Thèse de doctorat--Etudes théâtrales--Paris 3, 2004. / Bibliogr. p. 351-361.

This work is concentrated on the period of ?Theatre of Cruelty? and following theatre experiments in work of Peter Brook. It´s historical basis are years 1963-1970 and it explores the influences of Antonin Artauds theories on Brooks praxis, areas, where these men encountered. Main goal of this work is to reflect confrontaion of Artauds ideas with practical theatrical process and to tell, how much were they real and how much not: to explain their contribution to theatre.

Orientador: Eusebio Lobo da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T08:44:37Z (GMT). No. of bitstreams: 1 Leite_MarthaDiasdaCruz_M.pdf: 609066 bytes, checksum: dabc4f206c0914c56351fe376dfda8de (MD5) Previous issue date: 2006 / Resumo: Este presente trabalho tem como objetivo realizar uma série de reflexões sobre o fenômeno da presença de ¿vida¿ na representação do ator. Como ponto inicial para esta tão complexa discussão, partimos de um estudo do conceito de Centelha da Vida (termo metafórico criado pelo diretor inglês Peter Brook para falar sobre a ¿vida¿ que emana de uma cena e a torna interessante e envolvente para quem a assiste) e ampliamos, postumamente, a discussão para outros autores como: Stanislavsky, Grotowski e Burnier. Para tanto, adotamos o pressuposto do ator como uma corporeidade que se relaciona com outras corporeidades (que no caso seriam os demais atores e o público) utilizando como suporte as teorias de Merleau-Ponty e os estudos de Antônio Damásio sobre corpo e mente. Como forma de investigação, propomos duas frentes de laboratórios práticos de criação: a pesquisa com a linguagem de sinais aplicada à cena e uma observação e análise do processo de criação da peça ¿Intersecções: peças curtas de Harold Pinter¿. O intuito de tais laboratórios foi efetuar uma investigação sobre a questão da organicidade da representação do ator, aproveitando a semelhança entre as essências dos conceitos de Centelha da Vida, verdade teatral e organicidade / Abstract: This work aims to carry out a series of reflections on the phenomenon of the presence of ¿life¿ during the actor¿s performance. As a starting point for such a complex discussion, we consider the study of the concept Spark of Life (a metaphorical term minted by English director Peter Brook to describe the ¿life¿ which emanates from a scene making it interesting and involving for the audience) further extending the discussion to other authors such as: Stanislavsky, Grotowski, and Burnier. In order to accomplish our objective, we have adopted the presupposition of the actor as a corporality who interacts with other corporalitys (being them other actors and the audience) using as theoretical support Merleau-Ponty¿s theory and Antônio Damásio¿s studies about body and mind. As an investigative method we have proposed two different practical creation laboratories: the research on sign language applied to the scene, and the observation and analysis of the creation process of the play ¿Intersections: Harold Pinter¿s short plays¿. The objective behind those laboratories was to conduct an investigation into the actor¿s performance organicidade, taking advantage of the similarities in the essences of the concepts Spark of Life, theatrical truth and organicidade / Mestrado / Mestre em Artes

This thesis examines the use of elements of myth and ritual in the work of Peter Brook, focusing primarily on The Mahabharata ( 1986 ). The argument proposes that Brook uses myth and ritual as an integral part of his search for the culture of links .. This thesis examines the precise functioning of myth and ritual in Brook's theatre, and places his work in relation to the concepts of interculturalism and postmodernism. In so doing, The Mahabharata is seen as a valid and important step in Brook's search for the culture of links. Chapter One formulates broad-based concepts of myth and ritual, and examines their function in society and culture, as well as their role in theatre. Chapter Two offers a brief discussion of the use of elements of myth and ritual in Brook's productions, beginning with King Lear (1962), and ending with 0rghast (1971). The discussion illustrates the multiple functions which myth and ritual serve in Brook's work. Chapter Three examines the trend of interculturalism, placing Brook's work within this franlework. Attention is given to the moral and political issues implicit in interculturalism. The chapter highlights the need for intercultural theatre to be evaluated in terms of artistic criteria, rather than on anthropological or political grounds. Finally, there is a discussion of the work of other intercultural theatre practitioners. Chapter Four examines Brook's Mahabharata. A detailed discussion of the authenticity and visual presentation of Brook's interpretation shows how Brook mediates between the Indian epic and a Western audience An examination of the critical response offers insights into the dangers of insensitive cross-cultural contact.. Chapter Five offers a critical summary of the argument. Brook's search for the culture of links has led him to use elements of myths and rituals of non-Western cultures. In so doing, Brook seeks to bring their living quality to his work, and to forge links between the peoples and cultures of the world.

No description available.

Thesis (D. Mus. Arts)--University of Washington, 1996. / Vita. Includes the program from the production of Carmen at the University of Puget Sound on August 12 and 13, 1995, in pocket. Includes bibliographical references (leaves [109]-111).

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T15:30:43Z (GMT). No. of bitstreams: 1 Castro_AnaLuizadeMagalhaes_M.pdf: 7262821 bytes, checksum: 4bd587371f17e97a500d09d7d4d18cd2 (MD5) Previous issue date: 2012 / Resumo: Este estudo desenvolve uma reflexão sobre a presença da narrativa no teatro de Peter Brook. Compreendendo-a como resultante de sua pesquisa em direção à "qualidade" e à "vida" da cena. Da noção de narrativa, de cunho tradicional, deriva o conceito de experiência que dialoga com as premissas propostas por Brook para o seu teatro. O espetáculo "A Conferência dos Pássaros" foi escolhido para este estudo por apresentar plenamente a atuação narrativa no percurso do teatro de Peter Brook, conjugando, também, o saber desenvolvido pelo grupo, no primeiro ciclo de trabalho que se iniciou com a criação do Centro Internacional de Pesquisa Teatral - CIRT, em 1970 / Abstract: This work develops a reflection about the presence of narrative in the theater of Peter Brook. Understanding this presence as a result of his search toward the "quality" and "life" of the scene. From the notion of traditional narrative derives the concept of experience, that dialogue with the premises proposed by Brook for his theater. The play "The Conference of the Birds" was chosen for this study because it presents the fully narrative acting in the Peter Brook's theatre process. It combines the knowledge developed by the group in the first cycle of their work that began with the creation of CIRT - International Centre for Theatre Research in 1970 / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-03T13:32:06Z No. of bitstreams: 1 Elizabete Araujo da Silva.pdf: 800834 bytes, checksum: f73600468106a9a529c7d93d6a6bbdad (MD5) / Made available in DSpace on 2018-07-03T13:32:06Z (GMT). No. of bitstreams: 1 Elizabete Araujo da Silva.pdf: 800834 bytes, checksum: f73600468106a9a529c7d93d6a6bbdad (MD5) Previous issue date: 2018-04-20 / This work aims at investigating how the plot of the play Palhaços, by Timonchenco Wehbi, can be connected to the basic elements of what Peter Brook has called Rough Theatre: a kind of theatre that, beyond merely proposing the centrality of human actions, brings up at its core the search for a critical positioning of artists and public alike. In order to conduct such an endeavour, we will start by reading and analyzing Palhaços to demonstrate how the reflection of artistic procedures is capable of critically influencing both artists and public, and is intrinsic to Wehbi’s dramaturgical architecture. Thus, it would be possible to compare the latter with the ideas about theatre that Peter Brook puts forth in his work The empty space. Finally, we intend to bring light to the fact that the theatre of provocation and contestation (i.e., the rough) is indeed an aesthetic and thematic project of Wehbi's, which we can access through the conversation between an artist, a clown called Careta, and a man from the public, a shoe seller called Benvindo, both of whom are characters in Palhaços / O presente trabalho propõe investigar como o enredo do texto dramatúrgico Palhaços, de Timonchenco Wehbi, pode estar ancorado nos preceitos daquilo que Peter Brook nomeou de Teatro Bruto. Um teatro que, além de se ocupar fundamentalmente das ações humanas, traz em sua essência a busca de um posicionamento crítico do artista e seu público. Para tanto, partiremos da leitura e análise de Palhaços para demonstrar como na peça a reflexão do fazer artístico é intrínseca à arquitetura dramatúrgica proposta por Wehbi e, sendo assim, possível de a aproximarmos das reflexões sobre o teatro que Peter Brook faz em sua obra O espaço vazio. Pretendemos, por fim, evidenciar como o teatro da provocação e da contestação, portanto, o bruto, acaba por ser um projeto estético e temático de Wehbi, ao qual teremos acesso por meio da conversa entre um artista, o palhaço Careta, e um homem vindo do público, o vendedor de sapatos Benvindo, personagens do texto dramatúrgico Palhaços