The thesis explores the variety of dialogue in the work of American poetess Louise Glück (*1943). It also points out three options for crossing over the aesthetics of absence. The analysis concerns mainly poems included in the collection The Wild Iris (1992), but it also takes in consideration Gluck's other poetical books such as Averno (2006) and Meadowlands (1996). After naming the nodes which make the contact in the collections, the thesis surpasses the field of literature for creating the dialogue with the aesthetics of absence according to German composer Heiner Goebbels (*1952), with the negative theology of French philosopher Simone Weil (1909-1943) and with the absence of the other in the paintings of Vilhelm Hammershøi (1864-1916). This interdisciplinary dialog seeks to describes one of the major tendencies of Gluck's poetry, which is the ghostly possibility of encountering with otherness

[pt] Esta pesquisa investiga de que modo saberes das artes, das humanidades e das ciências da Terra têm sido mobilizados por experimentos estéticos, sobretudo cênicos e performativos, empenhados em abordar os desafios existenciais trazidos à tona pelo Antropoceno — aqui interpretado como consequência direta de um projeto de modernidade antropocêntrico e capitalístico. A pesquisa investiga, portanto, propostas críticas e criativas que fazem da cena uma contra-cena, isto é: experiências que se apresentam como contraposições radicais às premissas ideológicas que fundamentam a modernidade e que engendram o Antropoceno. Trata-se de respostas estéticas que se empenham, sobretudo, em deslocar o humano das ilusórias posições de centralidade, soberania, onipotência, autossuficiência e de independência em relação à trama da vida. Na etapa final do trabalho, as noções de polifonia, de simpoiesis e de composições interespecíficas são investigadas enquanto dispositivos reflexivos e formais capazes de estruturar propostas performativas que, em forma-conteúdo, em dramaturgia e em encenação, se instauram enquanto contra-cenas ao Antropoceno e ao antropocentrismo. A partir de obras como Stifter s dinge, do encenador Heiner Goebbels, podemos vislumbrar formas de experiência cênica em que o humano deixa de estar representado enquanto protagonista único, soberano e indispensável da cena da vida — tanto da Terra como, também, do Teatro. / [en] This dissertation investigates how knowledges from arts, humanities and Earth sciences have been mobilized by aesthetic experiments, especially scenic and performative, engaged in approaching the existential challenges brought up by the Anthropocene — here interpreted as a direct consequence of an anthropocentric and capitalistic modernity project. The dissertation investigates, therefore, critical and creative proposals that make the scene a counter-scene, that is: experiences that present themselves as radical counterpositions to the ideological premises that underlie modernity and that engender the Anthropocene. These are aesthetic responses that strive, above all, to displace the human from the illusory positions of centrality, sovereignty, omnipotence, self-sufficiency, and independence in relation to the fabric of life. In the final stage of the work, the notions of polyphony, sympoiesis and interspecific compositions are investigated as reflective and formal devices capable of structuring performative proposals that, in form-content, dramaturgy, and staging, establish themselves as counter-scenes to the Anthropocene and anthropocentrism. From works like Stifter s dinge, by Heiner Goebbels, we can glimpse forms of scenic experience in which the human ceases to be represented as the only and indispensable protagonist of the scene of life — of the Earth as well as of Theater.

In its function as a mediating body between the political decision-makers and the population, the media have the potential to influence the public opinion and subsequently, policy making. Representations of political discourses are opinion-shaping instruments and often not mere reflections of a given reality; they incorporate implicit and explicit, conscious and unconscious evaluations. In cross-cultural contexts where information travels across languages the media are highly dependent on translation. Despite its central role, media translation as part of the political process has only recently gained visibility in Translation Studies (TS) and remains widely neglected outside the discipline. Current research in TS often prioritises either the textual analysis or, more recently, the identification of the shaping factors in the news production process, and often fails to address diachronic aspects. This thesis investigates the translations of Goebbels’ speeches as published in the French and British press during the interwar period. It combines a synchronic and diachronic textual analysis, inspired by CDA with an in-depth study of context which draws on socio-historical research and the analysis of archival material. Thereby, the thesis is able to link the textual makeup to a wide variety of socio-political and historical variables via the concepts of ‘framing’ and ‘agenda-setting’. In doing so the thesis demonstrates on the one hand, how translation can function as a means of discourse mediation and, on the other hand, it provides evidence that ideology and political expediency alone cannot explain all textual changes introduced by the translator-journalists. Moreover, describing the development of the media images not only allows to add a translational perspective to the reception of the Third Reich but also contributes to a better understanding of the varying influence of contextual factors. The results of the diachronic analysis show that throughout the interwar period the British media published very little about Goebbels and, up until late in 1938, reports focused on the peaceful intentions he expressed. In contrast, Goebbels was frequently reported on in France and the regime was early on represented as an aggressor. Whilst trends in the quantity mirror the differing economic conditions of the newspaper markets, the quality, i.e. the actual realisation, of the media images seems to be a reflection of the differing socio-political positions of France and the United Kingdom after WW1. The development of the images clearly illustrates that the political ideology of appeasement was finally overridden in the UK in 1938 when political expediency forced the government to take a different course of action. However, the study of the editorial correspondence of the Manchester Guardian brings to light that the mosaic of factors influencing the news production process is more complex. The intervention of the involved governments, personal convictions of the foreign correspondents and the editors, spatial and temporal restrictions, issues of credibility, etc. all impacted on the particular make-up of the media texts. The synchronic textual analysis, on the other hand, reveals that the range of framing devices through which the media images were established was largely determined by text type conventions. The strategies applied range from selective-appropriation of text, repositioning of actors and labelling, to audience representation. The analysis clearly demonstrates that intersemiotic translation, i.e. the representation of the speech context, is equally important as inter- and intra-lingual instances of translation.

Este trabalho propõe uma reflexão sobre o teatro contemporâneo em embate com as transformações sociais pelas quais estamos passando. Neste momento de incertezas e inversão de valores, o teatro incorpora as discussões e temáticas ligadas à experiência sensível dos seres humanos, ao mesmo tempo em que inova sua linguagem, recorrendo a dispositivos tecnológicos que propiciam diferentes modos de interação com o público. Propostas sem atores em cena aportam o questionamento sobre que elementos, afinal, definem o teatro, enquanto que o compartilhamento de experiências busca expandir o entendimento da inserção do real em cena. A partir da aproximação a aspectos que observamos recorrentes na cena atual, abordamos dois espetáculos em cada uma das três partes que constituem a pesquisa. Recorremos ao conceito da teatralidade como ferramenta imbatível para a exposição de uma prática teórica construída no momento mesmo dos acontecimentos que se pretende analisar. Pretendemos, desse modo, responder às exigências da área de Teoria e Prática do teatro, que privilegia pesquisas que fundem o fazer e o refletir teatral. / The thesis proposes a reflection on contemporary theatre\'s confrontation with current social transformations. In this moment of uncertainty and inversion of values, theatre incorporates discussions on sensitive themes while innovating its language, using technological devices that provide different modes of interaction with the public. The absence of actors on stage raises questions about what ultimately defines the theatre, while the sharing of personal experiences by actors, expands the understanding of the insertion of the real into the scene. We seek to approach reoccurring aspects of the current scene, analyzing two shows in each of the three parts of this research. We turn to the concept of theatricality as a unique tool to explore a very contemporary practice. In this way, it seeks to respond to the demands of theatre Practice and Theory field, which favors researches that combine practice and reflection.

Este trabalho propõe uma reflexão sobre o teatro contemporâneo em embate com as transformações sociais pelas quais estamos passando. Neste momento de incertezas e inversão de valores, o teatro incorpora as discussões e temáticas ligadas à experiência sensível dos seres humanos, ao mesmo tempo em que inova sua linguagem, recorrendo a dispositivos tecnológicos que propiciam diferentes modos de interação com o público. Propostas sem atores em cena aportam o questionamento sobre que elementos, afinal, definem o teatro, enquanto que o compartilhamento de experiências busca expandir o entendimento da inserção do real em cena. A partir da aproximação a aspectos que observamos recorrentes na cena atual, abordamos dois espetáculos em cada uma das três partes que constituem a pesquisa. Recorremos ao conceito da teatralidade como ferramenta imbatível para a exposição de uma prática teórica construída no momento mesmo dos acontecimentos que se pretende analisar. Pretendemos, desse modo, responder às exigências da área de Teoria e Prática do teatro, que privilegia pesquisas que fundem o fazer e o refletir teatral. / The thesis proposes a reflection on contemporary theatre\'s confrontation with current social transformations. In this moment of uncertainty and inversion of values, theatre incorporates discussions on sensitive themes while innovating its language, using technological devices that provide different modes of interaction with the public. The absence of actors on stage raises questions about what ultimately defines the theatre, while the sharing of personal experiences by actors, expands the understanding of the insertion of the real into the scene. We seek to approach reoccurring aspects of the current scene, analyzing two shows in each of the three parts of this research. We turn to the concept of theatricality as a unique tool to explore a very contemporary practice. In this way, it seeks to respond to the demands of theatre Practice and Theory field, which favors researches that combine practice and reflection.

[pt] Ao tomar como ponto de partida a instalação performativa Stifters Dinge (2007), do compositor e encenador alemão Heiner Goebbels, esta dissertação propõe experimentar e discutir, desde uma perspectiva ensaística, fragmentária e indisciplinar - isto é, resistente a uma adesão rígida a disciplinas e vertentes teórico-críticas bem demarcadas -, impasses de atos de leitura e de escrita no presente. Trata-se, por um lado, de buscar responder aos embaraços da interpretação e da representação mobilizados pela experiência inquietante de Stifters Dinge, também designada por Goebbels como um concerto para cinco pianos sem pianistas, uma peça sem atores e uma performance sem performers; e, por outro lado, de interrogar, pela escritura, movimentando-se por caminhos exploratórios e inconclusivos, modos de legibilidade e valoração no campo ampliado das artes hoje. No trânsito entre a estética e a política, as formas e os efeitos, a teoria crítica e a epistemologia, a dissertação realiza um exame minucioso de Stifters Dinge levando-se em consideração tanto o caráter performativo do gesto teórico-crítico como algumas tensões fundamentais na relação entre a linguagem e a constituição do saber. / [en] This dissertation takes as its starting point the German composer and director Heiner Goebbels s performative installation Stifters Dinge (2007), seeking to experiment and bring into discussion some impasses related to acts of reading and writing in the present. The research is carried out through an essayistic, fragmentary and indisciplinary perspective - that is, one that is resistant to rigid adherences to disciplines and well-demarcated theoretical critical approaches. On the one hand, the aim of this study is to try to react to the problems of interpretation and representation shaped by the disturbing experience of Stifters Dinge, which is also described by its director as a composition for five pianos with no pianists, a play with nobody acting, and a performance with no performers. On the other hand, it intends to interrogate forms of legibility and valuation in the expanded field of arts today, moving through exploratory and inconclusive paths in a writing supported by the barthesian notion of écriture. In the transit between aesthetics and politics, forms and effects, critical theory and epistemology, the dissertation performs a thorough examination of Stifters Dinge taking into consideration both the performative condition of the theoretical critical activity and some fundamental tensenesses on the relation between language and constitution of knowledge.

The goal of the Master Thesis is to analyse the performance Eraritjaritjaka created by the leading director of German experimental theatre Heiner Goebbels. The first part exposes the new theatrical genre Théâtre musical as a theoretical framework. The following text focuses on Goebbels's theoretical views and the basics characetrs of his theatre poetics. The main part of this study is devoted to analysis of performance Eraritjaritjaka. The analysis itself focuses on the functioning of basic components of the performance, its principles and shifts in overall structure.

No description available.

[ES] Esta tesis pone el foco sobre las prácticas artísticas en las que el sonido y/o la música es fuente de creación dramática. Como anteriormente hemos defendido (desde el 2017 a lo largo de distintas publicaciones y participaciones en congresos), la propuesta de teatro musical experimental se presenta como categoría en desarrollo para designar esta praxis. Por lo tanto, en este estudio, se analiza el funcionamiento de la escucha en el teatro y la concepción del lenguaje sonoro o diseño de sonido subordinado a las técnicas aprendidas de escucha más la inclusión y evolución de la tecnología electrónica. Proponemos a partir de ello un marco de análisis para el estudio de estas propuestas que aplicamos en dos estudios de caso (con enfoques distintos): Stifters Dinge (2007) de Heiner Goebbels como revisión de la bibliografía que se ha ocupado de esta pieza en profundidad con perspectiva analítico-crítica; y El rumor del ruido (2017) de Onírica Mecánica y Pedro Guirao que analizaremos a partir de la puesta en escena y la recepción directa del espectáculo. Nuestro enfoque evidencia que el uso acertado o no de los diferentes recursos teatrales (desde medios tecnológicos lineales a los interactivos) fomenta la interacción y en consecuencia la inmersión sonora gracias al efecto technosublime en el hecho escénico musical experimental. / [CA] Aquesta tesi posa el focus sobre les pràctiques artístiques en què el so i/o la música és font de creació dramàtica. Com hem defensat anteriorment (des del 2017 al llarg de diferents publicacions i participacions en congressos), la proposta de teatre musical experimental es presenta com a categoria en desenvolupament per designar aquesta praxi. Per tant, en aquest estudi, s'analitza el funcionament de l'escolta al teatre i la concepció del llenguatge sonor o disseny de so subordinat a les tècniques apreses d'escolta més la inclusió i l'evolució de la tecnologia electrònica. Proposem a partir d'això un marc d'anàlisi per a l'estudi d'aquestes propostes que apliquem en dos estudis de cas (amb diferents enfocaments): Stifters Dinge (2007) de Heiner Goebbels com a revisió de la bibliografia que s'ha ocupat d'aquesta peça en profunditat amb perspectiva analiticocrítica; i El rumor del soroll (2017) d'Onírica Mecànica i Pedro Guirao que analitzarem a partir de la posada en escena i la recepció directa de l'espectacle. El nostre enfocament evidencia que l'ús encertat o no dels diferents recursos teatrals (des de mitjans tecnològics lineals als interactius) fomenta la interacció i, en conseqüència, la immersió sonora gràcies a l'efecte technosublime en el fet escènic musical experimental. / [EN] This thesis focuses on artistic practices in which sound and/or music is a source of dramatic creation. The proposal of experimental music theatre is presented as a developing category to designate this praxis as we have previously defended (since 2017 throughout different publications and participations in congresses). In this study we analyse the functioning of listening in theatre and the conception of sound language or sound design subordinated to the learned techniques of listening and the inclusion and evolution of electronic technology. From this we propose a framework of analysis for the study of these proposals, which we apply to two case studies with different approaches: Stifters Dinge (2007) by Heiner Goebbels as a critical review of the bibliography of this piece and from our perspective; and El rumor del ruido (2017) by Onírica Mecánica and Pedro Guirao that we will analyse from that of the staging and direct reception of the performance. Our approach shows that the successful or unsuccessful use of different theatrical resources (from linear to interactive technological media) encourages interaction and, consequently, sound immersion by the technosublime effect in the experimental musical performance. / Gracias a la Generalitat Valenciana por la beca para la contratación de personal investigador de carácter predoctoral en el año 2019 con referencia ACIF/2019/235 / Bernal Molina, A. (2023). Territorios sonoros en el teatro posdramático. El sonido como lenguaje conductor de la dramaturgia escénica [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/198568

This thesis examines how the concept of evil was understood by opposing German perspectives during the era of National Socialist rule (1933-1945). The rise of Nazism in Germany marked a period of massive political upheaval wherein the National Socialist government encouraged the masses to view the world in terms of a great struggle between forces of good and evil. This was the central theme of their propaganda, which zealously encouraged racialist beliefs in the popular consciousness, and was based on assumptions of German superiority and Jewish evil. Despite Hitler's apparent success in creating an obedient nation, a significant number of Germans opposed his rule, amongst whom a small group of writers expressed their discontent through creative fiction. Through a comparison of the worldviews communicated through political propaganda and anti-Nazi literature, it is revealed that the crux of the divide between their opposing perspectives hinged on the meaning of evil. Since evil is a concept with many meanings, this thesis approaches the subject thematically. The comparison begins by focusing on the perception of evil as an all-corrupting force that had taken hold of Germany, followed by an exploration of how power and brutality were understood, ending with a comparison of views on how the struggle between good and evil took place on both a social and individual level. In addition to demonstrating the subjectivity of moral perspective during a tumultuous period of the recent past, this research reveals how the struggle against Nazism existed as a conflict of ideas. Moreover, the comparison of cultural sources (including Nazi art, visual propaganda, written texts such as Mein Kampf, and anti-Nazi creative fiction) demonstrates the value of art as a tool for conducting historical enquiry. Since the legacy of the Third Reich continues to directly influence modern perceptions of evil, exploring how evil was understood according to contemporary Germans – from both pro and anti-Nazi perspectives – is of particular historical interest.