Hoje eu vou morrer para nascer de novo. E como escrever histórias que existem em voz alta e que nunca quiseram estar nesta dissertação? Escrevo aqui uma dramaturgia a partir da alteridade, transformo o texto de um outro pela minha autoria. Procuro, assim, problematizar os usos de um discurso alheio ao escritor, como fundamento para o teatro. Para tanto, apresento três ações artísticas que realizei, Consulta, Fim da Fila e Jogo do Gênero, que são o motor para se pensar como a apropriação do real pode culminar na construção de um texto, processo que chamo de rubricagem. A presença física do dramaturgo em diálogo com o outro possibilita a construção de uma dramaturgia situada em campos expandidos do teatro, evidencia a performatividade do gesto, tanto no processo quanto na obra, e permite pensar caminhos da dramaturgia a partir da aproximação a alguém desconhecido. / Today I will die in order to be reborn. How to write spoken-word stories that never wanted to appear in this thesis? I describe here a dramaturgy of alterity, transforming the text of another into my own words. I thus seek to problematize the uses of a discourse foreign to the author as a foundation for theater. Therefore, I present three performances I have realized-- Consulta, Fim da Fila, and Jogo do Gênero--which drive my consideration about how the appropriation of the real can culminate in the construction of a text, a process I term rubricagem-- rubrication. The physical presence of the playwright in dialogue with another enables the construction of a text set in expanded domains of theatre, demonstrating the gesture\'s performativity--both in the process and final piece--and allowing us to conceive a dramaturgy that emanates from the approximation of someone unknown.

Nesta dissertação observamos como atos de fala da classe dos diretivos se comportam em situações interacionais presentes em dois textos dramatúrgicos de Nelson Rodrigues, A Mulher sem Pecado (1993 [1941]) e Anti-Nelson Rodrigues (1993 [1973]) e quais as condições de felicidade foram necessárias para haver estas ocorrências. Como aporte teórico, utilizamos a Teoria dos Atos de Fala de John Searle (1981 [1969] e 2002 [1979]), usando, para tal, as condições de felicidade propostas em sua obra Os actos de fala (1981 [1969]) e as taxinomias apresentadas em seu segundo livro sobre a teoria, Expressão e Significado (2002 [1979]). Amparamos também nossa pesquisa nos estudos de Catherine Kerbrat-Orecchioni (1990; 1992; 1994 e 2006) no concernente aos processos interacionais, necessários para este trabalho. Nas interações analisadas, observamos o estabelecimento de tensões psicológicas cuja ocorrência se deu através da realização de atos de fala da classe dos diretivos (cf. Searle 2002 [1979]), atos estes, responsáveis pelo jogo de forças hierárquicas entre os interactantes que buscaram ocupar o posição alta da interação, como vemos nos Capítulos III e IV desta pesquisa. Os resultados obtidos foram satisfatórios, pois o autor apresenta marcas linguísticas enunciativas importantes em seus textos dramatúrgicos, deixando pistas relevantes para os atores quando de suas enunciações enunciadas e abre novos caminhos rumo à outras pesquisas acerca da verossimilhança enunciativa dos atuantes das artes cênicas, bem como proporciona aos estudos pragmáticos um novo campo de observações de fenômenos linguístico-enunciativo. / In this dissertation we observe how speech acts of the class of directors behave in interactional present situations in two dramaturgical texts of Nelson Rodrigues, The Woman without Sin (1993 [1941]) and Anti-Nelson Rodrigues (1993 [1973]) and the which conditions of happiness were required to occur on these events. As a theoretical framework we use the Theory of Speech Acts by John Searle (1981 [1969] and 2002 [1979]), using, for such happiness proposed conditions in his work The speech acts (1981 [1969]) and taxonomies presented in his second book on the theory, Expression and Meaning (2002 [1979]). also we admit on our research Catherine Kerbrat-Orecchioni\'s studies(1990, 1992, 1994 and 2006) regarding the interaction processes, that are needed for this paper. In the analyzed interactions, we observe the establishment of psychological tensions occurred by performing speech acts of the governing class (cf. Searle 2002 [1979]), these acts, responsible for the set of hierarchical power between interactants who sought to occupy the high position of the interaction, as we see in Chapters III and IV of this research. The results achieved were satisfactory, because the author presents important enunciative linguistic marks on their dramaturgical texts and left relevant clues for the actors when they set enunciations enuciated and open new ways towards other researches on the enunciative verisimilitude of active performing arts, as well as it provides to pragmatic studies a new field observations of enunciative linguistic phenomena.

Tendo um conjunto de ensaios como base, esta tese busca discutir uma dramaturgia de cunho realista e contemporâneo, produzida por autores como Henry Ibsen, Harold Pinter e David Mercer, e suas relações com o contexto da adaptação audiovisual. Dentre os problemas abordados está o debate sobre a questão da teatralidade, ocorrido nos EUA, no final da década de 1960. A teatralidade é aqui entendida como expressão artística entre as linguagens artísticas tradicionais e contemporâneas, e como aproximação do universo da arte e da experiência cotidiana. Como parte do diálogo estão incluídas produções recentes no campo da pintura, música popular e documentário. Nesse aparato de questões, a produção ensaística também ganha visibilidade por meio de um ensaio audiovisual, produzido especialmente para este trabalho e apresentado em sua versão escrita e filmada. / Taking a body of essays, this dissertation examines a certain realist and a contemporary dramaturgy produced by authors such as Henry Ibsen, Harold Pinter and David Mercer, and discusses its relations with the audiovisual adaptation context. Among its subjects is the debate about theatricality which occurred in the U.S. in the late 1960s, understood as artistic expressions between traditional and contemporary artistic languages, as well as an approach between the universe of art and everyday experience. Recent productions in painting, popular music and documentary are also discussed alongside the essays. The question related to essayism itself is also addressed through an audiovisual essay, submitted in its written version and in the filmed one, both especially produced for this work.

This thesis examines the relationship between dramatic structure and women's responses to oppression. By looking at Blasted by Sarah Kane, Father Comes Home from the Wars Parts 1, 2, & 3 by Suzan-Lori Parks, and Feminaal by Nina Morrison, I examine the ways that questions of structure become questions of gender. I argue that these plays’ forms are purposeful embodiments of resistance and aggression and that the energetic connection between these plays is a current of anger.

William Shakespeare and Sarah Kane are playwrights who for drastically different reasons have left indelible impacts upon the theatrical world. A key factor in each of their plays is the presentation of violence. Shakespeare uses violence for observable, orthodox reasons of driving the plot forward, while Kane uses it for sensory effect, social commentary, and for subverting traditional narrative expectations. This study examines how violence and fighting work as dramaturgical tools in these playwrights’ work, by individual examination, juxtaposition, and the use of other pieces of drama to inform these two differing schools of theatrical violence.

Esta tese se propõe a uma análise de como o tempo se instala na dramaturgia de Anton Tchékhov. Nas peças longas do dramaturgo, seus personagens são colocados diante de um cenário de profunda crise histórica, ideológica e familiar, que os leva a uma constante reflexão sobre o sentido de sua experiência temporal. Com frequência refletem sobre seu presente vazio de sentido e o comparam às lembranças do passado ou às expectativas de futuro. No entanto, seus discursos raramente se sintonizam e cada um parece habitar uma temporalidade distinta, de modo que o efeito final é o de um movimento dramático centrífugo e dispersivo. Assim, ao povoar suas peças com uma multiplicidade de experiências temporais ligadas à espera, ao tédio, à memória, à melancolia, aos desejos, à recusa, aos sonhos e utopias, o dramaturgo rompe com o presente absoluto do drama tradicional, que se baseava no diálogo intersubjetivo e na ação decidida dos personagens em um presente estável. Por meio da análise de peças como Platónov, Ivánov, A Gaivota, Tio Vânia, mas, principalmente, de As Três Irmãs e O Jardim das Cerejeiras, pretende-se demonstrar como desestabilização desse presente absoluto e a instalação dessa multiplicidade de temporalidades se articulam em torno de uma ironia dramática que impede que determinadas experiências temporais se sobreponham às demais. Tal ironia, feita de diálogos e acontecimentos dramáticos de outro tipo, soma-se à introdução de pausas, silêncios e momentos de estase, que abrem o drama à expressão de experiências temporais então já em franca experimentação na poesia e no romance modernos. O conjunto revela a complexidade da experiência temporal da província russa em um período de crise, ao mesmo tempo em que põe em xeque a sincronização temporal que, na modernidade burguesa, homogeneizou experiências temporais muito distintas. Ao fazê-lo, a obra não se acomoda à uma temporalidade de crise de fim de século e se abre de modo radical, transformado a multiplicidade temporal instalada na forma em dispositivo para a acomodação de temporalidades futuras o que contribui de modo decisivo para que Tchékhov se torne mais atualizável nas diferentes épocas e culturas. / This dissertation analyses how time is settled in Anton Chekhov\'s dramaturgy. In his major plays, his characters are set against a backdrop of deep historical, ideological, and family crisis that leads them to a constant reflection on the meaning of his temporal experience. They often discuss their meaninglessness present and compare it to memories of the past or expectations of the future. However, their speeches rarely tune in and each seems to inhabit a distinct temporality, so the final effect is that of a centrifugal and dispersive dramatic movement. Thus, by populating his plays with a multitude of temporal experiences linked to waiting, boredom, memory, melancholy, desires, refusal, dreams and utopias, the playwright breaks with the \"absolute present\" of traditional drama, which it was based on intersubjective dialogue and the decisive action of the characters in a stable present. Through the analysis of plays such as Platonov, Ivanov, The Seagull, Uncle Vanya, but mainly The Three Sisters and The Cherry Orchard, we intend to demonstrate how destabilization of this absolute present and the settlement of this multiplicity of temporalities are articulated in several ways by a dramatic irony that prevents certain temporal experiences from overlapping each other. Such irony, made of dialogues and dramatic events of another kind, is connected to the introduction of pauses, silences and moments of stasis, which open the drama to the expression of temporal experiences then already in frank experimentation in modern poetry and novel. The whole of the work reveals the complexity of the Russian province\'s temporal experience in a period of crisis, while at the same time calls into question the temporal synchronization that, in bourgeois modernity, has homogenized very different temporal experiences. In so doing, the work does not accommodate itself to an end-of-century crisis temporality and opens up radically, transforming the temporal multiplicity settled in the form into a device for the accommodation of future temporalities - which contributes decisively to that. Chekhov becomes more \"updatable\" in different times and cultures.

<p>Title: ”Du kommer väl ihåg hur det var att gå i skolan?” – En visuell retorikanalys av fem av Friends antimobbningsfilmer</p><p>Number of pages: 75</p><p>Authors: Radhika Bhasin and Christoffer Orre</p><p>Tutor: Marinette Fogde and Gudrun Weiner</p><p>Course: Communication, Advanced Course</p><p>Period: Spring 2007</p><p>University: Division of Media and Communication, Department of Humanistic Science, Örebro University</p><p>Purpose/Aim: The purpose with this essay is to examine in what ways the Swedish organisation Friends advertising films against bullying rhetorically and visual rhetorically intend to convince their audience of their message.</p><p>Material/Method: We have been studying five of Friends advertising films against bullying. The five films were chosen because they all originated from the same campaign against bullying amongst schoolchildren. The methods used were partly rhetoric analysis and partly visual rhetoric analysis.</p><p>Main results: The conclusion we can draw from this study is that Friends anti-bullying films uses several rhetoric methods, both classic and visual, to convince their audience. Occurrence of pathos (emotions) arguments as convincing method was most commonly used, followed by ethos (sender trust) and only a few logos (fact) arguments. These arguments combined with a strong evidentia and style figures such as metaphors and metonyms concluded in the assume that the films at least fulfilled their purpose to inform the audience about the anti-bullying message in an appealing way. However if the films resulted in any behaviouristic changes we can not say.</p>

Title: ”Du kommer väl ihåg hur det var att gå i skolan?” – En visuell retorikanalys av fem av Friends antimobbningsfilmer Number of pages: 75 Authors: Radhika Bhasin and Christoffer Orre Tutor: Marinette Fogde and Gudrun Weiner Course: Communication, Advanced Course Period: Spring 2007 University: Division of Media and Communication, Department of Humanistic Science, Örebro University Purpose/Aim: The purpose with this essay is to examine in what ways the Swedish organisation Friends advertising films against bullying rhetorically and visual rhetorically intend to convince their audience of their message. Material/Method: We have been studying five of Friends advertising films against bullying. The five films were chosen because they all originated from the same campaign against bullying amongst schoolchildren. The methods used were partly rhetoric analysis and partly visual rhetoric analysis. Main results: The conclusion we can draw from this study is that Friends anti-bullying films uses several rhetoric methods, both classic and visual, to convince their audience. Occurrence of pathos (emotions) arguments as convincing method was most commonly used, followed by ethos (sender trust) and only a few logos (fact) arguments. These arguments combined with a strong evidentia and style figures such as metaphors and metonyms concluded in the assume that the films at least fulfilled their purpose to inform the audience about the anti-bullying message in an appealing way. However if the films resulted in any behaviouristic changes we can not say.

När och varför tillsätter man musik till en scen i ett filmscenario? Med informationsresurser och teorier från etablerade medieteoretiker såsom Michel Chion, Oliver Sacks samt Johnny Wingstedt söker vi svaret. Genom beprövade analysmetoder bryter vi ner kritikerrosade filmer för att finna hur musiken präglat dem. Analyserna har sedan sammanfattats och jämförts för att kärnan av dem skall kunna identifieras. I diskussionen slår vi fast att det finns många verktyg att tillämpa när man vill styrka expressiviteten eller känslointensiteten, och varför man tillsätter musik till film; Att antingen stärka ett budskap som gestaltas i bild, eller inducera känslan av något som inte går att tolka genom endast visuella medel. Dessa resultat använde vi sedan för att skapa ett ramverk inför produktion av musik och ljud till Emil. (2014) , en modern samt mörkare tolkning av Emil I Lönneberga (1971) med en underton av ett dysfunktionellt familjeförhållande. Nyckelord: Musik, dramaturgi, film, känslor, analys, narrativ When and why is music implemented to a specific scene in a film? With informational resources and theories from established media-abstractionists like Michel Chion, Oliver Sacks and Johnny Wingstedt, we’re on a hunt for the ultimate answer. With well proven analytic methods we break down critically acclaimed movies in search of how music has characterized them. The outcome of the analyses has been put together to identify their common dramatic core. In the discussion we state that there are many tools available when one wishes to accentuate the expressionistic and emotional effects of a piece, and why one would use these pieces for film. The reason being that of wishing to emphasize a message or feeling show in picture, or induce a feeling of something not visible on screen. The results were then used for the framework which we work within when producing sound and music material for Emil. (2014), a modern, darker interpretation of Emil I Lönneberga (1971). Keywords: Music, dramaturgy, film, emotions, analysis, narrative / Detta är en reflektionsdel till en digital medieproduktion.

Syftet med detta arbete är att utforska vad det är som gör att en protagonist i en film blirintressant. Med hjälp av boken Dramatiskt berättande av Mats Ödeen har vi fördjupat oss itermen dramaturgi eftersom huvudpersonen är en viktig del av den. Vi har valt att analyserafilmer där vi anser att karaktärerna är väl uppbyggda och intressanta utifrån dramaturgiska ochtekniska aspekter. De filmer som vi har valt att analysera är True Grit och Big Eyes. Analysen avTrue Grit fokuserar på protagonistens resa genom berättelsen. Analysen av Big Eyes kommer attfokusera på karaktärsrelationerna och dramat som uppstår under en av berättelsens vändpunkter.Avslutningsvis kommer vi att analysera vårt egna manus för att sedan jämföra och utforskakaraktärsmodeller med karaktärer från True Grit och Big Eyes.Med hjälp av en utvecklad metod lånad från artikeln From Antz to Titanic: A Students Guide toFilm Analysis identifierar vi de delar som formar en protagonist. På detta sätt kan vi själva se vaddet är som skapar en god karaktär för att sedan försöka skapa vår egen i slutproduktionen. Somavgränsning har vi valt att endast analysera kvinnliga protagonister. För att få en större förståelseför det vi har gjort och vad vi kan ändra på i framtiden kommer vi även att analysera vårt egetkortfilmsmanus. / The purpose of this work is to explore what makes a protagonist in a film interesting. With thehelp of the book Dramatiskt berättande by Mats Ödeen we have become versed in the termdramaturgy. We have chosen to analyze films featuring characters that we think are wellconstructed and interesting based on dramaturgical and technical aspects. The films we havechosen to analyze are True Grit and Big Eyes. The analysis of True Grit focuses on theprotagonists journey through the story. The analysis of Big Eyes will focus on the relationshipsbetween characters during a mayor turningpoint. Finally we will analyze our own script and thencompare and explore the character models featuring characters from True Grit and Big Eyes.2With the help of a developed method borrowed from the article From Antz to Titanic: A StudentsGuide to Film Analysis , we identify the parts that influence the outcome of the protagonist. Inthis way we can see for ourselves what it actually is to creating a good character, and then beable to create our own, in the final production. The findings of this work is limited since we havechosen to analyze only female protagonists and not protagonists in general. To analyzeprotagonists from both sexes would have been too extensive for the time scope that has been setof for this project. We will also analyze our own short film script, because this will help us to geta better understanding of what we have done and what we can do differently in the future.