This research-creation thesis describes and analyzes the dramaturgical methodologies of verbatim theatre – a form of documentary theatre that uses transcripts as the dominant source of its dialogue – through the practical exercise of play writing. This paper marks the theoretical component of my thesis, which analyzes both the dramaturgical process and the historical context of my play Exhibit A. Using verbatim transcripts from legal evidence for its dialogue, the play examines the psychology of two teenage boys responsible for the brutal rape and murder of an 18-year-old Canadian woman in 2010. As documentary theatre emphasizes socio-political themes, this thesis considers the dramaturgical, aesthetic, and ethical considerations of verbatim theatre through my experience as a playwright and researcher. Acknowledging both the historical antecedents of documentary theatre and its contemporary examples, this thesis will define an original typology of verbatim theatre entitled the “Subcategories of Verbatim Theatre”. These subcategories are identified as Tribunal, Literary, Historical Drama, Expository and Participatory. Each privileges different types and usages of documents, which are further defined as being primarily related to “text” or “aural” based testimony. The thesis relates the dramaturgical principles of each subcategory to artistic choices made in Exhibit A. A description of the various incarnations of verbatim and documentary theatre, as well as an analysis of my experience as a documentary playwright examines the dramatic representation of reality as highly constructed in this form of theatre where the selection and editing of a documentary play's archive is a creative process that is not dissimilar from the creation of fictional drama. In that sense, the documentary genre can be said to present a dramatic representation of the playwright's subjective version of the truth. Exhibit A thus stands as my creative reconstruction of the evidence presented in the Kimberly Proctor murder trial.

This thesis examines the theoretical foundations of Brecht's and Sartre's "dialectical" theatre. Proceeding first from their most significant theoretical writings, it then studies representative plays--Mutter Courage und ihre Kinder and Les Mains sales--in an attempt to make explicit the relationship between theory and artistic practice. The textual analysis proper develops certain aspects of theme, structure and reception which in turn reveal meaningful differences and contradictions. Sartre's "dramatic" theatre in fact evidences a sort of ideological creativity whereas Brecht's "epic" theatre presents a more primordial artistic creativity. Therefore, though the concept of dialectical theatre (essentially political and/or historic) is a common thought-structure to both dramatists, its actualization differs. I will argue that Sartre's work shows a view of the art process as ideologically predetermined and almost ineluctable. Brecht's more primordial work, on the other hand, shows process as a creative anagnorisis, more immediate and archetypal. In the last chapter, I will give an overview of the changes in consciousness produced by these approaches of "dialectical" theatre and substantiate these by criticism that has dealt with the subject.

Zugl.: Mannheim, Univ., Diss., 2005

This work concerns a theatrical text upon an historical moment known as 'The Galileo Case'. This relevant episode of the history of science played a very central role in the context of the development of the ideas concerning the birth of both, the Classical Physics and the Telescopic Astronomy. In order to elaborate the theatrical piece we proceed to a confrontation among several reference frames provided by diversified authors like Geymonat (1997), Reston Jr (1995), Koyré (2009), Drake (1981), Banfi (1949), Santillana (1960), Redondi (1990), Shea (1973), among others. Concerning the organization and construction of a dramatic theatrical text, properly said, we follow the seminal works due to Ball (2011). With respect to the Didactic Theatrical Piece we follow the seminal works due to Bertolt Brecht (1967; 1978), to Koudela (1992; 2007; 2010) and to Steinweg (1992). The works of these last three authors constituted the theoretical foundation in order to construct the theatrical activity, properly said. The students which constituted the control group were invited to read the theatrical piece and after this reading they were invited to answer a formulary with selected questions about the content of the piece. The corresponding collected answers were analyzed and categorized in the light of the following criteria: (i) the real contribution of the activity for the construction of students' knowledge; (ii) the real changes with respect to their a priori conception of the nature of science. Starting from the analysis of the obtained results we conclude that the adopted pedagogical practice was well successful to provide important changes concerning a better conception on the nature of science by the students. Besides this, we also conclude that the dramatic theatrical piece represents a good possibility to providing the overcoming of distorted conceptions on the nature of science and for the study of epistemological questions emerging from the theme. / Nesta dissertação, construímos um Texto Teatral que aborda o momento histórico conhecido como O Caso Galileu. Este episódio desempenhou papel importantíssimo no desenvolvimento das ideias relacionadas ao nascimento de ambas, à Física Clássica e à Astronomia Telescópica, e, deste modo, teve grande relevância para a História da Ciência. Foram incorporados e confrontados no processo de elaboração da parte escrita da peça intitulada "A Matuta e O Caso Galileu" quadros conceituais teóricos sobre a vida e a obra do filósofo florentino como aqueles propiciados por Geymonat (1997), Reston Jr (1995), Koyré (2009), Drake (1981), Banfi (1949), Santillana (1960), Redondi (1990), Shea (1973), entre outros. No que concerne à formatação de um Texto Teatral dramático nos orientamos pelo trabalho seminal de Ball (2011). A Peça Didática de Bertolt Brecht (1967; 1978) e os trabalhos de Koudela (1992; 2007; 2010) e de Steinweg (1992) constituíram-se na fundamentação teórica propriamente dita da atividade teatral a ser realizada. Além disso, foi aplicado um questionário com os estudantes após discutirem o Texto Teatral, e suas respostas foram categorizadas e analisadas verificando-se a contribuição da atividade na construção de conhecimentos relacionados ao tema em questão, assim como às mudanças de algumas de suas visões sobre a natureza do empreendimento científico. A partir das análises dos dados, essa prática pedagógica proporcionou mudanças, ainda que parciais, nas visões deformadas dos estudantes/atuantes acerca da natureza da Ciência como também propiciou uma compreensão mais adequada dos mesmos acerca das questões epistemológicas suscitadas.

This research-creation thesis describes and analyzes the dramaturgical methodologies of verbatim theatre – a form of documentary theatre that uses transcripts as the dominant source of its dialogue – through the practical exercise of play writing. This paper marks the theoretical component of my thesis, which analyzes both the dramaturgical process and the historical context of my play Exhibit A. Using verbatim transcripts from legal evidence for its dialogue, the play examines the psychology of two teenage boys responsible for the brutal rape and murder of an 18-year-old Canadian woman in 2010. As documentary theatre emphasizes socio-political themes, this thesis considers the dramaturgical, aesthetic, and ethical considerations of verbatim theatre through my experience as a playwright and researcher. Acknowledging both the historical antecedents of documentary theatre and its contemporary examples, this thesis will define an original typology of verbatim theatre entitled the “Subcategories of Verbatim Theatre”. These subcategories are identified as Tribunal, Literary, Historical Drama, Expository and Participatory. Each privileges different types and usages of documents, which are further defined as being primarily related to “text” or “aural” based testimony. The thesis relates the dramaturgical principles of each subcategory to artistic choices made in Exhibit A. A description of the various incarnations of verbatim and documentary theatre, as well as an analysis of my experience as a documentary playwright examines the dramatic representation of reality as highly constructed in this form of theatre where the selection and editing of a documentary play's archive is a creative process that is not dissimilar from the creation of fictional drama. In that sense, the documentary genre can be said to present a dramatic representation of the playwright's subjective version of the truth. Exhibit A thus stands as my creative reconstruction of the evidence presented in the Kimberly Proctor murder trial.

This thesis will analyze how masculinity is depicted in the French-Argentinean director Gaspar Noé’s movie Love (2015), and how it is orientating and disorientating through an intersectional lens. In his films, the filmmaker often uses haptic images and sound traversing to interrogate the existence and to express a clear and abject visuality to expose the flesh. On that notion, the study will use a psychanalytic theoretical framework with hegemonic masculinity, and a phenomenological methodology with Bertolt Brecht’s theories on theatre to examine the bodily performances of the cinematic body, the bodies of the characters on screen, and the spectator’s body to reflect on the film’s thematic, aesthetic, and ideological features. Additionally, this study will explore how the viewer embodies the self-images and memories of the characters on the screen, and how that affects the spectator.

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A completely new idea in any field of artistic endeavor is a rare phenomenon and is, in most instances, worthy of study. Bertolt Brecht, in his theories, writings, and productions, has given the world a theater that is the antithesis of present-day theatrical aims and ideals. It is to the study of this new form of theater that this thesis is devoted.