’s physicality must be tailored to portray the proper class, energy level and spirit of his character. The emotional life of the character should be thoroughly probed and the performer must find a way to fully embody the soul of the character and the age in which the character lived. In this particular case, I came to find that the usual modern day methods of performance preparation most commonly used by actors of our age were not in themselves enough to bring me to what I felt was a successful performance. I came instead to discover that a Brechtian approach to Shakespearian acting solved many of the challenges I faced when coming up short in my prior attempts to use a more Stanislavsky based method. Although the very nature of art makes it impossible to judge by tangible measure, there are very tangible ways to go about preparing for a role upon the stage. No single approach can work for every piece. One must exercise the mind, voice, body and soul to perform a role as weighty as a Shakespearian character. Proper research, analysis, and a regimen built upon exercises for the body and voice are the tools available for the serious actor. This thesis outlines a University actress’ use of these tools and details how the discovery of Brechtian elements within the UCF production of Merry Wives opened doors to a new way of handling the portrayal Mistress Ford.