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Orientadores: Paulo Mugayar Kühl, Adriana Giarola Kayama / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:46:15Z (GMT). No. of bitstreams: 1 BittarFilho_Nazir_D.pdf: 3998633 bytes, checksum: 510aaf5ed5b303e1f97116af9118604b (MD5) Previous issue date: 2012 / Resumo: Yerma, ópera em três atos de Heitor Villa-Lobos, foi composta na última fase do compositor como resultado de uma encomenda vinda dos Estados Unidos, que tinha como objetivo a musicalização da obra teatral de mesmo nome do poeta espanhol Federico Garcia Lorca. Terminada em 1955, teve sua première mundial somente em 1971, no Santa Fé Opera House, e, no Brasil, apenas em 1983, no Teatro Municipal do Rio de Janeiro. Yerma possui vários aspectos inovadores e certamente a característica mais interessante da ópera é o fato de ela ter sido integralmente musicada por Villa-Lobos, sem adaptações ou cortes expressivos e sem o uso de um libretista, o que a torna um exemplo único na literatura operística no Brasil e quiçá um dos poucos exemplos concebidos desta forma no mundo. Yerma pode ser classificada, segundo suas características composicionais, em uma categoria nos dos estudos da ópera chamada Literaturoper. O presente estudo, além de apresentar as questões do libreto e mostrar como a ópera se enquadra nestes aspectos, busca elencar facetas inovadoras musicais de Villa-Lobos ao conceber esta ópera à luz de postulados dos Estudos Literários e da Literaturoper. As montagens realizadas até o presente momento são analisadas e entrevistas são confrontadas a hipóteses levantadas em relação às providências musicais de Villa-Lobos na composição da ópera / Abstract: Yerma, opera in three acts by Villa-Lobos, was written during the composer's last phase as a result of a commission originated in the United States which aimed at the musicalization of the homonymous play by Spanish poet Federico Garcia Lorca. Finished in 1955, its world premiere only took place in 1971 at the Santa Fé Opera House, and in Brazil at the Teatro Municipal do Rio de Janeiro in 1983. Yerma presents several innovative aspects and certainly its most interesting feature is the fact that it was thoroughly musicalized by Villa- Lobos, without any adaptations or cuts, and without using a librettist, which makes the opera a unique example in the operatic literature of Brazil and perhaps one of the few ones conceived in this way in the whole world. Yerma may be classified, according to its composing features, within a category of operatic studies known as Literaturoper. The present study, besides presenting the libretto's questions and how the opera may fit these aspects, aims at showing Villa Lobos's innovative musical issues on conceiving this opera in the light of the postulates of Literary Studies and of Literaturoper. The performances which have been put on so far are also analyzed and interviews either confirm or deny hypotheses raised in connection with the musical choices taken by Villa-Lobos on writing the opera / Doutorado / Fundamentos Teoricos / Doutor em Música

Review of Caleb Beissert: Federico Garcia Lorca & Pablo Neruda: Beautiful, Translations from the Spanish

This dissertation examines the renovation of the modernist stage, from the beginning of the twentieth century to the late 1930s, via a retrieval of three artistic forms that had marginal importance in the commercial theatre of the nineteenth century. These three paths are the tradition of the commedia dell’arte, puppetry and marionettes, and, finally, what I denominate mysterium, following Elinor Fuch’s terminology in The Death of Character. This dissertation covers the temporal span of the first three decades of the twentieth century and, at the same time, analyzes modernist theatre in connection with the history of Western drama since the consolidation of the bourgeois institution of theatre around the late eighteenth century. The Theatrical Pendulum: Paths of Innovation in the Modernist Stage studies the renovation of the bourgeois institution of theatre by means of the rediscovery of artistic forms previously relegated to a peripheral status in the capitalist system of artistic production and distribution. In their dramatic works, Nikolai Evreinov, Josef and Karel Čapek, Massimo Bontempelli, and Federico García Lorca present fictional actors, playwrights and directors who resist the fact that their work be evaluated as just another commodity. These dramatists collaborate with the commercial stage of their time, instead of adopting the radical stance that characterized avant-garde movements such as Italian futurism and Dadaism. Yet they also question the illusionist fourth wall separating stage and audience in order to denounce the subjection of the modernist artist to the expectations of bourgeois spectators. Jan Mukařovský’s concept of practical function in art is central to understanding the didactic nature of the dramatic texts studied in this dissertation. By claiming the importance of Mukařovský’s phenomenological structuralism, I propose a new reading of the theoretical legacy of the Prague School in conjunction with recent contributions in the field of theatre studies by Elinor Fuchs, Martin Puchner and other scholars whose work will be discussed here.

This dissertation examines the renovation of the modernist stage, from the beginning of the twentieth century to the late 1930s, via a retrieval of three artistic forms that had marginal importance in the commercial theatre of the nineteenth century. These three paths are the tradition of the commedia dell’arte, puppetry and marionettes, and, finally, what I denominate mysterium, following Elinor Fuch’s terminology in The Death of Character. This dissertation covers the temporal span of the first three decades of the twentieth century and, at the same time, analyzes modernist theatre in connection with the history of Western drama since the consolidation of the bourgeois institution of theatre around the late eighteenth century. The Theatrical Pendulum: Paths of Innovation in the Modernist Stage studies the renovation of the bourgeois institution of theatre by means of the rediscovery of artistic forms previously relegated to a peripheral status in the capitalist system of artistic production and distribution. In their dramatic works, Nikolai Evreinov, Josef and Karel Čapek, Massimo Bontempelli, and Federico García Lorca present fictional actors, playwrights and directors who resist the fact that their work be evaluated as just another commodity. These dramatists collaborate with the commercial stage of their time, instead of adopting the radical stance that characterized avant-garde movements such as Italian futurism and Dadaism. Yet they also question the illusionist fourth wall separating stage and audience in order to denounce the subjection of the modernist artist to the expectations of bourgeois spectators. Jan Mukařovský’s concept of practical function in art is central to understanding the didactic nature of the dramatic texts studied in this dissertation. By claiming the importance of Mukařovský’s phenomenological structuralism, I propose a new reading of the theoretical legacy of the Prague School in conjunction with recent contributions in the field of theatre studies by Elinor Fuchs, Martin Puchner and other scholars whose work will be discussed here.

Orientador: Maria Lucia Levy Candeias / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T03:53:18Z (GMT). No. of bitstreams: 1 CastroFilho_ClaudiodeSouza_M.pdf: 1034362 bytes, checksum: 5886c55eb9ee40421a5e3c0bd474e70e (MD5) Previous issue date: 2007 / Resumo: A presente dissertação resulta da pesquisa sobre as manifestações da tragicidade no teatro de Federico García Lorca, em especial nas peças Bodas de sangre e Yerma, bem como na inacabada La destrucción de Sodoma, que se coadunam na Trilogía dramática de la tierra española, assim denominada pelo próprio poeta. O texto apresenta um panorama geral da produção dramatúrgica lorquiana, analisando aspectos comuns e particularidades de todas as suas peças publicadas na íntegra, possibilitando uma introdução ao universo teatral do autor, suas temáticas passionais-libertárias, seu estilo intensamente metafórico e musical. A seguir, abordando desde a Poética de Aristóteles até as mais recentes teorias teatrais, a dissertação procura diferenciar as noções de 'tragédia', que dá conta de uma manifestação cênica própria da cidade grega de Atenas no século V a.C., e 'tragicidade', que se refere a uma moderna construção conceitual amparada pelo passado trágico mediterrâneo mas igualmente pela filosofia moderna. Nesse percurso, surge a necessidade de um aprofundamento na filosofia de Friedrich Nietzsche, que apresenta, no centro de um amplo leque conceitual, as oposições entre os elãs-vitais apolíneo (aparência, fantasia) e dionisíaco (embriaguez, êxtase) para caracterizar as tensões inerentes ao trágico. Finalmente, podemos compreender algumas influências que a tragédia grega exerceu sobre o teatro de García Lorca a partir de uma análise das peças Bodas de sangre e Yerma, às quais se junta o breve fragmento existente de La destrucción de Sodoma. Verifica-se, também, a construção de uma moderna concepção de tragicidade nas referidas peças, que podem ser lidas à luz de alguns conceitos nietzschianos, sobretudo da noção de 'Além-do-homem' / Abstract: This document is a result of an investigation about the tragicity's occurrences in Federico García Lorca's theater, especially in the following plays: Bodas de sangre, Yerma and La destrucción de Sodoma, the Trilogía dramática de la tierra española, according to the name created by the writer. The text presents a general vision about Lorca's dramas, analyzing global aspects and special qualities around all his complete publishing plays. It is a possibility to know Lorca's dramatic universe, his subjects, like love and freedom, and his great poetic and musical style. Then, referring to Aristotle's Poetic to actual drama's theories, the document intend to see the differences between tragedy (a specific cultural happening from Atenas, the Greek city, in the 5th century BC) and tragicity, a modern conceptual construction inspirated in the Mediterranean's tragic past, but equally in the modern philosophy. So, there is the need of a deep study about Friedrich Nietzsche's philosophy, showing the opposition between two instincts that teach the war inside the tragedy: Apolo's instinct (illusion, fantasy) and Dioniso's instinct (drunkenness, ecstasy). Finally, it's possible to understand some inspirations that the Greek tragedy gave to García Lorca's dramas. To have this done, Bodas de sangre, Yerma and La destrucción de Sodoma's fragment were analyzed. Finally, it is shown the dissertation points, the construction of a modern concept of tragicity inside the studied plays which demonstrate ideas very similar to Nietzsche's philosophic concepts, like the 'Superman' notion / Mestrado / Mestre em Artes

Post-tonal repertoire can prove to be a challenging musical endeavor for performers and listeners alike. However, that does not mean that performers should avoid programming this music. If musicians undertake new repertoire with an open mind and a willingness to discover new avenues of musical expression, it creates a fulfilling experience for both the performers and the audience. Where performers are uncertain of how to proceed, musical and textual analysis can help them understand a piece’s structure and engage with audiences on a deeper level. Using George Crumb’s Ancient Voices of Children, I will analyze elements of the cycle that are salient to performers with the goal of creating a compelling, cohesive narrative for audiences. For those who are new to post-tonal repertoire, Crumb’s compositions offer an ideal opportunity for musicians to employ analysis as a tool for guiding performance choices. The musical structure of Crumb’s compositions is easily discernible when analyzed and is often deeply symbolic and spiritual in nature. His music, while meticulously notated, presents ample opportunity for individual interpretation and expression. Since its premiere in 1970, Ancient Voices of Children has become one of Crumb’s most celebrated pieces, largely due to his incredibly expressive setting of the poetry of Federico García Lorca. After a brief overview of both the composer and poet, I will explore the textual content, pitch content, melodic contour, harmonic structure, ensemble, and rhythm to provide performers with a clearer understanding of the work. This paper further investigates the relationship between Federico García Lorca’s poetry and George Crumb’s music and offers performance suggestions to convey that narrative. In outlining this process through Crumb’s Ancient Voices of Children, this paper gives performers a guide to approaching post-tonal music and making it accessible to a broader audience. / Music Performance

A discussion of the abstract approach for the lighting design of the Theater Department’s Fall 2010 production of Federico García Lorca’s The House of Bernarda Alba through the use of time of day and “clean and dirty” light.

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This dissertation explores verbal and visual representations of the abject body in Federico García Lorca’s Poeta en Nueva York (published 1940), Viaje a la luna (1929), El público (1930-1931), and his drawings from 1929-1930. Grounded in queer theory, transgender studies, and Blackness studies, I explore how Lorca’s images of somatic abjection challenge hegemonic ideas of gender, sexuality, and race in the depiction of queer and otherwise marginalized identities. The dissertation focuses on abjection in three major poems from Poeta en Nueva York, beginning with “Oda a Walt Whitman.” In Chapter 1, I identify an Apollonian-Dionysian dichotomy between the figure of Whitman and the urban maricas, and explore how the abject effeminacy of the latter, and their excessively feminine performances, challenge the heterosexual reproductive order. Chapter 2 examines the abject fluids of vomit and blood in “Paisaje de la multitud que vomita” and “El Rey de Harlem.” I analyze the correlation between the mujer gorda’s physical size and her abject, Dionysian “vomiting multitude.” The second part of the chapter reads “El Rey de Harlem” in the light of Frantz Fanon’s racial phenomenology in order to explore Lorca’s representations of Blackness and masculinity. I argue that the primitivist motifs of blood, music, and nature associated here with erotic representations of the Black masculine body create an ambivalent poem that is at once empowering and exoticizing. Chapter 3 analyzes the uncompleted film scenario Viaje a la luna, which I contend portrays queer anxieties about gender and sexuality through the “nervous gestures” and exposed body of the protagonist. Discussion of the scenario leads to discussion of abjection in the drawing Muerte de Santa Rodegunda. I argue that in Lorca’s drawings of mutilated and plant-like bodies, we see a transformative vision of what a body can be, one that pushes at the boundaries of the human. Finally, in Chapter 4, I argue for a genderqueer reading of the transgressive play El público. Performance theory, queer theory of sadomasochism and anality, transgender theory, and explorations of X-ray technology in the twentieth century help me dissect what has been called Lorca’s “impossible play.”