En av turismnäringens största byggstenar är event. Det är en bransch som ständigt utvecklas och växer. Detta gör att event är känsliga för trender och ständigt måste arbeta för att förnya sig och skapa attraktion till sina besökare. Det är av stor vikt för eventmangagers att skapa attraktionsstrategier för att bibehålla ett events attraktionskraft samt definiera vilken kategori av event som ska planeras. Det finns många olika kategorier av event och i den här studien kommer ett publikt och ett icke-publikt event att studeras. Studiens syfte är att bidra med förståelse för vilka attraktionsstrategier som används för att attrahera besökare för eventen Melodifestivalen och Årets Kock. Genom att få ökad förståelse för eventens strategier kunna urskilja likheter och skillnader mellan ett publikt och ett icke-publikt events attraktionsstrategier. I studien har en kvalitativ metod med en kombination av induktiv och deduktiv forskningsansats använts då författarna eftersökt en djupare förståelse och jämfört den insamlade datan mot tidigare forskning och teorier. Datainsamlingen har skett genom semi-strukturerade intervjuer och textanalys för att också undersöka om beskrivna strategier går att identifiera på sociala medier och internet. Studiens slutsats är att det är viktigt för eventmanagers att definiera vilken kategori eventet tillhör samt syfte och målgrupp. Relevanta strategier är att skapa en dramaturgi som tilltalar målgruppen och skapar spänning och intresse samt att det finns en interaktion mellan eventet och publiken. / One of the most essential parts of the tourism industry's are events. It is an industry that is constantly evolving and growing. This means that the event is susceptible to trends and continually need to work to develop and create attraction to its visitors. It is of great importance to create attraction strategies to maintain the attractiveness of events and define what category of events to be planned. There are many different types of events, and in this study a public and non-public event will be studied. The study's aim is to contribute to the understanding of the attraction strategies used to attract visitors for Melodifestivalen and Årets Kock. By gaining greater understanding of the event's strategies accordingly to contribute to determine the similarities and differences between a public and non-public events attraction strategies. The study has a qualitative approach with a combination of inductive and deductive research approach, used in which the authors sought a deeper understanding and compared the data collected from previous research and theories. Data has been collected through semi-structured interviews and text analysis to also examine whether described strategies can be identified on social media and the Internet. The study concludes that it is important for event managers to define the category of the event, purpose and audience. Key strategies are to create an event dramaturgy that appeals to the target audience and create excitement and interest, and that there is an interaction between the event and the audience.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Ce mémoire s'intéresse à l'inscription du son dans la mise en scène Inferno de Romeo Castellucci. Il s'agit de cerner en quoi la dimension sonore de cette œuvre s'émancipe de l'utilisation traditionnelle du son au théâtre et comment son intégration aux actions scéniques en vient à créer un nouveau type de dramaturgie. Ne visant plus l'illustration d'un récit, cette œuvre met de l'avant la matérialité des divers médiums constituant l'action. Nous verrons comment le son dans cette mise en scène s’autonomise. Il ne se veut plus mimétique; il ne vise pas à nous faire entendre quelque chose d’absent. Comme il s'apprécie pour ses qualités propres, le son parvient à « interagir » avec les autres éléments scéniques d’une manière inédite. La dynamique des présences visibles et audibles devient ainsi le foyer de tensions dramaturgiques. Ceci nous conduira à nous interroger sur la question de l'écoute et de ses processus pour tenter de voir comment la perception sonore influence la réception intégrale de ce spectacle. Les notions d'acousmatisme, de flou causal et de déréalisation de la perception temporelle nous permettront d'envisager l'apparition d'une dramatisation de l'écoute. / This study examines the inscription of sound in Romeo Castellucci’s mise en scène of Inferno. It aims to define how the sound environment of this work goes beyond the traditional use of sound in theatre, and how its integration to the stage action creates a new type of dramaturgy. No more intended as the representation of a narrative, this work emphasizes and reinforces the materiality of any medium constituting the action. We will analyze how the sound in this performance becomes an element on its own. Sound is not mimetic anymore: it does not aim to be the echo of something absent. The sound being able to affirm and render its own expressive qualities, it can “interact” with other scenic elements in an innovative manner. The interactions of both visible and audible components give rise to dramaturgical tensions, conducting us to investigate the question of listening and its modalities in a theatrical context. We will then try to understand how audition redefines the reception of the performance.

Cette thèse a pour objet l'adaptation théâtrale du roman 'Tirano Banderas' (1926) de l'écrivain espagnol Ramón María del Valle-Inclán. À cette fin, une recherche sur la dramaturgie centrée sur le processus de transduction a été réalisée, concrètement sur l'interprétation et sur la transformation du texte original de Valle-Inclán, qui a donné lieu à un relevé mise en scène, comprenant le script et les principaux éléments de la représentation de la pièce "Tirano Banderas". En annexe sont joints le DC de la musique, les esquisses du décor et du maquillage, les partitions ainsi qu'un document audiovisuel de plusieurs scènes pilotes. / The goal of this thesis is a stage adaptation of the novel 'Tirano Banderas' (1926) by Spanish writer Ramón María del Valle-Inclán. Dramaturgical research into the process of transduction, that is, the interpretation and transformation of the original text by Valle-Inclán, has led to the creation of a director's notebook, a document that unites the objectives of the "Tirano Banderas" performance, focusing on the primary elements of the representation. Sketches of the set, makeup, a CD with music, the musical score, and an audiovisual document of varios pilot scenes have been added to the Appendix. / El objeto de esta tesis es la adaptación escénica de la novela 'Tirano Banderas' (1926) del escritor español Ramón María del Valle-Inclán. Con ese fin se ha llevado a cabo una investigación dramatúrgica focalizada en el proceso de transducción, es decir, de interpretación y de transformación del texto original de Valle, que ha desembocado en un cuaderno de dirección, documento que recoge la propuesta de espectáculo "Tirano Banderas", centrándose en los elementos principales de la representación. En anexo se adjuntan los bocetos del decorado, del maquillaje, un CD-audio con la música, las partituras y un documento audiovisual de varias escenas piloto.

Esta tese tem como objetivo analisar a representação da história na peça A Bright Room Called Day, de Tony Kushner, observando seus aspectos utópicos e distópicos em sua relação dialética entre conteúdo e forma. Além disso, a presente análise ressalta como elemento relevante da peça o fato de que o contexto em que ela é lançada, marcado por uma cultura ferozmente capitalista e uma indústria midiática do porte da dos Estados Unidos, apresenta concretamente nichos de trabalho épico na dramaturgia. Nesse sentido, esta pesquisa busca também entender como o autor faz uso das realidades históricas da Alemanha da ascensão do Terceiro Reich e dos Estados Unidos da era Reagan como material constitutivo na urdidura da dramaturgia analisada. Fredric Jameson (1991, p. 284) observa que a Historicidade não é uma representação do passado nem do futuro (embora faça uso de várias formas dessas representações): pode acima de tudo ser definida como uma percepção do presente como história. Tendo isso em consideração, a representação dos acontecimentos da dramaturgia kushneriana na Alemanha, Berlim, de 1932 e 1933, deve ser lida criticamente como apontamento para o presente. / This dissertation aims at analyzing the representation of history in the play A Bright Room Called Day, by Tony Kushner, observing the utopian and dystopian aspects in its dialect relationship between content and form. Our analysis also highlights as a relevant feature of the play the fact that the context in which it was released, marked by a fierce capitalist culture and a media industry such as the one of the United States, concretely bears a niche area of epic theatre. In this sense, this research also tries to understand how the playwright uses the history of both Germany in the Rise of the Third Reich and of the USA in the Reagan era as the constitutive material in the composition of the studied dramaturgy. Fredric Jameson (1991, p. 284) states that Historicity is, in fact, neither a representation of the past nor a representation of the future (although its various forms use such representations): it can first and foremost be defined as a perception of the present as history. Taking that into consideration, the representation of the events in Kushners dramaturgy in Germany, Berlin, from 1932 to 1933, must be read critically as a remark for the present.

Yiguan is a new-emerging mobile application which is popular in China. Different from the traditional social media, Yiguan enables users to have interaction and communications anonymously online. Compared to other anonymous social media, Yiguan is nether proximity-based nor tie-based. The identity of Yiguan users can be completely anonymous. Users will not have a personal profile and home pages on Yiguan. Anonymity makes it possible that users wear masks when they present themselves and interact with others. It is possible for them to get rid of the constraint, escaping from repetitive everyday life. This thesis based on the empirical qualitative research, conduct an audience analysis on Yiguan’s users. I’d like to explore what users do on Yiguan and how they utilize the space of Yiguan. This thesis wishes to identify the activities of users on Yiguan, and explore the characteristics of user’s activities. Combing the critical theories from Mead, Goffman, and Walther, this thesis will provide a vivid sketch of users on Yiguan.

Rumslig dramaturgi är ett examensarbete inom informationsdesign och inriktningen rumslig gestaltning.   I dag finns enligt kulturplaner utsatta regionala mål för kultur och även lagstadgade tillgänglighetskriterier vilka genom demokratin är en värdegrund som regional museiverksamhet behöver möta. Det informationsdesignproblem som förekommer är att sträva mot att uppnå dessa mål och lagar, och samtidigt ta människans processer för informationsinhämtning och tolkning i beaktande. Om denna kunskap inte finns, eller bortses från, riskeras både tillgänglighetskraven och de regionala målen. Därför är syftet med detta arbete att undersöka på vilket sätt berättartekniska metoder och dramaturgi kan användas till informations- och budskapsförmedling som stödjer den kognitiva tillgängligheten inom utställningssammanhang. Arbetet grundar sig i teorier som kognition, perception, berättelser och dramaturgi samt utförda kvalitativa undersökningsmetoder. Resultat av dessa redovisas, och används slutligen som utgångspunkt i ett förslag där en modell för rumslig dramaturgi exemplifieras i utställningen Historiska ögonblick på Sörmlands museum beläget i Nyköping, Södermanlands län.   Nyckelord: Informationsdesign, rumslig gestaltning, utställningar, kognition, tillgänglighet, dramaturgi. / Rumslig dramaturgi is a thesis in information design, with a focus on spatial design.   Today, according to governing regional documents, there are cultural goals and statutory accessibility criteria, which through democracy are a value base that regional museum operations need to face. The information design is to work towards these goals and laws, while considering the human processes for collecting information and rendering. If this knowledge does not exist or is disregarded, both the accessibility requirements and the regional goals are at risk. Therefore, the purpose of this work is to investigate how narrative techniques and dramaturgy can be used for information and message mediation that supports the cognitive accessibility within exhibition contexts.   The work is based on theories such as cognition, perception, narratives and dramaturgy, as well as performed qualitative research methods. The results of these are outlined, and furthermore used as a starting point to a proposal where a model for spatial dramaturgy is exemplified in the exhibition Historiska ögonblick at Sörmlands Museum located in Nyköping, Södermanlands County.   Keywords: Information design, spatial design, exhibitions, cognition, accessibility, dramaturgy

Estudo da criação dramatúrgica no processo colaborativo e sua comparação com a criação coletiva e o dramaturgismo. São analisados aspectos tais como contexto histórico, a presença do dramaturgo na sala de ensaio, o texto que nasce da cena improvisada pelos atores, a autonomia das funções criativas, a questão da autoria, a aplicação pedagógica, entre outros. De acordo com alguns parâmetros estabelecidos, descreve-se e analisa-se a criação de três espetáculos realizados em processo colaborativo: Cx postal 1500, do Oficinão do Galpão Cine Horto, Um trem chamado desejo, do Grupo Galpão, e Geração 80, do Teatro da Conspiração. Entre outras reflexões, conclui-se que, embora guarde semelhanças com as práticas que lhes são anteriores, o processo colaborativo tem características específicas e se constitui numa reposta a questões sociais, culturais e econômicas contemporâneas. / The study of dramaturgy creation in the collaborative process in comparison to collective creation and dramaturgism. Aspects are analyzed, such as historical context, the presence of the dramatist in rehearsal, improvisation on the text by actors, the autonomy of creative functions, the authorship question, pedagogy application, among others. In agreement with established parameters, the creation of three plays, done by the collaborative process are described and analyzed: Cx Postal 1500, by Oficinão do Galpão Cine Horto, Um Trem Chamado Desejo, by Grupo Galpão, and Geração 80, by Teatro da Conspiração. Among other thoughts, one can conclude that although there are similarities with earlier practices, the collaborative process has specific characteristics and it constitutes an answer to social, cultural and economic contemporary questions.

Este trabalho visa a apresentar o teórico, encenador e dramaturgo Timochenco Wehbi. Sociólogo e autor de teatro de destaque nacional e internacional dos anos 1970 até 1986, também foi professor na Universidade de São Paulo, crítico de cinema e teatro em jornais de São Paulo e Presidente Prudente, tomando parte em comissões julgadoras de festivais de teatro amador em todo o Brasil. A estrutura da dissertação é composta por quatro partes essenciais, a saber: Cronologia de vida e obra do autor, Apresentação dos trabalhos de mestrado (Brecht, num outro tempo, num outro espaço), doutorado (O drama social do teatro no Brasil) e projeto de livre-docência (Uma contribuição portuguesa na história do Teatro Brasileiro: o papel de Francisco Santos), Apresentação das peças de teatro de sua autoria e encenadas no Brasil, Portugal e Colômbia (A Vinda do Messias, Palhaços, A Dama de Copas e o Rei de Cuba, A Perseguição ou o Longo Caminho que vai de Zero a Ene, As Vozes da Agonia ou Santa Joaninha e sua Cruel Peleja contra os Homens de Guerra, contra os Homens d´Igreja, Curto-circuito e Bye, bye Pororoca) e Considerações finais. Para a execução da pesquisa contou-se com acesso ao acervo familiar do autor, falecido em 1986, e com seus trabalhos de titulação, disponíveis na Universidade de São Paulo, além de sete peças de teatro, reunidos pela Editora Terceira Margem, em 2013, numa publicação em dois volumes. As conclusões a que se chega apontam para uma poética que se compõe da fantasia e do realismo, no período marcado pela opressão do regime ditatorial brasileiro, resultado do olhar arguto de um estudioso que reflete sobre questões sociais transpondo-as para o palco, consciente de seu papel como intérprete do comportamento humano e da vida brasileira. Um anexo iconográfico é parte do trabalho e reúne imagens e documentos que confirmam a ampla atuação de Timochenco como autor, professor, crítico, encenador e pesquisador. / This work aims to present Theorist, Playwright and Director Timochenco Wehbi. As a sociologist and theater author of national and international prominence from the years 1970 to 1986, he was also a professor at the University of São Paulo, a critic of cinema and theater in newspapers of São Paulo and Presidente Prudente, taking part in judging commissions of amateur theater festivals in all of Brazil. The structure of the dissertation is composed of four essential parts, namely: Chronology of life and work of the author, presentation of master\'s works (Brecht, num outro tempo, num outro espaço), doctorate (O drama social do teatro no Brasil), post-graduated project (Uma contribuição portuguesa na história do Teatro Brasileiro: o papel de Francisco Santos) and the presentation of the plays of her own and staged in Brazil, Portugal and Colombia (A Vinda do Messias, Palhaços, A Dama de Copas e o Rei de Cuba, A Perseguição ou O Longo Caminho que Vai de Zero a Ene, As Vozes da Agonia ou Santa Joaninha e Sua Cruel Peleja Contra os Homens de Guerra, Contra os Homens d´Igreja, Curto-Circuito and Bye, bye Pororoca) and Conclusion. In order to carry out the research, there was access to the author\'s family collection, who died in 1986, and to his degree studies, available at the University of São Paulo, as well as seven plays by Editora Terceira Margem in 2013, in a two-volume publication. The conclusions reached point to a poetics that is composed of fantasy and realism, in a period marked by the oppression of the Brazilian dictatorial regime, which is the result of the sharp eye of a scholar who reflects on social issues, transposing them to the stage and conscious of his role as an interpreter of the human behavior and Brazilian life. An annex iconographic is part of the work and brings together images and documents that confirm Timochenco\'s broad work as an author, teacher, critic, director and researcher.

Estudo centrado nas trucagens eletrônicas digitais utilizadas por Peter Greenaway a partir dos anos 80, no âmbito das tradições cinematográficas e da evolução tecnológica audiovisual. Conceitua-se suas intervenções técnicas e artísticas no campo dos efeitos especiais e das trucagens cinematográficas. O método de análise utilizado combina a dramaturgia da forma, enunciada por Sergei Eisenstein, com as tradições artísticas das composições do visual music, iniciado nos anos 20, e as teorias da física mecânica e seus movimentos ondulatórios. As reflexões construídas nessa pesquisa nos permitem reconhecer um amplo sistema de referências utilizado por Greenaway para desenvolver a sua dramaturgia da forma a partir das trucagens eletrônicas digitais. Diversas categorias propostas por Eisenstein foram revigoradas por Greenaway e estão sendo enriquecidas com novas formulações que apontam para o desenvolvimento de uma prática inovadora na cinematografia em geral. / Study focused on electronic digital trick-film used by Peter Greenaway from the\'80s, under the traditions of film and audiovisual technology developments. The concept is its technical and artistic interventions in the field of special effects and trick-films. The analysis method used combines the form dramaturgy, provided by Sergei Eisenstein with the artistic traditions of the visual music compositions, starting in the 20s, and the theories of physics and mechanical wave motion. The reflections made in this study allow us to recognize an extensive system of references used by Greenaway to develop their theater the way from trucagens electronic fingerprints. Categories proposed by Eisenstein were reinvigorated by Greenaway and are enriched with new formulations that point to the development of an innovative practice in the film industry in general.