Thesis (MDram (Drama))--University of Stellenbosch, 2009. / This study focuses on Bertolt Brecht`s use of music in his epic theatre. After looking at his objectives against the background of his times, certain key aspects of his dramatic theory and practice in general are discussed e.g. its epic nature, Verfremdung, Gestus and his social engagement. This is important for an understanding of his functional use of music as an important element in his productions. Music as a sign system in drama is discussed with special reference to the genres in which music plays an essential role, viz. opera, in particular Wagner`s Gesamtkunstwerk and, most importantly, cabaret. The focus is on Brecht`s reaction against and point of connection with, each of these genres. The second part of the study focuses on the role of music in the practice of Brecht`s theatre. Naturally the specific composers with whom Brecht worked and specific productions are discussed. The relevant productions discussed are Aufstieg und Fall der Stadt Mahagonny (1930), Die Dreigroshenoper (1931) and Mutter Courage und Ihre Kinder (1939). Brecht worked against a background of social, political and economic upheaval. His art aimed at making people aware of unjustified social circumstances and inspiring them to engage in the task of changing these circumstances. For him this entailed communicating in a fresh way with words which had lost their meaning because of ideological abuse. For this purpose he made use of music in a very specific way. He tried – not always successfully – to avoid using music as an ornamental narcotic. This implied that music was always meant to serve the intention of the text, the Gestus. Music in Brecht`s theatre was dramatic not incidental, functional not ornamental, and music not as a means of escapism, but as an inspiration. The music, like all the other elements in his theatre, had to stimulate critical thinking and had to be of social use in order for it to be considered functional. The “great struggle for supremacy between music, text and production”, to which Brecht so often referred, complicated his goal of functionality and it was no easy task to marry his dialectical ideas. This caused for certain discrepancies between his theory and practice and I will take that into consideration in this study.

El trabajo aborda el proceso creativo del actor hacia personaje. Partiendo de la problemática de que el personaje es a la vez el actor en la vida real, se realiza un seguimiento en cuanto a las herramientas actorales (como la memoria emotiva imaginada y el distanciamiento brechtiano) que ayudaron al actor a establecer límites emocionales y físicos al encarnar al personaje. Por ello, el objetivo de este trabajo es examinar de qué manera estas herramientas ayudaron al actor a tener un mayor control emocional frente a la presencia del uso de la memoria emotiva. En tanto la finalidad de este trabajo es comprender cómo se da el proceso de desvinculación parcial de la memoria emotiva del actor para llegar al personaje, se realizan entrevistas y observaciones de campo para reconstruir el proceso creativo bajo las experiencias y práctica del actor y la directora del montaje-estreno de “Financiamiento Desaprobado” (2017). / Tesis

De quelle façon peut-on actualiser et mettre en scène une pièce de Brecht en considérant la relation aux spectateurs comme étant le point central de la démarche esthétique? Telle est notre question préalable. Cela implique de considérer le spectateur, du moins d'en intégrer une certaine conscience, dans le processus créatif qui mène à la représentation. La clarification des stratégies d'échange entre la scène et la salle a orienté nos recherches. D'abord, d'un point de vue sociologique, en prenant le parti que les spectateurs sont plus largement définis par tout ce qui est avant et après la représentation que par la centaine de minutes où ils sont assis dans la salle. Ensuite, par la voix des artisans du spectacle qui portent un regard de l'intérieur sur la relation scène-salle. Et finalement, dans une optique plus large qui englobe les deux précédents aspects et qui tient compte des modes communicationnels de notre époque et ce, en relation avec l'œuvre brechtienne. Nous soutenons ce travail de création en appuyant notre réflexion critique sur les écrits de Pierre Bourdieu et d'Emmanuel Éthis en sociologie, sur ceux de Régis Debray, Jacques Rancière et Guy Debord pour leur réflexion sur l'art, de Hans-Thies Lehmann et Jean-Pierre Sarrazac pour leurs travaux directement reliés à la pratique théâtrale et à l'art d'être spectateur et plus particulièrement à la proposition d'Yves Thoret qui, à travers la notion de spectature, définit la participation du spectateur à la représentation. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : spectateur, communication, spectature, distanciation, actualisation

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Anita Gonzalez, Florida State University, School of Theatre. Title and description from dissertation home page (viewed 6/16/04). Includes bibliographical references.

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.

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.