This thesis is an endeavor to accurately document and define my creative process as an actor through the title role in Bertolt Brecht's Baal. My aim is to meet and overcome the challenges that are inherent in creating any role, let alone one with the magnitude and complexity that Baal provides an actor. The following chapters contain a record of the development of my acting process in this production, including research, character analysis, a rehearsal log that provides a daily track of my progress, and an evaluation of my performance and the project.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2018-06-12T17:55:32Z No. of bitstreams: 2 Dissertação - Luciano Diogo Oliveira Freitas - 2017.pdf: 2722679 bytes, checksum: 2df1afd541bddfe8347398892d5a5c66 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-06-13T10:45:15Z (GMT) No. of bitstreams: 2 Dissertação - Luciano Diogo Oliveira Freitas - 2017.pdf: 2722679 bytes, checksum: 2df1afd541bddfe8347398892d5a5c66 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-06-13T10:45:15Z (GMT). No. of bitstreams: 2 Dissertação - Luciano Diogo Oliveira Freitas - 2017.pdf: 2722679 bytes, checksum: 2df1afd541bddfe8347398892d5a5c66 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-10-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Charlie Chaplin´s (1889-1977) influences on Bertolt Brecht’s theater (1898-1956) are diverse; also the films of the British director were inspiration for several plays written by the German playwright (The Rise and Fall of the City of Mahagonny (1928/1929), Mother Courage and Her Children (1939); Mr Puntila and his Man Matti (1940), and others). In many parts of Brecht works, diaries and theoretical texts Brecht makes comments about the importance of Chaplin´s cinematographic practice and his character The Tramp, for the constitution of his theater. Some moments Brecht considers Chaplin a model of actor to the epical theater (BRECHT 1995, p. 125; BRECHT 2005A, p. 249, 263, 291; and others). Two central concepts in Brecht´s work are fundamental for the understanding of this relationship: Verfremdungseffekt – the famous Estrangement Effect and the social Gestus. Once these concepts are delimited I search to analyze Chaplin´s work, the process of film construction and the interpretation in silent films as elements that generate estrangement and are structured as a Gestus language. At the first chapter I analyze the historical context of the Weimar’s Germany to understand the constitution of V-Effekt at its time. At the second chapter I assume the idea of the cinema as a revolution on the form of production and reception of art, passing by the Chaplin’s history trying to realize how his films were a large reference to a lot of artists, including Brecht. At the third chapter I study the social Gestus and how it is related with the variety shows and the Chaplin’s artistic works. Finally, at the conclusions, I return to the mail points of this intense dialogue between Brecht and Chaplin, and how this relationship produced uncountable fruits and artistic works. This material requires new theoretical and practical studies (on scream and on stage), considering its large reflexive and critical potential, and more than it, its artistic value. / As influências de Charlie Chaplin (1889-1977) na obra de Bertolt Brecht (1898-1956) são diversas. Os filmes do diretor britânico são inspiração para diversas peças escritas pelo dramaturgo alemão (Ascenção e queda da cidade de Mahagonny (1928/1929), Mãe Coragem e seus filhos (1939), Senhor Puntila e seu criado Matti (1940), dentre outras). Brecht comenta em seus diários de trabalho e inúmeros textos teóricos a importância da prática cinematográfica de Chaplin e de seu personagem Carlitos para a constituição do seu teatro, considerando-os muitas vezes modelar para o teatro épico (BRECHT 1995, p. 125; BRECHT 2005A, p. 249, 263, 291; dentre outros). Dois pontos da práxis brechtiana são fundamentais para compreender essa forte relação cinema-teatro, são eles: o Verfremdungseffekt – o famoso efeito de estranhamento e o Gestus social. A partir desses dois pontos procuro analisar a obra de Chaplin, o processo de construção de seus filmes e a interpretação no cinema mudo como elementos que geram estranhamento e se estruturam como uma forma de Gestus social e estranhamento. No primeiro capítulo parto do contexto histórico da Alemanha de Weimar para compreender a constituição do V-Effekt em seu tempo. No segundo capítulo penso o cinema enquanto revolução na forma de produzir e apreciar a obra de arte e, passando pela história de Chaplin, como esse artista influencia e inspira artistas por todo o mundo, entre ele Brecht. No terceiro capítulo busco compreender o Gestus social e como ele se relaciona com o espetáculo de variedades e o trabalho artístico de Chaplin. Por fim, nas considerações finais, retomo a ideia de que o intenso tráfego da ponte Brecht-Chaplin, produziu diversos frutos e produções que ainda hoje exigem sua leitura, encenação, e apreciação, dado o seu potencial crítico reflexivo e mais ainda o valor artístico de suas proposituras que até hoje se extravasam nos palcos do teatro.

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Cette thèse de doctorat de philosophie, initiée en 2005, a pour objet d’étude l’œuvre poétique de l’écrivain allemand Bertolt Brecht (1898-1956). Par son titre (« Le poème instrument »), elle entend désigner une contradiction consubstantielle à tout art politique et singulièrement radicalisée dans l’écriture poétique : celle qui oppose la pratique d’un art lyrique, valant pour lui-même, et la revendication d’une utilité sociale de l’écriture, qui la soumet à une finalité extérieure. En assumant dans son écriture cette exigence instrumentale, le poète s’expose en effet au risque de succomber à la fonctionnalisation de la langue, telle que justement la raison marchande la soutient et à laquelle il s’agit cependant de s’opposer. Comment la poésie peut-elle se définir comme instrument sans abolir la teneur proprement artistique de sa production ? Comment maintenir dans un même geste la consistance poétique et l’efficacité politique ?Cette thèse étudie le corpus des poèmes brechtiens écrits depuis le milieu des années 1920 jusqu’à la fin des années 1940 avec pour ambition de repérer les opérations formelles que le poète mobilise dans chacun des moments politiques qu’il rencontre : la République de Weimar (la poésie cynique), le Troisième Reich (la poésie anti-fasciste), la seconde Guerre mondiale (la poésie d’exil). Nous entendons montrer la façon dont un matérialisme singulier s’y élabore, dans un rapport à la fois inventif et dissident à l’égard la tradition dialectique marxiste. / Initiated in 2005, this doctoral thesis in philosophy aims to study the poetry of the German writer Bertolt Brecht (1898-1956). By its title ("The poem instrument"), it means to explain a contradiction inherent in any political art, and especially emphasized in poetical writing: the one between the practice of lyrical arts, valuable per se, and the claim for a social purpose of writing, which submits it to an outside finality. By undertaking this instrumental necessity in his writing, the poet expose himself to the functionalisation of language, this very functionalisation that is supported by the market means which the poet however intends to deal with. How can poetry define itself as a tool, without abolishing the specifically artistic content of its production? How to maintain poetic consistency and political efficiency simultaneously ?This thesis examines the corpus of Brechtian poems written from the mid-1920s until the late 1940s. It aims at identifying the formal operations that the poet engages for each political moments he faces : the Weimar Republic (cynical poetry), the Third Reich (anti-fascist poetry), the second World War (the poetry of exile). We intend to show how a specific materialism is being developed, in a both inventive and dissent relation to the traditional Marxist dialectic.

Made available in DSpace on 2016-06-02T20:23:11Z (GMT). No. of bitstreams: 1 3567.pdf: 1470970 bytes, checksum: 4cfb1b4358ed97c535bf68abd03d2601 (MD5) Previous issue date: 2010-08-09 / Universidade Federal de Minas Gerais / The dissertation leans over an analysis of aspects of the mise-en-scène at the two chosen films, having focus in the fictional and non-fictional character rendered ironical in the Cinema Novo s (brazilian new cinema) stage political scene, real scene and at the context during the intensification of a conservative modernization: 1 - Macunaíma (1969), of Joaquim Pedro de Andrade; 2 - Terceiro Milênio (1982), of Jorge Bodanzky and Wolf Gauer. Those are two manners of facing the character - of one side ficcional, with origins in the oral tradition of Amazonian legends, transformed in protagonist of a modernist book by Mário of Andrade, later converted in cinema´s character; on the other side the political protagonist's direct filmed in performance for the documentary -, these two lines have its crossing point that allows an observation of a national type, involved in the double-dealing, of Iberian root sighted in the cunning, a type of the subverted epic's hero. This modern character's in the visual expression fall down in the type of the flâneur, bohemian, roguish - the disinterested or inapt Brazilian hero. / A dissertação se debruça em uma análise de aspectos da mise-en-scène de dois filmes, tendo como foco o personagem ironizado no tablado ficcional do Cinema Novo, político, real e contextualizado durante a intensificação de uma modernização conservadora: 1- Macunaíma (1969), de Joaquim Pedro de Andrade; 2 Terceiro Milênio (1982), de Jorge Bodanzky e Wolf Gauer. Esses dois modos de se encarar o personagem - de um lado ficcional, com origens na tradição oral de lendas amazônicas, transformado em protagonista de um livro por Mário de Andrade, mais tarde convertido em personalidade do cinema; do outro lado a captação direta do protagonista político em atuação pelo documentário -, têm seu ponto de cruzamento que permite uma observação de um tipo nacional, envolvido na malandragem, de raiz ibérica avistada no pícaro, uma espécie de herói do épico subvertido. Os afluentes modernos deste personagem na expressão visual caem na tipificação do flâneur, boêmio, malandro o desinteressado ou herói inapto.

Submitted by Edineia Teixeira (edineia.teixeira@unioeste.br) on 2018-11-08T13:48:45Z No. of bitstreams: 2 Sandra_Silva_2018.pdf: 1053978 bytes, checksum: 44a284d8cb94dba426f9246bfe53216d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-08T13:48:45Z (GMT). No. of bitstreams: 2 Sandra_Silva_2018.pdf: 1053978 bytes, checksum: 44a284d8cb94dba426f9246bfe53216d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-09 / This dissertation contemplates a comparative study between the dramaturgical text The Threepenny Opera (1928) and The Threepenny Novel (1934), by Bertolt Brecht, in which focuses the comprehension of the esthetic elements developed by Brecht in the epic theater: distancing effect and social gestus. The research presents reflections on the development and self-appropriation of the conceptual formulations proposed by Brecht in different textual genres, but which maintains narrativity, since epic theater is essentially narrative. Understanding the formal differences among literary genres, temporalities and historical contexts, we tried to verify how Brecht transmigrates elements of his dialectical epic theater to the romanesque narrative and how these elements contribute to read the social relations and their historical and idiosyncratic temporalities. The research also presents a study on Brazilian theater groups and collectives that re-elaborate Brechtian aesthetics in their plays in contemporary times. So, the present dissertation is articulated from three parts, named as acts. Act One has a reflection on the theory of the Brechtian dialectic theater, especially on the distancing effect and the social gestus, and based on these reflections, it is analyzed how these elements of the Brechtian theater are presented in the play The Threepenny Opera. Act Two presents a comparative analysis between the play and the novel, showing how the epic theater elements are presented in The Threepenny Novel. In Act Three we reflected on the scope of the Brechtian aesthetics in the Brazilian Collectives of Theater Companhia do Latão, Companhia do Feijão and Coletivo de Teatro Alfenim, and how these groups reimport the Brecht’s aesthetic. / Esta dissertação contempla um estudo comparado entre o texto dramatúrgico A Ópera dos Três Vinténs (1928) e o Romance dos Três Vinténs (1934), de Bertolt Brecht, no qual se foca a compreensão dos elementos estéticos desenvolvidos por Brecht no teatro épico: efeito de distanciamento e gestus social. A pesquisa apresenta reflexões sobre o desenvolvimento e as autoapropriações das formulações conceituais propostas por Brecht em gêneros textuais diferentes, mas que mantêm entre si a narratividade, uma vez que o teatro épico é essencialmente narrativo. Compreendendo-se as diferenças formais entre gêneros literários, temporalidades e contextos históricos, procurou-se verificar de que modo Brecht faz transmigrar elementos do seu teatro épico dialético para a narrativa romanesca e como tais elementos contribuem para para que se leia deles as relações sociais e suas temporalidades históricas e idiossincrasias. A pesquisa apresenta também um estudo sobre grupos e Coletivos de Teatro Brasileiros que reelaboram a estética brechtiana em suas peças na contemporaneidade. Desse modo, a presente dissertação está articulada a partir de três partes, intituladas como atos. O Ato I volta-se para a reflexão sobre a teoria do teatro dialético brechtiano, em especial sobre o efeito de distanciamento e o gestus social. Com base nestas reflexões, analisa-se como esses elementos do teatro brechtiano se apresentam na peça teatral Ópera dos Três Vinténs. O Ato II apresenta uma análise comparativa entre a peça e o romance, mostrando como tais elementos do teatro épico se fazem presentes no Romance dos Três Vinténs. No Ato III, refletimos sobre o alcance da estética brechtiana nos Coletivos de teatro Companhia do Latão, Companhia do Feijão, Coletivo de Teatro Alfenim, e como esses grupos ressignificam a estética brechtiana.