Este trabalho investiga o significado do termo tu/xh em Eurípides, sobretudo na tragédia Hipólito. \"Acaso\", \"sorte\", \"fortuna\", traduções usuais para tu/xh, sugerem o significado de \"acontecimento fortuito\". Se assim fosse, de que modo esse \"acaso\" coexistiria na Tragédia com a noção, tão própria ao mundo grego, de \"destino\" (moi=ra, a)na/gkh, dai/mwn)? Na verdade, a análise das ocorrências em Eurípides demonstrou que a tu/xh não é mero \"acaso\". Ao contrário, costuma ter origem divina e ser instrumento da moi=ra. A tu/xh é o destino no momento em que se precipita em acontecimento. A instabilidade da \"sorte\" é categórica na vida e reiterada na Tragédia. Não é possível considerar feliz alguém que esteja vivo, pois a vida é apenas incerteza: rapidamente se pode inverter uma situação favorável. Os reveses da \"sorte\" atingem, em particular, aqueles que, seguros de si, se vangloriam do que são e da condição que possuem. Pertinente é o aforismo de Heráclito (frag. 119.1-120.1): hÅqoj a)nqrw¯pwi daimwn, \"o caráter do homem é seu destino\" ou \"o destino do homem é seu caráter\". Há relação causal entre o caráter de um personagem trágico e aquilo que lhe sobrevém. Tal caráter é investigado através dos termos psíquicos que utiliza Eurípides para seus protagonistas (frh/n e cognatos, kardi/a, yuxh/, qumo/j, etc.). / This work investigates the meaning of the word tu/xh in Euripedes and mainly in the Hyppolytus tragedy. \"Chance\", \"luck\" and \"fortune\" suggest the meaning of \"fortuitous event\" therefore they are usual translations for tu/xh. If it was like this, on which way would this \"chance\" coexist in the Tragedy with the notion of \"fate\" (moi=ra, a)na/gkh, dai/mwn) that is so peculiar to the Greek world? Indeed, the analysis of the occurrences in Euripedes has demonstrated that tu/xh is not merely \"chance\". On the contrary, it is accustomed to have a divine origin and to be the instrument of moi=ra. Tu/xh is fate in the moment that it turns into happening. \"Luck\" instability is categorical in life and reiterated in the Tragedy. It is not possible to consider someone that is alive happy, because life is just uncertainness: a favorable situation may be reversed rapidly. Reverses of \"luck\" affect specifically those that are self-confident and pride of themselves due to what they are and the conditions they have. Heraclitus\' aphorism is pertinent (frag. 119.1-120.1): hÅqoj a)nqrw¯pwi daimwn, \"a man\'s character is his fate\" or \"a man\'s fate is his character\". There is a relation of cause between the character of a tragic personage and what befalls him. Such character is investigated through psychic terms that Euripides uses for his protagonists (frh/n and cognates, kardi/a, yuxh/, qumo/j etc.).

Este trabalho investiga o significado do termo tu/xh em Eurípides, sobretudo na tragédia Hipólito. \"Acaso\", \"sorte\", \"fortuna\", traduções usuais para tu/xh, sugerem o significado de \"acontecimento fortuito\". Se assim fosse, de que modo esse \"acaso\" coexistiria na Tragédia com a noção, tão própria ao mundo grego, de \"destino\" (moi=ra, a)na/gkh, dai/mwn)? Na verdade, a análise das ocorrências em Eurípides demonstrou que a tu/xh não é mero \"acaso\". Ao contrário, costuma ter origem divina e ser instrumento da moi=ra. A tu/xh é o destino no momento em que se precipita em acontecimento. A instabilidade da \"sorte\" é categórica na vida e reiterada na Tragédia. Não é possível considerar feliz alguém que esteja vivo, pois a vida é apenas incerteza: rapidamente se pode inverter uma situação favorável. Os reveses da \"sorte\" atingem, em particular, aqueles que, seguros de si, se vangloriam do que são e da condição que possuem. Pertinente é o aforismo de Heráclito (frag. 119.1-120.1): hÅqoj a)nqrw¯pwi daimwn, \"o caráter do homem é seu destino\" ou \"o destino do homem é seu caráter\". Há relação causal entre o caráter de um personagem trágico e aquilo que lhe sobrevém. Tal caráter é investigado através dos termos psíquicos que utiliza Eurípides para seus protagonistas (frh/n e cognatos, kardi/a, yuxh/, qumo/j, etc.). / This work investigates the meaning of the word tu/xh in Euripedes and mainly in the Hyppolytus tragedy. \"Chance\", \"luck\" and \"fortune\" suggest the meaning of \"fortuitous event\" therefore they are usual translations for tu/xh. If it was like this, on which way would this \"chance\" coexist in the Tragedy with the notion of \"fate\" (moi=ra, a)na/gkh, dai/mwn) that is so peculiar to the Greek world? Indeed, the analysis of the occurrences in Euripedes has demonstrated that tu/xh is not merely \"chance\". On the contrary, it is accustomed to have a divine origin and to be the instrument of moi=ra. Tu/xh is fate in the moment that it turns into happening. \"Luck\" instability is categorical in life and reiterated in the Tragedy. It is not possible to consider someone that is alive happy, because life is just uncertainness: a favorable situation may be reversed rapidly. Reverses of \"luck\" affect specifically those that are self-confident and pride of themselves due to what they are and the conditions they have. Heraclitus\' aphorism is pertinent (frag. 119.1-120.1): hÅqoj a)nqrw¯pwi daimwn, \"a man\'s character is his fate\" or \"a man\'s fate is his character\". There is a relation of cause between the character of a tragic personage and what befalls him. Such character is investigated through psychic terms that Euripides uses for his protagonists (frh/n and cognates, kardi/a, yuxh/, qumo/j etc.).

The purpose of this thesis is to examine the actor's process in tackling the roles of Harry Dalton in Equus by Peter Shaffer, Duke Senior in As You Like It by William Shakespeare, and Dionysus in The Bacchae by Euripedes. Each production is assigned its own chapter, respectively. The chapters explore each role vocally, psychologically, and physically, including the examination of the Alexander Technique. Reflection on the experience of portraying the character and an evaluation of the actor's growth also transpires. The fourth chapter, Finding My Light, summarizes related observations and analysis as a result of performing all three roles. Finally, the fifth chapter, Curtain Call: A Tableau of Contemplation, deliberates on three years of graduate education. It features the benefits and shortcomings realized as a result of participating as one of the first students the Professional Studio Acting Track of Virginia Commonwealth University.

Η περίπτωση του συγκεκριμένου σκηνοθέτη κεντρίζει το ερευνητικό ενδιαφέρον κυρίως λόγω της διπλής ταυτότητάς του, ως πανεπιστημιακού δασκάλου και θεατρανθρώπου ταυτόχρονα, γεγονός που επηρεάζει σημαντικά και τη σκηνική μέθοδο και τον τρόπο προσέγγισης που χρησιμοποιεί στο εκάστοτε ανέβασμα έργου της αττικής δραματουργίας. Συνεπώς ένας από τους στόχους της παρούσας μεταπτυχιακής διπλωματικής εργασίας ήταν η ανίχνευση αυτού του ιδιαίτερου τρόπου σκηνικής αναβίωσης του αρχαίου δράματος που βασίζεται στη διπλή προσέγγιση: του ακαδημαϊκού που μελετά σε βάθος όλες τις πτυχές του κειμένου, και του σκηνοθέτη που κατέχει την τέχνη και το όραμα του καλλιτέχνη. Παράλληλα, εξαρχής στην παρούσα εργασία η αφετηρία και το βάρος της έρευνας, της μελέτης και της αποτίμησης-αξιολόγησης επικεντρώθηκε στη σκηνική προσέγγιση των τεσσάρων ευριπίδειων έργων από τον Ευαγγελάτο, και όχι σε μια εμβριθή φιλολογική ανάλυσή τους. Βασικότερος στόχος υπήρξε η εξαγωγή γενικότερων συμπερασμάτων για τον τρόπο που αντιμετωπίζει σκηνικά ο Ευαγγελάτος το ανέβασμα της αρχαίας τραγωδίας με αφορμή το παράδειγμα τεσσάρων έργων του Ευριπίδη. Οι παραστάσεις του Ευαγγελάτου που μελετήθηκαν και αναλύονται εδώ προκάλεσαν κάποιες φορές διφορούμενα σχόλια κριτικών και κοινού και αυτός ήταν ένας από τους λόγους για τους οποίους επιλέχτηκαν. Η εργασία δομείται με τον ακόλουθο τρόπο: Η κάθε τραγωδία προσεγγίζεται χωριστά (με βάση τη χρονολογική σειρά με την οποία παρουσιάστηκε το κάθε έργο ξεκινώντας από το 1993) με έμφαση τόσο σε επιμέρους στοιχεία (π.χ. ερμηνεία πρωταγωνιστικών προσώπων και χορού, σκηνογραφική και ενδυματολογική προσέγγιση, μουσική, μετάφραση) όσο και στη γενικότερη μελέτη της αντίληψης του σκηνοθέτη. Επίσης εξετάζεται και η συμβολή όλων των παραγόντων στην επίτευξη των σκηνοθετικών στόχων. Ουσιαστικό τμήμα της εργασίας αποτελεί η αποτίμηση της σκηνικής προσέγγισης του κάθε έργου, όπως προκύπτει από την παρακολούθηση των βιντεοσκοπημένων παραστάσεων και την κριτική υποδοχή των εν λόγω σκηνοθεσιών. Στο τελευταίο κεφάλαιο καταγράφονται τα συμπεράσματα για τα χαρακτηριστικά της σκηνικής προσέγγισης του Ευαγγελάτου στην αρχαία τραγωδία. / The particular director’s case rouses the researching interest mainly due to his double identity, as a university teacher and a drama person simultaneously, a fact which greatly affects both his stage method and the approach he uses every time he mounts a play of the ancient drama. Consequently, one of the aims of the present dissertation was to trace this special way of reviving on stage the ancient drama which is based on the double approach: the one of the academic who studies in depth all the aspects of the text, and the one of the director who masters the art and the artist’s vision. In parallel to that, from the very beginning in the present project, the starting point and the weight of the research, the study and the assessment-evaluation was focused on the stage approach of the four Euripidean plays by Evangelatos and not on a complete literary analysis. The main aim has been to reach general conclusions on the way that Evangelatos, with regard to stage, deals with putting on the ancient tragedy by reason of the four Euripidean plays. Evangelatos’s performances, which were studied and are being analyzed here, sometimes caused ambiguous comments by critics and the public and this was one of the reasons for which they have been chosen. The project is structured as follows: Each tragedy is approached separately (according to the chronological order in which every play was presented, starting 1993) with the emphasis on parts (ex. the protagonists and the chorus’s interpretation, scene and costumes approach, music, translation) as well as the overall study of the director’s perception. In addition, the contribution of all the factors to the achievement of the director’s aims is being examined. An essential part of the project constitutes the assessment of the stage approach of each play, as it results from watching the recorded performances and the critical reception of the directions in question. In the last chapter, the conclusions about the characteristics of Evangelatos’s stage approach to ancient drama are being written down.

Orientador: Sergio Eduardo Montes Castanho / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-06T10:29:44Z (GMT). No. of bitstreams: 1 Bigheto_AlessandroCesar_M.pdf: 877477 bytes, checksum: d5bb94188429b158eb268580b6d9bb38 (MD5) Previous issue date: 2006 / Resumo: Este trabalho pretende resgatar, para a história da Educação Brasileira, a figura do educador espírita, mineiro, Eurípedes Barsanulfo (1880-1918) fundador e diretor do Colégio Allan Kardec, (Sacramento), primeira escola espírita no Brasil. Mostra a especificidade da sua proposta, de educação ativa, gratuita e espiritualista, analisando suas heranças, práticas, contexto sociopolítico cultural e idéias pedagógicas do período. A metodologia se dá na pesquisa histórico-bibliográfica sobre os temas abordados e na pesquisa em fontes primárias (manuscritos, entrevistas com testemunhas, alunos e descendentes, artigos de jornal, retratos, fotos, Atas da Câmara Municipal de Sacramento etc.). Este trabalho pretende precisar os aspectos específicos da prática de Eurípedes no contexto de sua época e como iniciador de uma corrente nova de educação, com desdobramentos até hoje. Trata-se de mostrar sua contribuição, numa visão crítica da história, mas incorporando a perspectiva do discurso espírita, pois o que se esboça no primeiro momento da pesquisa é a originalidade da proposta pedagógica kardecista, iniciada por Eurípedes / Abstract: This study aims to rescue for the Brazilian education¿s history, the personality of a spiritist educator, Eurípides Barsanulfo (1880-1918) founder and director of the school Allan Kardec (Sacramento), the first spiritist school in Brazil. It shows the specificity of his proposal, active education, gratuity and spiritualist, analyzing his heritage, practices, cultural and sociopolitical context and the pedagogic ideas of the period. The methodology was done through an extensive historic and bibliographic research concerning the discussed themes and also using research with primaries sources (manuscripts, interviews with witnesses, students and relatives, magazine¿s articles, pictures, reports of the municipal city hall etc.). This work intends to define specific aspects of Euripides¿s practice into context of his time as well as an initiator of a new ideological view of education, with consequences until the present date. This study wants to show his contribution, through a critical vision of the history, but incorporating one perspective of the spiritist speech, because what¿s emerges in a first moment of the research is the originality of the kardecist pedagogic proposal, which first stone was settled down by Euripides / Mestrado / Historia, Filosofia e Educação / Mestre em Educação