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

Made available in DSpace on 2015-12-10T14:22:12Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-29. Added 1 bitstream(s) on 2015-12-10T14:28:15Z : No. of bitstreams: 1 000853688.pdf: 6118742 bytes, checksum: 0899a7dccc5c539045351d6c407feb52 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / No presente trabalho buscamos refletir a respeito de alguns dos diversos procedimentos extramusicais e interdisciplinares envolvidos na confecção da obra musical Romancero Gitano, de Autoria de Mario Castelnuovo-Tedesco com textos de Federico Garcia Lorca. Para o cumprimento desta tarefa foram considerados procedimentos como retórica e word-painting, bem como levantamento de dados biográficos de compositor e poeta, análises técnico -musicais de cada um dos movimentos da obra e leituras poéticas dos textos / In the present work our aim was to reflect on some of the various extra musical and interdisciplinary procedures involved in the confection of the musical work Romancero Gitano, Mario Castelnuovo-Tedesco's authorship, with texts by Federico Garcia Lorca. To achieve this aim we have considered procedures such as rhetoric and word-painting, as well as research on biographical data about composer and poet, technical -musical analysis of each one of the movements of the work and poetical readings of the texts

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

Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a gifted and skilled translator. Shortly after the Second World War he was commissioned by the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to be published by Faber and Faber, London. However, most of these translations remained unpublished until 1985, when the poetry translations (but not the translations of the plays) were included in Volume II of a four-volume edition entitled Campbell: Collected Works, edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617, Eisenberg published a collection of letters from the archives of the Spanish poet and publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante, which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea, Republican supporters who were living in exile in London, prevented the publication of Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that incorporates ideas from work on the relevance theory of communication (Sperber and Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows that although Campbell's translating is constrained by its purpose of forming part of a Lorca edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the target-language reader. In striving to communicate Lorca's poetry to an English audience, Campbell demonstrates his skill and creativity at all levels of language. Campbell's translations that were published during his lifetime earned him a place among the best poetry translators of this century. The Lorca translations, posthumously added to the corpus of his published work, enhance an already established reputation as a fine translator of poetry. / Classics & Modern European Languages / D. Lit. et Phil. (Spanish)

Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a gifted and skilled translator. Shortly after the Second World War he was commissioned by the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to be published by Faber and Faber, London. However, most of these translations remained unpublished until 1985, when the poetry translations (but not the translations of the plays) were included in Volume II of a four-volume edition entitled Campbell: Collected Works, edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617, Eisenberg published a collection of letters from the archives of the Spanish poet and publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante, which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea, Republican supporters who were living in exile in London, prevented the publication of Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that incorporates ideas from work on the relevance theory of communication (Sperber and Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows that although Campbell's translating is constrained by its purpose of forming part of a Lorca edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the target-language reader. In striving to communicate Lorca's poetry to an English audience, Campbell demonstrates his skill and creativity at all levels of language. Campbell's translations that were published during his lifetime earned him a place among the best poetry translators of this century. The Lorca translations, posthumously added to the corpus of his published work, enhance an already established reputation as a fine translator of poetry. / Classics and Modern European Languages / D. Lit. et Phil. (Spanish)