Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-04-13Bitstream added on 2014-06-13T18:43:01Z : No. of bitstreams: 1 grubisich_tm_dr_arafcl_prot.pdf: 621650 bytes, checksum: a31036a044e0c160bb04c93a8839cf33 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Ao lermos as peças brechtianas, deparamo-nos com algumas, denominadas pelo dramaturgo, parábolas, seja no título das mesmas, como A alma boa de Setsuan - parábola e A resistível ascensão de Arturo Ui - parábola, seja no corpo do texto, como é o caso de Os cabeças redondas e os cabeças pontudas, Quanto custa o ferro? e O preceptor, nas quais essa denominação aparece no prólogo ou no epílogo. Procuramos então pela especificidade do gênero que nasce no contexto do Novo Testamento e constatamos tratar-se de uma metanarrativa, de uma narrativa encaixada em um texto maior com o qual mantém uma relação exemplar, de reafirmação do discurso enunciado, prova da verdade da sua Palavra/Parábola. A parábola funciona, então, como demonstração desta verdade. Por assim configurar-se, revela-se como um poderoso instrumento didático e doutrinário; ela não só veicula idéias a serem incorporadas pelo receptor, mas também, por estar dotada de estratégias persuasivas e dissuasivas, induz o interlocutor a uma mudança de estado, a uma conversão. A história na parábola fala do homem presente, coloca-o em perspectiva, porém travestindo-o e ao seu contexto por meio da alegoria. E à decifração desse artifício conduzem vários elementos construídos em torno da narrativa. Colocada, então, a questão ideológica do gênero, investigamos como, na forma parábola teatral, estão tensionados os pressupostos brechtianos, cuja base se funda em uma visão dialética do mundo. Nossa preocupação aqui, então, é discutir a coerência desses pressupostos em sua práxis; analisando em cada uma dessas peças indicadas a dinâmica instaurada na confluência dos gêneros - parábola e teatro épico. / When we read the Brecht's plays we fall across some entitled by the dramatist, parables, either in its title, as Der gute Mensch von Setzuan - parable and Der aufhatsame Aufsteig des Arturo Ui - parable, or in its body text as in Die Rundkoepfe und die Spitzkoepfe, Was kosted das eisen? and Der Hofmeister, in which this denomination appears in the prologue or in the epilogue. In this case we looked for the specificity of the gender which is born in the context of the New Testament and we verified it is a metanarrative, a narrative embedded in a bigger text with which it maintains an exemplar relation of restatement of the discourse enunciated, which proves the truth of this Word/Parable. The parable works then as a demonstration of this truth. Thus it takes shape, reveals itself, as a powerful didactical and doctrinaire document, it not only transmits ideas to be incorporated by the receptor but also, as it is endowed of persuasive and dissuasive strategies, it leads the interlocutor to a state change, a conversion. The story in the parable tells about the present man, puts him in perspective but disguising him and his context by the allegory. And to the deciphering of this artifice conduct the various elements built around the narrative. Placed then the ideological question of gender, we investigated how, in theatrical parable pattern, are involved the Becht's presuppositions which base establishes itself in a dialectical vision of the world. Our concern here then is to discuss the coherence of these presupposed in its praxis, analyzing in each of these indicated plays the dynamical instituted in the confluence of the genders - parable and epic theater.

Made available in DSpace on 2014-06-11T19:35:18Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-12-11Bitstream added on 2014-06-13T19:05:40Z : No. of bitstreams: 1 trovo_mc_dr_arafcl.pdf: 609055 bytes, checksum: 3abd2fe04f53739dc33146aa29ffdf36 (MD5) / O final da década de 1950 marca o início do percurso que levou ao desenvolvimento do teatro épico de Bertolt Brecht no Brasil. No ano de 1958,a primeira encenação profissional do dramaturgo alemão e o sucesso da apresentação de Eles não Usam Black-tie, de Gianfrancesco Guarnieri, no Teatro de Arena, levaram à criação do Seminário de Dramaturgia do Arena, aos estudos da obra de Brecht e à apropriação dos procedimentos artísticos brechtianos. Por sua vez, os Centros Populares de Cultura (CPC), criados em 1962 e extintos pelas forças militares em 1964, foram fortemente influenciados pela teoria e prática teatral brechtiana. O direcionamento da cena teatral brasileira ao teatro épico coadunou-se com o movimento ascensional das massas do início dos anos 1960 e à perspectiva de transformação social via revolução socialista. O golpe militar de 1964, no entanto, que interrompeu a mobilização política do início da década e pôs em refluxo a agitação cultural, teria retirado a perspectiva empírica de transformação que embasava o teatro épico de Brecht e tornado-o obsoleto. Portanto, nos anos 1990, no contexto de retomada do teatro político, coloca-se a questão da atualidade de Brecht, da potência crítica de suas técnicas artísticas, como o efeito de distanciamento. O presente trabalho, nesse sentido, analisa a peça Ópera dos Vivos. Estudo Teatral em Quatro Atos, da Companhia do Latão, grupo teatral paulistano que se propõe a efetivação de um teatro épico brechtiano, como ponto de partida da discussão da atualidade do dramaturgo na sociedade brasileira contemporânea / The end of the 1950s marks the beginning of the path that led to the development of the Bertolt Brecht epic theater in Brazil. In 1958, the first professional staging of the German dramatist and success submitting They do not Wear Black-tie, by Gianfrancesco Guarnieri, at the Arena Theatre, led to the creation of the Dramatic Arena Workshop, to the studies Brecht’s work and the appropriation of Brechtian artistic procedures. On the other hand, the Popular Culture Centers (CPC), created in 1962 and abolished by the military in 1964, were strongly influenced by Brechtian theater theory and practice. The direction of the Brazilian theater scene to the epic theater conformed to the ascension movement of the masses in early 1960s and the prospect of social change through socialist revolution. The military coup in 1964, however, interrupted the political mobilization in the decade beginning and put in reflux cultural agitation, it would have removed the empirical perspective transformation that based the Brecht epic theater and became obsolete. Therefore, in the 1990s, in the context of renewed political theater, there is the issue of Brecht relevance, the critical power of his artistic techniques, such as distancing effect. This research, in this sense, examines the Living Opera play. The Theatrical Study in Four Acts, the Latão Company, São Paulo theater group proposes to establish a Brechtian epic theater, as the starting point of the discussion of today's playwright in contemporary Brazilian society

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.

M.A. (English) / The aim of this d i s s e r t a t i on is to identify the influence of Bertolt Bretht on Fugard's life and work in South African theatre. As Fugard himself is not German-speaking, and his experience of Brecht is perforce through translations of Brecht into English, this is not a comparative study bet veeri the dramatists. It merely uses Fugard's own statements about his reading of Brecht in English at various points in his career, from the 1950s to the present, to show this particular aspect of his own development as a dramatist. The standard works on Fugard - Athol Fugard, Stephen Gray (ed.) (Johannesburg: McGraw-Hill, 1982), Dennis Walder, Athol Fugard (London: Macmillan, 1984) and Russell Vandenbroucke, Truths the Hand can Touch (Johannesburg: Donker, 1986) - refer only glancingly to this possibility. The introduction establishes the many references Fugard has made to Brecht in his writing - which includes not only his plays, but his novel, filmscripts, notebooks, letters and interviews and interprets how Fugard perceives various Brechtian theatre principles, such as the use of the alienation effect, the epic nature of drama and the function of theatre in the community. In the following chapters Fugard's vorks are examined, in order to show how Brecht has been of use to him at various key points in his career. This is done chronologically, so that a larger picture of the influence on Fugard's development as a dramatist and his changing use of Brecht as a source may be seen. The conclusion of this dissertation takes the findings of the previous chapters and assesses the nature of the BrechtFugard link, taking into account the different aspects and levels. This is briefly compared to the findings of the latest critical work to have corne out in which Fugard features - Martin Orkin, Drama and the South African State (Johannesburg: Witwatersrand University Press, 1991) - in an attempt to show how using the methodology of a source and influence study like this is of value in coming to a deeper understanding of the dramaturgy of a writer like Fugard...

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...In this thesis I will attempt to demonstrate the enduring power of Brecht's proletarian vision by reference to a production of THE GOOD WOMAN OF SETZUAN that I directed at Virginia Tech, Blacksburg, Virginia, in December, 1981. In this introductory chapter I will outline and discuss the theoretical writings that I used to prepare for an analysis of the play. An exhaustive survey of either Marxist theory or of the works of Carl Jung as they relate to Brechtian production are clearly outside the scope of this thesis: there are sufficient studies available for further research by the reader. I will examine only those sources which contributed to the development of a production concept for THE GOOD WOMAN OF SETZUAN... / Master of Fine Arts

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Ce mémoire porte sur deux textes théâtraux tirés du répertoire de Bertolt Brecht, Mère Courage et ses enfants et La Vie de Galilée. Le choix de ces deux pièces tient à la place qu'y occupe l'Histoire : la première prend place au cours de la guerre de Trente ans, la seconde met en scène des éléments biographiques de la vie du véritable Galilée. L'objectif de notre réflexion est d'établir un modèle éthique de l'intrigue, c'est-à-dire de schématiser, dans ses mécanismes et ses enjeux, le problème éthique tel qu'il advient dans ces textes. Notre réflexion se découpe en trois parties, chacune d'elles articulée sur un principe précis : l'Histoire, l'éthique et la notion de sujet. Nous démontrons que l'éthique, telle qu'elle se présente chez dans ces textes de Brecht, est liée à l'inscription du sujet (du personnage principal) dans l'Histoire. Les pièces exposent des personnages confrontés, au niveau moral et éthique, à des situations dont l'ampleur et la portée sont historiques. Les actions des héros, ainsi que les rapports qu'ils entretiennent avec autrui, sont régis par cette responsabilité : les gestes et paroles des personnages ont un impact sur le cours des choses, sur le déroulement des événements et la collectivité. Cette inscription dans l'Histoire et la responsabilité qu'elle engendre ouvrent plusieurs questions, notamment celle de la fonction cognitive de l'éthique. L'éthique chez Brecht devient un outil explicatif, le moyen d'une démonstration didactique; elle vise à éveiller la conscience du spectateur, à susciter sa participation active dans le spectacle. À partir des situations (à la fois éthiques et historiques) qui lui sont présentées, le spectateur est amené à reconnaître les mécanismes et les enjeux qui fondent sa propre condition, à en prendre conscience et à trouver les moyens de l'améliorer. C'est à ce niveau que nous pouvons parler de modèle éthique : le modèle qui se profile dans les textes reproduit des structures sociales qui le débordent tout à fait, et résonnent dans le contexte de réception.