Este trabalho, composto de três volumes (I. Historiografia; II. Seleção de textos críticos; e III. Catálogo bibliográfico), tem como objetivo apresentar um panorama da recepção de Ibsen no Brasil. O primeiro volume traz uma avaliação da fortuna crítica de Ibsen no Brasil, passando pelas idéias teatrais do século XIX, pela modernização do teatro nos anos 1940, até chegar às tendências críticas contemporâneas. O segundo traz os textos mais relevantes para o entendimento da obra do dramaturgo, publicados no Brasil entre 1895 e 2002. Por fim, o terceiro apresenta os dados bibliográficos sobre as traduções brasileiras das peças do autor; sobre as montagens realizadas no teatro e na tv; sobre os livros, capítulos de livros, prefácios e textos publicados em periódicos sobre o dramaturgo. Com esse percurso, buscou-se compreender o modo de assimilação do teatro ibseniano pela crítica brasileira, levando em consideração as influências estrangeiras, especialmente a francesa. Ao mesmo tempo, procurouse ressaltar os momentos de ruptura com essa tradição, sobretudo a partir das reflexões de Antonio de Alcântara Machado, Otto Maria Carpeaux e Anatol Rosenfeld, que deram uma nova orientação para a leitura das peças de Ibsen. / This work, composed of three volumes (I. Historiography; II. Selection of critical texts; and III. Bibliographical catalogue), presents an overview of the reception of Ibsen in Brazil. The first volume is an assessment of the rich and varied criticism Ibsen received in Brazil within the context of the theatrical ideas of the nineteenth century, the modernization of the theatre in the 1940s, until the contemporary level of critical trends. The second selects the most relevant texts in order to understand the works of the playwright, which were published in Brazil from 1985 and 2002. Finally, the third presents bibliographical information on Brazilian translations of his plays; on adaptations carried through in theatre and on TV; in books, book chapters, prefaces and texts published in periodicals about the playwright. Through this route, an attempt was made to understand the way Ibsenian theatre was assimilated by Brazilian critics, taking into account foreign influences, especially of French origin. At the same time, we attempt to highlight examples of breaking from such tradition, especially considering the thoughts of Antonio de Alcântara Machado, Otto Maria Carpeaux and Anatol Rosenfeld, who gave us another approach to the studies of Ibsen\'s plays.

Este trabalho, composto de três volumes (I. Historiografia; II. Seleção de textos críticos; e III. Catálogo bibliográfico), tem como objetivo apresentar um panorama da recepção de Ibsen no Brasil. O primeiro volume traz uma avaliação da fortuna crítica de Ibsen no Brasil, passando pelas idéias teatrais do século XIX, pela modernização do teatro nos anos 1940, até chegar às tendências críticas contemporâneas. O segundo traz os textos mais relevantes para o entendimento da obra do dramaturgo, publicados no Brasil entre 1895 e 2002. Por fim, o terceiro apresenta os dados bibliográficos sobre as traduções brasileiras das peças do autor; sobre as montagens realizadas no teatro e na tv; sobre os livros, capítulos de livros, prefácios e textos publicados em periódicos sobre o dramaturgo. Com esse percurso, buscou-se compreender o modo de assimilação do teatro ibseniano pela crítica brasileira, levando em consideração as influências estrangeiras, especialmente a francesa. Ao mesmo tempo, procurouse ressaltar os momentos de ruptura com essa tradição, sobretudo a partir das reflexões de Antonio de Alcântara Machado, Otto Maria Carpeaux e Anatol Rosenfeld, que deram uma nova orientação para a leitura das peças de Ibsen. / This work, composed of three volumes (I. Historiography; II. Selection of critical texts; and III. Bibliographical catalogue), presents an overview of the reception of Ibsen in Brazil. The first volume is an assessment of the rich and varied criticism Ibsen received in Brazil within the context of the theatrical ideas of the nineteenth century, the modernization of the theatre in the 1940s, until the contemporary level of critical trends. The second selects the most relevant texts in order to understand the works of the playwright, which were published in Brazil from 1985 and 2002. Finally, the third presents bibliographical information on Brazilian translations of his plays; on adaptations carried through in theatre and on TV; in books, book chapters, prefaces and texts published in periodicals about the playwright. Through this route, an attempt was made to understand the way Ibsenian theatre was assimilated by Brazilian critics, taking into account foreign influences, especially of French origin. At the same time, we attempt to highlight examples of breaking from such tradition, especially considering the thoughts of Antonio de Alcântara Machado, Otto Maria Carpeaux and Anatol Rosenfeld, who gave us another approach to the studies of Ibsen\'s plays.

The purpose of this thesis is to survey Sir Arthur Wing Pinero's treatment and development of the leading women in four of his most highly regarded "social" plays. Their texts will be analyzed carefully in order to arrive at answers to the following questions: What problems do these women confront and how do they attempt to solve them? What are the factors which determine their success or failure? Are their failures due to inherent flaws in character or outside influences? To what extent do these women control their destiny? What common traits do these women possess and in what respects do they differ? What is Pinero's idea of women's role in society, and what is his idea of women in general? What can one learn of Pinero's art from a study of these women?

This thesis examines the content and reception of Ibsen's Peer Gynt. Chapter I begins with a summary of Ibsen's life and influences, placing Ibsen and his plays into a historical context. Chapter II is a detailed explication of .Peer Gynt, which illustrates the correlation between Ibsen's biography and Peer's life, the extensive use of Nordic folklore and the philosophy of Kierkegaard, Goethe, and Hegel. These issues and ideas are examined in order to create a theory of Ibsen's intended message to the public. In chapter III the immediate reception of Peer Gynt in Scandinavia is discussed, as well as the extended reception of Peer Gynt in Germany. This demonstrates the difference in the critics' reception, in relation to their time period, culture, and translation. The nationalistic German Dietrich Eckart is an extreme example of how a trusted translator of Peer Gynt produced a falsified translation of the dramatic poem, which he used to promote an ideal specific to his time period and culture, thus illustrating how a falsified translation can affect the interpretation and criticism of a text. The thesis concludes by demonstrating how important translation is as a factor in the critical reception of a text.

Edvard Grieg (1843-1907) is the representative of Norway Nationalism composer in the nineteenth century. His compositions consist of orchestral pieces, concertos, piano pieces and songs. Most of his works use Norwegian folksong. He promoted Norwegian folksong throughout his creative career. In 1874, Grieg collaborated with the playwright, Henrik Ibsen (1828-1906), in Ibsen¡¦s new play ¡§Peer Gynt¡¨ (1874-1876). The play contains twenty-three incidental music. Few years later (1888 & 1892), Grieg chose and rearranged eight popular pieces of ¡§Peer Gynt,¡¨ and separated them into two suites. This thesis is divided into two sections, excluding the introduction and conclusion. The first section discusses the biography of Grieg and Ibsen, and the correlation of their lives and background of the ¡§Peer Gynt.¡¨ The second section analyzes the form and characteristics of eight pieces from ¡¥Peer Gynt¡¦ Suites No. 1 and 2, and it also discusses the interpretation from a conductor¡¦s viewpoint. Examples are also provided in the discussion.

Zugl.: Kiel, Univ., Diss., 2006 / Hergestellt on demand

A presente pesquisa busca analisar e comparar as peças All My Sons [Todos Eram Meus Filhos] (1947) e An Enemy of the People [Um Inimigo do Povo] (1951), do dramaturgo norte-americano Arthur Miller (19152005). Em dois momentos cruciais da história norte-americana (o pósguerra e o macarthismo, respectivamente) Miller recorre ao dramaturgo norueguês Henrik Ibsen (1828 1906) para responder artistica e politicamente a essas situações. Tal resposta teve um forte impacto na estrutura formal dessas peças em um período no qual Arthur Miller pensava em desistir de ser dramaturgo. Em All My Sons, a Técnica Analítica, teorizada por Peter Szondi em Teoria do Drama Moderno, coloca no palco o passado e sua análise como elementos essenciais de ação, contradizendo fundamentalmente os princípios rigorosos do drama. A estrutura Greco-Ibseniana presente na peça é também um dos recursos pelos quais a peça alcança um efeito singular no qual forma e conteúdo interagem dialeticamente e contribuem para que Arthur Miller ocupe uma posição de destaque entre os dramaturgos norte-americanos. Em An Enemy of the People, Miller recorre novamente a Ibsen de maneira mais direta, sendo esta peça originalmente escrita pelo próprio norueguês e reescrita/adaptada por Arthur Miller no contexto do macarthismo. Sua forma, segundo teoriza Raymond Williams em Tragédia Moderna, é a da Tragédia Liberal cuja marca mais essencial é a de discutir a luta do homem contra sua sociedade. As aproximações e distanciamentos entre ambas as versões (a de Ibsen e a de Miller) levarão a uma reflexão sobre o tipo de adaptação que Arthur Miller buscou fazer e como isso representou um avanço formal. O estudo e a elucidação do processo formal em que ambas as peças estão ancoradas, apontam para uma fusão dos ideais de Miller enquanto escritor e cidadão e que ajudaram a revolucionar o teatro norte-americano. Ao escrever tais peças, Miller atesta a necessidade de se pensar e refletir trazendo a fúria, a lucidez e a coerência de Henrik Ibsen para o olho do furacão nos Estados Unidos. / The research focuses on the analysis and comparison of the plays All My Sons (1947) and An Enemy of the People (1951), by American playwright Arthur Miller (19152005). In two crucially important moments of American History (PostWar period and McCarthyism, respectively) Miller turns to Norwegian playwright Henrik Ibsen (18281906) to respond both artistically and politically to these situations. Such a response had a strong impact on the formal structure of the plays at a time in which Arthur Miller was almost giving up on being a dramatist. In All My Sons, the Analytical Technique, theorized by Peter Szondi in Theory of Modern Drama, places the past and its analysis on stage as essential elements of action, fundamentally contradicting the strict principles of drama. The Greco-Ibsen structure present in the play is also one of the elements that helps the play reach a remarkable effect in which form and content interact dialectically and contribute to exalt Arthur Millers position as a singular figure among other American dramatists. In An Enemy of the People, Miller turns to Ibsen once again in a direct way by choosing this play which had been originally written by the Norwegian playwright himself and now adapted by Arthur Miller in the context of McCarthyism. Its form, according to what Raymond Williams says in Modern Tragedy, is that of the Liberal Tragedy whose most essential mark is to discuss the struggle of man against his own society. The proximities and detachments between both versions (Ibsens and Millers) will lead to some reflection about which kind of adaptation Arthur Miller tried to have and how it endorsed a formal advance. The study and elucidation of the formal process in which both plays are rooted, point out to a merging of Millers ideals as a writer and citizen which helped revolutionize the American theater. By writing such plays, Miller attests the need to think and reflect, bringing the fury, the lucidity and the coherence of Henrik Ibsen to the eye of the storm within the United States

A presente pesquisa busca analisar e comparar as peças All My Sons [Todos Eram Meus Filhos] (1947) e An Enemy of the People [Um Inimigo do Povo] (1951), do dramaturgo norte-americano Arthur Miller (19152005). Em dois momentos cruciais da história norte-americana (o pósguerra e o macarthismo, respectivamente) Miller recorre ao dramaturgo norueguês Henrik Ibsen (1828 1906) para responder artistica e politicamente a essas situações. Tal resposta teve um forte impacto na estrutura formal dessas peças em um período no qual Arthur Miller pensava em desistir de ser dramaturgo. Em All My Sons, a Técnica Analítica, teorizada por Peter Szondi em Teoria do Drama Moderno, coloca no palco o passado e sua análise como elementos essenciais de ação, contradizendo fundamentalmente os princípios rigorosos do drama. A estrutura Greco-Ibseniana presente na peça é também um dos recursos pelos quais a peça alcança um efeito singular no qual forma e conteúdo interagem dialeticamente e contribuem para que Arthur Miller ocupe uma posição de destaque entre os dramaturgos norte-americanos. Em An Enemy of the People, Miller recorre novamente a Ibsen de maneira mais direta, sendo esta peça originalmente escrita pelo próprio norueguês e reescrita/adaptada por Arthur Miller no contexto do macarthismo. Sua forma, segundo teoriza Raymond Williams em Tragédia Moderna, é a da Tragédia Liberal cuja marca mais essencial é a de discutir a luta do homem contra sua sociedade. As aproximações e distanciamentos entre ambas as versões (a de Ibsen e a de Miller) levarão a uma reflexão sobre o tipo de adaptação que Arthur Miller buscou fazer e como isso representou um avanço formal. O estudo e a elucidação do processo formal em que ambas as peças estão ancoradas, apontam para uma fusão dos ideais de Miller enquanto escritor e cidadão e que ajudaram a revolucionar o teatro norte-americano. Ao escrever tais peças, Miller atesta a necessidade de se pensar e refletir trazendo a fúria, a lucidez e a coerência de Henrik Ibsen para o olho do furacão nos Estados Unidos. / The research focuses on the analysis and comparison of the plays All My Sons (1947) and An Enemy of the People (1951), by American playwright Arthur Miller (19152005). In two crucially important moments of American History (PostWar period and McCarthyism, respectively) Miller turns to Norwegian playwright Henrik Ibsen (18281906) to respond both artistically and politically to these situations. Such a response had a strong impact on the formal structure of the plays at a time in which Arthur Miller was almost giving up on being a dramatist. In All My Sons, the Analytical Technique, theorized by Peter Szondi in Theory of Modern Drama, places the past and its analysis on stage as essential elements of action, fundamentally contradicting the strict principles of drama. The Greco-Ibsen structure present in the play is also one of the elements that helps the play reach a remarkable effect in which form and content interact dialectically and contribute to exalt Arthur Millers position as a singular figure among other American dramatists. In An Enemy of the People, Miller turns to Ibsen once again in a direct way by choosing this play which had been originally written by the Norwegian playwright himself and now adapted by Arthur Miller in the context of McCarthyism. Its form, according to what Raymond Williams says in Modern Tragedy, is that of the Liberal Tragedy whose most essential mark is to discuss the struggle of man against his own society. The proximities and detachments between both versions (Ibsens and Millers) will lead to some reflection about which kind of adaptation Arthur Miller tried to have and how it endorsed a formal advance. The study and elucidation of the formal process in which both plays are rooted, point out to a merging of Millers ideals as a writer and citizen which helped revolutionize the American theater. By writing such plays, Miller attests the need to think and reflect, bringing the fury, the lucidity and the coherence of Henrik Ibsen to the eye of the storm within the United States

No description available.

Este trabalho pretende, a partir da análise das obras literárias Casa de Boneca (1879) de Henrik Ibsen e Dom Casmurro (1899) de Machado de Assis, verificar a atualidade da crise representada nas personagens femininas Nora e Capitu. Trata-se de identificar a relação entre forma artística e a experiência, tendo em vista o jogo de espelhos entre arte e vida. Reconhecer, portanto, como a estrutura social, mais especificamente a familiar, está refletida no drama e no romance do século XIX. Desde a cisão entre esfera pública e doméstica traçar encontros e desencontros entre as personagens que estão inseridas na ficção presas na rede do patriarcado. A crise flagrada com a saída de Nora e o exílio de Capitu nos deixa a pergunta sobre que tipo de sociabilidade somos capazes de construir sob a exclusão inevitável proposta pelo sistema capitalista. / The aim of this study is to anylise two literary works: Casa de Boneca (Doll\'s House) by Henrik Ibsen (1879) and Dom Casmurro by Machado de Assis (1899). The main idea was to verify if the crisis represented by the two female characters, Nora and Capitu, can be found nowadays. In other words, the objective is to identify the relationship between the artistic form and the real experience, focusing on situations as mirror games envolving life and art. Therefore, we will answer how the social and more specifically the family structure is reflected in the drama and in the romance of the 19th century. Based on the breaking of the social and the family actions, the profile of similarities and divergences between the characters that are inserted in the fiction, are captured and the domination of a patriarch emerges. From the crisis which made Nora leave home and provoked Capitus exile, a question arises: what type of social relationships are we able to construct under the inevitable circumstances of exclusion imposed by the capitalism society.