A presente dissertação reflete sobre a produção de dramaturgia contemporânea brasileira a partir do horizonte desvelado por duas obras em especial, Agreste, de Newton Moreno, e BR-3, de Bernardo Carvalho. O foco nos dois textos não anula o diálogo pertinente e necessário também com a esfera espetacular quando necessário. Através da ideia de deslocamento, analisamos, primeiramente, o devir errático associado às obras em duas instâncias; errar para além de sua própria esfera de gênero em busca do outro e do surgimento de novos de campos de subjetividade; errar como parte de uma demanda interna e estrutural através de personagens em constante movimento e da exploração de um Brasil longínquo e extenso. Em seguida, empenhados na investigação da atuação crítica de tais obras, tendo como hipótese sua relação não documental com o presente, analisaremos o tratamento da subjetividade na elaboração das personagens, e o tratamento da ideia de território. Para além da dualidade entre realidade e representação, descortina-se a possibilidade de narrativas imagéticas, ou seja, em que os espaços autorais e imaginários possuem grande importância. Tais considerações guiam, por último, o questionamento a respeito da dimensão política de tais obras, percorrendo, primeiramente, algumas divergências que marcam o chamado teatro político. / This work reflects on the production of Brazilian contemporary dramaturgy from the unveiled horizon by two works in particular: Agreste, by Newton Moreno, and BR-3, by Bernardo Carvalho. The focus on both texts does not annul the relevant and necessary dialogue with the spectacular realm when required. Through the idea of displacement we analyze first the erratic becoming associated with the works in two instances; err beyond their own sphere in search of others and the emergence of new fields of subjectivity; err as part of an internal and structural demand, characters in constant motion, exploring a distant and extensive Brazil. Then engaged in research the critical role of the works under the hypothesis of their non-documentary relationship with the present, we will examine the treatment of subjectivity in the development of the characters, and the treatment of the territory ideia. In addition to the duality between reality and representation, it becomes visible the possibility of imagery narratives, where the authorial and imaginary spaces are of great importance. Such considerations guide, lastly, the question about the political dimension of such works, browsing, first, some differences that mark the so-called political theater.

This study aimed at analyzing the dramaturgy of the authors Antonio Callado (1917 - 1994) and Jorge Andrade (1922-1284). From the first, we considered the part entitled A Cidade Assassinada (1954), and from the second, Pedreira das Almas (1957). In this work we pay special attention with regard to the context in which the plays were written, in the 1950s. We emphasize that the A Cidade Assassinada went public in honor of the four hundred years São Paulo city, and Pedreira das Almas, commemorating the tenth anniversary of the TBC Teatro Brasileiro de Comédia (Brazilian Comedy Theater). Antonio Callado records in his work, the close relationship it maintains with the highlights of the historical process in Brazil. In A Cidade Assassinada the playwright contextualizes the year 1560, Brazil colonization period. The play has as the protagonist character João Ramalho, who has the support of her daughter Rosa Bernarda to protect his main symbols of memory, the city of Santo André da Borda do Campo and the pillory, which he created. The playwright Jorge Andrade, coming from a family originally from west of São Paulo, suffered by the coffee crisis, as well as the consequences of the measures taken by the government at the time. Through the process of rural memories that belonged to his family, the playwright highlights the melancholy face of multiple losses caused by historical changes. Jorge Andrade contextualizes in Pedreira das Almas the revolt of the Liberals held in 1842 and the decline of the auriferous veins in the interior of Minas Gerais. It presents as main character Urbana, who with her children Mariana and Martiniano, shown against the ideas of Gabriel, who intends to lead the people from the city of Pedreira das Almas to the plateau, where there is the promise of progress. The matriarch Urbana faces Gabriel and state forces in defense of the permanent memory of their ancestors in that city. We observed that both playwrights express a significant involvement in relation with culture and memory of their ancestors and country. Theirs dramaturgy, although contextualize different periods, converge in a celebration of memory, which initially manifests as individual, in other words, in the family, but that during the action, taking proportions of collective memory, the one that according to Halbwachs (2006), is laced to memory of the group, integrating the memory of the wider society. / Este estudo teve como finalidade a análise das dramaturgias dos autores Antonio Callado (1917 1994) e Jorge Andrade (1922 1284). Do primeiro, tomamos para apreciação a peça intitulada A Cidade Assassinada (1954), e do segundo, Pedreira das Almas (1957). Neste trabalho damos especial atenção no que diz respeito ao contexto no qual as peças foram escritas, isto é, a década de 1950. Destacamos que A Cidade Assassinada veio a público em homenagem aos quatrocentos anos da cidade de São Paulo, e Pedreira das Almas, em comemoração ao décimo aniversário do TBC Teatro Brasileiro de Comédia. Antonio Callado registra em sua obra, a intrínseca relação que mantém com momentos marcantes do processo histórico do Brasil. Em A Cidade Assassinada o dramaturgo contextualiza o ano de 1560, período de colonização do Brasil. A peça tem como protagonista o personagem João Ramalho, que conta com o apoio da filha Rosa Bernarda para proteger seus principais símbolos de memória, a cidade de Santo André da Borda do Campo e o pelourinho, por ele criados. O dramaturgo Jorge Andrade, vindo de uma família originária do oeste paulista, sofreu de perto a crise cafeeira assim como as consequências das medidas tomadas pelo governo, na época. Via processo de lembranças do mundo rural a que pertencera sua família, o dramaturgo destaca a melancolia frente às várias perdas provocadas pelas mudanças históricas. Jorge Andrade contextualiza em Pedreira das Almas a revolta dos liberais ocorrida em 1842 e a decadência dos veios auríferos no interior de Minas Gerais. Apresenta como personagem principal Urbana, que ao lado dos filhos Mariana e Martiniano, se mostra contrária às ideias de Gabriel, que pretende levar o povo da cidade de Pedreira das Almas para o planalto, onde há a promessa de progresso. A matriarca Urbana enfrenta Gabriel e as forças do Estado em defesa da memória de seus antepassados permanentes nessa cidade. Observamos que ambos os dramaturgos exprimem um envolvimento significativo em relação à cultura e à memória de seus antepassados e do país. Suas dramaturgias, embora contextualizem períodos distintos, convergem para uma celebração à memória que, inicialmente, se manifesta como individual, ou seja, no âmbito familiar, mas que no decorrer das ações, toma proporções de memória coletiva, aquela que, segundo Halbwachs (2006), está enlaçada à memória do grupo, integrando-se à uma memória mais ampla da sociedade. / Mestre em Teoria Literária

A proposta principal desta dissertação é analisar a recepção que o crítico teatral Sábato Magaldi ofereceu no Jornal da Tarde às primeiras montagens das peças de Antonio Bivar, Leilah Assunção, José Vicente de Paula, Consuelo de Castro e Isabel Câmara e quais as questões em evidencia na cena teatral paulista e carioca, durante a segunda metade da década de 60, que levaram Sábato Magaldi a considerá-los representantes da Nova Dramaturgia Brasileira. O trabalho possui três capítulos. No primeiro, procuramos apontar aspectos históricos da constituição da imprensa como esfera pública e da crítica teatral nos jornais diários do Rio de Janeiro e São Paulo entre os séculos XIX e XX. O segundo, por sua vez, aborda o legado de Sábato Magaldi para a crítica nacional, além de recuperar os principais debates teóricos envolvendo os críticos e a classe teatral paulista durante a década de 60. Por fim, o último capítulo, construído a partir de uma acervo documental amplo, trata da recepção que o crítico do Jornal da Tarde deu às montagens dos chamados novos dramaturgos / The main goal of this essay is to analyze the reception given by the theater critic Sábato Magaldi at the Jornal da Tarde newspaper to the first stagings of the plays by Antonio Bivar, Leilah Assunção, José Vicente de Paula, Consuelo de Castro e Isabel Câmara. Also, which are the relevant issues on both Rio de Janeiro and São Paulo theater scenes, during the second half of the 1960\'s, that lead Sábato Magaldi to single the above mentioned authors as representants of Brazilian new dramaturgy. The essay has three chapters. The first tries to identify historic aspects of the constitution of the press as public sphere and of the theater critic on Rio de Janeiro and Sao Paulo daily newspapers between the centuries 19 and 20. The second approaches Sábato Magaldy\'s legacy to the national critics, and recovers the main theoretical debates involving critics and theater workers during the 1960\'s. At last, the third chapter, built upon a wide collection of documents, addresses the reception provided by the critic of the Jornal da Tarde to the stagings of the so-called new dramaturgists

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The work is focused on how it is possible to stabilize and develop ethical values in children camps. First the work is focused on a value concept and determinates a Christian ethical value. Further it describes pubescence season characteristics and its specifics, where ethical development, identity and socialization inherently belong to. Then basic mechanisms analyses which are helpful for values education follow. Next part of the work is focused on camp and games dramaturgy. In the end an application of gained knowledge is shown on particular Christian camp preparation which is going to be focused on Christian ethical values development and stabilisation. Example of such camp day by day follows.

Orientador: Eusebio Lobo da Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T20:22:16Z (GMT). No. of bitstreams: 1 Tourinho_LigiaLosada_D.pdf: 80716560 bytes, checksum: 7540f8bd1a3dfc7474f2b4453ea22dd0 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa apresenta uma reflexão sobre as dramaturgias da contemporaneidade, entendendo que seus significados atuais não são sinônimos de texto dramático, mas suas acepções contemporâneas dizem respeito às estruturas artísticas que determinam a composição cênica. A primeira parte desta tese é destinada à apresentação do panorama atual das pesquisas sobre o tema e, a uma revisão histórica sobre o(s) conceito(s) de dramaturgia desde o início da civilização ocidental até os dias de hoje. Na atualidade, a dramaturgia passa a ser um campo de investigação presente nas Artes da Cena. Essas estruturas cênicas podem ser estabelecidas em diversas configurações dramatúrgicas. O texto dramático é entendido como uma das possibilidades de registro, documentação e estruturação cênica; mas, não como a única. O processo de estruturação cênica está diretamente atrelado à poética daquele que cria a obra artística, na figura do diretor, coreógrafo, de quem assina a concepção. As dramaturgias contemporâneas se manifestam como protocolos de criação dos artistas responsáveis pela autoria dos espetáculos. A segunda parte desta tese destina-se à reflexão sobre as perspectivas atuais de análise espetacular, sobre a conceituação de dramaturgia como protocolos de criação e à discussão de novas terminologias dramatúrgicas como dramaturgias do corpo, dramaturgia do ator, dramaturgias da dança, dramaturgias da forma, dramaturgia de tensões, etc.. Em uma última etapa da pesquisa, desenvolve-se uma reflexão sobre a pesquisa de campo desta tese, que envolveu a reflexão sobre um processo dramatúrgico laboratorial - Projeto Jogo Coreográfico - e, processos dramatúrgicos de quatorze artistas residentes na cidade do Rio de Janeiro. A pesquisa de campo se desenvolveu a partir de diretrizes de uma metodologia experimental qualitativa compreendendo entrevistas e observação de espetáculos. / Abstract: This research synthesizes the contemporary dramaturgy concepts, understanding that its current meaning is not synonymous of dramatic text, but its contemporary interpretation is about artistic structures that determine the scenic composition. The first part of this PHD research is destined to the presentation of the current panorama of research on the theme and a historical review of the dramaturgy concept since the first civilization up to now. In current days, dramaturgy starts to be a field of investigation present in all Performing Arts. These scenic structures can be established in different dramaturgy configurations, so the dramatic text is one way of record, documentation and scenic structuring, but it is not the only one. The process of scenic structuring is connected to the poetic of the one who creates the artistic work, in the role of the director, choreographer, of who signs the conception. Contemporary dramaturgies are manifested as creation protocols of the artists responsible for the authorship of the plays. The second part of this research is destined to the reflection over the current perspectives of spectacular analysis, over the concept of dramaturgy as creation protocols and to the discussion of new dramaturgy terminologies as dramaturgies of the body. / Doutorado / Artes / Doutor em Artes

Regardless of genre, Shakespeare’s plays open in many different ways on the stage. Some openings come in the form of a prologue and extend from it; others in the form of a framing dialogue; some may begin in medias res; and there is also a single case of an induction in The Taming of the Shrew. My dissertation, “Shakespeare’s Openings in Action: A Study of Four Plays from the Period 1591- c.1602,” subsequently referred to as “Shakespeare’s Openings in Action,” attempts to define the construction of openings in the context of Shakespeare’s dramaturgy and to understand texts which were written in the first place to be performed on a platform stage by actors experienced in theatrical practice. By analysing the playwright’s organization of the dramatic material, as reflected in the play-texts, I attempt to gauge how an opening set out to engage original audiences in the play, an essential function of theatrical composition, and to determine to what extent the play-text may be considered as an extended stage direction for early modern actors.1 What is the present state of scholarship in the subject? Although sparse, critical interest in the openings of Shakespeare’s plays can be found as early as 1935 in the work of A. C. Sprague, Shakespeare and the Audience. In more recent years, other studies have appeared, for instance, Robert F. Willson, Jr., Shakespeare’s Opening Scenes (1977), and a number of articles included in Entering the Maze: Shakespeare’s Art of Beginning, edited by F. Willson Jr. (1995). Existing scholarship provides a good general framework for further research into the openings of Shakespeare’s plays. In addition to the studies presented above, I shall draw on analytical approaches to play-text analysis which involve theatre practice, for example in the work of André Helbo, Approaching Theatre (1991), Anne Ubersfeld, Reading Theatre (1996), and John Russell Brown, Shakespeare’s Plays in Performance (1993); John Barton, Playing Shakespeare (1984), and Cicely Berry, Text in Action. London (2001). These works provide revealing insights into the theatrical possibilities of dramatic language and actor technique. 1The analytical method presented in this dissertation supplements studies made of the complex textual histories of Shakespeare’s plays by considering the staging and characterisation information they contain. In the case of multiple-text plays, it takes account of editorial scholarship and explains the reasons for choosing to analyse the material contained in one version over the other(s).

Problema: pilietiškumo sąvokos teorinė samprata mokyklose yra pakankamai gili, tačiau praktinis mokinių požiūris į pilietiškumą kelia nerimą. Ugdymo metodai naudojami tautinės savimonės žadinimui mokyklose - paskaitinio pobūdžio. Vaikams nėra įdomi Lietuvos istorija, literatūra, tautosaka, tad reikalinga ieškoti sąlyčio taškų, kokiais metodais naudojantis būtų galima žadinti vaikų tautinę savimonę. Šio darbo tikslas – atskleisti teatro pamokos, remiantis lietuvių dramaturgija reikšmę pilietiškumo ugdymui. Tyrimo objektas — pilietiškumo ugdymas remiantis lietuvių dramaturgija, teatro pamokų metu. Tyrimo tikslas — atskleisti teatro pamokų reikšmę pilietiškumo ugdymui remiantis lietuvių dramaturgija 10-12 klasėse. Tyrimo hipotezė: lietuvių dramaturgijos analizė ir inscenizavimas teatro pamokų ugdymo procese, keičia ir ugdo mokinių požiūrį į pilietiškumą. Uždaviniai - 1) Išanalizuoti pilietiškumo ugdymo reikšmę, bei teatro pamokų ypatumus jaunuolių ugdyme/si. 2) Atskleisti lietuvių dramaturgijos taikymo ir analizavimo ypatybes 10-12 klasėms, teatro bei lietuvių kalbos pamokose. 3) Ištirti 10-12 klasių pilietiškumo ugdymo, remiantis lietuvių dramaturgija, veiksnius, teatrinės raiškos procese. 4) Parengti, 10-12 klasių pilietiškumo ugdymo veiksnių, remiantis lietuvių dramaturgija, teatrinės raiškos procese, modelį. Tyrimo metodai: Teorinis — pedagoginės, socialinės, dramaturginės, metodinės ir kitokios literatūros nagrinėjama tema sisteminė analizė; Empiriniai - fokus grupės... [toliau žr. visą tekstą] / Issue: the citizenship concept in schools has roots, but practical attitude to citizenship is disturbing. Children have little interest in Lithuanian history, literature, folklore, therefore new methods are required to stimulate national consciousness. Objective of this work: reveal theatre lesson's value for citizenship education supported by Lithuanian dramaturgy. Research subject: citizenship education supported by Lithuanian dramaturgy during theatre lessons. Research objective: unravel the value of a theatre lesson in citizenship education supported by Lithuanian dramaturgy to 10-12 grade classes. Hypothesis: Lithuanian dramaturgy cultivates pupil’s attitude toward citizenship using theatrical role-plays. Tasks: 1) Analyze the importance of citizenship education and how theatre lessons impact pupil’s development. 2) Reveal the details in applying lithuanian dramaturgy to 10-12 graders in drama and Lithuanian language classes. 3) Examine citizenship education factors for 10-12 graders in theatrical expression process using Lithuanian dramaturgy. 4) Develop a citizenship education change factor’s model for 10-12 graders in theatrical expression process using Lithuanian dramaturgy. Research methodology: Theoretical — systematical analysis of literature on chosen subject; Empirical — focus groups, teacher’s survey using questionnaire; Mathematical — percentage data analysis. This work reveals: 10-12 graders citizenship education change factors in theatrical expression... [to full text]

This thesis contributes to the field of strategy-as-practice by developing understanding of the enacted performance of power within strategic interactions, an area that is underdeveloped. This is addressed by voicing the silences within the field of strategy-as-practice using an organisational studies lens. The study investigates the macro-influences of power, gender, body, culture, and Westernisation on micro-strategising activities and is based on an empirical cross-cultural study of a Saudi Arabian business college. The strategy-as-practice approach faces the challenge of balancing a focus on the specified actions of individuals and remaining aware of the social influences that govern them. This study complements linguistic approaches to understanding strategy with an embodied socially enacted dramaturgical approach to strategy analysis. Dramaturgy is the theoretical and methodological framework used to focus on micro-face-to-face interactions of strategists, complemented by frame analysis which enables invistigation of macro-level aspects of analysis at the meso-organisational level. The analysis focuses on two main areas: first it explores the embodied gendered aspects of strategising, which have previously been marginalised within the field. This analysis shows how the doing and undoing of gender on a managerial level in mixed-gender strategic interactions reflects the values that govern the family context, maintaining traditional values and often constraining women from assuming active roles as participants in strategising. Second, it analyses the tensions that arise between the clash of modernity and tradition by the adoption of international/Western management practices. These institutional influences create conflicts within strategists’ scripts when tradition encounters modernity in confronting a significant aspect of the Arab struggle. This analysis focuses on the importance of adopting a multi-level of analysis that aknowledges both structure and agency within strategising contexts. It also considers the importance of adopting a different type of ethics that is more sensitive to the particularities of caring for the ‘other’.

Henry de Montherlant a développé tout au long de sa vie une œuvre théâtrale importante et variée. La problématique de l'action fournit une piste pour pénétrer dans son univers dramaturgique. Selon les critiques contemporains, les pièces de Montherlant manquent d'action. Le dramaturge a renoncé aux coups de théâtre et rebondissements extérieurs pour créer une action dont la seule machinerie consiste à décrire les mouvements intérieurs de l'âme humaine. Cet idéal est inspiré d'une conception classique du théâtre où la simplicité de l'action conduit à l'analyse psychologique. Le but de ce travail est d'identifier l'action et d'analyser son fonctionnement. La première partie, s'appuyant sur la théorisation antique de la dramaturgie, aborde l'action comme intrigue. La partie suivante montre comment l'action extérieure, superposée au mouvement, est supplantée par la parole : l'action est alors considérée comme acte. Cette partie complète l'étude de l'action avec trois approches : l'approche pragmatique et l'approche communicationnelle d'une part, qui permettent d'analyser le phénomène de la parole comme acte, et l'analyse actantielle d'autre part qui appréhende la psychologie du personnage que la dramaturgie classique et néo-classique appelle le caractère, et montre comment l'auteur construit l'intrigue. La dernière partie est consacrée au temps et à l 'espace comme éléments constitutifs de l'action dramatique. / According to Montherlant, the dramatic turn of events and the external twists are a disturbance to the simplicity of the action which lone guiding force may aim at the exploration of the movements of the human soul. The main critics which are made to these plays are that they lack substance and dramatic intensity. This work which objective is to identify and analyse the action in Montherlant's dramatic art, originates from the antic theory of the dramatic art, in order to tackle the action as the plot. The next part shows how the external action stacked to the movement, is supplanted by the speech. This part completes the study of the action by three approacheas: the pragmatic approach and the communicative approach in the one hand, and the actancial analysis in the other hand. The last part deals with time and space as constituent of the dramatic action