Notre travail, qui centre la représentation symbolique des quatre éléments (terre, eau, air, feu), part de l' « imagination matérielle » de Bachelard en vue d'établir une réflexion équilibrée autour de dynamiques dramaturgiques et littéraires (particulièrement Hugo et Shakespeare) en amont des opéras de Verdi pou r déboucher sur l'analyse de ces derniers, d'un point de vue littéraire et musical. À partir de la mythographie des quatre éléments, diverses figures du temps émergent des livrets verdiens et livrent un parcours symbologique thématique. Ainsi, l'héroïne de La Traviata est confrontée au temps qui fuit, rendu évident par la frénésie musicale du rythme. Au carpe diem impatient s'oppose alors l'émergence de l'amour inévitablement lié à la linéarité du temps de la destinée. Les feux de la passion se distinguent d'une image aérienne de Violetta, qui glisse d'une joie à l'autre en développant un rapport à plusieurs éléments. De manière similaire, une reconstruction analytique de Un ballo in maschera prouve que les personnages demeurent impuissants et superflus face à l'inflexible destin. Le temps accélère ensuite de façon soudainedans Rigoletto au sein d'une image aquatique. Dans cette œuvre, un chronotope de la crise d'empreinte bakhtinien entre en jeu, provoquant un renversement de la direction temporelle et une précipitation du temps imagée dans le rythme hippique du galop. Le temps cristallisé dans Don Carlos dérive pour sa part de l'expérience amoureuse des protagonistes qui se réfugient dans un temps réitérable par le biais du souvenir tandis qu'un autre souvenir igné annonce un retour du temps destructeur dans Il Trovatore. Mais un deuxième régime temporel linéaire où le feu est dévorant prend également forme dans cette œuvre sombre, débouchant sur un mouvement aérien qui est une fuite à la condition terrestre révolue des personnages amoureux. Enfin, les symboles d'un temps dévastateur porteur de mort, dégagés par les ténèbres, sont observables dans Macbeth et Otello, sous-tendus par un même substrat shakespearien. Lemoment de la chute ultime du héros est venu. Comme si l'insoluble tragédie de la source shakespearienne rencontrait par ce biais le pessimisme et le doute artistique d'un Verdi arrivé désormais à maturité. / Our work focuses on the symbolic representation of the four elements (earth, water, air, fire) startingfrom Bachelard’s “material imagination” and leading us to reflect upon the dramatic and literary dynamics(from Hugo and Shakespeare especially) upstream of Verdi’s operas in order to analyze them from a bothliterary and musical point of view. From the mythography of the four elements different figurations oftime emerge from the Verdian libretti and allow a symbologic thematic reading.Thus, the Traviata’s heroin is confronted with tempus fugit epitomized by the frenetic musicalrhythm. The impatient carpe diem then contrasts with the advent of love inevitably linked to time’s fatefullinearity. Fires of passion distinguish themselves from the ethereal image of Violetta gliding from one joyto the other playing on a palette of several elements. Similarly, an analytical reconstruction of theBallo in mascherawill prove that the characters are powerless and superfluous in front of inflexible fate. Timethen suddenly speeds up in Rigolettoin the midst of water imagery.In this work, Bakhtin’s “chronotope ofcrisis” comes into play, causing a reversal of the temporal direction and a precipitation of the passing oftime embodied in the horse’ gallop-like concluding rhythm. The crystallized time inDon Carlosoriginatesfrom the lovers’ experience, who find refuge in the repeatable time of memory whereas another memory,infused with fire symbols heralds a return of the devastating time ofIl Trovatore. But a second temporalsystem, linear, where fire is devouring, takes shape in this darker work, leading eventually to an etherealmovement of the lovers’ escape from their already-gone terrestrial condition. Finally, the devastating timebrings forth death inMacbethandOtello, which share an underlying Shakespearean substrate. Thencomes the final fall of the hero. As if the insoluble tragedy of the Shakespearean source met the intimatepessimism and artistic doubts of the mature Giuseppe Verdi. / Il nostro lavoro, che s'incentra sulla rappresentazione simbolica dei quattro elementi (terra, acqua, aria,fuoco), parte dall' «immaginazione materiale» di Bachelard in vista di stabilire una riflessione bilanciataintorno a dinamiche drammaturgiche e letterarie (in particolare Hugo e Shakespeare) a monte delle operein musica di Verdi per giungere all'analisi di queste da un punto di vista letterario e musicale. Partendodalla mitografia dei quattro elementi, diverse figure del tempo emergono dai libretti verdiani, svelando unpercorso simbolico tematico. Premesso ciò, l'eroina dellaTraviataè condannata da un tempo che fugge,reso evidente dalla frenesia musicale del ritmo. Alcarpe diemimpaziente si oppone allora l'emergeredell'amore inevitabilmente legato alla linearità del tempo e del destino. I fuochi della passione sicontraddistinguono dall'immagine aerea di Violetta, che scivola da una gioia all'altra sviluppando unrapporto con più elementi. Una ricostruzione analitica delBallo in mascheraprova che i personaggi sonodi fatto impotenti e superflui di fronte all'inflessibile destino. Il tempo accelera poi in modo repentino inRigolettoin seno ad un'immagine acquatica. In questa opera, un cronotopo della crisi d'improntabakhtiniana entra in gioco, provocando un ribaltamento della direzione temporale e una precipitazione deltempo resa nota dal ritmo ippico del galoppo. Il tempo cristallizzato diDon Carlosderiva, dal canto suo,dall'esperienza amorosa dei protagonisti che si rifugiano in un tempo reiterabile per via del ricordo mentreun altro ricordo igneo annuncia un ritorno del tempo distruttore nelTrovatore. Ma un secondo regimetemporale lineare dove il fuoco è insaziabile prende ugualmente vita in questa opera cupa, sfociando in unmovimento aereo che rappresenta una fuga dalla condizione terrestre dei personaggi innamorati. Infine, isimboli di un tempo devastatore messaggero della morte, liberati dalla tenebre, sono riscontrabili inMacbeth e Otello, supportati da uno stesso sostrato shakespeariano. È allora giunto il momento dellacaduta finale dell'eroe. Come se l'insolubile tragedia shakespeariana incontrasse il pessimismo e i dubbiartistici di un Giuseppe Verdi giunto ormai a maturità

<p>Menjajući poetike, istražujući u oblasti forme, Leonid Andrejev u svom ranom dramskom stvarala&scaron;tvu ostaje veran svojoj inicijalnoj ideji: on promi&scaron;lja ljudsku misao, njenu prirodu i njene moguće manifestacije, kao i moć i nemoć ljudske misli u svetu koji ga okružuje. U prvom periodu svog ranog stvarala&scaron;tva, definisanom kao realistički teatar, pisac sagledava tri različite manifestacije ljudske misli: nauku, religiju i revoluciju. U perodu potrage za novom dramskom formom, supstancionalnom teatru, misao dolazi u sukob sa supstancom i rađa se ideja da ljudska misao nije svemoguća, to jest da čovek ne može da živi vođen isključivo razumnim načelom. U trećem periodu svog ranog dramskog stvarala&scaron;tva, takozvanom melodramskom teatru, pisac se naizgled udaljava od svoje osnovne teme i afirmi&scaron;ući studentske uspomene, na biografskoj građi stvara dve psiholo&scaron;ke melodrame.<br />&nbsp; U sva tri navedena teatra, realističkom, supstancionalnom i melodramskom, pisac se služio bogatim aresenalom tehničko-stilskih sredstava. U radu se tumači upotreba hromatskog i muzičkog prosedea, priroda i funkcija didaskalija, portetna metaforičnost likova, kao i simbolični plan drama, te njihove tematske i idejne koncepcije.<br />&nbsp;&nbsp; Zaključak je da je u potrazi za formom, u tim spontanim smenama poetika i bogatom kori&scaron;ćenju tehničko-stilskih sredstava (npr., montažnost dramskog teksta, kolektivni monolog, personalizacija i depersonalizacija aktera radnje; upotreba metafore, poređenja, metonimije, sinegdohe, sinestezije, groteske, lirskih paralelizama itd.), L. Andrejev ostao dosledan svojoj primarnoj ideji, promi&scaron;ljanju o moći i nemoći ljudske misli. Ta ista ideja u&scaron;la je u osnovu teatra panpsihe, koji je okarakterisao naredni plodan period ovog dramskog pisca.</p> / <p>Although he was not consistent in his approach when poetics and the form were concerned, Leonid Andreyev never gave up on the initial idea in his early plays: in them he was deeply involved in consideration of human thought, its nature and its possible manifestations, as well as its power, or the lack of it. In the first phase of his early works, which is in this thesis termed a realist theater, the playwright takes into consideration three different manifestations of human thought: science, religion and revolution. During the period in which he was searching for a new form for his plays, the so-called substantialist theater, thought is confronted with substance, upon which a new idea emerges, that of powerlessness of human thought&ndash; human beings cannot live their lives based solely on the principle of rationality. In the third period of his early writing, the so-called melodramatic theater, the author seemingly deviates from main theme, and by returning to his university days, creates two autobiographical, psychological plays.<br />&nbsp;&nbsp; In all three theaters, the realist, the substantialist and the melodramatic, the author uses a rich palette of technical and stylistic devices. This thesis offers analyses of chromatic and musical principles; the nature and function of stage directions; metaphorical nature of the characters; as well as the symbolism present in the plays.<br />&nbsp;&nbsp; Searching for the form, through spontaneous shifts between different poetics and an array of technical and stylistic devices (such as editing of plays, collective monologue, personalization and depersonalization of the characters, the use of metaphor, simile, metonymy, synecdoche, synesthesia, grotesque, lyrical parallelisms), Leonid Andreyev remained loyal to his initial idea of pondering the power and weakness of human thought. This idea has become a constitutive part of pan-psyche theater that marked the next, rather fruitful period of this playwright.</p>

Cette thèse envisage la critique de la « société du Spectacle » (concept forgé dans l’essai éponyme de Guy Debord) telle qu’elle procède dans des œuvres du théâtre expérimental et sur les scènes de la performance au cours des années 2000 à Berlin, Londres et Paris. Les pièces étudiées recyclent des références empruntées aux médias de masse, souvent assimilés à des machines à aliéner le public. Le corpus regroupe aussi bien des auteurs et des metteurs en scène que des collectifs : Martin Crimp, David Ayala, Joël Jouanneau, Falk Richter, René Pollesch, Tom Kühnel, Katie Mitchell, le Collectif MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad et Superamas. L’approche pluridisciplinaire traite à la fois des composants dramaturgiques et des considérants sociologiques de la représentation. D’une part, ce travail étudie la structuration des réseaux dans lesquels les artistes se rencontrent ou coopèrent. D’autre part, nous examinons tant l’organisation des différents éléments scéniques, parmi lesquels les caméras et les écrans tiennent une place importante, que la corporéité des interprètes ainsi que les modes de réception des spectateurs, entre autres par la mise en place d’une enquête. En trans-contextualisant leurs sources, les artistes instaurent des écarts et creusent de la distance à travers divers procédés : l’incorporation littérale, la citation, la parodie et le pastiche, mais aussi l’ironie et le ton cool fun. La dimension critique de ces œuvres ne s’exerce pas de manière frontale et n’est souvent pas même revendiquée. Loin de la rejeter en bloc, les auteurs et interprètes affectionnent certains objets de la culture des médias de masse. Pour mettre en branle leur fonction critique, ils se situent au cœur même de la « société du Spectacle » et de l’esprit du temps. Ainsi cette critique s’est déplacée de l’extérieur à l’intérieur du champ. Leur démarche mêlant le sérieux au ludique dénote une volonté de ne pas se désolidariser des spectateurs face auxquels ils veulent s’inscrire sur un pied d’égalité pour rendre le dialogue et parfois l’interaction possibles. / This thesis tackles the critic of the “Society of the Spectacle” (concept brought by the Guy Debord’s eponymous essay) performed in experimental theater works and the performance scenes during the 2000s in Berlin, London and Paris. The studied theater pieces borrow cultural references to the mass media, often considered as machines to alienate the public. The corpus includes authors as well as stage directors and collectives: Martin Crimp, David Alaya, Joël Jouanneau, Falk Richter, René Pollesch, Tom Khünel, Katie Mitchell, the Collective MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad and Superamas.The multidisciplinary approach deals with both the dramaturgy aspects and the sociological patterns of representation. One the one hand, this work studies the network structure in which the artists meet each others and collaborate. On the other hand, we investigate the various stage elements, among which cameras and screens take an major part, as well as the actors’ corporeality as well as the spectators’ ways of perception, among others, by the mean of a survey. By trans-contextualizing their sources, the artists create a gap and increase the distance with them using several techniques: literal incorporation, quotation, parody and pastiche, but also irony and cool fun tone.The critical dimension of these works is not straight forward, and often not even claimed. Far from rejecting it as a whole, the authors and actors are fond of the mass media culture’s objects. In order to set in motion their critical function, they place themselves at the heart of the “Society of the Spectacle” and the Zeitgeist. Thus, such a critic has moved from an external point of view to an internal one. Their approach, mixing seriousness and fun, indicates a will not to separate themselves from the spectators to whom they want to set on equal footing in order to make the dialogue and sometimes the interaction possible.

This dissertation documents and interrogates the process of Storyweaving, which has been authored and developed by Spiderwoman Theater, the longest running Native theatre company in North America and the longest running feminist collective in the world. Storyweaving is a distinct process that governs the dramaturgical structure and performed transmission of this company’s play texts on the contemporary stage. However, Storyweaving predates written history. It has been (and remains) specific to tribal storytellers across this continent. The reclamation, then, of this aesthetic legacy by contemporary Native storytellers is a crucial act of recovery, which imagines and architects a functional framework for a Poetics of Decolonization that may be adopted and adapted by tribal artists from myriad nations to create works (on the page and stage) that will effect the healing, transformation and survivance of their communities. Chapter One examines the early personal and professional histories of the Miguel sisters who are Spiderwoman’s founders. Through an exploration of their socio-economic positioning, their difficult home life, the racialized narratives by which they were defined outside the home and their artistic development within these impossible conditions, this chapter unpacks instances of personal and familial resistance to the forces of colonization and reveals the seamless weave that so inextricably binds art and life. Chapter Two documents the early history of Spiderwoman Theater and offers a processual analysis of its transformation from a multi-racial, feminist collective to an American Indian theatre troupe, charting the personal decolonization of the Miguel sisters and the intersection of this very personal transformation with the politically (re)vital(izing) creation of a decolonizing aesthetic. Chapter Three engages with this aesthetic to clearly demonstrate how it works within and through the living bodies who utilize it in the rehearsal studio. Next, I examine Spiderwoman’s published texts to reveal the ways in which the Storyweaving process has shaped the affects of these works on the artists and their audiences. Finally, Chapter Five names and evaluates the benefits of Spiderwoman’s legacy and estimates its future benefits as Spiderwoman’s heirs take up its process and adapt it to meet the needs of their communities.

This dissertation documents and interrogates the process of Storyweaving, which has been authored and developed by Spiderwoman Theater, the longest running Native theatre company in North America and the longest running feminist collective in the world. Storyweaving is a distinct process that governs the dramaturgical structure and performed transmission of this company’s play texts on the contemporary stage. However, Storyweaving predates written history. It has been (and remains) specific to tribal storytellers across this continent. The reclamation, then, of this aesthetic legacy by contemporary Native storytellers is a crucial act of recovery, which imagines and architects a functional framework for a Poetics of Decolonization that may be adopted and adapted by tribal artists from myriad nations to create works (on the page and stage) that will effect the healing, transformation and survivance of their communities. Chapter One examines the early personal and professional histories of the Miguel sisters who are Spiderwoman’s founders. Through an exploration of their socio-economic positioning, their difficult home life, the racialized narratives by which they were defined outside the home and their artistic development within these impossible conditions, this chapter unpacks instances of personal and familial resistance to the forces of colonization and reveals the seamless weave that so inextricably binds art and life. Chapter Two documents the early history of Spiderwoman Theater and offers a processual analysis of its transformation from a multi-racial, feminist collective to an American Indian theatre troupe, charting the personal decolonization of the Miguel sisters and the intersection of this very personal transformation with the politically (re)vital(izing) creation of a decolonizing aesthetic. Chapter Three engages with this aesthetic to clearly demonstrate how it works within and through the living bodies who utilize it in the rehearsal studio. Next, I examine Spiderwoman’s published texts to reveal the ways in which the Storyweaving process has shaped the affects of these works on the artists and their audiences. Finally, Chapter Five names and evaluates the benefits of Spiderwoman’s legacy and estimates its future benefits as Spiderwoman’s heirs take up its process and adapt it to meet the needs of their communities.

No description available.

Abstract Title: When book becomes film... – a comparative analysis of the book and film Catch me if you can (När bok blir till film…En jämförande analys av boken och filmen Catch me if you can) Number of pages: 46 Author: Majlinda Juniku Tutor: Amelie Hössjer Course: Media and Communication Studies C Period: Autumn term 2007 University: Division of Media and Communication, Department of Information Science, Uppsala University. Purpose/Aim: To study what model of dramaturgy belongs to the film Catch me if you can and to see what has been crossed out, altered and added from the book so the narrative will fit this model. Material/Method: The film Catch me if you can and the book with the same name has been used to analyze the differences between them. I have divided the differences into three categories: Crossed out, Altered and Added. In the analysis section these have been presented in each section of the film. Main results: Catch me if you can is definetly a film made with the design of the Anglosaxon model, mostly because of its timestructure and that it portrays an action and not just a condition which is normal in the epic-lyric model. Big parts of the story have been crossed out, altered and added to make the film more acceptabel to the audience. Most of the changeshad been done to make the story shorter to fit the timeframe of a film. Events had been joinedtogether to save time but not miss anything. A character, Hanratty, has been reinforced to create a cat-and-mouse story and add excitement to the film. Other changes have been made to make the main character seem more likeable to the audience. Keywords: book, film, dramaturgy, Catch me if you can, anglo-saxon, epic-lyric

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

This research-creation thesis describes and analyzes the dramaturgical methodologies of verbatim theatre – a form of documentary theatre that uses transcripts as the dominant source of its dialogue – through the practical exercise of play writing. This paper marks the theoretical component of my thesis, which analyzes both the dramaturgical process and the historical context of my play Exhibit A. Using verbatim transcripts from legal evidence for its dialogue, the play examines the psychology of two teenage boys responsible for the brutal rape and murder of an 18-year-old Canadian woman in 2010. As documentary theatre emphasizes socio-political themes, this thesis considers the dramaturgical, aesthetic, and ethical considerations of verbatim theatre through my experience as a playwright and researcher. Acknowledging both the historical antecedents of documentary theatre and its contemporary examples, this thesis will define an original typology of verbatim theatre entitled the “Subcategories of Verbatim Theatre”. These subcategories are identified as Tribunal, Literary, Historical Drama, Expository and Participatory. Each privileges different types and usages of documents, which are further defined as being primarily related to “text” or “aural” based testimony. The thesis relates the dramaturgical principles of each subcategory to artistic choices made in Exhibit A. A description of the various incarnations of verbatim and documentary theatre, as well as an analysis of my experience as a documentary playwright examines the dramatic representation of reality as highly constructed in this form of theatre where the selection and editing of a documentary play's archive is a creative process that is not dissimilar from the creation of fictional drama. In that sense, the documentary genre can be said to present a dramatic representation of the playwright's subjective version of the truth. Exhibit A thus stands as my creative reconstruction of the evidence presented in the Kimberly Proctor murder trial.

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.