No description available.

Thesis (M.A.)--University of Wisconsin--Madison, 1971. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1981. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 188-193).

Diss.--Marburg--Universität, 2001. / Bibliogr. p. 318-329.

Ce travail de recherche vise à mettre au jour un aspect particulier de l’œuvre d’Eduardo De Filippo (Naples, 1900 – Rome, 1984), à savoir l’intrusion du surnaturel dans la production théâtrale de l’auteur-acteur-metteur en scène. Nous avons structuré notre thèse en deux phases. Nous analysons d’abord l’adhésion de De Filippo au théâtre dit “réaliste”, sa conception de la fonction du théâtre, l’ancrage thématique dans l’Histoire du XXe siècle et dans le vécu personnel de l’auteur ; nous nous attachons à la manière dont De Filippo intègre la tradition littéraire et théâtrale du XXe siècle et propose une autre vision du réel faisant appel aux catégories du fantastique. Puis nous examinons l’espace scénique, lieu de l’ailleurs et du fantasme par excellence, dans les différentes composantes de la scène (scénographie, objets), du jeu actoriel (la parole, la corporéité, le personnage et le fantôme) et du contrat spectatoriel pour mettre en lumière la relation que tous les participants au spectacle entretiennent avec le surnaturel. Enfin, nous mettons à l’épreuve de l’analyse la traduction sur scène des problématiques liées au fantôme et au fantasme dans deux interprétations exemplaires et très différentes de La grande magia : celle de Giorgio Strehler au Piccolo Teatro de Milan en 1985 et celle de Dan Jemmett à la Comédie-Française en 2009. / This research work focuses on a specific point of Eduardo De Filippo’s work (Naples, 1900 – Rome, 1984), that is to say the irruption of the supernatural in the production of the author-actor-stage director. We have structured our thesis in two phases. We first analyse the authors’s compliance with the so called « realistic » theatre, his vision of the role of theatre, the thematic foothold in the 20th century history and in his personal experience ; we are concerned with how De Filippo integrates the literary and theatrical tradition of fantasy and offers a realistic vision appealing to the Fantastic categories. Then we investigate the stage space as an ideal place for fantasy and fantasies, we examine the stage varied components (stage design, objects), the acting of the actors (voice, corporeality, the character and the ghost) within the stage-audience conventions to bring to light the particular link that all those who participate to the performance maintain with the supernatural. Finally, we study the process of traduction on stage of problematics linked to ghost and fantasy in two remarkable and very different interpretations of La Grande magia : the one by Giorgio Strehler at the Piccolo Teatro of Milan in 1985 and one by Dan Jemmett at Comédie-Française in 2009.

O foco da dissertação é a análise da reescrita em dialeto napolitano do século XVII da obra A tempestade de William Shakespeare realizada por Eduardo De Filippo. O que levou o dramaturgo napolitano a escolher esta e não outra peça do autor inglês foram essencialmente suas afinidades no tratamento de temas como a magia, o sonho, o amor, a família, o poder, o perdão. Eduardo não realizou uma tradução literal da peça inglesa, mas, utilizando uma língua que é uma mistura de dialeto napolitano do século XVII com dialeto napolitano contemporâneo e italiano criou uma Tempestade toda original e pessoal, aparentemente distante do texto shakespeariano / The thesis consists in analyzing the rewriting in XVII century Neapolitan language of William Shakespearian play, The tempest, by Eduardo De Filippo. What made the Neapolitan playwright choose this play, was essentially his affinities in dealing with certain themes, such us: magic, dream, love, family, power, forgiveness. Eduardo did not translate word by word of the English play, but, using a language which is a mixture of XVII century Neapolitan dialect, contemporary and Italian, has created an original and personal Tempest, apparently quite far from the Shakespearian one

O foco da dissertação é a análise da reescrita em dialeto napolitano do século XVII da obra A tempestade de William Shakespeare realizada por Eduardo De Filippo. O que levou o dramaturgo napolitano a escolher esta e não outra peça do autor inglês foram essencialmente suas afinidades no tratamento de temas como a magia, o sonho, o amor, a família, o poder, o perdão. Eduardo não realizou uma tradução literal da peça inglesa, mas, utilizando uma língua que é uma mistura de dialeto napolitano do século XVII com dialeto napolitano contemporâneo e italiano criou uma Tempestade toda original e pessoal, aparentemente distante do texto shakespeariano / The thesis consists in analyzing the rewriting in XVII century Neapolitan language of William Shakespearian play, The tempest, by Eduardo De Filippo. What made the Neapolitan playwright choose this play, was essentially his affinities in dealing with certain themes, such us: magic, dream, love, family, power, forgiveness. Eduardo did not translate word by word of the English play, but, using a language which is a mixture of XVII century Neapolitan dialect, contemporary and Italian, has created an original and personal Tempest, apparently quite far from the Shakespearian one

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 1999. / Includes bibliographical references. Also available on the Internet.

Thesis - Université de Fribourg (Suisse) / Bibliography: p. [117]-133.

Inaug.-Diss.--Berlin. / Vita. Includes bibliographical references.