God is revealed through Scripture and the Incarnation as desiring to establish loving relationships with others beyond the Trinity. In the beginning he did so by creating human beings, and making himself, his desires, and his ways known to them. He chose to do so through particular actions and encounters in history which involved various forms of embodied manifestation, and led up to the supreme manifestation: the enfleshing of Jesus. Following on from the acts of Jesus which perfectly manifested God and his ways to the world in the flesh, human creatures created in the image of God and united to Christ are also called and gifted by God to manifest God's presence, activity, and ways in this world by using their bodies to live faithfully and responsively to the leading of the Spirit. In order to investigate and demonstrate these claims, Part I of the thesis examines a selection of precedent-setting events chronicled in the Old Testament in which God manifested his presence and ways to people in a variety of circumstances. Part II is concerned with a theological examination of God's manifestations and the roles people can and should play in these manifestations. It begins by engaging with reflections on the subject from the early church fathers Irenaeus, Athanasius, and Augustine; and, in keeping with the Reformed approach taken in the thesis generally, this is followed by in-depth treatments of Reformer John Calvin and Reformed theologian Karl Barth on the revelation, manifestation, and proclamation of God by people in this world. Having substantiated the claim that how people live is significant and of concern to God as it can impinge upon his ongoing desire to make himself and his ways known, Part III is designed to provide a fuller understanding of some of the meaning and significance conveyed by bodily expressions in human interactions with an eye towards seeking ways to live more faithfully to God. It identifies the theatre, particularly improvisational theatre, as a laboratory for understanding human living, and so explores the insights of theatre practitioners into everyday living; while also considering the work of philosophers of language and sociologists who do the same. Through this spotlight on the theatricality of life the case is made for attempting to live responsively, in keeping with improvisational actors, in ways that are faithful to God and which can serve to aid those united to Christ as they seek to make God known to others.

Ao final do século XX, o teatro de pesquisa como prática artística tornou-se teatralmente verossímil, culturalmente aceitável e economicamente possível na cidade de São Paulo. Esta dissertação de mestrado procura investigar que condições possibilitaram a consolidação de tal expediente teatral. Uma geração de criadores jovens formados no final dos anos 1980 contribuiu para instaurar novos modos de produção cênica na cidade. Para realizar a análise da cena paulistana na década de 90 do século XX, detenho-me em dois grupos formados no período: o Teatro da Vertigem e a Cia. de Teatro Os Satyros. Analiso a trajetória de cada um dos grupos e busco evidenciar como contribuíram, cada um a seu modo, para a organização de determinadas práticas teatrais na capital paulistana: o Teatro da Vertigem como grupo originado na universidade, e a Cia de Teatro Os Satyros engajada na manutenção empresarial de suas atividades. Ao longo dos anos 1990 e 2000, foi elaborada uma estrutura de modo a assegurar o teatro da pesquisa: políticas de financiamento público; criação de universidades em artes cênicas; definição de uma agenda para pesquisa de linguagem... Experiência social e convenções teatrais misturaram-se, então, num sistema que se modifica constantemente, gerando novos padrões de criação e de produção artística. / At the end of the 20th century, the research theater as an artistic practice became theatrically plausible, culturally acceptable and economically viable in the city of São Paulo. This masters dissertation tries to investigate what were the conditions that enabled the consolidation of such theater resource. A generation of creators young people graduated at the end of the 1980s helped introduce new scenic production techniques in the city. To analyze the São Paulo scene in the last decade of the 20th century, I focus on two groups from the period: Teatro da Vertigem and Cia. de Teatro os Satyros. I analyze the trajectory of each group and try to show how they contributed, each in its own way, to the organization of certain theater practices in the capital city of São Paulo: the theater group Teatro da Vertigem, coming from the university environment, and the theater group Cia de Teatro os Satyros, engaged in the business management of its activities. Over the years 1990 and 2000, a structure was developed so that research could be done: public funding policies; creation of colleges in performing arts; definition of an agenda for language research and so on. Social experience and theatrical conventions were then combined to form a system that is continuously changing and generating new patterns of creation and artistic production.

Orientador: Renata Soares Junqueira / Banca: José Pedro Antunes / Banca: Lílian Lopondo / Resumo: Em Portugal, durante o Estado Novo, apesar de a comissão de censura proibir a obra do dramaturgo alemão Bertolt Brecht (1889-1956), os dramaturgos, atores e diretores conseguiram, de alguma forma, adquirir conhecimento sobre os pressupostos do teatro épico brechtiano e praticá-los nas suas criações dramatúrgicas e encenações. Assim, algumas das peças produzidas pela dramaturgia portuguesa na segunda metade do século XX, além de explorarem freqüentemente temas históricos - a fim de tratar do passado com vistas a analisar o momento presente -, anunciavam a estética do teatro épico de Brecht como uma inovação das formas dramáticas praticadas até então. Frutos da perspectiva brechtiana de teatro épico, O render dos heróis (1960), de José Cardoso Pires (1925-1998) e Felizmente há luar! (1961), de Luís de Sttau Monteiro (1926-1993) constituem o corpus desta Dissertação de Mestrado. Essas peças apresentam no seu enredo fatos remanescentes ou antecedentes da Revolução Liberal de 1820, com o objetivo de - por meio da alegoria - levar o leitor / espectador a uma análise crítica da situação político-social de Portugal sob o regime ditatorial de António de Oliveira Salazar. Analisamos as formas de apropriação do efeito de distanciamento - elemento caracterizador do teatro épico brechtiano - nessas peças, bem como a relação delas com o período político marcado pela censura salazarista. Para isso, a nossa base teórica é constituída principalmente pelas teorias acerca do teatro épico de Brecht, considerando-as no contexto do teatro português da década de 1960. / Abstract: In Portugal, during the Estado Novo period, although the censorship committee prohibited the work by German dramatist Bertolt Brecht (1889-1959), dramatists, actors, and directors were able to, somehow, acquire knowledge concerning the assumptions of Brechtian epic theater and put them into practice in their dramaturgical creations and staging. This way, some of the plays produced by Portuguese dramaturgy in the second half of the 20th century, besides frequently approaching historical themes (in order to discuss the past aiming at analyzing the present), articulated the aesthetics of Brecht's epic theater as an innovation of drama performed up to that point. Results of Brechtian perspective on epic theater, O render dos heróis (1960), by José Cardoso Pires (1925-1998) and Felizmente há luar! (1961), by Luís de Sttau Monteiro (1926-1993) are the corpus of this Master Degree's dissertation. These plays have, in their plots, facts which are reminiscent or antecedent of the Liberal Revolution in 1820, with the objective of - through its allegory - leading the reader to a critical analysis of Portugal's social-political situation under António de Oliveira Salazar's dictatorship regime. Analyze appropriation forms and the elaboration of the distancing effect - characteristic elements in Brechtian theater - in these plays, as well as the relation between these plays and the political period marked by the Salazarian dictatorship. For that matter, our theoretical foundation is mainly made up by theories regarding Brecht's epic theater, considering them in the Portuguese theater context in the 1960s. / Mestre

Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.

Made available in DSpace on 2016-12-08T16:52:07Z (GMT). No. of bitstreams: 1 Eder.pdf: 38290 bytes, checksum: 425bd9981240596ba378a95444691241 (MD5) Previous issue date: 2010-09-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to compose an overview of the history of Ruth Escobar s theatrical productions between 1959-1981, during which the actress/producer held the largest number of shows, and produced three international theater festivals. The text shows how the presence of Ruth Escobar in Brazilian Theatre contributed significantly to boost production scenic and theatrical aesthetics, either by making bold stage productions, is to promote exchanges with international directors. In the first part discusses the construction of Ruth Escobar s persona, the challenges faced by the Portuguese in their travels around the world and their strategies to turn adversity into achievement, a practice that has used throughout his career as a producer. This thesis addresses the first theatrical experiences of the actress and businesswoman in São Paulo, and describes the design and execution of theater projects, such as the National Popular Theater and the construction of its own theater, performed in a sociopolitical context of authoritarian military dictatorship. The second part of this research reflects on the difficulties they faced as Ruth Escobar theatrical producer to promote the three theater festivals in São Paulo in the decades of 1970/1980, which were important events for the national scene. The paper presents information on shows and festivals presented in this material relates to the monitoring of critical. Finally, the essay reflects on the inclusion of Ruth Escobar and his artistic practice and policy as part of renewal of the national scene / O presente trabalho tem como objetivo compor um panorama sobre a trajetória das produções teatrais de Ruth Escobar entre 1959-1981, período no qual a atriz/produtora realizou a maior quantidade de espetáculos, além de produzir três festivais internacionais de teatro. O texto aponta como a presença de Ruth Escobar no Teatro Brasileiro contribuiu significativamente para alavancar a produção cênica e oxigenar a estética teatral, seja através da realização de arrojados espetáculos, seja com a promoção de intercâmbios com encenadores internacionais. Na primeira parte deste se discute a construção da persona Ruth Escobar, os desafios enfrentados pela portuguesa em suas viagens pelo mundo e suas estratégias para converter situações adversas em conquistas, prática que utilizou ao longo de sua carreira como produtora. Essa dissertação aborda as primeiras experiências teatrais da atriz e empresária em São Paulo, e descreve a concepção e a execução de projetos teatrais, tais como o Teatro Popular Nacional, e a construção de seu próprio teatro, realizados em um contexto sociopolítico autoritário da ditadura militar. A segunda parte dessa pesquisa reflete sobre as dificuldades que Ruth Escobar enfrentou como produtora teatral para promover os três festivais de teatro na cidade de São Paulo nas décadas de 1970/1980, que constituíram importantes eventos para a cena nacional. O texto apresenta informações sobre os espetáculos apresentados nos festivais e relaciona esse material com o acompanhamento da crítica. Finalmente, a dissertação reflete sobre a inserção de Ruth Escobar e de sua prática artística e política como elemento de renovação da cena nacional

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-02Bitstream added on 2014-06-13T20:20:15Z : No. of bitstreams: 1 rodrigues_mr_me_arafcl.pdf: 518225 bytes, checksum: 8c92966968bbdf528a522e9deadd4293 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Em Portugal, durante o Estado Novo, apesar de a comissão de censura proibir a obra do dramaturgo alemão Bertolt Brecht (1889-1956), os dramaturgos, atores e diretores conseguiram, de alguma forma, adquirir conhecimento sobre os pressupostos do teatro épico brechtiano e praticá-los nas suas criações dramatúrgicas e encenações. Assim, algumas das peças produzidas pela dramaturgia portuguesa na segunda metade do século XX, além de explorarem freqüentemente temas históricos – a fim de tratar do passado com vistas a analisar o momento presente –, anunciavam a estética do teatro épico de Brecht como uma inovação das formas dramáticas praticadas até então. Frutos da perspectiva brechtiana de teatro épico, O render dos heróis (1960), de José Cardoso Pires (1925-1998) e Felizmente há luar! (1961), de Luís de Sttau Monteiro (1926-1993) constituem o corpus desta Dissertação de Mestrado. Essas peças apresentam no seu enredo fatos remanescentes ou antecedentes da Revolução Liberal de 1820, com o objetivo de – por meio da alegoria – levar o leitor / espectador a uma análise crítica da situação político-social de Portugal sob o regime ditatorial de António de Oliveira Salazar. Analisamos as formas de apropriação do efeito de distanciamento – elemento caracterizador do teatro épico brechtiano – nessas peças, bem como a relação delas com o período político marcado pela censura salazarista. Para isso, a nossa base teórica é constituída principalmente pelas teorias acerca do teatro épico de Brecht, considerando-as no contexto do teatro português da década de 1960. / In Portugal, during the Estado Novo period, although the censorship committee prohibited the work by German dramatist Bertolt Brecht (1889-1959), dramatists, actors, and directors were able to, somehow, acquire knowledge concerning the assumptions of Brechtian epic theater and put them into practice in their dramaturgical creations and staging. This way, some of the plays produced by Portuguese dramaturgy in the second half of the 20th century, besides frequently approaching historical themes (in order to discuss the past aiming at analyzing the present), articulated the aesthetics of Brecht’s epic theater as an innovation of drama performed up to that point. Results of Brechtian perspective on epic theater, O render dos heróis (1960), by José Cardoso Pires (1925-1998) and Felizmente há luar! (1961), by Luís de Sttau Monteiro (1926-1993) are the corpus of this Master Degree’s dissertation. These plays have, in their plots, facts which are reminiscent or antecedent of the Liberal Revolution in 1820, with the objective of – through its allegory – leading the reader to a critical analysis of Portugal’s social-political situation under António de Oliveira Salazar’s dictatorship regime. Analyze appropriation forms and the elaboration of the distancing effect – characteristic elements in Brechtian theater – in these plays, as well as the relation between these plays and the political period marked by the Salazarian dictatorship. For that matter, our theoretical foundation is mainly made up by theories regarding Brecht’s epic theater, considering them in the Portuguese theater context in the 1960s.