Cette thèse étudie le passage de la poésie au théâtre, à partir de trois parcours créateurs majeurs appartenant aux littératures française et québécoise des trois premiers quarts du XXe siècle – soit ceux d’Antonin Artaud, de Paul Claudel et de Claude Gauvreau. Ces auteurs – d’abord reconnus pour leur écriture poétique – ont su, soit en pratiquant, soit en inspirant une écriture théâtrale radicalement novatrice, jouer un rôle déterminant dans la mutation des formes tant dramatiques que dramaturgiques, et cela, par le biais de trois stratégies. Après une introduction rappelant l’évolution des liens (dés)unissant la poésie et le théâtre à travers les siècles, le premier chapitre s’attache à mettre au jour les approches mises en œuvre par les trois écrivains pour rejeter l’illusion réaliste. Celles-là ressortissent à leur prise de position antinaturaliste, à leur volonté de fonder un art total et à leur souhait de revenir aux sources d’une mimesis archaïque. Le second chapitre explore, quant à lui, les procédés de poétisation du dramatique : les mécanismes et les caractéristiques de la langue lyrique des poètes en général, et la génération d’idiomes inédits en particulier. Les techniques de théâtralisation et de dramatisation du poétique, de leur côté, sont examinées dans le dernier chapitre. Plusieurs événements et rencontres ont donné l’occasion aux poètes-dramaturges de saisir quelles sont les modalités inhérentes à la scène. Cette prise de conscience a directement influé sur leur écriture dramaturgique, notamment en les faisant user de deux stratégies propices au surgissement de la théâtralité : l’oralisation lyrique de la partition dramatique et la plastification des corps. La conclusion, pour sa part, propose une synthèse des résultats de recherche, et montre que ces trois auteurs sont réunis par la même quête cosmique d’un théâtre vital et existentiel.

Zugl.: Marburg, Univ., Diss.

Cette thèse construit une réflexion sur les liens entre dramaturgie et mémoire, dans “l’écriture de la scène” du groupe de théâtre « Icaros do Vale », dans le Minas Gerais (Brésil), considérant que le “mode populaire de la production artistique” d'Icaros do Vale s’inscrit dans l’assertion lukacsienne de l’universalité esthétique de la représentation, même apparemment ancrée dans le particulier et le “processus de la vie réelle”. L’analyse inclut une réflexion sur la culture populaire et, plus spécifiquement dans le domaine du théâtre, sur les modes de recréation, dans l’écriture de la scène, de ces représentations exemplaires. La redéfinition idéologique de ce qui est appelé “culture populaire” inclut un questionnement de l’authenticité et de la légitimité de sa “récupération mémorielle”, sans la condamner à une simple reproduction de stéréotypes et aussi sans considérer comme art authentique les démonstrations colonisées par l’industrie de la culture. Le dévoilement des implications sociales, politiques, idéologiques et esthétiques qui imprègnent le groupe Icaros do Vale exige une connaissance de la vie de la région de Jequitinhonha, son occupation et son peuplement à partir de 1789 et les modes de maintien des fêtes traditionnelles, des coutumes, des légendes, des chants anciens et du théâtre populaire. A partir de cette genèse des manifestations culturelles, il sera possible d’étudier l’émergence et la réémergence, dans le temps, de cette diversité et de cette richesse culturelle. Et de tenter d’éclaircir l’apparent paradoxe que représente l’existence de ce groupe théâtral de grande qualité dans une région au statut socioéconomique aussi précaire que le Vale do Jequitinhonha. / The object of this thesis is to reflect on the dramaturgy and memory of Ícaros do Vale theater group, which has completed fifteen years of political and aesthetical resistance in Vale do Jequitinhonha, Minas Gerais. For that purpose, the following investigation was carried out in order to investigate if the “popular method of artistic production” of Ícaros do Vale, known for its commitment to the “process of real life”, elevates itself to universality, even though it is linked to the representation of something in particular. The task consisted of an analysis beyond the efforts commonly found on studies about representation on popular culture and, specifically on the field of the theater produced by Ícaros do Vale, object of this research, about the efforts to “rescue” their own “exemplary” representations through their scenic procedures. The representation of the popular culture of Minas Gerais on the performances of the group will not be legitimized with redeeming authenticity, nor will it be condemned as mere reproduction of the stereotype, as it is usual on a discourse that considers genuine art the manifestations largely colonized by the cultural industry.

This diploma thesis analyses two films by Clint Eastwood Million Dollar Baby and American Sniper. Its focus is aimed at the formal storytelling aspects, structure of the storyline and plot devices in the screenplays. The first film is an example of misusing these plot devices; the theme being euthanasia remains irrelevant from the viewers perspective although it was meant to resonate strongly at first. Analysis of the second film shows us the discrepancy of what the film "wanted" to be and the actual message it implicitly presents to the audience. Instead of being an objective reflection of the real events (in this case the war in Iraq) it is on purpose misleading in presenting of commonly known facts and hence it becomes propaganda. The analysis of the storytelling devices in this thesis can be also applied on different films and cinema in general.

The thesis deals with the theme of awarding Oscars by the American film academy and films that were awarded in the sound categories. The first part is about the history of the Academy and the voting system concerning nominations and the winning films. The second part includes an analysis of the sound components of the chosen films that were awarded. The aim is to monitor the development of the sound during the course of almost 85 years and to reveal the secrets of the success.

The purpose of this study is to show specific methods of feature film sound dramaturgy: defining characters with sound. Specifically, how can sound help to create stronger, more memorable characters, reveal their weaknesses, psychological states or create qualities that would not be possible to create some other way. It is specific technique not use in every film. However there is lot of different kinds of films that can strongly benefit from using it. Our aim will be to find interesting films and analyze principles of sound dramaturgy and film language used. Emphasis will be given on the fact, that it is important to incorporate these ideas into the script and think about them in preparation phase of movie making, because in post-production it is often too late.

The thesis explores the production of sound for animated film – its specifics as well as aspects of realization and of preparation and audio dramaturgy. It examines how they impact storytelling and the extent to which it is possible and useful to work with them from the very beginning of development of an animated film. The thesis also presents the practical and creative possibilities of cooperation between director and sound designer, alongside factors that may have a positive or negative influence in this regard. It draws on literary sources, interviews with the makers of animated films and knowledge acquired by the author in the field of directing and screenwriting of animated films. The thesis confirms the importance of the role of sound in animated film and its positive influence on the resulting quality of AV work (unless it has been omitted from the start of the filmmaking process). It summarizes the basic approaches that allow animators to work with sound in animated film as a fully-fledged narrative component.

This thesis deals with the evolution of literary and dramatic broadcasting of the CRo Plzeň station in 1993-2006. It tries to look at this issue through the staffing of the editorial staff, the content of the work of its members, the dramaturgy of the editorial staff and the cooperation with the nationwide stations. From the point of view of creation of the editorial board, which is reflected in the regular verbal program series from her workshop, it considers the most important works of creation and, last but not least, from the point of view of program schemes related to the broadcasting of its literary and dramatic programs. The question of the development of this type of broadcasting examines, using the qualitative method of the case study, through methods that are used for historical analysis. The most important source of information for finding answers to the research questions was the method of oral history and the materials provided by the personal archive by director M. Buriánek.

This final thesis concentrates on the artistic personality of Vladislav Vančura and on his artistic work, which is primarily evaluated from an inner context and in a continous process, however, a broader context of the society is also followed. The artistic work is summarizingly analyzed from its very beginning, meaning from the ripening of the author, followed by the forming of the author's artistic opinion and his participation in Devětsil, being committed to the society in the antifascist resistance. Further, it is analyzed from the first literature attempts to the masterpieces of prose of his literature, to the self-sacrificing work of the Obrazy z dějin národa českého. This reseach has been lead by the desire to understand some of the contexts of the author's writing and its main structural features, of which, above all, we mention the effort of finding new (not only) literature methods ,and the successfull experimenting, particularly with the possibilities of the language, which lead to the creation of a significant poetic style. This thesis does not omit other artistic forms, which Vančura, with his versatility, was interest in. Vančura was not a solitary artist, but was distinctive and very original, and did not write as if being torn away from the general cultural context. He was quite the opposite by being in its centre. In addition, this final thesis concentrates on the practical dramaturgical activities of its author and analyzes his own work - transforming Vančura´s prosaic work, Markéta Lazarová, into a play,Markéta,dcera Lazarova, which he prepared together with the director Pavel Ondruch to be performed as a graduate´s performance in the Disk theatre. This dramatization does not appear to be the only possible solution of converting Vančura´s novels into a theatrical form, it was created this way due to the concrete theatre conditions and also with consideration of the acting cast, however, with great respect to the original literature and its soul

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-05-10T14:35:37Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_JéssicaJardim-BC.pdf: 1036053 bytes, checksum: 11d5295368a9add66a174df84446dff6 (MD5) / Made available in DSpace on 2017-05-10T14:35:37Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_JéssicaJardim-BC.pdf: 1036053 bytes, checksum: 11d5295368a9add66a174df84446dff6 (MD5) Previous issue date: 2016-02-24 / CNPQ / No curso do desenvolvimento da teoria e da crítica literária, até o momento em que se torna um dos conceitos-chave do movimento romântico, a imaginação passa por diversas reformulações, que ora a situam na gênese da obra artística, ora a classificam como um de seus atributos. A expressão da faculdade imaginativa no romantismo brasileiro, e particularmente na dramaturgia romântica, não deixa de aportar em si divergências análogas, além de outras que lhe são próprias. Transitando entre a negação e a afirmação, a imaginação é muitas vezes referida como uma controversa faculdade ou potência de imitação, repetição e memória, em parte submissa a outras instâncias, como a razão, a história, a linha narrativa ou o conflito dramático, como um excesso e até mesmo como um distúrbio mental. Ela, porém, não deixa de ser percebida pelos escritores brasileiros como um importante elemento da concepção de obras artísticas, mesmo naquelas de fortes traços descritivos, dotada de certo grau de autonomia e passível de ser expandida pelo trabalho criativo. Para investigar os sentidos que a imaginação recebe no Brasil, tomamos de empréstimo a definição de Antonio Candido (1981), relativa à formação da literatura brasileira como síntese, compreendendo também como sintéticos os conceitos que dela fazem parte. Assim, lançamos-nos à busca das heranças culturais recebidas do setecentos e do oitocentos como bases que se interpenetram para formar os sentidos de imaginação no romantismo no Brasil; às transições e ressignificações pelas quais a imaginação passa quando em contato com outras culturas literárias; por fim, a uma tentativa de síntese, na qual verificamos os sentidos de imaginação presentes na linguagem literária e na crítica teatral. / Au cours du développement de la théorie et de la critique littéraire, jusqu’à se transformer en un concept-clé du mouvement romantique, l’imagination subit plusieurs reformulations, qui soit la situent dans la genèse de l’œuvre artistique, soit la classent comme l’un de ses attributs. L’expression de la faculté imaginative dans le romantisme brésilien, et tout particulièrement dans la dramaturgie romantique, présente toujours en son sein quelques divergences analogues, ainsi que d’autres qui lui sont propres. En voyageant entre la négation et l’affirmation, l’imagination est bien souvent décrite comme une faculté controversée ou encore comme une puissance d’imitation, de répétition et de mémoire en partie soumise à d’autres instances, tels que la raison, l’histoire, la ligne narrative ou le conflit dramatique, comme un excès voire même comme un trouble mental. Cependant, elle continue à être considérée par les écrivains brésiliens comme un élément important de la conception d’œuvres artistiques, même pour celles contenant de forts traits descriptifs, dotée d’un certain degré d’autonomie et passible d’être répandue par le travail de création. Pour rechercher les sens dont l’imagination s’imprègne au Brésil, nous avons emprunté la définition d’Antonio Candido (1981), relative à la formation de la littérature brésilienne comme synthèse, considérant aussi comme synthétiques les concepts qui en font parti. Ainsi, nous nous sommes lancés à la recherche des héritages culturels reçus du XVIIIème et du XIXème siècles et qui constituent les bases qui s’interpénètrent pour former les sens d’imagination dans le romantisme au Brésil; à la recherche des transitions et des resignifications par lesquelles l’imagination passe quand elle se trouve en contact avec d’autres cultures littéraires; enfin, dans une tentative de synthèse, dans laquelle nous pouvons vérifier les sens d’imagination présents dans le langage littéraire et dans la critique théâtrale.