Orientador: Fabio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T03:06:15Z (GMT). No. of bitstreams: 1 Oliveira_GislaineCristinade_M.pdf: 1237032 bytes, checksum: e0439915fc28f1aea1eadc16a98391e2 (MD5) Previous issue date: 2011 / Resumo: Este trabalho consiste em uma leitura do livro O método Brecht de Fredric Jameson. Um dos mais importantes teóricos do pós-modernismo, Jameson, discute nesse livro a validade de Brecht para os dias de hoje e demonstra como as ideias, narrativas e linguagem brechtianas constituem um método que também se confunde com certa atitude dialética. Devido à complexidade da exposição de Jameson, foram eleitos alguns fios condutores para organizar as discussões. Os objetivos do trabalho são, portanto, explorar os argumentos do crítico, desemaranhá-los e tentar explicitar seu funcionamento, em especial no contexto brasileiro. Para esse propósito, procedeu-se uma leitura detalhada das proposições de Jameson e foram levadas em conta outras contribuições de estudiosos a respeito dos mesmos temas. Os resultados foram três textos que constituem os capítulos desse trabalho: uma reflexão sobre o histórico de Brecht no Brasil confrontada aos pressupostos e conhecimentos necessários à leitura de O método Brecht, uma paráfrase das ideias e hipóteses principais do livro juntamente com a discussão sobre a centralidade do ator no trabalho brechtiano e, por fim, o comentário sobre a própria escrita de Jameson / Abstract: This work consists of a reading of Fredric Jameson's book, Brecht and Method. One of the most important theorists of postmodernism, Jameson discusses in this book the validity of Brecht to the present day; he shows how ideas, narratives and language make up a brechtian method that also merges with what could be called a dialectical attitude. Due to the complexity of Jameson?s exposition, some theoretical threads were choosen to organize the discussion. The objectives of this study are therefore exploring the critic?s arguments, unraveling them and trying to explain the way they operate, particularly in the Brazilian context. For this purpose, a detailed reading of Jameson?s propositions was carried out and contributions from other scholars about the same topics were taken into account. From that the three chapters this thesis result: a confrontation between the reflection on Brecht's history in Brazil and an explanation of the knowledge required to read Brecht and Method, a paraphrase of the book's main ideas and hypothesis along with the discussion of the centrality of the actor in Brechtian work and, finally, a commentary on Jameson's writing / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

This study analyses five British translations of Bertolt Brecht's 'Mutter Courage und ihre Kinder'. Two of these translations were written by speakers of German, and three by well-known British playwrights with no knowledge of the source text language. Four have been produced in mainstream British theatres in the past twenty-five years. The study applies translation studies methodology to a textual analysis which focuses on the translation of techniques of linguistic "Verfremdung", as well as linguistic expression of the comedy and of the political dimension in the work. It thus closes the gap in current Brecht research in examining the importance of his idiosyncratic use of language to the translation and reception of his work in the UK. The study assesses the ways in which the translator and director are influenced by Brecht's legacy in the UK and in turn, what image of Brecht they mediate through the production on stage. To this end, the study throws light on the formation of Brecht's problematic reputation in the UK, and it also highlights the social and political circumstances in early twentieth century Germany which prompted Brecht to develop his theory of an epic theatre. The focus on a linguistic examination allows the translator's contribution to the production process to be isolated. Together with an investigation of the reception of each performance text, this in turn facilitates a more accurate assessment of the translator and director's respective influence in the process of transforming a foreign-language text onto a local stage. The analysis also sheds light on the different approaches taken by speakers of German, and playwrights creating an English version from a literal translation. It pinpoints losses in translation and adaptation, and suggests how future versions may avoid these.

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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.

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This study explored the relationship between the dramatic and the educational theories developed by Bertolt Brecht and selected twentieth-century theories of pedagogy. A survey of Brecht's life and works revealed that although the stimulus-response theories of the associationist psychologists were inappropriate to Brecht's concepts, the three principal aspects of Gestaltism—perception, insight, and life space, as formulated by Max Wertheimer, Kurt Koffka, Wolfgang Kohler, and Kurt Lewin—seemed profoundly related to Brecht's concern with man's ability to perceive and to learn about his environment. Brecht strove to create perceptual images of historical environments. The characters, who represented various ideologies and philosophies in situations which stimulated insightful learning, struggled with life spaces that accurately resembled life outside the theatre. Thus, Brecht utilized elements of the theories of perception, insight, and life space in his dramas as he strove to force his audiences to perceive the characters' environments, to grasp the significance and relationships between the characters' environments and their own social milieu, and to recognize those influences in one's life space which attract or repel the individual. The study also suggested that Brecht's works might be amenable to empirical study.

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