Este trabalho teve por objetivo descrever e problematizar a natureza multimodal que o texto dramático (texto escrito para o teatro e texto oralizado/representado) instaura na prática escolar. Assumimos a hipótese de que escolarizar o híbrido constitui-se tarefa complexa, pois que o texto dramático restabelece o vínculo entre estrutura e ação, entre linguagem e corpo, entre saber e prática, exatamente o que a escola denegou como necessidade histórica de se legitimar como forma social autônoma (KRESS, 2000; VINCENT; LAHIRE; THIN, 2001; SOARES, 2002). Para subsidiar este estudo, procedemos a um levantamento de dados que nos aproximou, de forma gradativa, à prática de sala de aula (das representações do que seja ensinar/aprender texto dramático às condições de produção efetivas de ensino e aprendizagem desse gênero discursivo). A investigação das percepções/concepções sobre o ensino de texto dramático foi realizada por meio de análise documental de livros didáticos voltados ao 8º ano e 9º anos do ensino fundamental, publicados entre 2008 e 2010, aprovados pelo Programa Nacional do Livro Didático PNLD (BRASIL, 2010) e pela elaboração e aplicação de questionários a professores da rede pública de ensino, que lecionam língua portuguesa em municípios localizados no norte do Paraná; e alunos de 8os e 9os anos do Colégio Estadual Rodrigues Alves (Maringá-PR). A atuação didática em torno desse gênero correspondeu a uma pesquisa-ação com alunos do 8º ano do ensino fundamental, no contexto de ensino e aprendizagem do texto dramático na disciplina Língua Portuguesa, totalizando 30h/a. O procedimento buscou promover o seguinte percurso de recepção/produção de textos: assistir a uma peça em um teatro da cidade; ler a peça de teatro a que assistiu; escrever, coletivamente, o próprio texto dramático; encenar o texto que escreveu em um teatro da cidade. Para atender a cada um desses itens, foram elaboradas atividades organizadas em cinco (05) módulos didáticos: 1) Presentificação do Objeto de Ensino; 2) Produção de Leitura; 3) Produção Escrita; 4) Produção Oral e Multimodal e 5) Circulação. Para as discussões e análises foram necessárias várias teorias; dentre elas: a concepção bakhtiniana da linguagem (BAKHTIN/VOLOCHÍNOV, 2002[1929]; BAJTIN/MEDEVEDEV, 2003[1928]; BAKHTIN, 2003[1979], 2005[1929]), a contribuição teórico-metodológica dos pesquisadores genebrinos (DOLZ; SCHNEUWLY, entre outros, 2004), os estudos teatrais para concepção de texto dramático como gênero híbrido (MAGALDI, 1997; PAVIS, 2011; RYNGAERT, 1995; CHACRA, 2010; UBERSFELD, 2010), os pressupostos da multimodalidade que nos autorizam pensar texto dramático no ensino de língua materna (COPE; KALANTZIS, 2000; ROJO, 2009, 2013, 2014, DIONÍSIO, 2011, ROJO; MOURA, 2012; ROJO; BARBOSA, 2015) e a proposta modular para apreensão e produção de gêneros discursivos (LOPES-ROSSI, 2002, 2006, 2011, 2012), que nos ajudaram a desenvolver a pesquisa-ação (THIOLLENT, 2005[1985]; FRANCO, 2005). O estudo evidenciou que o texto dramático constitui desafio para o ensino de língua portuguesa, ao promover: i) a ampliação dos saberes convocados para produção/recepção desse gênero discursivo e de seus modos de apropriação (do escritural para o oral e destes para o multimodal); ii) a experimentação de práticas discursivas engendradas pela esfera teatral (ir ao teatro, efetuar leituras dramáticas, escrever peça, produzir cartazes de divulgação, encenar etc.) e iii) o desenvolvimento de competências relacionadas a esse objeto de ensino (linguístico-discursiva, interacional, comunicativa e expressiva). Nessa direção, o trabalho buscou contribuir para o aprofundamento dos estudos voltados à Linguística Aplicada no que concerne à correlação Arte e ensino de língua portuguesa. / This thesis had as its objective describing and problematizing the multimodal nature that dramatic texts (theater-aimed texts and texts to be read aloud/acted out) bring to school practices. The hypothesis of this work in that transforming what is hybrid in a teaching topic is a complex task, since dramatic texts reestablish the bond between structure and action, between language and body, between knowledge and practice, that is, precisely what the school has refused as historical need to legitimate itself as an autonomous social form (KRESS, 2000; VINCENT; LAHIRE; THIN, 2001; SOARES, 2002). In order to make this study possible, data was gathered in a way that has led to the gradual approach to classroom practices (from the representations of what teaching/learning dramatic texts is to the actual requisites for the teaching and learning of this discourse genre). The investigation of the perceptions/conceptions of dramatic text teaching was carried out by means of documental analysis of textbooks published between 2008 and 2010, approved by the National Program of Textbooks (Programa Nacional do Livro Didático PNLD), and aimed at elementary school 8th and 9th graders. Besides that, quizzes were created, to which Portuguese teachers from cities in the north of Paraná and students in the 8th and 9th grades of Rodrigues Alves School (located in Maringá-PR) were asked to provide answers. The didactic practice regarding this genre led to a 30-hour action research sequence involving elementary school 8th graders, in the context of the teaching and the learning of dramatic texts in Portuguese. This procedure sought to promote the following course of action regarding the reception and production of texts: seeing a play in a city theater, reading the play that was seen, writing a dramatic text collectively, and stage it in a city theater. In order to cater for each of those steps, activities were created and organized in five modules: 1) Presentification of the Teaching Topic; 2) Reading; 3) Writing; 4) Oral and Multimodal Production; and 5) Circulation. The discussion and analysis required several theories, among which: Bakhtins concept of language (BAKHTIN/VOLOCHÍNOV, 2002[1929]; BAJTIN/MEDEVEDEV, 2003[1928]; BAKHTIN, 2003[1979], 2005[1929]), the theoretical and methodological contribution of the Genevan researchers (DOLZ; SCHNEUWLY, and others, 2004), the theatrical studies for the conception of dramatic texts as a hybrid genre (MAGALDI, 1997; PAVIS, 2011; RYNGAERT, 1995; CHACRA, 2010; UBERSFELD, 2010), the theoretical assumptions on multimodality which make it possible to relate dramatic texts and mother language teaching (COPE; KALANTZIS, 2000; ROJO, 2009, 2013, 2014, DIONÍSIO, 2011, ROJO; MOURA, 2012; ROJO; BARBOSA, 2015), and the modular proposal for the apprehension and production of discourse genres (LOPES-ROSSI, 2002, 2006, 2011, 2012), which was one of the bases for the development of the action research sequence (THIOLLENT, 2005[1985]; FRANCO, 2005). This study made it evident that dramatic texts pose a challenge to the teaching of Portuguese as it promotes: i) the increment of the knowledge necessary to the production/reception of this discourse genre and its modes of appropriation (from written to oral language and from those to multimodality); ii) the experience with discursive practices inherent to the theater (going to the theater, reading and writing plays, creating posters, acting etc.), and iii) the development of competences related to this teaching topic (linguistic-discursive, interactional, communicative and expressive). This work has intended to contribute to the expansion of Applied Linguistics studies as far as the relationship between Art and Portuguese teaching is concerned.

Este trabalho teve por objetivo descrever e problematizar a natureza multimodal que o texto dramático (texto escrito para o teatro e texto oralizado/representado) instaura na prática escolar. Assumimos a hipótese de que escolarizar o híbrido constitui-se tarefa complexa, pois que o texto dramático restabelece o vínculo entre estrutura e ação, entre linguagem e corpo, entre saber e prática, exatamente o que a escola denegou como necessidade histórica de se legitimar como forma social autônoma (KRESS, 2000; VINCENT; LAHIRE; THIN, 2001; SOARES, 2002). Para subsidiar este estudo, procedemos a um levantamento de dados que nos aproximou, de forma gradativa, à prática de sala de aula (das representações do que seja ensinar/aprender texto dramático às condições de produção efetivas de ensino e aprendizagem desse gênero discursivo). A investigação das percepções/concepções sobre o ensino de texto dramático foi realizada por meio de análise documental de livros didáticos voltados ao 8º ano e 9º anos do ensino fundamental, publicados entre 2008 e 2010, aprovados pelo Programa Nacional do Livro Didático PNLD (BRASIL, 2010) e pela elaboração e aplicação de questionários a professores da rede pública de ensino, que lecionam língua portuguesa em municípios localizados no norte do Paraná; e alunos de 8os e 9os anos do Colégio Estadual Rodrigues Alves (Maringá-PR). A atuação didática em torno desse gênero correspondeu a uma pesquisa-ação com alunos do 8º ano do ensino fundamental, no contexto de ensino e aprendizagem do texto dramático na disciplina Língua Portuguesa, totalizando 30h/a. O procedimento buscou promover o seguinte percurso de recepção/produção de textos: assistir a uma peça em um teatro da cidade; ler a peça de teatro a que assistiu; escrever, coletivamente, o próprio texto dramático; encenar o texto que escreveu em um teatro da cidade. Para atender a cada um desses itens, foram elaboradas atividades organizadas em cinco (05) módulos didáticos: 1) Presentificação do Objeto de Ensino; 2) Produção de Leitura; 3) Produção Escrita; 4) Produção Oral e Multimodal e 5) Circulação. Para as discussões e análises foram necessárias várias teorias; dentre elas: a concepção bakhtiniana da linguagem (BAKHTIN/VOLOCHÍNOV, 2002[1929]; BAJTIN/MEDEVEDEV, 2003[1928]; BAKHTIN, 2003[1979], 2005[1929]), a contribuição teórico-metodológica dos pesquisadores genebrinos (DOLZ; SCHNEUWLY, entre outros, 2004), os estudos teatrais para concepção de texto dramático como gênero híbrido (MAGALDI, 1997; PAVIS, 2011; RYNGAERT, 1995; CHACRA, 2010; UBERSFELD, 2010), os pressupostos da multimodalidade que nos autorizam pensar texto dramático no ensino de língua materna (COPE; KALANTZIS, 2000; ROJO, 2009, 2013, 2014, DIONÍSIO, 2011, ROJO; MOURA, 2012; ROJO; BARBOSA, 2015) e a proposta modular para apreensão e produção de gêneros discursivos (LOPES-ROSSI, 2002, 2006, 2011, 2012), que nos ajudaram a desenvolver a pesquisa-ação (THIOLLENT, 2005[1985]; FRANCO, 2005). O estudo evidenciou que o texto dramático constitui desafio para o ensino de língua portuguesa, ao promover: i) a ampliação dos saberes convocados para produção/recepção desse gênero discursivo e de seus modos de apropriação (do escritural para o oral e destes para o multimodal); ii) a experimentação de práticas discursivas engendradas pela esfera teatral (ir ao teatro, efetuar leituras dramáticas, escrever peça, produzir cartazes de divulgação, encenar etc.) e iii) o desenvolvimento de competências relacionadas a esse objeto de ensino (linguístico-discursiva, interacional, comunicativa e expressiva). Nessa direção, o trabalho buscou contribuir para o aprofundamento dos estudos voltados à Linguística Aplicada no que concerne à correlação Arte e ensino de língua portuguesa. / This thesis had as its objective describing and problematizing the multimodal nature that dramatic texts (theater-aimed texts and texts to be read aloud/acted out) bring to school practices. The hypothesis of this work in that transforming what is hybrid in a teaching topic is a complex task, since dramatic texts reestablish the bond between structure and action, between language and body, between knowledge and practice, that is, precisely what the school has refused as historical need to legitimate itself as an autonomous social form (KRESS, 2000; VINCENT; LAHIRE; THIN, 2001; SOARES, 2002). In order to make this study possible, data was gathered in a way that has led to the gradual approach to classroom practices (from the representations of what teaching/learning dramatic texts is to the actual requisites for the teaching and learning of this discourse genre). The investigation of the perceptions/conceptions of dramatic text teaching was carried out by means of documental analysis of textbooks published between 2008 and 2010, approved by the National Program of Textbooks (Programa Nacional do Livro Didático PNLD), and aimed at elementary school 8th and 9th graders. Besides that, quizzes were created, to which Portuguese teachers from cities in the north of Paraná and students in the 8th and 9th grades of Rodrigues Alves School (located in Maringá-PR) were asked to provide answers. The didactic practice regarding this genre led to a 30-hour action research sequence involving elementary school 8th graders, in the context of the teaching and the learning of dramatic texts in Portuguese. This procedure sought to promote the following course of action regarding the reception and production of texts: seeing a play in a city theater, reading the play that was seen, writing a dramatic text collectively, and stage it in a city theater. In order to cater for each of those steps, activities were created and organized in five modules: 1) Presentification of the Teaching Topic; 2) Reading; 3) Writing; 4) Oral and Multimodal Production; and 5) Circulation. The discussion and analysis required several theories, among which: Bakhtins concept of language (BAKHTIN/VOLOCHÍNOV, 2002[1929]; BAJTIN/MEDEVEDEV, 2003[1928]; BAKHTIN, 2003[1979], 2005[1929]), the theoretical and methodological contribution of the Genevan researchers (DOLZ; SCHNEUWLY, and others, 2004), the theatrical studies for the conception of dramatic texts as a hybrid genre (MAGALDI, 1997; PAVIS, 2011; RYNGAERT, 1995; CHACRA, 2010; UBERSFELD, 2010), the theoretical assumptions on multimodality which make it possible to relate dramatic texts and mother language teaching (COPE; KALANTZIS, 2000; ROJO, 2009, 2013, 2014, DIONÍSIO, 2011, ROJO; MOURA, 2012; ROJO; BARBOSA, 2015), and the modular proposal for the apprehension and production of discourse genres (LOPES-ROSSI, 2002, 2006, 2011, 2012), which was one of the bases for the development of the action research sequence (THIOLLENT, 2005[1985]; FRANCO, 2005). This study made it evident that dramatic texts pose a challenge to the teaching of Portuguese as it promotes: i) the increment of the knowledge necessary to the production/reception of this discourse genre and its modes of appropriation (from written to oral language and from those to multimodality); ii) the experience with discursive practices inherent to the theater (going to the theater, reading and writing plays, creating posters, acting etc.), and iii) the development of competences related to this teaching topic (linguistic-discursive, interactional, communicative and expressive). This work has intended to contribute to the expansion of Applied Linguistics studies as far as the relationship between Art and Portuguese teaching is concerned.

The presented diploma thesis is divided into two parts. The crucial part consists of a translation of a theatre play La Seconde Chute au Godot, Acte III (1993) written by Swiss French-writing author Sylviane Dupuis. This play continues one of the most important plays of 20th century - Waiting for Godot by Samuel Beckett - and it wants to provide a new outlook on its topics. The translation is completed by a study about Swiss francophone theatre focused mainly on Sylviane Dupuis and a thorough analysis of the play. The center of interest of the second part of the thesis is La Seconde Chute's strong intertextuality and the problems it brings to the phase of understanding and interpretation, as well as in the translation itself. Key words: interpretation, analysis, theatre, Swiss theatre, Sylviane Dupuis, translation of dramatic texts

Cette thèse a pour but d’examiner des marqueurs d’oralité dans les textes dramatiques français entre le XIIIe et le XVIIe siècle et de décrire, du point de vue diachronique, leurs parcours d’évolution en termes de « pragmaticalisation ». Comme objet d’étude, nous avons choisi, d’une part, au niveau lexical les interjections primaires et les marqueurs discursifs étant résultant de la pragmaticalisation, et d’autre part, au niveau syntaxique la répétition et la dislocation qui sont considérées comme des constructions « disfluentes », caractéristiques de l’oral. Quant aux marqueurs discursifs (l’un « par ma foi » formé sur le substantif foi, et l’autre décatégorisé à partir de deux adverbes « sus » et « çà »), nous nous concentrons sur leurs pragmaticalisations par des analyses syntaxiques et sémantiques, et pour ce qui est des interjections primaires, nous essayerons de révéler le mode de formation d’une nouvelle expression interjective que nous appellerons « productivité interjective ». En dernier lieu, les deux structures susdites nous permettront de rendre compte de leurs valeurs pragmatiques. Étant donné que les textes dramatiques font une large place à la représentation de l’oral à l’écrit, ce que nous appellons l’« oral représenté », nous tenterons de montrer comment ces marques de l’oral traduisent, à l’écrit, les émotions, les pensées, les attitudes, etc., du locuteur et comment elles acquièrent de nouvelles valeurs pragmatiques dans l’usage qui imite l’usage réel du moyen français. / This thesis deals with the different markers of orality in the french dramatic texts and, particulary, with their process of evolution in the aspect of the “pragmaticalizations”. First, we focus on the use of the discourse marker which is derived from the propositional syntagme “par ma foi” but also from two adverbes “sus” and “çà”. It focuses on two main points: the process of the pragmaticalization of theses discourse markers and their relations with the orality through analysis of syntactic and semantic properties. Secondly, we examine also the medieval primary interjections and the production of its new combinations. Lastly, in the case of syntactic analysis, we treat two structures which mark the disfluency of sentences ie. dislocation and repetition. In this Thesis, we will reveal how these lexical units and syntactic constructions are used in the medieval play to transfer the locutor’s emotion and thought and how these oral markers receive new pragmatic values in their usages in Middle French.

The first and until now last translation of the drama The Ballad of the Sad Café which was written by Edward Albee based on the novella by Carson McCullers was published 51 years ago. This fact leads us to the assumption that the translation is already outdated. In this thesis we deliver a new translation and by comparing and contrasting the two texts we draw conclusions on aging of translations, elements that cause aging of translations and ways how current theatre-makers handle an outdated text nowadays. The first part of the thesis consists of the drama's literary analysis. The following translation analysis represents a preparatory phase for the translation itself. We also provide a theoretical background on repeated translation, aging of translation and translation of dramatic texts. The new translation of the play is compared and contrasted in the last part in which we cover the most important issues described in the translation analysis. We conclude by comparing our findings with the staging of the play from 2005 in which the earlier translation was used. Key words: THE BALLAD OF THE SAD CAFÉ, Czech interpretation, Czech translation, translation of dramatic texts, repeated translation, aging of translations, contrastive description of Czech translations