Magíster en artes con mención en dirección teatral / La presente investigación se centra en el estudio del cabaret mexicano contemporáneo de la Ciudad de México, como un género teatral que destaca a nivel espectacular, por la presentación de elementos satíricos, esto es, vinculados a la crítica social y al humor, desde un tratamiento eminentemente performativo de los recursos escénicos, que requiere de un marco de copresencia fundamental entre actores y público. Nuestro primer objetivo es aportar al campo de los estudios de teatro latinoamericano contemporáneo una herramienta de análisis de puesta en escena que permita relevar los rasgos esenciales de este formato en tanto sátira y en tanto performance. Nuestro segundo objetivo es trasvasar experimentalmente elementos dramáticos y performativos del cabaret mexicano y el Teatro Invisible para construir un nuevo formato teatral de cabaret contemporáneo, aplicado al espacio público. Metodológicamente esta tesis implicó la revisión bibliográfica de fuentes sobre historia y teoría del teatro, la realización de entrevistas directas a creadores de cabaret contemporáneo, la observación de puestas en escena, la identificación de rasgos comunes, la presentación de un modelo de observación apropiado para el género, y el diseño y realización de un proyecto creativo. El resultado del proceso implicó en su nivel teórico, la definición del cabaret mexicano como un género de sátira contemporáneo, que dramáticamente está vinculado a la farsa, y utiliza el humor inclusivo para revisar críticamente temáticas socialmente contingentes, vinculadas a la exclusión y la explotación, revalorando el imaginario popular mexicano. Dentro de sus aspectos performativos destaca ante todo, el juego de presencia y representación, la copresencia y cocreación de la vivencia espectacular por parte de actores y espectadores, y el distanciamiento que persigue la producción performativa de la materialidad escénica. A nivel experimental esta tesis desembocó en la realización del proyecto creativo Cabaret Invisible desarrollado en el transporte público de la ciudad de Santiago.

No description available.

No description available.

The master's thesis entitled Prague cabarets after 1900 explores the so called golden age of cabarets in Prague between 1916-1923. The core of the thesis consists of a historiographic overview of cabarets and small form theaters in comparison with the contemporary theater scene. Keywords Cabaret, golden age of cabaret, 20. century, contemporary theatre, Červená sedma.

Erik Satie (1866-1925), who lived between the 19th century and the 20th century, was well known for his eccentric character and always gave his works odd titles that seemed almost derisive and ridiculous. With unique and creative ideas, Satie eagerly led the French composers to escape the constraint of Romanticism and Impressionism, and did a lot to promote the formation of music style in France after World War I. Created with simplicity and the pure idea, his works make him play an important role in the music history. Based on Satie's works of piano duets, this study mainly investigates the space usage in music works. To do so, this essay is divided into three parts. First of all, the first part discusses his creation background and explores his educational background as well as his unique personality. In addition, the second part introduces the creation background of these three sets of piano duets. At last, the third part tries to illustrate the space usage in music works with these three piano duets in terms of texture, forms, rhythm, dynamics, tonality, expression marks and borrowed melody.

No description available.

Le cabaret de l’Écluse est une petite salle de spectacles, ouverte entre 1951 et 1974 au 15, quai des Grands Augustins à Paris, et dont la particularité est de programmer chaque soir des numéros variés — chant, sketch comique, poésie récitée, marionnettes, mime et projection de dessins. Au fil des vingt ans d’existence de ce cabaret, s’y produisent des artistes aussi divers que Barbara, Raymond Devos, Marcel Marceau, Yves Joly, Philippe Noiret et Jean-Pierre Darras ou Cora Vaucaire. À rebours de l'éclectisme déroutant du spectacle qu'il accueille, c'est en tant que lieu que le cabaret de l'Écluse semble le mieux « donner prises », construisant son identité à partir d'une localisation parisienne qui l'insère dans un paysage urbain, social et culturel soutenu par une tradition historique complexe. Il fait ainsi partie des cabarets dits « rive gauche », qui fleurissent près de la Seine après la Seconde Guerre mondiale et affichent spatialement leur refus du divertissement commercial qu’offrent par ailleurs les « boîtes » plus luxueuses de la rive droite. Cette lecture déterminée de l’espace qui fait du cabaret un mot-valeur doit être comprise dans une histoire plus longue. Se construit en effet depuis le XIXe siècle, loin des premières représentations du lieu, d’abord attaché à une inquiétude sociale, l’image du cabaret comme un espace refuge où la poésie trouverait à s’épanouir contre l’affirmation croissante d’une culture industrielle et commerciale.En dépit d’un tel patrimoine axiologique, le cabaret de l’Écluse présente une réalité plus métissée. S’il rend hommage à des modèles littéraires prestigieux, comme le Chat Noir ou le Lapin Agile, dont il contribue à prolonger le mythe, il intègre pourtant, pour chacun de ses numéros, les apports du café-concert, du music-hall et du cinéma — autant de manifestations associées à une culture du divertissement souvent bannie du champ littéraire. Cette hétérogénéité est soulignée par la formule même du spectacle, qui érige la variété en principe de composition. À la diversité des modes d’expression convoqués répond ainsi le caractère composite de leurs héritages. L’Écluse apparaît donc comme un objet pluriel qui exige, pour être pensé, de fonder de nouvelles catégories d’analyse. C’est précisément au prisme de la variété, envisagée comme un véritable outil méthodologique aux prolongements herméneutiques et éthiques féconds, que nous l’étudierons.Irréductible aux déterminations axiologiques, le cabaret de l'Écluse fait vaciller la stabilité de son ancrage géographique, et nous oblige à repenser les territoires et prérogatives du littéraire, qu'il n'effleure, par le biais poétique, que pour mieux le sidérer. Quelle place accorder à ce lieu rebelle qui prend de cours nos critères d'analyse traditionnels et rend illisible le paysage artistique et culturel qu'explorent les études littéraires ? À force d'écarts et de détours, le lieu qui s'imposait à nous par sa visibilité évidente ne risque-t-il pas de perdre toute consistance ? L’Écluse parviendrait à demeurer — telle est notre hypothèse — en transformant le lieu géographique et social du cabaret pris dans les mailles d'un réseau et d'un champ, dans les filets de déterminations historiques, en un espace poétique délié. Lieu traversé, habité de propositions spectaculaires variées, il fonderait à partir de leur mise en présence cet espace poétique, que nous nous proposerons de définir non comme une certaine mise en forme du texte mais comme un réseau d’échos, tissés d’une prestation à l’autre. Cette « manœuvre foudroyante de rapports » déplace la production du sens du plain-chant à ses résonances. / L’Écluse was a small performance hall which presented mixed shows every evening between 1951 and 1974 : songs, shorts comedy sketches, recitations of poems, puppet shows, mimes and projected drawings. Many performers worked at L’Écluse. Some became famous, suche as Barbara, Raymond Devos, Marc Marceau, Yves Joly, Philippe Noiret and Cora Vaucaire. Despite the confusing eclectism of the cabaret shows, the place itself seems to offer a stable way to consider the subject. Indeed, L’Écluse built itself through its localisation in Paris, situated in an urban, social and cultural landscape shaped by a long and historical tradition. It was part of these « cabarets rive-gauche » that bloomed in Paris after the Second World War, pretending to refuse every form of commercial entertainment usually proposed to tourists by luxurious night-clubs on the right bank of the Seine river. This emblematic partition of the French capital between a right and a left bank resulted from a long history. Since the end of the XIXth century, cabarets were indeed considered as places of arts, where poetry could blossom far from a besides growing industrial and commercial culture. However, l’Écluse’s identity was not as clear as it seemed. The cabaret payed tributes to its prestigious literary precursors such as Le Chat Noir and Le Lapin Agile, but also to café-concerts, music-halls and popular movies, that are frequently left out of the literary field. This complete heterogeneity appeared in its shows themselves, shaped by various artistic expressions. L’Écluse was thus ruled by variety. It was therefore a complex object that requires specific methods to be considered. It is precisely through the prism of variety, regarded as a fruitful methodological analysis tool, that we intent to study it. With its mixed shows, L’Écluse cannot be sorted into a « black-or-white » category. It encourages us to re-think what belongs to literature or not. Where can such an unclassifiable place, that catches us unawares and strikes down our usual analysis categories, stand in literary studies ? Accordingly, we postulate that L’Écluse converted its place, defined by historical, geographical and social determinations, into a creative poetic space, shaped by the coexistence of various artistic expressions and the echoes that appeared between each of them and not by the pretended quality of its acts. The meaning of the shows was thus not provided by what was clearly said : it came from what remained unformulated.

MUSICAL THEATRE HANDBOOK FOR THE ACTOR By Maggie Elizabeth Marlin, MFA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2009 Major Director: David S. Leong Chairman, Department of Theatre Musical Theatre is a performance style deeply woven into the fabric of the American theatre. We live in time and social climate where over half of the productions open on Broadway right now are musicals. If actor training institutions profess a mission to prepare their students for a career in the entertainment industry, why are so many components of an actor’s skill set left to the side and considered peripheral? One can make the argument that their actor training program is exclusively for the theatre, and even more specifically for straight plays for the theatre. Of course, what your career preparation institution chooses to target is your prerogative and as long as that is clear to the incoming students who wish to specialize only in that one faction of the artist’s opportunities for work then my argument is moot. However, if you believe that actor training has a duty to prepare actors to work in an ever changing and transforming field and to be competitive in meeting the demands of various media, among many other areas of focus you should consider preparing your students to develop their craft for musical theatre as legitimately as you would for a classical or contemporary straight play. In this thesis I propose an approach to creating a role for musical theatre using as an example my character development technique for the role of Sally Bowles from a recent production of Cabaret. My desire is to illustrate a seamless continuation of the actor’s craft to meet the additional requirements of skills necessary to perform in a musical. Rather than signifying a separate style of acting for musical theatre which is identified as being altogether different and often dismissed as inferior to the craft of acting in a straight play, I hope to challenge the reader to consider a new perspective in which the foundation of musical theatre performance is built on the fundamentals of acting in a straight play.

This thesis examines the relationships cabaret dancer Jane Avril formed with artist Toulouse-Lautrec and photographer Paul Sescau. As the star dancer of the Moulin rouge, Avril enlisted these two artists to create promotional images for her that set her apart from other performers in the competitive entertainment scene of the 1890s. This ability to direct her own advertisement methods was a creative opportunity that was available to few women during this time. These three figures were friends and artistic partners who lived in the outcast of society in fin-de-siecle Montmartre where they worked together and supported one another. Their many collaborations prove that Avril as well aware of the power she had in commissioning the most successful avant-garde artists of her time. This thesis studies Toulouse Lautrec’s painting Jane Avril Leaving the Moulin Rouge in chapter one, his poster, Jardin de Paris in chapter two, and Paul Sescau’s photograph of Avril in chapter three. Moving from Toulouse-Lautrec’s painting and poster to Paul Sescau’s photograph, I will show how Avril utilized multiple mediums to disseminate her image across Paris. Ultimately, mass media afforded Avril the most direct agency in shaping her public image. These collaborations prove that Toulouse-Lautrec in particular had an acute awareness of the public persona Avril crafted as a sophisticated yet unorthodox dancer.

My MFA portfolio consists of two scripts for performance and a research essay exploring the methods and process of writing these. Songs My Mother Taught Me is a one-woman cabaret piece; set in 1972, it explores hippie culture in New Zealand and a young women‟s search for independence. This portfolio contains two versions of this script. Both versions of this piece have been performed. In Defence of Love is a play for three actors, each of whom plays one aspect of an abused woman trying to find her way out of a destructive relationship.