L’hypothèse d’une esthétique du cynisme dans le théâtre contemporain s’appuie sur un constat empirique : au sein d’un théâtre qui s’autoproclame bien souvent politique, sans néanmoins se revendiquer d’une quelconque idéologie, la scène contemporaine européenne voit se développer, depuis la fin des années quatre-vingt, bon nombre de textes et de spectacles qui, par l’intermédiaire des personnages qu’ils mettent en scène ou des situations qu’ils présentent, expriment un point de vue cynique sur le monde. Dans un mouvement global caractérisé par le regain d’intérêt des auteurs envers des thématiques tirées du réel, ce cynisme affleurant dans les œuvres semble traduire un désintérêt des individus pour le politique, une indifférence du sujet pour le devenir du collectif. En prenant en considération la double acception du terme « cynisme », qui fait à la fois référence au mouvement de philosophie grecque dont la postérité a retenu Diogène de Sinope pour représentant et au comportement d’un individu sans scrupules, prêt à tout pour parvenir à ses fins, y compris à s’affranchir de la morale et des conventions, ce travail croise approches dramaturgique, historique, philosophique et sociologique pour explorer les différentes ramifications du cynisme dans le théâtre contemporain, ainsi que ses caractéristiques principales. Tantôt preuves d’un esprit – inconsciemment, parfois – conservateur, tantôt signes d’une vivacité subversive intacte, les éléments constituant l’esthétique du cynisme forment une galaxie éparse, imprimant insidieusement sa marque dans le théâtre européen contemporain. / The hypothesis of an aesthetics of cynicism in contemporary theatre is based on an empirical observation: while theatre often proclaims itself as political, without claiming any ideology, a lot of contemporary European texts and performances since the end of the eighties express a cynical point of view on the world through the characters that they stage or the situations that they present. Appearing in the midst of a more general movement characterized by the renewed interest of authors towards themes drawn from reality, the cynicism that surfaces in the artworks seems to reflect people’s waning interest in political matters, and the subject’s indifference towards the future of the community.Taking into consideration the dual meaning of the term "cynicism", which refers both to the Greek philosophy movement, of which Diogenes of Sinope has been retained as representative, and to the behaviour of an unscrupulous person who would do anything to achieve their purposes, including breaking free from morality and conventions, this thesis intersects dramaturgical, historical, philosophical, and sociological approaches to explore the different ramifications of cynicism in contemporary theatre, as well as its main features. Sometimes the manifestation of a – possibly unconsciously – conservative spirit, sometimes the signs of an untouched subversive vivacity, the elements constituting the aesthetics of cynicism form a sparse galaxy, insidiously imprinting its mark onto contemporary European theatre.

O presente trabalho procurou conciliar a reflexão teórica sobre o fenômeno da \"apropriação\" de textos literários para o palco, tomando como ponto de partida a leitura cênica dos seguintes textos da literatura brasileira: Um Sopro de Vida (1978) de Clarice Lispector e A Fúria do Corpo (1980) de João Gilberto Noll, ambos conduzidos à ribalta pelas encenadoras Nadja Turenko e Celina Sodré, respectivamente. Dentro da proposição teórico-prática, buscamos aprofundar, suplementar e, quando possível, substituir o conceito de \"adaptação\", terminologia que consideramos inadequada aos fenômenos teatrais aqui abordados. Fez parte do nosso propósito, desde o início da pesquisa, realizar a análise crítico-descritiva dos índices de teatralidade contida nos universo literário dos autores, bem como refletir acerca do posicionamento das leitoras-encenadoras frente às suas opções, escolhas e recortes diante dos extratos literários. Procuramos ainda, contribuir, a partir dos estudos sobre essas experiências para um melhor e mais abrangente conceito de \"dramaturgia\", assim como refletir sobre os limites e as fronteiras entre a linguagem literária e a linguagem cênica sem separá-las de antemão, mas percebendo-as em seus territórios verbal e visual, fusão altamente presente nos processos que partem dessa via, premissa e procedimento. / The present work seeks to conciliate the theoric thought about the \"appropriation\" phenomenon of literary texts to the stage, starting with the scene reading of the following Brazilian literature texts: Um Sopro de Vida (1978) by Clarice Lispector and A Fúria do Corpo (1980), by João Gilberto Noll , both conducted to the performance by the play directors Nadja Turenko and Celina Sodré, respectivelly. In the practical-theoric proposition, we search to deepen, to suplement and whenever possible, to substitute the concept of \"adaptation\", term that we consider unsuitable to the theatre phenomena aproached here. It is part of our goal, since the begining of the research, to make a critical descriptive analysis of the theatrecality indicators contained in the authors\' literary universe, as well as to ponder about the posture of the directors as readers in relation to their options and related to the literary extract. We also aim to contribute, from the studies about these experiences, to a better and broader concept of \"dramaturgy\", as well as to ponder on the limits and boundaries between the literary language and the scenical language without separating them at first place, but perceiving them in their verbal and visual territories, fusion highly present in the process that arises from this path, premise and procedure.

O presente trabalho procurou conciliar a reflexão teórica sobre o fenômeno da \"apropriação\" de textos literários para o palco, tomando como ponto de partida a leitura cênica dos seguintes textos da literatura brasileira: Um Sopro de Vida (1978) de Clarice Lispector e A Fúria do Corpo (1980) de João Gilberto Noll, ambos conduzidos à ribalta pelas encenadoras Nadja Turenko e Celina Sodré, respectivamente. Dentro da proposição teórico-prática, buscamos aprofundar, suplementar e, quando possível, substituir o conceito de \"adaptação\", terminologia que consideramos inadequada aos fenômenos teatrais aqui abordados. Fez parte do nosso propósito, desde o início da pesquisa, realizar a análise crítico-descritiva dos índices de teatralidade contida nos universo literário dos autores, bem como refletir acerca do posicionamento das leitoras-encenadoras frente às suas opções, escolhas e recortes diante dos extratos literários. Procuramos ainda, contribuir, a partir dos estudos sobre essas experiências para um melhor e mais abrangente conceito de \"dramaturgia\", assim como refletir sobre os limites e as fronteiras entre a linguagem literária e a linguagem cênica sem separá-las de antemão, mas percebendo-as em seus territórios verbal e visual, fusão altamente presente nos processos que partem dessa via, premissa e procedimento. / The present work seeks to conciliate the theoric thought about the \"appropriation\" phenomenon of literary texts to the stage, starting with the scene reading of the following Brazilian literature texts: Um Sopro de Vida (1978) by Clarice Lispector and A Fúria do Corpo (1980), by João Gilberto Noll , both conducted to the performance by the play directors Nadja Turenko and Celina Sodré, respectivelly. In the practical-theoric proposition, we search to deepen, to suplement and whenever possible, to substitute the concept of \"adaptation\", term that we consider unsuitable to the theatre phenomena aproached here. It is part of our goal, since the begining of the research, to make a critical descriptive analysis of the theatrecality indicators contained in the authors\' literary universe, as well as to ponder about the posture of the directors as readers in relation to their options and related to the literary extract. We also aim to contribute, from the studies about these experiences, to a better and broader concept of \"dramaturgy\", as well as to ponder on the limits and boundaries between the literary language and the scenical language without separating them at first place, but perceiving them in their verbal and visual territories, fusion highly present in the process that arises from this path, premise and procedure.

Le théâtre pour la jeunesse est un théâtre de recherche où se redéfinissent à chaque fois le désir et les modalités d’une rencontre entre des créateurs et un public spécifique. Notre thèse met en lumière la construction historique de ce théâtre en France et en Italie et donne à comprendre les expérimentations menées par les pionniers du domaine. Elle se concentre sur l’apparition d’un nouveau protagoniste du champ théâtral, l’enfant, et cherche à savoir si celui-ci se situe bien au cœur des processus de création. Dans une première partie, nous soulignons le rôle déterminant qu’a joué l’animation théâtrale au tournant des années 1960-1970. De la France à l’Italie, on voit se transmettre l’idée d’une transition naturelle entre expérience artistique avec les jeunes et œuvre dramatique à leur intention ; en identifiant l’enfant comme partenaire possible de la création, l’animation préfigure la naissance de formes esthétiques nouvelles adressées aux jeunes spectateurs. Dans une deuxième partie, nous montrons comment, des années 1980 à nos jours, la recherche artistique s’est cristallisée sur l’enfant spectateur, cible spécifique des metteurs en scène et des dramaturges. Tout en réfléchissant aux conditions de son émancipation, les artistes s’approprient des matériaux textuels parfois inattendus ; un chemin peut se dessiner de l’adaptation à la création. En France, on assiste à l’émergence d’un répertoire dramatique qui appartient aujourd’hui de plein droit à la littérature de jeunesse, tandis que, dans les deux pays, l’enfant personnage conquiert sa place dans les textes et sur les scènes. Une relation spéculaire peut ainsi s’instaurer entre l’enfant spectateur et son double. / Theatre for young people is experimental—the desire for and the modalities of an encounter between creators and a specific audience undergo redefinition with each performance. This PhD thesis sheds light on how theatre for young people came to be in France and Italy throughout history, as well as on the experiments carried out by the pioneers in the field. The focus is on the emergence of the child as a new protagonist within the theatrical field and on attempting to determine whether he indeed lies at the core of the creative process. In the first part, the emphasis is on the significance of the role of theatrical animation at the turn of the 1960s. The idea of a natural transition from artistic experiences involving young people to theatrical works designed for them was passed on from France to Italy ; by identifying the child as a potential partner in the creative process, theatrical animation prefigured the onset of new aesthetic forms directed to young audiences. In the second part, the aim is to show how artistic research has been crystallizing on the child as a spectator, who has become a specific target for stage directors and playwrights from the 1980s onwards. While reflecting on how to emancipate him, artists have taken ownership of various textual materials—some of which unexpected—and a path can therefore be traced from adaptation to creation. In France, a theatrical repertoire which belongs to youth literature in its own right has been emerging. At the same time, in both countries, the child as a character has been earning his way in play scripts and on stages. Thus, a specular relationship can be established between the child as a spectator and his double.

Les mises en scène récentes de T. Ostermeier explorent les liens entre littérature et art théâtral pour questionner, à l’aide d’un réalisme complexe qu’il réinvente, ce que les œuvres ont à dire de la réalité politique et sociale de notre présent. Il privilégie toujours pour cela des espaces entre qui permettent de briser la rigidité d’un respect littéral étouffant et de faire dialoguer le passé et le présent, l’actuel et le virtuel, le proche et le lointain. A la surface visible, son réalisme articule la profondeur invisible qui dédouble le réel en explorant sa spectralité à travers les personnages eux-mêmes, leur mémoire, leurs fantômes ; leur langue qui, entre traduction et retravail, crie le non-dit, le refoulé, l’absence ; l’espace des lieux-seuils, des (non)-lieux et des passages, des images du hors-scène, trop présent, ou de l’intime, insaisissable ; et même la musique dont les échos démultiplient les réseaux de sens. C’est dans la hantise de ces doubles que T. Ostermeier cherche à reconstruire un sens qui ne fasse pas abstraction des fêlures ni des fractures. Son travail doit être analysé comme une œuvre autonome qui convoque l’œuvre littéraire support pour la faire parler à nouveau, lui faire dire à nos oreilles d’aujourd’hui la douleur intemporelle du réel et l’espoir politique de reconstruire ce présent. La « déterritorialisation » constante du théâtre de T. Ostermeier, assumée, donne corps aux spectres qui sont l’autre nom de notre réalité pour que nous, spectateurs, puissions, finalement, nous en saisir. Refusant un théâtre et une littérature qui ne font qu’interpréter le monde, il s’agit pour T. Ostermeier de faire dialoguer l’un et l’autre pour le transformer. / In his recent productions, T. Ostermeier investigates the links between literature and drama with complex, renewed realism to question what insights the works of the past can give us into today’s political and social reality. He always favours the in-betweens which enable him to break through the stifling inflexibility of literal interpretation and initiates a dialogue between the past and the present, the actual and the virtual, what is close at hand and what is distant. His realism connects the visible surface of reality to its invisible depth – its double. He delves into this spectrality by focusing on the characters’ memory, their ghosts; on their language, hanging between translation and reworking, as their unsaid, repressed words speak loud; on space viewed as space between – thresholds, somewhere/nowhere, passages, pictures of all too present off-stage scenes or of elusive intimacy; on music too, echoing meaning in multiple layers. These ghost-like doubles are T. Ostermeier’s material to rebuild a meaningful present without ignoring its cracks and fault lines. His productions should be analysed as an autonomous oeuvre which calls on literary works to make sense afresh, to voice the painful, timeless experience of the real and the political hope to rebuild the present. His constantly ‘deterritorialising’ theatre substantiates our ghosts – the flipside of our reality – so that we, spectators, may finally get a grasp on them. T. Ostermeier will not confine theatre and literature to merely interpreting the world, he wants them to dialogue in order to transform it.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-08-21T21:47:07Z No. of bitstreams: 1 DISS_2014_Tatiana Mendes Horevicht.pdf: 2056669 bytes, checksum: 4523a14ef80ba02ebb5e127fd1eb4565 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-08-22T16:09:40Z (GMT) No. of bitstreams: 1 DISS_2014_Tatiana Mendes Horevicht.pdf: 2056669 bytes, checksum: 4523a14ef80ba02ebb5e127fd1eb4565 (MD5) / Made available in DSpace on 2017-08-22T16:09:40Z (GMT). No. of bitstreams: 1 DISS_2014_Tatiana Mendes Horevicht.pdf: 2056669 bytes, checksum: 4523a14ef80ba02ebb5e127fd1eb4565 (MD5) Previous issue date: 2014-08-27 / Este trabalho observa como a Urbitária, máquina de cena do espetáculo Cidades dos Outros, da Cia. Pessoal de Teatro –MT,alia cenário, espaço cênico e materializa a escritura cênica do espetáculo. Para auxiliar na compreensão do conceito de espaço cênico e cenário trabalho com Ciro Del Nero e Francisco Javier. Também o entendimento de dramaturgia de Eugenio Barba e de dramatografia e João Brites. O surgimento das máquinas de cena como objetos polissêmicos que contribuem com a dramaturgia do espetáculo teatral é recente no teatro contemporâneo e tem como proponente o grupo teatral O Bando, dirigido por João Brites em Palmela –PT. / This paperlooks at howUrbitária, machinescenespectacleOtherCities, CiaStaffTheatre-MTcombinesscenery,scenic area andmaterializes thescripturescenicspectacle. Toassist in understanding theconcept ofscenic areaand sceneryworkwithCiroDelNero andFranciscoJavier. Alsothe understandingthedramaturgyof EugenioBarbaanddramatografyof João Brites. The appearance of the stage machinesaspolysemicobjectsthat contribute tothetheatrical showdramaturgyislatestincontemporary theaterand isproposingthe theater groupTheBand, directed byJoãoBritesin Palmela-PT.

Made available in DSpace on 2016-12-08T16:03:15Z (GMT). No. of bitstreams: 1 113983.pdf: 4103477 bytes, checksum: 720bf417cc37557b460cafdf81abf515 (MD5) Previous issue date: 2013-09-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo desta tese se instaura no aprofundamento das questões relativas às variadas relações que se estabelecem entre o ator, o objeto e o espaço. Para isso, são consideradas as evoluções teatrais contemporâneas e a perspectiva de constituição do sujeito cênico através de processos de acoplamento e disjunção que envolvem o corpo humano e o objeto inanimado. Permeando o assunto proposto, elencam-se o entendimento da animação como ferramenta teatral para construção de sentidos e produção de presenças ficcionais, a possibilidade de desvios de função nos elementos constituintes da cena como recurso expressivo e a construção de sistemas míticos através da elaboração de imagens metafóricas dinâmicas. Como material de reflexão sobre as temáticas abordadas, foram utilizados quatro espetáculos teatrais brasileiros - que ainda continuam em circulação no repertório das companhias - que se valem da animação e que foram produzidos e encenados no primeiro decênio do ano 2000. O estudo aponta as possibilidades do trabalho do ator integrado com a expressividade dos objetos e do espaço, convergindo num produto híbrido de nova significação.

Made available in DSpace on 2016-12-08T16:03:15Z (GMT). No. of bitstreams: 1 116008.pdf: 425836 bytes, checksum: eef24835bf08e94d2a0c29d05c76f67b (MD5) Previous issue date: 2014-05-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study examines the articulation between artistic creation, pedagogy of theatre and actor training as explored at Socìetas Raffaello Sanzio, an italian theatre company. Some works, artistic processes as well as laboratories are analysed in order to understand the connection between theatre pedagogy and contemporary theatre through works created by Romeo Castellucci, Chiara Guidi and Claudia Castellucci. It discusses the role played by infancy in the company s path, due to the specific way children are involved in this process which takes advantage of the way they see the world and art. In the first part of this study the Socìetas Raffaello Sanzio s work is presented. Artistic and pedagogic practices developed by the company are examined in the second part, which reveals in turn the specificity of the work created by the company s founders. The third part analyses creative processes through direct observation, during a field study in Italy. The fourth part relates the material provided in the previous chapters. To sum up, this study recognizes that one of the peculiarities of the work produced by Socìetas Raffaello Sanzio is associated with the weakening the limits between acting background and theatre pedagogy, between acting experience and learning processes, between acting and reception. These characteristics contribute to the emergence of a new approach to theatre knowledge, in which procedures, dispositives, strategies and theatre pedagogy are deeply intertwined. / Este estudo aborda as articulações entre a criação artística, o ensino do teatro e a formação do ator nas práticas artísticas da companhia teatral italiana Socìetas Raffaello Sanzio, tendo como eixo principal questões relativas à percepção, à experiência e à materialidade do corpo. Algumas obras, processos artísticos e laboratórios são analisados com o intuito de entender tais articulações nos trabalhos de Romeo Castellucci, Chiara Guidi e Claudia Castellucci. Este estudo discute também o papel de destaque da infância no percurso da companhia, devido ao modo particular da criança de estar em cena e de ver o mundo e a arte. A primeira parte do trabalho consiste em uma breve apresentação do trabalho da Socìetas Raffaello Sanzio. No segundo capítulo, as práticas artísticas e pedagógicas abordadas evidenciam a peculiaridade dos trabalhos de cada um dos membros fundadores da companhia. O terceiro capítulo aborda obras, laboratórios e processos criativos observados no Teatro Comandini, em Cesena (Itália), sede da companhia. O quarto capítulo busca articular os conteúdos que emergiram das práticas observadas, descritas e analisadas nos capítulos precedentes. Este estudo reconhece que a peculiaridade do trabalho realizado pela Socìetas Raffaello Sanzio está em borrar os limites entre a experiência cênica e o processo de aprendizagem, entre a atuação e a fruição, entre a criação artística e a produção de saberes. Estas características contribuem para um novo pensamento sobre o ensino do teatro e a formação do ator, no qual haja articulações e contaminações entre os procedimento, mecanismos e estratégias da pedagogia do teatro e do teatro contemporâneo.

Depuis ses débuts littéraires, les classiques sont régulièrement convoqués dans l’écriture hautement intertextuelle d’Elfriede Jelinek par le truchement de citations tronquées, disséminées. Sa production dramatique récente est marquée par une confrontation redoublée avec les classiques germanophones, avec de nombreuses récritures produites depuis le milieu des années 2000. Parmi elles, le texte de théâtre Ulrike Maria Stuart (publié en ligne pendant trois jours en 2006, imprimé seulement en 2015) fait écho à la pièce de Friedrich Schiller Marie Stuart, et FaustIn and out (accessible gratuitement sur le site de Jelinek depuis 2011) joue avec l’œuvre « incommensurable » de Goethe, (l’Ur-)Faust. Cette étude effeuille les différentes strates du palimpseste et met au jour les espaces investis par la récriture à travers un parcours balisé, dispositif à entrées multiples permettant de décrire le fonctionnement et les enjeux de la récriture du point de vue de sa production, mais aussi de sa réception, notamment dans les mises en scène. En analysant comment l’espace de la récriture se mue en désécriture et tire profit d’une écriture « seconde » ou mineure (Deleuze), les enjeux macrostructurels, esthétiques et socio-littéraires de ces textes se font jour. La confrontation à la classicité entre en résonance avec le nouveau positionnement de l’autrice au sein du champ littéraire, notamment à travers le processus de classicisation de son oeuvre, influant également sur le destin éditorial singulier des œuvres de notre corpus. / Since her literary debut, the classics have regularly surfaced in the highly intertextual writing of Elfriede Jelinek by means of fragmentary and fleeting citations. Her recent dramatic productions are marked by an ever greater confrontation with the Germanic classics, with numerous rewritings produced since the mid-2000s. Among these, the play Ulrike Maria Stuart (published online over three days in 2006 and only published in print in 2015) echoes Friedrich Schiller’s play Marie Stuart, while FaustIn and out (accessible free of charge on Jelinek’s website since 2011) toys with the “immeasurable” work of Goethe, (Ur-)Faust. This study unravels the different strata of the palimpsest and revises the spaces occupied by rewriting through a well-defined path, an approach with multiple entry points that allows the functioning and issues of rewriting to be described from the perspective of both its production and its reception, notably in form of dramatization. By analysing how the space of rewriting evolves into a sort of unwriting and takes advantage of “secondary” or minor (Deleuze) writing, the macrostructural, aesthetic, and socio-literary stakes of these texts emerge. The confrontation with classicity resonates with the new positioning of the author within the literary field, especially through the process of the classicisation of her works, and influences the uncommon editorial approach framing the works of the corpus under investigation.

Plusieurs études ont déjà relevé la place singulière qu’occupe le personnage dans la dramaturgie de Larry Tremblay. Les œuvres de cet auteur québécois regorgent effectivement d’individus tourmentés par l’environnement dans lequel ils évoluent. Durant les 20 dernières années, la thématique des médias a particulièrement été l’objet de l’attention de l’auteur. En créant des pièces ayant comme centre l’univers médiatique, Larry Tremblay entreprend de poser un regard critique sur cet aspect important touchant la société actuelle. Dans le cadre de ce mémoire, l’objectif est donc d’étudier plus spécifiquement les différents personnages du dramaturge lorsque ceux-ci sont placés dans des contextes où ils sont envahis par les médias. Il s’agira de montrer comment le dramaturge expose les effets néfastes du pouvoir des médias en abordant la question du regard, de la banalité, du vide, du narcissisme ainsi que de la désillusion marquant l’époque contemporaine. L’analyse des œuvres Ogre (1995), Téléroman (1997) et Grande écoute (2015) permettra de montrer que c’est par l’intermédiaire de personnages dont l’identité se morcelle et se transforme, que Larry Tremblay expose les conséquences les plus importantes qu’entraine la société médiatique sur l’individu. L’objet de ce mémoire est de saisir l’évolution de la pensée de l’auteur à l’égard des médias et de comprendre comment ses personnages ont évolué au fil du temps parallèlement au domaine médiatique. / Many studies have already examined the singular place occupied by the character in Larry Tremblay’s dramaturgy. This Quebec author’s works are filled with many individuals who are deeply affected by the environment they live in. For the past 20 years, the playwright’s particular interest in the theme of media has been observed. By creating plays in which the media are at the forefront, Larry Tremblay takes a critical look at an important aspect of current society. In the context of this thesis, the objective is therefore to study more specifically Tremblay’s characters who are in environments pervaded by the media. In order to show how the author exposes the negative impacts of the power of the media, we will address the question of the gaze, the banality, the void, the narcissism, as well as that of the disillusion that touches our time. The analysis of Ogre (1995), Téléroman (1997) and Grande écoute (2015) will demonstrate that it is through characters whose identity is crumbling and changing that Larry Tremblay denounces the most disastrous consequences stemming from the media for individuals. The purpose of this thesis is to grasp the evolution of the author’s thought regarding media and to understand how his characters have evolved over time alongside the media.