This study addresses the theatre of Romeo Castellucci’s group, the Socìetas Raffaello Sanzio, and its director’s engagement with visual arts. In particular, the study analyses the tenth episode M#10 Marseille of Castellucci’s major production Tragedia Endogonidia, a work composed of 11 episodes, each dealing with a European capital. Using the notion of intermediality, this thesis demonstrates how an intermedial performance integrates questions and principles connected with visual arts within the framework of a new concept of performance called ‘interformance’. The author introduces Henk Oosterling’s definition of intermediality where he uses Derrida’s theory of différance to explain the notion as a back and forth movement created by the interaction of media whose differences produce tension within the spectators. This tension suspends and postpones the audience’s meaning generation, thus opening the possibility of a multiplicity of meanings. As a result, the meaning of an interformance directly depends on the interrelationship of media and the subjectivity of the spectator.

Esta pesquisa se dedica à investigação dos modos de invenção em arte que utilizam como base da sua construção a materialidade técnica e tecnológica. Partimos de uma pesquisa-ação, que teve como objetivo principal o desenvolvimento de metodologias possíveis para a inserção de conteúdos relacionados à cena intermedial na formação de docentes de teatro. Sistematizamos um estudo de caso alicerçado em duas produções artísticas contemporâneas: Shary Boyle e Collectif Lebovitz. Nos aproximamos de seus processos criativos com o maquínico, destacando em seus modos de agir a elaboração de uma mentalidade técnica associada ao conhecimento das etapas de concretização dos aparelhos, ciclos de invenção e modulações criativas pertinentes aos processos em grupo. Em paralelo empreendemos cursos de extensão voltados para alunos das Licenciaturas em Teatro das universidades UFMA e UFRGS, com o intuito de experimentarmos modos de encenar e apreciar a cena intermedial, partindo de uma perspectiva ética/ estética, deslocando-nos da primazia humanista ou tecnicista para uma uma ênfase sobre a correlação dos processos de individuação entre homem e máquina. A referida mudança de perspectiva, no contexto desta investigação, gerou a construção da disciplina Laboratório de Arte, Tecnologia e Educação, componente curricular obrigatório do Curso de Licenciatura em Teatro da UFMA, que pretende atuar como rearticulador de uma mentalidade técnica, voltada para o ensino e apreciação da Cena Intermedial nos contextos formativos das Licenciaturas em Teatro no Brasil. / This research is dedicated to investigates ways of the invention in art; that uses as a basis for this construction, the technical and technological materiality. We start from an action research, which aimed to develop possible methodologies for the inclusion of content related to the intermedial scene, in the formation of drama teachers. We systematized a study of case, starting from two contemporary art productions: Shary Boyle and Colecttif Lebovitz. We approached from their creative processes with the machinic, highlighting in his ways, the development of a technical mentality associated with knowledge of the stages of concretization of the device, invention cycles, and relevant creative modulations to processes in a group. In parallel, we organized extension courses for Undergraduate Drama Teachers of UFMA and UFRGS universities, to experience ways to stage and appreciate the intermedial scene, starting from an ethical/aesthetic perspective, shifting the humanist or technicalities primacy, for a correlation to the individuation process between man and machine. That change of perspective, in the context of this investigation, led to the construction of the discipline Laboratory of Art, Technology and Education. This compulsory curricular component in the UFMA degree in theater acts as an articulator of technical mentality, focused on teaching and appreciation of Intermedial scene in the formative context of undergraduate drama teachers in Brazil.

Esta pesquisa se dedica à investigação dos modos de invenção em arte que utilizam como base da sua construção a materialidade técnica e tecnológica. Partimos de uma pesquisa-ação, que teve como objetivo principal o desenvolvimento de metodologias possíveis para a inserção de conteúdos relacionados à cena intermedial na formação de docentes de teatro. Sistematizamos um estudo de caso alicerçado em duas produções artísticas contemporâneas: Shary Boyle e Collectif Lebovitz. Nos aproximamos de seus processos criativos com o maquínico, destacando em seus modos de agir a elaboração de uma mentalidade técnica associada ao conhecimento das etapas de concretização dos aparelhos, ciclos de invenção e modulações criativas pertinentes aos processos em grupo. Em paralelo empreendemos cursos de extensão voltados para alunos das Licenciaturas em Teatro das universidades UFMA e UFRGS, com o intuito de experimentarmos modos de encenar e apreciar a cena intermedial, partindo de uma perspectiva ética/ estética, deslocando-nos da primazia humanista ou tecnicista para uma uma ênfase sobre a correlação dos processos de individuação entre homem e máquina. A referida mudança de perspectiva, no contexto desta investigação, gerou a construção da disciplina Laboratório de Arte, Tecnologia e Educação, componente curricular obrigatório do Curso de Licenciatura em Teatro da UFMA, que pretende atuar como rearticulador de uma mentalidade técnica, voltada para o ensino e apreciação da Cena Intermedial nos contextos formativos das Licenciaturas em Teatro no Brasil. / This research is dedicated to investigates ways of the invention in art; that uses as a basis for this construction, the technical and technological materiality. We start from an action research, which aimed to develop possible methodologies for the inclusion of content related to the intermedial scene, in the formation of drama teachers. We systematized a study of case, starting from two contemporary art productions: Shary Boyle and Colecttif Lebovitz. We approached from their creative processes with the machinic, highlighting in his ways, the development of a technical mentality associated with knowledge of the stages of concretization of the device, invention cycles, and relevant creative modulations to processes in a group. In parallel, we organized extension courses for Undergraduate Drama Teachers of UFMA and UFRGS universities, to experience ways to stage and appreciate the intermedial scene, starting from an ethical/aesthetic perspective, shifting the humanist or technicalities primacy, for a correlation to the individuation process between man and machine. That change of perspective, in the context of this investigation, led to the construction of the discipline Laboratory of Art, Technology and Education. This compulsory curricular component in the UFMA degree in theater acts as an articulator of technical mentality, focused on teaching and appreciation of Intermedial scene in the formative context of undergraduate drama teachers in Brazil.

This study addresses the theatre of Romeo Castellucci’s group, the Socìetas Raffaello Sanzio, and its director’s engagement with visual arts. In particular, the study analyses the tenth episode M#10 Marseille of Castellucci’s major production Tragedia Endogonidia, a work composed of 11 episodes, each dealing with a European capital. Using the notion of intermediality, this thesis demonstrates how an intermedial performance integrates questions and principles connected with visual arts within the framework of a new concept of performance called ‘interformance’. The author introduces Henk Oosterling’s definition of intermediality where he uses Derrida’s theory of différance to explain the notion as a back and forth movement created by the interaction of media whose differences produce tension within the spectators. This tension suspends and postpones the audience’s meaning generation, thus opening the possibility of a multiplicity of meanings. As a result, the meaning of an interformance directly depends on the interrelationship of media and the subjectivity of the spectator.

En este artículo se presenta el análisis de la película The Happy Prince (2018), escrita, dirigida y protagonizada por Rupert Everett, actor inglés con una amplia carrera wildeana. El filme ha integrado en su narrativa pasajes clave del cuento de 1888 “The Happy Prince”, relatados en inglés y francés por el personaje de Oscar Wilde. Debido a estos cambios de medio y de lengua —traducción intermedial e intersistémica en la terminología de Kaindl (2020)—, la película revela dimensiones sobre las infancias queer no exploradas en investigaciones precedentes en torno a este cuento y sus traducciones. Asimismo, los subtítulos de la película en español muestran cómo la “fosilización” de una decisión traductora de las primeras décadas del siglo xx, que omite la pasión intermasculina, resulta en el síntoma de una manipulación cuando interactúan tres sistemas lingüísticos a la vez en pantalla. / The author of the article presents an analysis of The Happy Prince (2018), a film written, directed, and starred by Rupert Everett —an English actor with an extensive Wildean career—. The film has integrated key excerpts from the 1888 fairy tale “The Happy Prince” narrated in English and French by Oscar Wilde’s character at different points in the film. Because of these changes of medium and language —inter-medial and inter-systemic translation in Kaindl’s (2020) terminology—, the film reveals dimensions of the queer child obviated from previous research about this short story and its translations. Also, the Spanish subtitles of the film reveal how the “fossilization” of a translation decision from the first decades of the twentieth century omitting inter-male passion becomes a symptom of such narrative manipulation when three language systems interact simultaneously on screen.

Made available in DSpace on 2016-03-15T19:45:41Z (GMT). No. of bitstreams: 1 Juliana Vilar Rodrigues Cardoso.pdf: 3687764 bytes, checksum: bc551d05b01bc005918918610d65d400 (MD5) Previous issue date: 2012-08-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The relationship between literature and the visual arts is very old and can be found in recreations such as the images made by Delacroix for Goethe s Faust and by Flaxman for Dante s The Divine Comedy. Lasar Segall s lithographs inspired by the short story A gentle creature, by Fyodor Dostoevsky, show that this relationship is still relevant in the twentieth century. The objective of this research is to analyse Dostoevsky s short story and Segall s lithographs and observe the language that each of these artists used to create characters who express their own inner world. Based on the concept of self-awareness developed by Mikhail Bakhtin, we will observe the construction of the short story s main character, which is a man who is distant from reality but finally realizes the truth about himself. We will also discuss the way in which Lasar Segall, who at the time was part of the German Expressionist movement, uses Dostoevsky s text to produce his lithographs, or more specifically, we will analyze the graphic elements used by him to convey the inner world of the characters and the tragic aspect found in the short story. / A relação entre a literatura e as artes visuais é muito antiga e pode ser observada em recriações como as imagens feitas por Delacroix para Fausto, de Goethe, e por Flaxman para A divina comédia, de Dante. As litografias de Lasar Segall, inspiradas na novela Uma criatura dócil, de Fiódor Dostoiévski, demonstram que essa relação continua de forma marcante no século XX. O objetivo desta pesquisa é, a partir da análise dialógica entre a referida novela de Dostoiévski e as litografias de Segall, observar a linguagem que cada um desses artistas utilizou para criar personagens que expressassem seu próprio mundo interior. Nesse processo investigativo, será examinado como ocorre a passagem de uma linguagem para outra, tendo, como fundamentação teórica, os estudos da Intermidialidade. Partindo do conceito de autoconsciência elaborado por Mikhail Bakhtin, observaremos a construção da personagem principal da novela, que é um homem que se encontra no limiar, bem como sua trajetória, que passa pela confissão e pelo arrependimento, para, finalmente, chegar à verdade sobre si mesmo. Discutiremos, ainda, a maneira como Lasar Segall, que nesta época fazia parte do movimento Expressionista alemão, utiliza o texto-fonte de Dostoiévski para produzir suas litografias, ou mais especificamente, iremos analisar os elementos gráficos por ele utilizados para transmitir, imageticamente, o mundo interior das personagens e o caráter trágico encontrados na novela.

This study intends to examine the impact of a well known debate page in one of Sweden’s biggest newspapers, Dagens Nyheter. We have done this by analysing Ekot, Aktuellt, Göteborgs Posten and Västerbottens-Kuriren to see to what extent they “take” news from the debate page. The method used was content analysis and to describe some of our thoughts about how we placed the hits in different categories we chose eight of our hits to exemplify. The material from the newspapers, radio and television was examined to discover the potential impact from the debate page. To carry out this study we have mainly used theories about how media get influenced by each other’s news and how they do follow-ups and refer to the original media. Other theories of importance for our study are for example those about what kinds of events that become news and how media influences people’s thoughts about what’s important. One of the most important conclusions we were able to draw after carrying out our study was that the debate page in Dagens Nyheter has quite a small impact on what our chosen media reported on. The biggest impact was found in the newspapers, whereas radio and television very seldom referred to the debate page. To sum up, one can absolutely say that the debate page in Dagens Nyheter is powerful and do have impact on other media, but an article published on the page is not automatically discussed and debated in other media during the day.

<p>This study intends to examine the impact of a well known debate page in one of Sweden’s biggest newspapers, Dagens Nyheter. We have done this by analysing Ekot, Aktuellt, Göteborgs Posten and Västerbottens-Kuriren to see to what extent they “take” news from the debate page.</p><p>The method used was content analysis and to describe some of our thoughts about how we placed the hits in different categories we chose eight of our hits to exemplify.</p><p>The material from the newspapers, radio and television was examined to discover the potential impact from the debate page.</p><p>To carry out this study we have mainly used theories about how media get influenced by each other’s news and how they do follow-ups and refer to the original media. Other theories of importance for our study are for example those about what kinds of events that become news and how media influences people’s thoughts about what’s important.</p><p>One of the most important conclusions we were able to draw after carrying out our study was that the debate page in Dagens Nyheter has quite a small impact on what our chosen media reported on. The biggest impact was found in the newspapers, whereas radio and television very seldom referred to the debate page.</p><p>To sum up, one can absolutely say that the debate page in Dagens Nyheter is powerful and do have impact on other media, but an article published on the page is not automatically discussed and debated in other media during the day.</p>

Theoretical and project diploma thesis focuses on elaboration of the thematic art series named "Water" and its realization in art classes of middle aged children at the elementary school. The theoretical part brings the general insight into the problematics of water in art and project teaching. The project part follows and it is composed of seven proposed lectures of art lessons. The description of realizations and didactic analysis of the lectures are included in the project part as well. The diploma thesis is complemented with picture attachments, photo documentation of sectional lessons and proposed structured preparation of lessons.

The thesis explores the role of music in Günter Grass’s novels. In pointing out the vital role of intermediality for Grass’s narrative strategies, the thesis opens up for a new, intermedial perspective on his work. It shows how references to music are used to realise Grass’s poetological concept “paspresenture” – the simultaneous presence of past, present and future – as well as his constant strive towards concreteness. The study draws on theories of intermediality, with a special focus on the role of transmedial media characteristics. It develops a transmedial methodology for analysing intermedial references, stressing how the notion of “musicality” within the text is created by media characteristics shared by both music and literature. Intermedial references are conceived as highlighting structures that are inherent in literature. The textual analyses of The Tin Drum (1959), Too Far Afield (1995) and Crabwalk (2002) are divided into three steps. First, explicit musical references in the narratives are interpreted as indexes pointing towards transmedial structures relevant to this specific context. Second, the examination demonstrates the prominent role of transmedial characteristics such as repetitivity, contrast, simultaneity and performativity within the texts. Third and last, the function of musical reference is discussed: in all three narratives, the focus on transmedial structures supplies a more consistent interpretation of passages which otherwise prove difficult to decipher. In Grass’s fiction, issues appear not to be discussed but performatively reenacted and thus remind more of musical than literary development. What is more, music – as handled by Grass – does not appear absolute or transcendent; rather, its manipulative potential is always prominent. However, the way musical references are used to realise Grass’s poetological aims stresses the bodily presence of musical performance, thus making music appear as the performative realisation of time.