Given the expansion of multimedia technology and proliferation of moving projections on the theatre stage in the 21st century, this thesis examines how a virtual or projected character can appear to be present without a physical body on the stage. This study is grounded in the theories of effet de présence (effect of presence) as elaborated by Josette Féral, but also uses other theories to look at how productions can create such an effect for virtual characters. Specifically, this thesis examines the character’s relationship with the real, framing devices and actions of the characters. The specific examples of Rwanda 94 (Groupov), La Belle et la Bête (4D Art) and Les Aveugles (UBU CC) are used as case studies in order to focus on these techniques. Partant de l’intégration des nouvelles technologies et la prolifération des projections vidéo au sein des scènes théâtrales du 21e siècle, cette thèse examine les techniques par lesquel les personnages projeté peut sembler présent en l’absence d’un corps physique visible. Cette réflexion est basée sur l’effet de présence, concept élaboré par Josette Féral, ainsi que d’autres théories et examine comment un effet de présence est constitué pour ces personnages virtuels en considérant leur relation au réel (mimesis), les dispositifs de cadrage dans lesquels ils s’inscrivent de même que leurs actions. Cette analyse sera menée à porter de avec trois étudies de cas : Rwanda 94 (Groupov), La Belle et la Bête (4D Art) et Les Aveugles (UBU CC).

Os diálogos possíveis entre a prática e o ensino da Cenografia no Brasil aqui identificados são resultantes da investigação e da reflexão sobre a formação do cenógrafo contemporâneo a partir da perspectiva de experiências na prática teatral. O cenógrafo é aqui tratado como artista, responsável pela identidade visual do acontecimento teatral e colaborador no processo de sua criação. A Cenografia é encarada como linguagem situada no contexto teatral sem, no entanto, excluir os seus desdobramentos na prática atual, entendendo que, a partir da sua origem, que é o Teatro, podemos transpor boa parte desta experiência para as demais áreas. O desenvolvimento desta pesquisa baseia-se no acompanhamento in loco de processos vivenciados e metodologias aplicadas nas principais instituições brasileiras de ensino da Cenografia. Os procedimentos são analisados diante do objetivo de reconhecer e apontar caminhos produtivos para a formação do futuro artista cenógrafo. Esta investigação busca indicar rumos que de fato contribuam para o desenvolvimento da qualidade artística e técnica do cenógrafo, de forma que não o restrinja apenas a responder com segurança às suas atribuições, mas que o prepare para atuar e colaborar, efetivamente, como artista criador, nos processos e realizações contemporâneas, participando do desenvolvimento das Artes Cênicas. / The possible dialogues between the practice and teaching of scenography in Brazil, identified herein, are the result of the investigation and reflection about the development of the contemporary scenographer originating from the perception from my experience in theatre practice. Here the scenographer is treated as an artist, responsible for the visual identity of the theatrical event and collaborator in the process of its creation. Scenography is taken as a language within the theatrical context, taking care to not ignore scenography?s expansion into other areas, understanding that starting from its theatre origins we can carry a good part of this experience to these other related areas. The development of this research is based on the processes experienced and methodologies applied in major Brazilian academic institutions that offer bachelor degree level scenography courses. These proceedings are analysed with the objective of recognizing and appointing productive directions for the training of future scenographic artists. This investigation aims to indicate guidelines that contribute to the development of the artistic and technical qualities of the scenographer, not just the capacity to execute their acquired attributes, but to prepare an active collaborator, a creative artist in the process of contemporary productions, participating in the development of the Scenic Arts.

The aim of this thesis is to provide the reader with an image of contemporary French theatre intended for children and a young audience. The thesis is divided in two main parts. The first discusses contemporary French drama for this kind of audiences, its state, trends and tendencies, described using examples of individual plays written in the past twenty years, including the latest ones. The second part of the thesis details the facets of contemporary French theatre for children and a young audience, presents the most influential directors and their specific approaches to working with this kind of audiences. From those two outlooks of the given topic, the thesis aims to present the phenomena and specifics of French theatre for children, including comparison with the Czech equivalent. For a better understanding of what the position of French theatre for children is within the context of French culture and what influences shaped it, a part of the thesis is also a brief history of this kind of theatre in France. The author draws from numerous monographs and articles written on the subject, from her own experience with French theatre for children, from numerous topical French conferences she attended and from an internship at Théâtre de Villeneuve.

Submitted by Natalia Nolli Sasso null (natalianolli@hotmail.com) on 2016-08-01T21:04:42Z No. of bitstreams: 1 Dramaturgias de acesso.pdf: 4810569 bytes, checksum: a5f3da3cce9c58ef70e0418c05923b42 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-02T12:31:23Z (GMT) No. of bitstreams: 1 sasso_nn_me_ia_par.pdf: 456034 bytes, checksum: f9bb4276bb623b3492d7de6a8132dffd (MD5) / Made available in DSpace on 2016-08-02T12:31:23Z (GMT). No. of bitstreams: 1 sasso_nn_me_ia_par.pdf: 456034 bytes, checksum: f9bb4276bb623b3492d7de6a8132dffd (MD5) Previous issue date: 2016-05-23 / No panorama das pesquisas que relacionam criação à fruição nas artes se insere esse projeto de pesquisa, que entrelaça as três etapas - processos de criação, realização cênica e processos de fruição - a partir de análise de aspectos que geram e constituem a dramaturgia de cena. A dramaturgia de cena entendida como eixo a partir do qual depreender análises de etapas anteriores (processos de criação) e consecutivas (fruição). Pretende-se ter essa questão como norteadora das investigações: como o percurso de criação, em conjunto com os modos de realizar cena, estabelecem limites e produzem possibilidades para a relação triádica criação-obra-fruição? Para tal, desenvolve-se essa questão a partir da análise de A pior banda do mundo e Solos Impossíveis (Cia dos Outros - SP); Nada – para Manoel de Barros e Nada se move (Coletivo Irmãos Guimarães e outros colaboradores – DF/RJ). Servem como materiais de suporte às análises: memórias da pesquisadora e dos criadores, entrevistas (com integrantes dos grupos), assistência de registros em vídeo e de apresentações públicas, materiais usados para divulgação e mediação das peças, anotações; além de dados provenientes da experiência profissional da pesquisadora, e bibliografia indisciplinar. / Into the panorama of researches in arts that relate creation till fruition is localized this research, which also interweaves three steps - creation, scenic realization and fruition - from analysis of aspects that generate and develop the dramaturgy of scene. The dramaturgy understood as axis from where inferred some analysis of previous steps (creation process) and consecutives (fruition). And intendind have this issue as a guide to the research: how the creation processes, together with the ways of performing scene, could set limits and produce possibilities for the relationship triadic creation-dramaturgy-fruition? Finally, this issue is developed from the analysis of the dramas A pior banda do mundo and Solos Impossíveis (Cia dos Outros - SP); Nada - para Manoel de Barros and Nada se move (Coletivo Irmãos Guimarães and other collaborators - DF / RJ). They serve as important points for analyzes of support materials: the memories of the authoress, the memories of the arstists at the creation process and after, during the fruition processes; interviews (with members of the groups), videos records for the dramas' assistance and the assistence to the public presentations, materials used for comunication at social medias as well to direct mediation, some notes; as well as data from the professional experience of the researcher, and indisciplinary bibliography.

[pt] A presente pesquisa analisa criticamente os espetáculos Ham-let, dirigido por José Celso Martinez Corrêa, e Ensaio.Hamlet, dirigido por Enrique Diaz. Reflete sobre os diferentes modos como essas duas montagens transformam e reatualizam o clássico de Shakespeare, no contexto do chamado teatro pós-dramático, favorável a obras fragmentárias, híbridas, abertas a pesquisas de novas linguagens e interferências performáticas. A referência teórica principal da pesquisa é o pensamento de Gilles Deleuze e Félix Guattari, com ênfase nas reflexões que estes desenvolveram acerca das relações entre arte e devir. Sustenta-se que as duas encenações instanciam de formas distintas o expediente de minoração de obras maiores, assim como descrito por Deleuze em obra sobre a dramaturgia de Carmelo Bene. Além de apresentar e discutir convergências e divergências nas estratégias de minoração adotadas nas duas encenações, esta dissertação inclui também uma exploração pontual dos lugares ocupados em cada caso pela personagem Ofélia, partindo da hipótese de que esta pode ser produtivamente tomada como força de minoração atuante já própria na peça de Shakespeare. O conceito de tradução enquanto transcriação, do poeta e ensaísta brasileiro Haroldo de Campos, e o conceito de ensaio, do filósofo alemão Theodor Adorno, são também referenciais teóricos utilizados na pesquisa. / [en] This dissertation critically analyzes two dramatic works: Ham-let, directed by José Celso Martinez Corrêa, and Ensaio.Hamlet, directed by Enrique Diaz. It reflects about the different ways in which these two plays transform and renovate the Shakespeare s classic in the context of the so-called Postdramatic theater, a milieu that favors fragmentary, hybrid works, open to the research of new languages and to performing interferences. The main theoretical framework is the thought of Gilles Deleuze and Felix Guattari, emphasizing the reflections they developed on the relationship between art and becoming. It is argued that the two stagings instantiate, in different ways, the procedure of minoring a major work, such as described by Deleuze in his work on the dramaturgy of Carmelo Bene. In addition to presenting and discussing general convergences and differences in the strategies of minoration adopted by the two directors, this dissertation also includes a specific address to the places occupied by Ophelia in each case, assuming that this character can be productively taken as a force of minoration already at work in Shakespeare s play. The concept of translation as trancreation, from Brazilian poet and essayist Haroldo de Campos, and the concept of essay, from German philosopher Theodor Adorno, are also theoretical references used in the research.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-10-18Bitstream added on 2014-06-13T19:48:47Z : No. of bitstreams: 1 matias_lb_me_ia.pdf: 2044349 bytes, checksum: 541444de750a41bab159e48761d70337 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O estudo aborda características do teatro narrativo desenvolvido a partir de meados do século XX, no que se convencionou denominar pós-modernidade. Considerado o contexto do capitalismo multinacional, são apresentados possíveis motivadores sociais, políticos e econômicos, que influenciaram na dificuldade de comunicação, na fragilização da organização de coletivos e na redução da importância dada à memória. Demonstrou-se a intensa ligação entre arte e mercado, especialmente por meio da publicidade e de importações culturais, em uma era marcada pela globalização das redes de informação. Entretanto, percebeu-se que, da mesma maneira como na sociedade, paulatinamente, estruturam-se grupos de reivindicação face às exigências do sistema, na arte se desenvolvem manifestações de oposição às produções vinculada ao consumo de produtos ou ideologias. O teatro narrativo é discutido neste contexto; considerado como uma das possibilidades de restabelecer a comunicação, de propor a discussão e de promover o compartilhamento de experiências entre atores e público. Tais potenciais residem no fato de que ele, embora se configure por aspectos da arte pós-moderna, pressupõe simultaneamente a revalorização da fábula. A estes elementos soma-se o predomínio de aspectos provenientes do gênero épico, bem como a possibilidade de interlocução com o lírico e o dramático. O teatro narrativo é uma das formas de hibridização de linguagens que se desenvolveu no período; lida com elementos de outros momentos históricos e vertentes artísticas e se diferencia pela maneira de organizá-los. Além disso, mesmo diante de pausada caracterização da vertente teatral narrativa, a fim de que a discussão dos expedientes fosse suficientemente clara, optou-se pela exemplificação de duas possibilidade de articulação dos elementos cênicos por meio de espetáculos... / The study deals with narrative theatre characteristics, developed after the middle of XX century, during what is a convention to call post-modernity. Considered the context of the multinational capitalism, there are presented possible social, political and economic reasons that influenced in the difficulty of communication, in the weakness of collective organization and in the reduction of the importance given to memory. It was demonstrated the intense connection between arts and market, especially by publicity and cultural importation, in a time when prevails globalization and information nets. Nevertheless, it was noticed that, in the same way in society there are vindication groups before system requirements, in arts they were developed oppositional manifestations to the production related to products and ideology consumption. Narrative theatre is analyzed in this context; considered as one of the possibilities to re-establish communication, to propose discussions and to promote experience sharing between actors and audience. These potential exist because, even if narrative theatre has aspects of post-modern arts, it also presupposes fable valorization. To this element, they are added up the predominance of epic aspects, as well as the possibility of dialogue also with dramatic and lyric genders. Contemporary narrative theatre is one of the hybrid language forms appeared in XX century; it deals with elements from other historical moments and different artistic slops, and what makes it particular is its way of organizing the procedures. Moreover, in order to let concept considerations comprehensible enough, it was chosen to utilize two procedure articulation examples found in São Paulo’s plays, Mire Veja, by Companhia do Feijão, and Hysteria, by Grupo XIX de Teatro

Made available in DSpace on 2014-12-17T14:00:14Z (GMT). No. of bitstreams: 1 MarcioANR_DISSERT.pdf: 3232985 bytes, checksum: e5e39ac43a1bfd877e2c4cbde4b5f657 (MD5) Previous issue date: 2011-04-14 / We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Cear?, in 2010. Using the methodology of "pesquisa-a??o", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater / Tentamos nos relacionar nessa pesquisa com outra l?gica, descobrir um caminho de abordagem pr?tica para nos aproximarmos de uma cria??o composta de fragmentos e uma busca de par?metros para a est?tica da apropria??o. Nesse sentido, encontramos rela??o com o teatro composto por fragmentos, onde diferentes est?ticas teatrais s?o apropriadas e os estilos de representa??o s?o mesclados uns com os outros. Discorreremos no primeiro cap?tulo sobre o teatro composto de fragmentos, e percorreremos pistas atrav?s das estrat?gias de alguns encenadores nos caminhos da cena contempor?nea. No segundo cap?tulo buscamos procedimentos e conceitos de Atmosfera de Mikhail Tchekhov (TCHEKHOV, 1996), e a transi??o de aspecto-a-aspecto de Scott McCloud (2005). Na terceira parte descrevemos a observa??o do experimento realizado com os alunos do curso de Licenciatura em Teatro na Universidade Regional do Cariri, em Juazeiro, Cear?, no ano de 2010. Utilizando a metodologia da pesquisa-a??o, observarmos que a escrita c?nica final do experimento, denominado Toque-me , e a apresenta??o nas cidades do Crato e Barbalha, no m?s de agosto de 2010, continham elementos das estrat?gias do teatro de fragmentos e os conte?dos conceituais do teatro contempor?neo

Cette thèse se propose d'analyser les enjeux de l'utilisation théâtrale des technologies audiovisuelles par l'étude du théâtre italien des quarante dernières années. L'Italie occupe en effet une position particulière dans le paysage théâtral européen : berceau du théâtre moderne, elle possède une tradition théâtrale spécifique qui a produit des réactions uniques lors de sa rencontre avec la mise en scène européenne. Dans les années soixante, l'éclosion des pratiques expérimentales a conduit à l'élaboration d'une culture théâtrale nouvelle dans laquelle les technologies de l'image et du son jouent un rôle important. Pour comprendre ces phénomènes, nous avons porté notre attention sur l'histoire des mouvements, sur les conditions de production et de diffusion et sur le rôle de la critique, que nous avons combiné avec l'analyse de nombreuses créations variées (spectacles, œuvres télévisuelles, vidéos), en essayant de comprendre l'évolution des motivations, des conjonctures et des résultats du rapport des hommes de théâtre avec les technologies. Nous avons ainsi construit un parcours historique organisé en quatre périodes (1965-1978; 1979-1989; 1990-1998; 1999-2005) qui met en évidence les transformations survenues dans les dispositifs technologiques utilisés [analogiques, électroniques et numériques] et dans les attitudes adoptées par les artistes. Cette reconstruction nous a montré que les technologies engendrent un phénomène d'élargissement du champ théâtral, de déplacement de la scène, de multiplication et de déstabilisation des pratiques théâtrales. Ainsi, les technologies se sont révélées non seulement comme un phénomène esthétique particulier, mais aussi comme une clé pour comprendre le théâtre contemporain. / The purpose of this dissertation is to analyse the issues pertaining to the theatrical use of audiovisual technologies by Italian theatre, in the course of its experimentation and research over the last forty years. Effectively, Italy occupies a noteworthy position in the European theatrical landscape. Cradle of modern theatre, it possesses a specific theatrical tradition, which upon its encounter with European staging practices (mise en scène) produced unparalleled reactions. During the 1960s, the blossoming of experimental practices lead to the elaboration of a new theatre culture in which visual and sound technologies had an important role. In order to understand these phenomena, we focused on the history of different artistic movements, on the conditions of production and diffusion and on the role of theatre criticism. In combining these aspects with a prolonged analysis of numerous, varied creations (theatre performances, television productions, videos), we attempted to understand the evolution of the motivations, conjunctures, and outcomes of the relation between theatre creators and the technologies. We thus organised the dissertation chronologically, in four periods (1965-1978; 1979-1989; 1990-1998; 1999-2005), which clearly denote the main developments of the technological devices used (analogue, electronic, digital) and of the attitudes adopted by artists. This reconstruction illustrated that the technologies engender an expansion of the field of theatre, the displacement of the stage, the multiplication and the destabilisation of theatre practices. The technologies were revealed not only as a remarkable esthetical phenomenon, but also as a key for understanding contemporary theatre.

Orientador: Joaquim Brasil Fontes Júnior / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-27T00:19:14Z (GMT). No. of bitstreams: 1 Pereira_VeraLuciaCrepaldi_D.pdf: 3050663 bytes, checksum: 5eeca30f8afc509d23ebc5bd6a19be1b (MD5) Previous issue date: 2015 / Resumo: Este estudo tem como objetivo ler uma tragédia do teatro clássico grego escrita por Eurípides, Ifigênia em Áulis, com base em um tema mítico, e analisá-la sob o olhar dos helenistas, estabelecendo, a partir daí, um diálogo com a mesma temática em tragédias do período clássico e do teatro contemporâneo de autores franceses, através das obras Iphigénie e Iphigénie ou le Péché des Dieux, de Jean Racine e de Michel Azama, respectivamente. Apoia-se esta pesquisa em conceitos da filosofia moderna e pós-moderna para explicar o movimento do mito nessas diversas etapas da temporalidade que fazem parte do processo evolutivo do teatro, desde a Grécia Antiga até a época atual, sem perder de vista o período clássico. No caminho que se percorreu, procurou-se destacar a questão do conceito de sacrifício nesse mito que impulsionou as peças teatrais que são a base do corpus deste trabalho. Verificou-se que todas as obras levantam a ideia do sacrifício simbolizada através da Guerra de Troia e revisitada no momento em que esses autores comparavam valores políticos, sociais e religiosos moldados de acordo com a noção do poder vigente, em suas próprias épocas. Conclui-se, assim, que os três autores fazem uso da tragédia para denunciar o sacrifício e que Ifigênia continua viva no mundo atual. Desde a peça euripideana, a ação está subordinada à palavra, refletindo as tensões entre o poder e o sacrifício do ato / Abstract: This study has as its aim to read a tragedy of the classical Greek theatre written by Euripides, Iphigenia in Aulis, based on a mythical theme, and analyse it from the perspective of the Hellenists and from this, set up a dialogue with the same theme in tragedies of the classical era and contemporary theatre of French writers through the works Iphigénie and Iphigénie ou le Péché des Dieux, of Jean Racine and Michel Azama, respectively. This research is underpinned by modern and post-modern philosophical concepts in order to explain the movement of the myth in those distinct stages of temporality that are part of the evolutionary process of the theatre, from Ancient Greece to modern times, bearing in mind the classical period. In undertaking this trajectory, special focus was given to the question of the concept of sacrifice present in this myth, which inspired the theatrical plays that are the basis of this study. It was confirmed that all the works raise the idea of sacrifice, symbolized by the Trojan War and revisited when these authors compared political, social and religious values molded according to the notion of power present in their respective times. It is concluded that the three authors make use of tragedy to denounce the sacrifice and that Iphigenia is still alive in the contemporary world. Moreover, since the Euripidean play, action is subordinated to the word, reflecting the tension between power and the act of sacrifice / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutora em Educação

Ce mémoire aborde trois oeuvres du théâtre québécois contemporain, Scotstown de Fabien Cloutier, Yukonstyle de Sarah Berthiaume et Félicité d’Olivier Choinière dans le but de les comparer. Cette comparaison doit alimenter une réflexion sur le concept de québécité, que le présent mémoire définit comme la mise en place d’un traitement de l’identité qui encourage le développement d’une certaine ambivalence identitaire. En stipulant que les discours identitaires sont empreints de ce que Gérard Bouchard appelle les mythes sociaux, ce mémoire analyse le corpus proposé pour en extraire les parts rationnelles de ces mythes, mais aussi les parts émotionnelles, qui agissent comme fondation de l’identité au même titre que la raison. Ce faisant, ce mémoire a pour ambition de déplacer une perception de la québécité ancrée dans une tradition historique et politique influencée par le nationalisme pour ramener ce concept vers une définition plus large, mais aussi plus polysémique pour interpréter l’histoire de la dramaturgie québécoise, qui entretient depuis la Révolution tranquille un rapport ironiquement ambivalent à l’égard des discours identitaires. / This memoir addresses three works of contemporary Quebec theatre, Fabien Cloutier’s Scotstown, Sarah Berthiaume’s Yukonstyle and Olivier Choinière’s Félicité, for the purpose of comparing them. This comparison must fuel a reflection on the concept of Quebec-ness, herein defined as the establishment of a treatment of identity promoting the development of an ambivalent identity. By providing that identity discourses are marked by what Gérard Bouchard calls “social myths”, this memoir analyses the proposed corpus with the intent of extracting the rational part of such myths along with their emotional parts, with both parts considered equally significant in the foundation identity. This memoir seeks to move away from common conceptions of Quebec-ness that are rooted in a political and historical tradition influenced by nationalism and proposes a more global definition of this concept, a definition that takes into account various meanings, allowing us to revisit the history of Quebec dramaturgy, as said dramaturgy ironically maintains an ambivalent position in regards to identity discourses since the Quiet Revolution.