Cette thèse porte sur la circulation de la théâtralité du cirque, de la France aux régions intérieures du Brésil, en prenant comme référence la configuration du spectacle de cirque moderne et la présence du théâtre dans le Cirque Olympique de 1807 à 1836. Le théâtre y est considéré comme un des éléments de la pluralité du cirque qui arriva au Brésil au XIXe siècle. Pour comprendre la circulation de cette dramaturgie, l’étude se porte sur le système de transports du pays, en se focalisant sur les chemins de fer, afin de mesurer l’impact culturel du Bahia and São Francisco Railway et du Chemin de Fer São Francisco dans les régions intérieures de l’Etat de Bahia, pendant la première moitié du XXe siècle. Ce qui permet de réaliser une analyse de la vie culturelle de ce « réseau de villes » bénéficiaires des chemins de fer, en particulier les villes de Alagoinhas, Serrinha, Senhor do Bonfim et Juazeiro. A titre d’exemple de cette circulation, l’étude se concentre sur le mélodrame français Les deux sergents, de D’Aubigny, présenté pour la première fois au public au Théâtre de la Porte Saint-Martin en 1823. Traduit en portugais, il fut représenté par des cirques et des compagnies théâtrales, dans différentes villes du Brésil, dont celles étudiées ici, et illustre un vrai triomphe de la dramaturgie mélodramatique française au Brésil, pendant plus d’un siècle. / This paper discusses the transit of the circus-theatricality from France to the interior of Brazil with reference to the configuration of the modern circus show and the presence of the theatre at the Cirque Olympique between the years 1807 and 1836. The theatre is therefore treated as an element of the plurality of the circus that came to Brazil in the nineteenth century. To understanding this circulation it is necessary to analyse the transport system in the country, focusing on the railroads, to point out the cultural impacts of the Bahia and San Francisco Railway and the Railway San Francisco on the interior of Bahia in the first half of the twentieth century and an analysis of the cultural life in the "network of cities" in Bahia, benefited by the railroads, especially the cities Alagoinhas, Serrinha, Senhor do Bonfim and Juazeiro. As an example of this movement, we discuss the French melodrama Les deux sergents from D'Aubigny, whose debut performance took place at the Théâtre de la Porte Saint-Martin in 1823. Translated into Portuguese, the piece was performed by circuses and theatre companies in several Brazilian cities, including those encompassed by this study, featuring a triumph of French melodramatic dramaturgy in Brazil over the course of more than a century.

Trata-se de um trabalho artístico desenvolvido na área da Interpretação Teatral a partir da transposição de técnicas circenses para a criação de uma dramaturgia da atriz. Este trabalho se inspira na personagem de Lady Macbeth, de W.Shakespeare e se utiliza da técnica do tecido circense para a realização da composição dramatúrgica, investigando o trabalho do corpo relacionado com a interpretação do ator para a construção da cena. / It is an artistic work developed in the area of Theatrical Interpretation from the translation of circus techniques to create a drama actress. This work is inspired by the character of Lady Macbeth of W.Shakespeare and uses the technique of tissue circus to perform dramaturgical composition, investigating the work of the body related to the interpretation of the actor to build the scene.

Orientador: Neyde de Castro Veneziano Monteiro / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T12:07:12Z (GMT). No. of bitstreams: 1 Carrico_Andre_D.pdf: 1783260 bytes, checksum: c9a5a18ffa00d8e2a3758ff220df8120 (MD5) Previous issue date: 2013 / Resumo: O principal objetivo da tese Os Trapalhões no Reino da Academia: Revista, Rádio e Circo na poética trapalhônica é analisar as raízes da formação do ator cômico brasileiro a partir de três tradições da cena nacional, presentes na poética do grupo cômico Os Trapalhões: o Teatro de Revista (Mussum), o Humorismo Radiofônico (Zacarias) e o Circo (Dedé e Didi). Para isso, localizamos os elementos dessas vertentes nos personagens-tipo desse grupo por meio do registro cênico em sua obra cinematográfica e televisiva. O projeto trapalhônico nos permitiu apontar a permanência de procedimentos universais de tradição popular, aportados pela formação desses cômicos, e a clareza na transmissão de princípios cênicos de artistas que os antecederam. Alicerçados por esses saberes, Os Trapalhões naturalizaram a figura do palhaço e souberam conjugar as potencialidades individuais de cada integrante do grupo, misturando e atualizando códigos e configurando uma poética reveladora da vitalidade de nossas escolas cômicas / Abstract: The main objective of the thesis The Trapalhões in the Academy Kingdom: Revue, Radio and Circus in trickster poetic is to analyze the roots of the education of Brazilian comic actors from three traditions of the national scene in the poetics of the comedy group The Trapalhões: Revue (Mussum), Radio Comedy (Zacarias) and Circus (Dedé and Didi). To this end, we have located the elements of these characters in the scenic register of their work in Cinema and TV. The project of The Trapalhões allowed us to show the permanence of universal procedures of the popular tradition, wich were brought from the origin of these comics, and the clarity in conveying the scenic principles from artists who preceded them. Substantiated by those knowledge, The Trapalhões have naturalized the figure of the clown and have combined the individual strengths of each member of the group, mixing and updating codes and configuring a poetic telling of our comic schools / Doutorado / Artes Cenicas / Doutor em Artes

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The constructive possibilities among the cultural heritage of the circus are notorious and in this way the bigness of movements from different body possibilities are being built. Due to this importantcircus cultural legate the circus activities constitute as representative to children moving and playing considering their experiential constructions. So, this study has as the main goal to investigate the relation between imagine and fascinate of the children that is expressed by playing and moving provoked by the circus activities. For the developing of this research it was gotten a methodology theoretical and exploratory with sense to the theory and explanatory condition to the aspects related to children imaginative playing. It develops by the comprehension art identifying the historic scenery this knowledge and its productions in view of the pedagogical context. In a second moment it is established a contextual and perspective recognition in the children looking for their playing and moving. In a third moment it is tried to identify the playing scenery in the school context and its problems considering the relation between the infantile and art imaginary. Bring to an end it will be traced some approaching with imaginative playing and circus activities considering its large scenery and its possible relation in school taking the context of playing and moving and circus activities. From this on it is possible to conclude that the circus scenery context and the infantile universe are surrounded by imaginative in the inventiveness construction of children that caused by the circus scenery contributes with a charming scenery extensive and sensitive to the different interests and necessities among the imaginative childhood. As well as the recognition of its diversity of possibilities above and beyond of teaching instruments while a pedagogy dedicated to the children intentions in the assumed way and understood in the child world as the movement multiple experiences being an elaborated pedagogy from to play and to imagine and the sensitive mediator to this process. / As possibilidades construtivas em meio à herança cultural do Circo são notórias e, desse modo, uma grandeza de movimentos de diferentes possibilidades corporais sendo construída. Devido a esse importante legado cultural do Circo, as Atividades Circenses constituemse como representativas ao BrincareSeMovimentar da criança, considerando as suas construções experienciais. Sendo assim, este estudo tem como objetivo investigar as relações do imaginar e fascinar da criança que se expressam pelo BrincareSeMovimentar estimulados pelas Atividades Circenses. Para o desenvolvimento dessa pesquisa, buscamos uma metodologia de cunhos teórico e exploratório, com sentido à reconstrução de teorias e condições explicativas aos aspectos relacionados às Atividades Circenses e suas relações com o brincar imaginativo da criança. O que, primeiramente, desenvolvese, por meio de uma compreensão do estado da arte, identificando o cenário histórico desse conhecimento e suas produções em vista do contexto pedagógico. Em um segundo momento, estabelece um reconhecimento do cenário contextual e perceptivo da criança, tendo em vista o seu BrincareSeMovimentar. Em um terceiro momento, procurase identificar o cenário do brincar no contexto escolar e sua problemática, considerando as relações entre o imaginário infantil e a arte. Em última análise, são traçadas algumas aproximações com o brincar imaginativo e com as Atividades Circenses, considerando o seu múltiplo cenário e suas relações possíveis na escola, tendo em conta o contexto do SeMovimentar imaginativo e as Atividades Circenses. A partir disso, concluise que o contexto do cenário circense e o universo infantil são mediados pelo imaginário nas construções inventivas da criança que, causadas pelo cenário circense, contribuem com um encantador cenário abrangente e sensível aos diferentes interesses e necessidades em meio à infância imaginativa como o reconhecimento de sua gama variada de possibilidades muito além de instrumentos de ensino, enquanto uma pedagogia dedicada às intenções das crianças em meio ao caminho assumido; e compreendidas no mundo da criança como experiências múltiplas do movimento, sendo uma pedagogia elaborada a partir do brincar e do imaginar e mediadora sensível a esse processo.

Cette thèse de doctorat en arts du spectacle propose une approche des pratiques, des discours et des représentations autour de la notion de virtuosité en danse. Elle explore des formes en mutation sur la scène chorégraphique et interdisciplinaire contemporaine en s’intéressant à l’incorporation d’un geste virtuose chez plusieurs performers, au passage entre le vingtième et le vingt-et-unième siècle. Observant les transferts d’une discipline ou d’un art à l’autre, ce travail s’est construit à partir d’un corpus de douze interprètes danseurs, breakeurs et acrobates. La première approche choisie a été de les interroger sur leurs parcours, leurs habitudes de travail, leur perception du geste virtuose, puis d’observer les représentations auxquelles ils participent. L’analyse ainsi proposée se construit à partir un corpus d’œuvres (danse contemporaine, cirque contemporain, hip hop) et d’entretiens présentés en annexe de ce travail. La virtuosité est donc envisagée du point de vue de l’interprète, considérée dans un système complexe et présent comme une forme d’indiscipline. A partir de certains constats et grâce à des méthodologies propres à l’analyse du mouvement et à l’analyse esthétique, cette recherche propose une exploration du geste virtuose à l’aune de certaines migrations disciplinaires et s’interroge sur la présence et l’importance de nouvelles formes de virtuosité sur la scène contemporaine, tentant d’en redéfinir les termes et les pratiques. / This doctoral thesis in performing arts offers an approach to practice, discourse and representations around the notion of virtuosity in dancing. It looks into forms currently mutating on today’s choreographic and interdisciplinary stage, focusing on the way various performers incorporate virtuosic movement into their interpretation, at the juncture between the 20th and the 21st centuries. Observing the transfers taking place between disciplines, this research is built on a corpus of twelve performers: dancers, breakers and acrobats. The first stage of the approach was to make them describe the path they had followed, their working habits, their perception of a virtuosic move, and to make observations about the shows they take part in. This analysis is based on a corpus of productions (contemporary dance, contemporary circus, breakdance) and interviews presented in the appendix. Virtuosity is thus investigated from the point of view of the performer, considered inside a complex system and presented as a form of indiscipline. Based on a number of observations and methodologies specific to movement analysis and aesthetic analysis, this research proposes an exploration of the virtuosic movement with respect to certain transdisciplinary migrations and examines the questions of the presence and significance of new forms of virtuosity on the contemporary stage, in an attempt to redefine its terms and practices.

The number of displaced people around the world today is unprecedented in world history, with a third of those displaced below the age of 18. These children often undergo traumatic experiences which can cause serious mental health issues before and during their flight as well as afterwards when resettling in a new country. In Sweden, they are offered psychological aid in order to better deal with these issues and hence recover. However, due to the cultural stigma attached to mental health problems, psychosocial aid is often ruled out by the child themselves. In addition, up to 30% of these unaccompanied children have been reported to suffer from PTSD, where merely speaking about one's issue can trigger a relapse of the trauma. There is therefore a shortage of pragmatic approaches to help tackle the challenges that these children faces. The aim of this thesis is to investigate how creative programs such as the organisation Clowns without Borders works with unaccompanied refugees and how their methods affect the wellbeing of these children. This thesis explores the effects that laughter and playing has on a child’s well-being using a qualitative field research approach. The research is a contribution to the field of development since it offers new grounds on how to work towards increasing the living standards of resettled displaced persons.

Dans un cadre ethno-sociologique et à partir d’un travail empirique longitudinal lié à notre statut professionnel d’enseignante, l’étude porte sur l’engagement des élèves dans les pratiques de danse et de cirque en milieu scolaire et plus particulièrement en Education Physique et Sportive (EPS). Au travers de l’observation de différents espaces de pratiques scolaires et la mise en œuvre d’entretiens compréhensifs, cette recherche propose un questionnement analytique, faisant émerger des contradictions/paradoxes entre le discours des élèves engagés, celui des enseignants d’EPS promoteurs de ces pratiques, et celui porté par les textes officiels. La typologie des formes d’engagement produite tend à montrer que les élèves se construisent dans un engagement singulier par un jeu complexe de négociations, de glissements entre les normes et les valeurs portées par l’institution scolaire et celles des « mondes de l’art » (H. Becker). Cette construction de l’élève investi dans les Activités Physiques Artistiques (APA) passe par des variations des modalités d’attachements (A. Hennion), à l’activité et aux enseignants militants qui les transmettent. / This study deals with the commitment of pupils in dance and circus practices within schools and more specifically in Physical Education (P.E.). It was lead within an ethno-sociological framework and based on empirical and longitudinal work in relation to our professional status as a teacher. Throughout our observation of different types of practices in various conditions in schools, along with our comprehensive interviews, this research project suggests an analytical questioning, which lead to the idea of contradictions / paradoxes between the discourses of the committed pupils, the P.E. teachers who promote these practices, and the official school curriculum. The typology of the forms of commitment thus created tends to show that pupils evolve by building a rather singular type of commitment through a negotiation process, a shift between the norms and values represented by the school institution and those of the “ worlds of art” (H. Becker). The construction, by the pupil who is committed to the Artistic Physical Activities (APA), goes through variations of attachment modalities (A. Hennon) to the activity and to the activist teachers who pass those activities on.

The purpose of this research is to try to understand and be aware of what happens when space is transformed and the body becomes space. Space understood as the place where bodies and movement are situated or inhabit, commonly characterised as unlimited, continuous or three-dimensional, as well as, on the other hand, a limited surface with common purposes. The physical body understood as that with mass, energy and three-dimensionality, which does not distinguish between human and non-human, material and living. The manipulation of bodies as the action of manipulating with the hands, with other parts of the body or even with another instrument, is the idea of distorting reality, of transforming and transposing it. Through manipulation, or rather movement, space is changed and dialogues and stories are created. Since the concept of manipulation focuses on what the person wants to achieve, creating a hierarchy between bodies, and the concept of transformation can be understood as the exchange or dialogue between bodies, where everyone offers and receives, the term manipulation will be changed to transformation. Transforming space as a horizontal place where bodies and movement inhabit; understanding bodies as that human and non-human, material and living, and movement as the means by which they dialogue with each other and with space. The transformation of space as a leap from what has so far been known as the manipulation of objects, with the aim of understanding the relationship between bodies and space as a circus discipline through movement as dialogue. As an aerial harness dance artist working with suspension, distortion of reality and shifting perspectives between the vertical and horizontal plane, I seek to understand what happens to space when it is transformed through a series of methodologies and methods. The methodologies employed focus on the practice of circus and dance, spatial architecture, the art therapy and the adaptation of bodies as pedagogy. In terms of methods, there is a difference between those that already exist, such as the study of concepts and other projects, and others that emerge as a result of the research. The latter are new methods, concepts such as movement as dialogue, horizontality as a multidimensional space [the breaking down of boundaries between human - non-human and space – body], limitation and control as possibility, vulnerability as a potential, bodies as spaces; as well as pause, adaptation, installation and observation as means to understand the transformation of space and the body as space. Treat this study within the field of research of new materialism with the aim of developing the potential of interconnectedness, understood as that which reciprocally relates bodies occupying a space, and spaces occupying a body; the means of expression that arises between body and space; and the breaking down of barriers inside, such as between living and material bodies, space and body, or the human being and everything else; within the circus with the aim of transforming the space.

The artistic research, Kehrä/ Kehrae is done together with Myrsky Rönkä, with significant ropes, places and spaces, creatures and histories. This paper is subtitled entwining possible worlds. It implies alternative possibilities for prevailing modern western ways to live and die and circus. There are three big questions in the air: What is the meaning of circus? What does it mean to be alive? And how could circus care (the existence of life within the earth)? The starting point was a concern about the troubling state of life and the world how it is today and how the modern western circus felt paradoxical and incapable of responding to the current times in sustainable ways. The initial question was, how to combine circus and other aspects of life into one sustainable, or regenerative and renewable practice. In order to seek other, latent realities this research goes beyond modern western circus history, beyond modern western worldview, and beyond “ordinary” circus practice.  The guiding idea is: life is circus, circus is life. Therefore the practice in this research is a collection of “whatever we were doing”. To mention some with great importance: whirling, meditation, becoming-with rope, making and mapping space with ropes and strings, dwelling with nature, and sauna. The other idea is to go through liminality and evoke communitas, with circus practice, bodies, ropes, and others.  This means abandoning accustomed ways to train and think about circus and life. Because of its nature, this work is also opening up what could spiritual (circus) practice mean as an alternative to a mechanistic way of thinking and making. The ontology of this research is animistic and relational, which suggests care, respect, reciprocity, and response-ability in all of our relations and takes into account the circulative nature of time and life. Animistic ontology takes materiality and skill towards the idea of becoming-with, when becoming into who and what happens in relational material-semiotic worlding. During the process, some specific features, or dwelling places for circus, emerged. Those are circus and play, circus and liminality, circus and shamanism, circus and others. In these dwelling places lies the deep powers of circus to be inversive and subversive, simultaneously transformative and sustaining: the mythical power of circus. Through the final artistic outcome Kehrä/ Kehrae, this paper is entwining the strings of the research together as a temporary gathering to be unraveled and intertwined into one again.

I understand the site of the former Schilleroper as a piece of the city with an unsettled history of trying, failing and trying again. Despite its difficult history of ups and downs, the Schilleroper has been a meaningful and popular place within its neighbourhood. A place of affordable, low threshold culture for the former working class residents. Even long after its life as a venue for large cultural events in the grand hall, it has been a lively public place in the area.Decades of neglect and decay later, the building is facing an uncertain future and it remains unclear, what, if anything, will be done to preserve it. The proposal suggests a (more or less) temporary use of the place as a continuous construction site of cultural making. Instead of aiming for a finalized architectural proposal, it describes a process of change and adaptation that, started by the suggested architectural interventions, could eventually develop its own self-renewing dynamics. It aims to offer a place that allows to be inhabited, appropriated and altered by its users. A place that not only accepts these notions, but actively depends on them. A place that the people of Hamburg can call their own.