Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T21:49:03Z No. of bitstreams: 1 PDF Final.pdf: 4042727 bytes, checksum: 103e381ca282d315228bf96d4e497571 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T00:20:01Z (GMT) No. of bitstreams: 1 PDF Final.pdf: 4042727 bytes, checksum: 103e381ca282d315228bf96d4e497571 (MD5) / Made available in DSpace on 2018-08-28T00:20:01Z (GMT). No. of bitstreams: 1 PDF Final.pdf: 4042727 bytes, checksum: 103e381ca282d315228bf96d4e497571 (MD5) / Diante das atuais possibilidades de criação, veiculação e convergência entre meios de comunicação, novos formatos dramatúrgicos emergem no ambiente digital, se expandem e se relacionam com meios tradicionais, potencializando a própria dinâmica do processo criativo. A presente dissertação propõe a análise e construção de uma narrativa cujo universo ficcional seja capaz de abarcar múltiplas mídias e estabelecer interconexões entre os meios. O universo ficcional aqui estudado denomina-se Os Vanguardas, de autoria da própria pesquisadora, e destinada ao público da infância e juventude. No primeiro momento, o trabalho discute o contexto para o surgimento das primeiras experiências transmídia no audiovisual e a definição do termo narrativa transmídia na perspectiva do teórico americano Henry Jenkins. No segundo momento, apresenta-se um panorama sobre os novos formatos dramatúrgicos que têm emergido no ambiente digital e que vem permitindo as mais variadas experimentações, e, nos últimos anos, tem se tornado um dos principais meios para a criação e veiculação de dramaturgias. O trabalho aborda também discussões recentes sobre o futuro da narrativa digital em painéis realizados em importantes eventos do audiovisual, a exemplo do Rio Content Marketing, relacionando-os com estudos de teóricos como Janet Murray, que vislumbrou alguns formatos dramatúrgicos que são utilizados na rede, como, por exemplo, as webseries e games e Henry Jenkins, teórico que discute os efeitos da convergência entre as mídias digitais e tradicionais na criação de narrativas expandidas, as quais ele denomina narrativas transmídia. Por fim, os princípios aqui estudados são aplicados na narrativa Os Vanguardas, proporcionando um estudo detalhado de seu universo ficcional, bem como, desenvolvendo possibilidades de desdobramentos transmidiáticos como sinopses para série de TV, websérie, mobisódios, argumento para texto dramático e curta metragem. / Given the current possibilities of creation, propagation and convergence between media, new dramaturgical formats emerge in the digital environment, expand and relate to traditional media, enhancing the dynamics of the creative process. The present work proposes the analysis and construction of a narrative whose fictional universe is able to encompass multiple media and establish interconnections between means. The fictional universe studied here called The Vanguards, authored by the researcher, and for the public of childhood. At first, the paper discusses the context for the emergence of the first transmedia experience in the audiovisual and the definition of transmedia narrative from the perspective of American theorist Henry Jenkins. In the second phase, we present an overview of the new dramaturgical formats that have emerged in the digital environment and that has allowed the most varied experiments, and in recent years has become a major means for the creation and placement of dramaturgy. The work also addresses recent discussions on the future of digital storytelling in panels held at major events in the audiovisual, such as the Rio Content Marketing, relating them to theoretical studies as Janet Murray, who saw some dramaturgical formats that are used on the network, as, for example, webseries and games and Henry Jenkins, theorist who discusses the effects of the convergence between digital and traditional media to create expanded narratives, which he calls transmedia narratives. Finally, the principles studied here are applied in the narrative The Vanguards, providing a detailed study of his fictional universe, as well as developing opportunities transmidiátics developments as synopses for the TV series, webseries, mobisodes, argument for theater play and short film.

Cette thèse présente le fruit de cinq années d’études et de travail au doctorat à l’Université de Montréal. Elle est le support théorique derrière un cycle de onze compositions instrumentales narratives et autonomes, suivant la définition du cycle donnée par la chercheure Anne Besson dans son livre D’Asimov à Tolkien : cycles et séries dans la littérature de genre 1 . L’objectif a été de créer des compositions constituant un univers fictif cohérent et uni, qui se penche sur le concept de la chronologie narrative dans la musique. Les œuvres ont été composées dans un ordre différent de celui dans lequel les événements du récit se déroulent. Cela permet d’explorer la notion d’antépisode (prequel) et de suite (sequel) en musique. Composées tout d’abord pour le concert, ces pièces, écrites pour des formations allant de la musique de chambre jusqu’au grand orchestre, ont été adaptées afin d’être enregistrées et travaillées en studio, ce qui permet d’ajouter une nouvelle couche de procédés compositionnels. Présentant plusieurs concepts théoriques tels que la narrativité (générale et propre à la musique), la notion de cycle dans un ensemble d’œuvres ainsi que la définition d’un univers fictif, cette thèse analysera ces onze œuvres et apportera des pistes de solution afin d’adapter ces procédés fréquemment utilisés en littérature et à l’écran à la musique. / This thesis is the outcome of five years of doctoral studies at the University of Montreal. It presents the theory behind a cycle of eleven autonomous narrative instrumental pieces, following the definition of cycle as defined by researcher Anne Besson in her book “D’Asimov à Tolkien : cycles et séries dans la littérature de genre.” The goal was to create a coherent and unified fictional universe that explores the concept of narrative chronology in music. The pieces were composed in a different order than the one in which the events of the story occur. It allows us to explore the idea of prequel and sequel in music. Originally composed for the concert hall, for ensembles ranging from chamber music to symphonic orchestras, they were afterwards adapted to be recorded and edited in a studio, allowing the composer to explore an array of new compositional techniques. Presenting many theoretical concepts such as narrativity (in general and pertaining specifically to music), the cyclic concept in a body of works and also the definition of a fictional universe, this thesis will analyze these eleven works while suggesting possible solutions for bringing processes that occur frequently in literature and film to the world of music.