Ce mémoire présente une analyse de l'aspect comportemental des personnages de la pièce Grand-peur et misère du Ille Reich dans le contexte sociopolitique où l'auteur BertoIt Brecht les fait évoluer, afin de mieux comprendre ce qui pousse, ou plutôt ce qui semble obliger les personnages à adopter des comportements contradictoires. Dans un premier temps, c'est grâce aux concepts empruntés à la pragmatique de la communication qu'il nous est possible de décortiquer l'ensemble des situations de communication développées dans la pièce afin de déterminer les règles, ou lois communicationnelles auxquelles doivent se soumettre les personnages. Puis, la combinaison de ces résultats nous permet de déterminer deux modèles interactionnels représentatifs de la dynamique communicationnelle adoptée entre les personnages ; deux modèles interactifs en totale opposition et ayant pour répercussion directe de déstabiliser l'ensemble du système illustré par l'oeuvre, créant ainsi un environnement dans lequel les personnages agissent et évoluent de manière paradoxale

Titre de l'écran-titre (visionné le 6 décembre 2023) / Cette étude propose l'analyse de la représentation de l'interdiction de l'inhumation par ordre de pouvoirs autoritaires et, plus précisément, dans la pièce d'Antigone de Sophocle et les adaptations d'Anouilh et de Brecht, et dans le roman de Dorfman. À l'aide des réflexions issues des théories de Hegel, de Freud et d'Agamben, l'objectif est de montrer les similitudes et les transformations de l'intrigue initiale et d'interroger comment le personnage d'Antigone est réapproprié et devenu pluriel par les événements historico-politiques dans les adaptations modernes. De manière plus générale, ce mémoire s'intéresse à l'interdiction des funérailles par les États et met en lumière les perspectives philosophiques et psychologiques liées à la rébellion d'Antigone dans quatre textes littéraires ayant le même thème dans un contexte social différent. Notre recherche est divisée en trois chapitres. La première porte sur le concept de théâtre politique et par une analyse de la pièce Antigone et de la situation politique de la Grèce antique, au travers d'une critique de la théorie d'Hegel sur Antigone. Le deuxième s'intéresse à la réévaluation de la Seconde Guerre mondiale basée sur le concept de traumatisme et sa théorisation par Freud, en vue d'une analyse des deux pièces Antigone d'Anouilh et de Brecht et de leurs opinions différentes sur l'adaptation de la pièce Antigone dans le contexte de la guerre. Le troisième se penche sur les diverses adaptations d'Antigone à notre époque en fonction de la situation politique spécifique de cette époque. Et à la fin, il y a une analyse du roman Les Veuves de Dorfman, selon la théorie philosophique et politique d'Agamben sur les crises résultant de gouvernements totalitaires. Comment le théâtre et la littérature peuvent-ils être les porte-parole des moments critiques d'une société et comment un texte ancien peut-il être entendu par l'adaptation de telle sorte qu'il parle de nos vies ? / This study proposes the analysis of the representation of the prohibition of burial going by the totalitarian powers to the theater and the literature, more precisely in the play of Antigone by Sophocles and the adaptations of Anouilh, Brecht and Dorfman. Using reflections from the philosophical theories of Hegel, Freud and Agamben and theories of adaptation, the objective is to demonstrate the similarities and transformations of this play and to question how the character of Antigone is reproduced and made plural by historical and political events in literary adaptations. More generally, this thesis focuses on the prohibition of funerals by the states and highlights the philosophical-psychological perspectives linked to the rebellion of Antigone in four literary texts having the same theme in a context of different social. The thesis consists of research divided into three chapters. The first deals with the concept of political theater and it is an analysis of the play Antigone and the political situation in ancient Greece, and it is a critique of Hegel's theory of Antigone. The second deals with the description of the Second World War based on the concept of trauma and Freud's theory on this subject, and it is an analysis of the two plays Antigone by Anouilh and Brecht and their differing opinions on the adaptation of the play Antigone in Atmosphere War. The third looks at the various adaptations of Antigone to our time depending on the specific political situation of that time. And at the end, there is an analysis of Dorfman's novel The Widows according to Agamben's philosophical-political theory of the resulting crises of our time in totalitarian governments. How can theater and literature be the mouthpieces of a society's critical moments and how can an ancient text be audited through adaptation in such a way that it speaks to our lives?

Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into his background and activities in the United States. Leonard Bernstein, Marc Blitzstein, and Aaron Copland are but a few of the prominent composers investigated by the government for their involvement in leftist organizations. The Symphony of the Air was denied visas for a Near East tour after several orchestra members were implicated as Communists. Members of musicians' unions in New York and Los Angeles were called before HUAC hearings because of alleged infiltration by Communists into their ranks. The Metropolitan Music School of New York, led by its president-emeritus, the composer Wallingford Riegger, was the subject of a two day congressional hearing in New York City. There is no way to measure either quantitatively or qualitatively the effect of the period on the music but only the extent to which the activities affected the musicians themselves. The extraordinary paucity of published information about the treatment of the musicians during this period is put into even greater relief when compared to the thorough manner in which the other arts, notably literature and film, have been examined. This work attempts to fill this gap and shed light on a particularly dark chapter in the history of contemporary music.

Univ., Diss./2007--Zürich, 2006.

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-02Bitstream added on 2014-06-13T20:20:15Z : No. of bitstreams: 1 rodrigues_mr_me_arafcl.pdf: 518225 bytes, checksum: 8c92966968bbdf528a522e9deadd4293 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Em Portugal, durante o Estado Novo, apesar de a comissão de censura proibir a obra do dramaturgo alemão Bertolt Brecht (1889-1956), os dramaturgos, atores e diretores conseguiram, de alguma forma, adquirir conhecimento sobre os pressupostos do teatro épico brechtiano e praticá-los nas suas criações dramatúrgicas e encenações. Assim, algumas das peças produzidas pela dramaturgia portuguesa na segunda metade do século XX, além de explorarem freqüentemente temas históricos – a fim de tratar do passado com vistas a analisar o momento presente –, anunciavam a estética do teatro épico de Brecht como uma inovação das formas dramáticas praticadas até então. Frutos da perspectiva brechtiana de teatro épico, O render dos heróis (1960), de José Cardoso Pires (1925-1998) e Felizmente há luar! (1961), de Luís de Sttau Monteiro (1926-1993) constituem o corpus desta Dissertação de Mestrado. Essas peças apresentam no seu enredo fatos remanescentes ou antecedentes da Revolução Liberal de 1820, com o objetivo de – por meio da alegoria – levar o leitor / espectador a uma análise crítica da situação político-social de Portugal sob o regime ditatorial de António de Oliveira Salazar. Analisamos as formas de apropriação do efeito de distanciamento – elemento caracterizador do teatro épico brechtiano – nessas peças, bem como a relação delas com o período político marcado pela censura salazarista. Para isso, a nossa base teórica é constituída principalmente pelas teorias acerca do teatro épico de Brecht, considerando-as no contexto do teatro português da década de 1960. / In Portugal, during the Estado Novo period, although the censorship committee prohibited the work by German dramatist Bertolt Brecht (1889-1959), dramatists, actors, and directors were able to, somehow, acquire knowledge concerning the assumptions of Brechtian epic theater and put them into practice in their dramaturgical creations and staging. This way, some of the plays produced by Portuguese dramaturgy in the second half of the 20th century, besides frequently approaching historical themes (in order to discuss the past aiming at analyzing the present), articulated the aesthetics of Brecht’s epic theater as an innovation of drama performed up to that point. Results of Brechtian perspective on epic theater, O render dos heróis (1960), by José Cardoso Pires (1925-1998) and Felizmente há luar! (1961), by Luís de Sttau Monteiro (1926-1993) are the corpus of this Master Degree’s dissertation. These plays have, in their plots, facts which are reminiscent or antecedent of the Liberal Revolution in 1820, with the objective of – through its allegory – leading the reader to a critical analysis of Portugal’s social-political situation under António de Oliveira Salazar’s dictatorship regime. Analyze appropriation forms and the elaboration of the distancing effect – characteristic elements in Brechtian theater – in these plays, as well as the relation between these plays and the political period marked by the Salazarian dictatorship. For that matter, our theoretical foundation is mainly made up by theories regarding Brecht’s epic theater, considering them in the Portuguese theater context in the 1960s.

Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.

La première partie de ce document est constitué de la pièce de théâtre Hiver. Cette pièce relate l’histoire de Felipe, Musina et Gilles, trois sans-abri qui vivent ensemble l’espace de quelques jours. Felipe a été recueilli par Musina après que sa mère biologique l’ait abandonné au cours d’une tempête de neige, alors qu’il était allé se réchauffer dans les toilettes d’un restaurant. Depuis ce temps, Felipe et Musina sont devenus très proches. Musina aime Felipe à la fois comme un frère, comme un ami et comme un fils. Quant au petit, il est amoureux de Musina. Gilles se greffe à eux pendant trois jours. C’est alors qu’il sera confronté à son lourd passé. La pièce se termine tragiquement par le suicide de Felipe et de Musina et l’arrestation de Gilles. La seconde partie du document comprend l’essai. Il porte sur la figure du sans-abri dans Fragment de théâtre I de Samuel Beckett, L’opéra de quat’sous de Bertolt Brecht et Hiver, notre pièce de théâtre. On y dissèque ce type de personnage pour en comprendre les fonctions, les particularités et la symbolique. Cette seconde partie est elle-même divisée en deux chapitres. Le premier retrace les caractéristiques des personnages de Fragment de théâtre I et de L’opéra de quat’sous et tente de préciser si l’on peut les qualifier de sans-abri. Quant au deuxième chapitre, il identifie les points de convergences et de divergences entre Fragment de théâtre I de Samuel Beckett, L’opéra de quat’sous de Bertolt Brecht et Hiver.

Freie Univ., Diss.--Berlin, 2006.