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Made available in DSpace on 2016-04-26T18:17:15Z (GMT). No. of bitstreams: 1 Gustavo Garcia da Palma.pdf: 1137319 bytes, checksum: 76b5b92accf97fed4960813084961ce6 (MD5) Previous issue date: 2008-04-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / It s very common Nowadays the use of technologies in communication processes in art. The coupling of prosthesis to the body and the cross-breeding of scenic languages happen. The analysis of these processes, most of them at least, is done under the director s, the choreographer s or the critic s perspective. The objective is the investigation of consciousness alteration for the actor based on the trance technique proposed by Jerzy Grotowski (1979, 2007), for a theater poor in technology . The hypothesis is the application of this concept in an art rich in technology: the Artmedia (MACHADO, 2002). An undisciplined and theoretical-practical methodology was used. M. McLuhan (1969, 1972), S. Pinker (1998, 2002), Y. R. G. Araújo (2005) e de P. M. Aguiar (2006) made it possible to conceive the technology as an organic/environmental process and overcome the dualism rich-poor inherent in Grotowski. The concept syntheticbody , created from the concept corpomídia (KATZ & GREINER, 2005), represents the refusal in altering itself. T. Richards (2001), R. Cohen (2004, 2003), M. Bonfitto (2002), R. Ferracini (2003), E. Barba (2006), R. Demarcy (in GUINSBURG, 2003) and others allowed a new interpretation of important theater authors like Aristóteles (1966), C. Stanislávski (1979) e J. Grotowski (op. cit.). A. Damásio (2000, 2004), S. Pinker (1998), D. C. Dennett (1997, 2006), Lakoff & Johnson (2002), R. Dawkins (2001a, 2001b), and others allowed the conception of consciousness in a healthy state, here, a parameter to identify and create altered states, which can be systemically understood from J. Vieira (2006, 2007). Consequently the actor s training system was called Alteration Procedures , and Jerry Grotowski s interpretation of the trance technique for the body could be reviewed and enlarged in high levels of technology in communication processes / É cada vez mais comum a utilização de tecnologias nos processos comunicacionais em arte. Acoplamentos de próteses ao corpo e hibridização de linguagens cênicas se sucedem. Tais processos, em sua maioria, são realizados sob a perspectiva do diretor, do coreógrafo ou do crítico de arte. Aqui é proposta uma análise pelo corpo em ação no meio. O objetivo é a investigação da alteração de consciência para o ator, com base na técnica de transe , proposta por Jerzy Grotowski (1979, 2007), para um teatro pobre em tecnologia. A hipótese é a aplicação deste conceito em uma arte rica em tecnologia: a Artemída (MACHADO, 2002). Utilizou-se de metodologia indisciplinar e teórico-prática. Autores como M. McLuhan (1969, 1972), S. Pinker (1998, 2002), Y. R. G. Araújo (2005) e P. M. Aguiar (2006) possibilitaram conceber a tecnologia como processo organismo/meio, e superar a dualidade rico-pobre inerente em Grotowski. O conceito corposintético , criado a partir do conceito corpomídia (KATZ & GREINER, 2005), representa a recusa em alterar-se. T. Richards (2001), R. Cohen (2004, 2003), M. Bonfitto (2002), R. Ferracini (2003), E. Barba (2006), R. Demarcy (in GUINSBURG, 2003) e outros permitiram a releitura de importantes autores da área teatral como Aristóteles (1966), C. Stanislávski (1979) e J. Grotowski (op. cit.). A. Damásio (2000, 2004), S. Pinker (1998), D. C. Dennett (1997, 2006), Lakoff & Johnson (2002), R. Dawkins (2001a, 2001b), e outros permitiram conceber os conceitos de consciência para ser possível identificar e criar estados alterados, entendidos sistemicamente a partir de J. Vieira (2006, 2007). Os princípios de treinamento do ator são tratados como Procedimentos de Alteração, e a leitura da técnica de transe de Jerzy Grotowski pôde ser revista e ampliada para o corpo em ambientes com altos índices de tecnologia nos processos comunicacionais

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Ce document témoigne de l'analyse de ma pratique de formateur en développement dans le cadre du processus de mûrissement de l'acteur par l'entraînement intensif du corps et de la voix. En utilisant la forme du récit chronologique, je fais un retour sur ma recherche-formation où je me suis placé comme praticien chercheur en position d'analyse dite à la première personne. À l'aide d'outils d'analyse de pratique que j'emprunte à la psychopédagogie, je tente de formaliser et de théoriser le vécu de ma pratique, laquelle s'inspire directement des ateliers d'entraînement du Théâtre de Recherche le Contre-courant à Québec, des ateliers de maître dirigés par Richard Nieoczym, ainsi que des principes de Grotowski et de la via negativa. En auscultant la réalité et les enjeux intrinsèques de mon agir, j'élucide une problématique majeure dans mon rôle de formateur : la nécessité de développer la capacité à accompagner l'acteur dans un cheminement qui agit essentiellement sur le plan personnel. Je parle alors de la présence du formateur dans l'espace-temps sacré du processus de mûrissement de l'acteur.

Submitted by Leonel Henckes (leohenckes@gmail.com) on 2018-08-13T20:38:01Z No. of bitstreams: 1 HENCKES_Leonel_O ator da organicidade_tese doutorado.pdf: 39859304 bytes, checksum: 1777d5aac851ae911dafa1d968534438 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-14T11:09:51Z (GMT) No. of bitstreams: 1 HENCKES_Leonel_O ator da organicidade_tese doutorado.pdf: 39859304 bytes, checksum: 1777d5aac851ae911dafa1d968534438 (MD5) / Made available in DSpace on 2018-08-14T11:09:51Z (GMT). No. of bitstreams: 1 HENCKES_Leonel_O ator da organicidade_tese doutorado.pdf: 39859304 bytes, checksum: 1777d5aac851ae911dafa1d968534438 (MD5) / FAPESB - Fundação de Amparo a Pesquisa do Estado da Bahia e PDSE/CAPES - Programa de Doutorado Sanduíche no Exterior da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior. / Esta pesquisa parte de um estudo do conceito-procedimento contato em Jerzy Grotowski (1933 - 1999) como chave dos processo criativos e pedagógicos desenvolvidos através do Sistema de Ações Físicas pela via da Organicidade. Tanto contato quanto organicidade são noções que provocaram transformações radicais no percurso criativo e investigativo de Grotowski. Interessava saber se ele poderia se configurar como noção chave para a operacionalização do sistema e dos processos criativos pautados na diretriz ética e poética da organicidade. O estudo do contato levou a necessidade de retornar a Konstantin Stanislavski (1863 - 1938) e empreender um estudo mais aprofundado da noção de organicidade que acabou resultando na identificação de um perfil de ator denominado ator da organicidade. Através da etnografia como metodologia e usando a metáfora da viagem, empreendeu-se uma jornada por teorias e práticas (do pesquisador e de outros artistas) a fim de desenhar o modo de atuação e precisar as características da técnica do ator da organicidade. Ampliou-se o raio de alcance do estudo para o teatro de hoje (contemporâneo), a partir do trabalho de dois diretores alemães em atuação na cidade de Berlim – Alemanha: Thomas Ostermeier e René Pollesch, a fim de identificar pontos de interseção da técnica do ator da organicidade com modos de atuação contemporâneos e, assim, abrir espaço para o desenvolvimento de metodologias e teorias para o ator de hoje e de amanhã.

This thesis explores the use of eucharistic language in the theatre theories of three different mid-20th-century Polish theatre companies--the Reduta Theatre, the Rhapsodic Theatre, and the Laboratory Theatre--especially as expressed in the writings of their respective primary founders: Juliusz Osterwa, Mieczysław Kotlarczyk, and Jerzy Grotowski. The thesis also describes how the Rhapsodic and Laboratory Theatres inherited different elements of the Reduta tradition, and how those two diverging branches of the Reduta's legacy have affected contemporary theatre. In addition, the thesis examines how different 20th-century theatre theorists have related the eucharist to theatre, and evaluates the legitimacy of the claim that religious rituals such as the eucharist can and ought to be replaced by secular theatrical rituals. Special attention is paid to Carl Lavery's three views of the sacred: secular, theological, and a/theological. Alexander Schmemann's conception of the eucharist is used to correct Lavery's presentation of the theological sacred and to argue for the possibility of a Christian sacred theatre, or a "eucharistic theatre." The thesis defines the concept of a eucharistic theatre; demonstrates the extent to which the Reduta, Rhapsodic, and Laboratory Theatres meet this definition; and suggests some ways in which a eucharistic theatre may be created today.

We live in a globalized world that is changing rapidly. We interconnect between cultures in different ways. But what if we want to go global with a performance to go around the world, without modifying the piece? Is that possible? How to be international but without losing the here and now by reading subtitles? The diversity of sounds when speaking on stage can embrace otherness, the audience's encounter with a language that may not be familiar to them. This is my journey through creating a play to broaden the audiences I can reach as much as possible.

Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2011-2012 / L'ACTION CRÉATRICE DE L'ACTEUR DANS LA PIÈCE C.H.S.¹ Étude sur l'effet de présence actoral dans un dispositif intermedial Par un aller et retour entre la théorie et la pratique, l'objectif de notre recherche-création est d'expliciter le répertoire de techniques qui a permis de varier les registres de présence de l'acteur dans le dispositif intermedial² de C.H.S. Dans un premier temps, nous nous sommes demandé si les recherches en biomécanique de Meyerhold, consistant en des variations des mises en rapport de l'acteur, pouvaient s'avérer adéquates pour construire une présence actorale dans l'immobilité. Ensuite, nous avons enrichi notre répertoire de placements scéniques, avec les travaux de Stanislavski et Grotowski. Afin d'étudier les qualités relationnelles de l'acteur, nous avons abordé une définition de la présence à soi, proposée par la Psychologie Corporelle Intégrée et le modèle constructiviste de Masciotra (2004). Puis, des réflexions sur les pratiques théâtrales actuelles nous ont permis de mettre de l'avant la notion « d'être-entre ». Par le biais de laboratoires artistiques, nous avons réfléchi et mis en pratique ces fondements théoriques pour préciser les procédures techniques permettant de varier la présence de l'acteur qui interprète le scientifique³. Le but de notre réflexion a été de rendre compte des diverses mises en relation qui permettent à l'acteur de C.H.S. de moduler adéquatement ses degrés de présence entre performativité et théâtralité. 1 Voir Annexe A 2 Voir Annexe B 3 À partir de maintenant, chaque fois que nous ferons mention du scientifique, il s'agira du personnage que nous avons interprété dans la pièce C.H.S. Ce travail actoral sert d'étude de cas, tout au long de cette réflexion théorique.

1 ABSTRACT This thesis describes the theatre reform at the turn of 19th and 20th century in its wider sociocultural concept. It focuses on the reaction of theatre to the modernistic crisis of European culture and society. Modernism is understood here according to its wider thematic and chronological definition. Modernism is based on the conception of machine civilization as it was defined by a Polish sociologist Jerzy Jedlicki. Jedlicki places the rise of modernistic cultural formation into the second half of 18th century which is when a steam engine was invented and it was a time of social turbulence and changes in human spirituality. Another theoretical frame of the thesis is created by utopia phenomenon as it was defined by Jerzy Szacki. Second half of 20th century is considered to be the end of modernism, inasmuch the utopic visions which had been placed on theatre faded away. The main topic of the thesis is Juliusz Osterwa's and Mieczyslaw Limanowski's theatre studio Reduta. It was founded in Warsaw in 1919 and it was to a great extend inspired by Moscow theatre studios of Stanislavsky and by Polish theatre sources (Stanislaw Wyspianski). By studying selected examples, the thesis studies Reduta as a realisation of modernistic utopia when theatre was supposed to carry a special mission in renaissance of...