Made available in DSpace on 2016-04-26T18:15:22Z (GMT). No. of bitstreams: 1 Rafael de Oliveira Souza.pdf: 656557 bytes, checksum: 6aaa7b2fb44131161d5b865c6a23b14a (MD5) Previous issue date: 2015-12-04 / This dissertation analyzes some manifestations of theatrical language that arises in the confluence between the theater and the latest communication technologies. As a theoretical framework, the research presents debates proposed by Eugene Thacker about digital networks; reflections around the concept of multitude discussed by Antonio Negri and Michael Hardt related to the Pascal Gielen discussions about the artistic productions in neoliberalism times. The corpus of the dissertation consists of experiences about the Rede Teatro d@ Floresta, the theater group Belarus Free Theatre and the artist Amanda Palmer. The expected result is a reflection on the epistemological procedures between theatrical language and the new communication technologies, on the political impact of the new collectives activated by digital networks; and a possible reading of some digital theater experiences as biopolitics resistance networks / Esta dissertação de Mestrado analisa o chamado teatro digital. Trata-se de uma rede de experiências que emerge em diferentes contextos, acionando a confluência entre novas teatralidades e tecnologias da comunicação. Como fundamentação teórica, a pesquisa apresenta debates propostos por Eugene Thacker acerca de redes digitais; reflexões em torno do conceito de multidão discutido por Antonio Negri e Michael Hardt e provocações propostas por Pascal Gielen acerca de produções culturais e comunidades que convivem com os dispositivos de poder do capitalismo tardio. Além das discussões teóricas, o corpus da dissertação é composto por três estudos de caso: a Rede Teatro d@ Floresta, o grupo teatral Belarus Free Theatre e intervenções da artista Amanda Palmer. O resultado esperado é a construção de uma reflexão preliminar para explicitar o impacto político dos novos coletivos ativados pelas redes digitais, assim como a apresentação de experiências que esta pesquisa reconhece como redes de resistência biopolítica

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The aim of this study is to highlight: 1. how the introduction of new technologies in Drama Education at school can renew the context in which performance projects take place and 2. how the constraints imposed by a pandemic, such as those caused by COVID-19, can be overcome through cybertheatre. The phenomenological method is used to analyze a digital and a cyberperformance project, as theatre is an event that takes place between its creators and its spectators. With the use of digital tools in school performances a new experience emerges for students and spectators, as the "living" actor is combined with "non-human" actors. Besides, the cyberperformance provides a solution to a real problem in the midst of a pandemic crisis, as the spectators participate remotely from the comfort of their own home. In terms of interactivity, by giving the spectator the opportunity to use some information or to choose the action of the play, the performances become more interesting, while theatre is being highlighted, as an event that differs from other media such as T.V. or cinema. Finally, the dialogue that can be produced in a chat-forum in cyberperformance works as a reflection to it.