A pesquisa discute o processo de criação teatral, a partir de uma pesquisa empírica, tendo como mote a noção de intermedialidade. Para desenvolver essa investigação foram realizados dois experimentos cênicos curtos, intitulados Dispositivo Linha e Dispositivo Bolha. Estes dispositivos de prática cênica são estruturados a partir do conceito de intermedialidade, e de princípios de criação relacionados a esse conceito. Seus princípios foram articulados a partir de referências de práticas cênicas, como os ciclos RSVP e Repère e fundamentos do devinsing e environmental theater. Os processos de exploração prática tinham como foco a criação de material e composição de cenas intermediais, convocando uma reflexão sobre procedimentos de planejamento de ensaio do diretor de teatro. Os experimentos são analisados a partir do diário da pesquisadora, dos registros em vídeo, e das timelines, produzidas como parte da prática dos encontros. O estudo permite uma análise dos métodos, tanto técnicos quanto humanos, empregados no desenvolvimento destes processos de criação de uma cena intermedial. / The research discusses the theatrical creative process, from an empirical research, having as motif the notion of intermediality. To develop this investigation, two short scenical experiments are conducted, entitled Device Line and Device Bubble. These stagecraft devices are structured based on the concept of intermediality and creative principles related to this concept. This concept and its principles are articulated according to scenic practices such as RSVP and Repère cycles and fundamentals of devinsing and environmental theater. The practical exploration processes are focused on creating material and composition of intermedial scenes, demanding a reflection on theater director's planning procedures. These experiments are analyzed through materials such as the reseacher’s daily, video recordings and timelines, which is produced as part of the meetings practices. The study allows an analysis of the methods, both technical and human, employed in those proceedings to create a intermedial scene.

A presente pesquisa teórico-prática apresenta uma análise interdisciplinar da poética de obras de performance audiovisual, multimídia e intermídia, com ênfase em como a performatividade e a presença do artista na execução de sua obra estão imbricados na forma do trabalho, cuja composição é permeada por questões relacionadas ao seu dispositivo técnico. Ao abordar situações específicas de obras que imprimem movimento à forma final, a partir das quais consideramos evidenciarse a manifestação da \"mente corporificada\" do criador e inventor como ponto de conexão entre poética e meios empregados para sua execução, chegamos ao princípio das modalidades de presença poética, a partir do qual discutimos as relações entre corporalidade, performatividade e dispositivo técnico. Através de processo laboratorial de instauração de poética de trilogia de performances multimídia intitulado #LiveLivingPerformanceProject chegamos aos pontos teóricos relevantes do trabalho, entre eles os conceitos de mente corporificada (embodied mind), duplo digital (digital double), digital self e audiovisualidade sincrética digital. O projeto artístico multimídia resultante da pesquisa erige-se em um simbolismo transcendental, de livre adaptação e interpretação de arquétipos de mitologias femininas afrobrasileiras e a partir de especificidades da sabedoria dos povos originários, todos relacionados com os elementos da natureza, que serão foco central de instauração de poética do projeto. Calcados nos elementos da natureza, como forças fundantes de personificações simbólicas e psíquicas, demonstraremos como chegamos ao cerne da poética instaurada em #LiveLivingPerformanceProject ao longo do processo de investigação. Ao experimentar variadas interfaces digitais e sistemas audiovisuais, cruzando nossa experiência prática com observação de processos de instauração de trabalhos de performance, formamos nossa análise através da coesão entre processos práticos e operacionalização de conceitos de diferentes campos da filosofia, das artes das imagens em movimento e das performance arts que discutem questões como visibilidade, multimidialidade, intermedialidade, dispositivo técnico, poética, presença e duplo digital. / This practice-based thesis introduces an interdisciplinary analysis of the poetics of audiovisual performance, multimedia and intermedia works. Emphasizing on how the performativity and the presence of the artist in the execution of his work are intertwined in the form of the work; whose composition is permeated by issues related to its technical device. When discussing specific work situations that attach movement to the final shape; from which we consider evidencing the manifestation of the creator / inventor\'s \"embodied mind\" as the connection point, between poetic and the means employed for its execution, we come to the principle of presence modalities, from which we discuss the relationship between corporeality, performativity and technical device. By means of a laboratorial process to establish the trilogy of multimedia performance poetics, entitled #LiveLivingPerformanceProject, we come to the theoretical points that are relevant to the work, as embodied mind, digital double, digital self and digital syncretic audiovisuality. The multimedia artwork that results from the research is built in a transcendental symbolism. Of free adaptation and interpretation of the mythology of female African- Brazilian archetypes, as well as influences of the knowledge of native American peoples; all related to the elements of nature, that will be the central focus of the introduction of the poetics of the project. Paved with the elements of nature as the psychic and symbolic personifications founding forces, we will demonstrate how we got to the heart of the poetics, which is established throughout the research process. When experimenting with various digital interfaces and audiovisual systems, crossing our practical experience by observing establishment processes of performance projects, we form our analysis through the cohesion between practical processes, and operational concepts from different fields of philosophy, arts of moving images and performance arts, which discuss issues such as visibility, multimediality, intermediality, technical device, poetics, presence and digital double.

Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-24T14:11:37Z No. of bitstreams: 1 LENDO AMBIÊNCIAS - O REENCANTAMENTO DO MUNDO PELA TÉCNICA.pdf: 4800797 bytes, checksum: 4ee89c1d9994fe56b64a8072255352df (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-24T14:14:25Z (GMT) No. of bitstreams: 1 LENDO AMBIÊNCIAS - O REENCANTAMENTO DO MUNDO PELA TÉCNICA.pdf: 4800797 bytes, checksum: 4ee89c1d9994fe56b64a8072255352df (MD5) / Made available in DSpace on 2017-03-24T14:14:25Z (GMT). No. of bitstreams: 1 LENDO AMBIÊNCIAS - O REENCANTAMENTO DO MUNDO PELA TÉCNICA.pdf: 4800797 bytes, checksum: 4ee89c1d9994fe56b64a8072255352df (MD5) / Esta tese tem como objetivo principal demonstrar como e por que as materialidades da comunicação participam dos processos de construção de sentidos das obras de arte, influindo, desse modo, sobre um tipo de experiência sensível que, habitualmente, designamos com os termos atmosfera, clima e ambiência. Dentro dessa perspectiva, analisaremos um conjunto bastante heterogêneo de objetos: a canção “Penny Lane”, dos Beatles; o conto “São Marcos”, de Guimarães Rosa; o conto “A queda da casa de Usher”, de Edgar Allan Poe e suas respectivas versões em áudio, interpretada pelo ator Vincent Price, e para o cinema, realizada pelo diretor tcheco Jan Švankmajer; e, ainda, a adaptação cinematográfica do Fausto de Goethe feita pelo realizador russo Aleksandr Sokurov. Em todas essas obras, buscaremos refletir sobre uma questão que consideramos fundamental para a compreensão de determinados fenômenos do mundo contemporâneo: como a técnica opera, em termos qualitativos e quantitativos, sobre a própria estrutura da experiência estética e cultural. Neste sentido, este trabalho se inscreve no campo dos estudos de intermedialidades. Não obstante, devido à natureza cediça e complexa deste problema, buscaremos uma incessante negociação entre conceitos e metodologias, que, oriundas de diversos campos do saber, nos estimulam a adotar um modo plural, mas produtivo, de se pensar sobre esses fenômenos. Dentro dessa perspectiva, evocaremos a palavra alemã Stimmung como forma de apontar para uma dimensão da experiência estética que, para além do plano hermenêutico, nos toca de modo substancial, modulando os nossos afetos e construindo uma espécie de lógica das sensações. Todo o processo analítico desenvolvido nos quatro primeiros capítulos nos levará, em uma etapa final, à reflexão sobre como determinadas operações técnicas realizadas no domínio da arte parecem inscrever forças que subvertem a nossa percepção habitual e cotidiana das coisas, e, desse modo, não se mostram tão distantes de procedimentos como a magia, o que nos permite, em caráter experimental, pensar na experiência do sujeito no mundo da técnica como uma experiência de reencantamento do mundo. / This dissertation aims at demonstrating how and why communication materiality takes part in the meaning construction processes of works of art, influencing, thus, on a type of sensitive experience we refer to as atmosphere, mood and ambience. Within this perspective, we will analyze a very heterogeneous set of objects: the song "Penny Lane", by the Beatles; the short story “São Marcos”, by Guimarães Rosa; the short story "The Fall of the House of Usher", by Edgar Allan Poe and their audio versions, performed by the actor Vincent Price, and its cinema version, made by the Czech director Jan Švankmajer; and also the film adaptation of Goethe's Faust, made by the Russian director Aleksandr Sokurov. In all these works, we will seek to reflect on one issue that we consider fundamental to the understanding of certain phenomena of the modern world: how the technique works, in qualitative and quantitative terms, on the very structure of aesthetic and cultural experience. Therefore, this work falls within the field of intermediality studies. Nevertheless, due to the slippery and complex nature of this problem, we will seek a ceaseless negotiation between concepts and methodologies, which, coming from the various fields of knowledge, encourage us to adopt a plural, though productive mode, to think about these phenomena.Within this perspective, we will evoke the German word Stimmung as a manner of pointing to a dimension of the aesthetic experience that, beyond the hermeneutical level, touches us substantially by modulating our affections and building a kind of logic of sensations. The entire analytical process, developed in the first four chapters will take us, in a final step, to the reflection on how certain technical operations, performed in the field of art, seem to inscribe forces that subvert our usual and everyday perception of things, and, thereby, are not distant from procedures like magic, which allows us, on a trial basis, to think of the subject's experience in the world of technique as a re-enchantment of the world experience.

Ziel dieser Arbeit ist die Untersuchung des Bildzitates und seiner Form. Ausgangspunkt ist ein Kunstwerk, Paul Klees Revolution der Viadukte, und dessen Versprachlichung, dem sognannten Bildzitat, in drei Texten der deutschen Prosa. Als literaturwissenschaftliche Methode wurde ein intermedialer Ansatz nach Rajewsky, sowie von Berndt, Tonger-Erk gewählt. Eine Auswahl des Kunstwerkes und der Texte, die das Kunstwerk zitieren, wurde basierend auf dem Material der Datenbank über literarische Bildzitate in Wien getroffen. Die Analyse der Bildzitate in SAID: Das Rot lächelt, das Blau schweigt. Geschichten über Bilder, Uwe Timm: Der Freund und der Fremde und Gertrud Leutenegger: Vorabend erfolgt nach folgender Fragestellung: 1. Welches sind die grundlegenden Charakteristika des Bildes, die in den literarischen Bildzitaten hervorgehoben werden? 2. Mit welchen sprachlichen Mitteln wird dies hervorgehoben? 3. Welche Rolle spielt der Titel des Gemäldes? Wie der Resultatteil zeigt werden von den Autoren Stilmittel ähnlich die des Gemäldes (Kontrast, Repetition) verwendet. Der Titel des Gemäldes und die Bildzitate werden im Text als verstärkendes Element verwendet. The pictorial quote An analysis of Paul Klees Revolution of the viaduct in three German prose texts. This essay explores the quotation of images in literature. Starting point is Paul Klee's painting The revolution of the viaduct and its verbal expression, which is known as 'image quotation', in three German prose texts. The textual analysis of these works - SAID's Das Rot lächelt,das Blau schweigt. Geschichten über Bilder, Uwe Timm's Der Freund und der Fremde and Gertrud Leutenegger's Vorabend - is based on theories of intermediality. This essay shows that the authors employ stylistic devices similar to those in the painting, such as contrast and repetition, and use them as intermedial references.

The thesis is concerned with the instances of the figures of mythology of the antiquity in the works of Jean Cocteau and their application. It focuses on the character of Narcissus, which is examined in connection to Oedipus and Orpheus, while concentrating mainly on the topic of mirroring and the related motives of the eye and sight. This mirroring is then not examined only on the level of an aesthetic object, but also in relation to the recipient and in mutual interferences between various media. The thesis is methodologically based on selected philosophical theses by Maurice Merlau-Ponty and the theoretical concepts of Pierre Brunel, Mieke Bal and Mary Ann Caws. Within the works of Jean Cocteau the thesis is primarily concerned with the analysis of the novels The Holy Terrors (Les Enfants Terribles), Le Livre Blanc and their illustrations, the poem "Tombeau de Narcisse", the play La Machine infernale and the films Blood of a Poet, Orpheus and The Testament of Orpheus.

Cette thèse effectue une analyse théorique et esthétique du thème de la transmission de la mémoire dans la tétralogie de Wajdi Mouawad. Cette approche nous permet d’identifier la structure des spectacles de Wajdi Mouawad et de voir en quoi cette structure participe non seulement d’une pratique théâtrale nouvelle mais également d’une figuration du thème de la transmission de la mémoire. La forme traditionnelle du drame connaît à la fin du XIXe siècle une crise profonde due notamment à l’introduction en son sein d’éléments propres à la forme épique. Aujourd’hui, on assiste dans les spectacles de Wajdi Mouawad à un éclatement de la forme, à des références à l’art, au mythe et à l’histoire liés à la problématique de la mémoire. Le théâtre de Wajdi Mouawad fait coexister plusieurs temporalités, mêle l’intime et l’universel dans des récits épiques d’une grande puissance narrative racontant la vision du monde contemporain de l’auteur. L'imbrication des récits dans l'œuvre dramatique de Wajdi Mouawad amène à découvrir une vérité factuelle sur soi et les autres. Mais cette vérité factuelle ne semble pas véritablement apaiser la soif de sens des personnages. Même la quête de beauté, c'est-à-dire la création esthétique, est en relation avec d'autres questionnements d'ordre éthique. / This thesis does a theorical anylsis and esthetical of the theme of the transmission of the memory in the Wajdi Mouawad’s tetralogy. This approach allows to identify the structure of Wajdi Mouawad’ spectacles and to see in what this structrure participates not only a new theatral pratic but also the theme figuration transmission of the memory. At the end of XIXth century, the traditional form of drama has undergone deep changes due especially to the introduction within it elements specific to the epic form. Today, we assist in Wadji Mouawad’ spectacles to the bursting of the form, to the references to art, myth and history related to the memory matter. Wadji Mouawad’s theatre several temporalities make coexist, combines the intimate and the universal in epic tales of powerful narrative telling the wiew of the contemporary of the author. The imbrication of tales in Wadji Mouawad’s dramatical work drives to find a factual thruth about oneself and others. But this factual truth doesn’t really seem to appease the characters’ thirst. Even the research of beauty, means the artistical creation, is related on others questionnings of ethic order.

Ce travail propose d'observer les stratégies d'individualisation, de résistance et de subversion mises en place dans les œuvres d'artistes américaines ces 40 dernières années en me penchant tout particulièrement sur les productions de Kathy Acker et de Diamanda Galás. À travers leur pratique de la performance, de la musique, des textes et divers travaux visuels ancré dans l'expérimentation, je voudrais analyser comment elles révèlent, explorent et déconstruisent les dynamiques de pouvoir. / In this paper, I wish to explore and discuss the strategies of resistance and of subversion implemented in the works of Kathy Acker and Diamanda Galás. Using the voice and the body as spaces of experimentation and emancipation, these artists, I will argue, both reveal and deconstruct the dynamics of power.

Cette étude se propose d’analyser les relations entre le paysage, l’écriture et l’image dans les romans de Jane Urquhart afin de rendre compte des enjeux politiques et esthétiques des interrogations qui sous-tendent l’écriture paysagère dans son œuvre. En mettant en scène différentes manières de voir, de regarder et d’appréhender l’environnement, la romancière fait perdre son caractère d’évidence au paysage, défini comme une vue que le regard du spectateur embrasse. En effet, chez Urquhart, il n’y a pas du paysage, mais des paysages, le texte travaillant les cadres intertextuels et interpicturaux pour faire jouer les écarts entre les différentes formes que peut prendre le paysage. Il ne convoque pas l’image pour dire le paysage, mais pour mettre en lumière les limites de sa définition visuelle et esthétique. Ceci nous invite donc à repenser le lien entre visibilité et paysage. Refuser de dire le paysage par le biais de l’effet-tableau et de l’ekphrasis paysagère pour mieux le dissocier de sa définition picturale permet à Urquhart de réfléchir au rapport analogique entre le faire de l’image et l’épreuve paysagère. L’effacement du visible, par lequel le texte cherche à détacher le paysage et l’image de leur définition aspectuelle, est ainsi une problématique d’écriture. Si, dans tous les romans d’Urquhart, la langue s’affronte à un espace, ce qu’elle cherche à en dire et à mettre en œuvre varie. On peut rendre compte de cet infléchissement en faisant jouer l’ambivalence de l’expression « l’épreuve de l’écriture », expression dans laquelle l’écriture est à la fois matière et sujet. / This dissertation proposes to analyze the relations between landscape, images and text in the novels by Jane Urquhart in order to shed light on the political and aesthetic interrogations underlying her landscape writing. As Urquhart dramatizes different ways of seeing, representing and experiencing landscape, the very term no longer appears self-evident, which may prompt the reader to prefer the plural form: landscapes. Indeed, the interplay between the intertextual and interpictorial frames the novelist draws upon and displaces becomes a field of investigation. She does not conjure up the pictorial image to better describe landscape, but rather to probe the limits of its visual and aesthetic definition as “a view or prospect of natural scenery.” By doing so, she reconsiders the relation between visibility and landscape. Refusing to write about the latter through “painting-effects” or ekphrasis, she reflects upon the analogy between the efficacy of images and landscape as an event in the course of which the beholder is affected by his/her surroundings. The erasure of the visible provides her with a device to dissociate both the pictorial images and landscape from aspectual apprehension. While in each of her novels language is confronted with the challenge of representing space, one may read them as a series of reconfigurations which can be accounted for by considering what the text does in relation to landscape.

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.

De même qu’un acteur, lors de chacune de ses apparitions, colore la pellicule cinématographique de toute son histoire, la présence d’une télévision à l’écran d’un film de fiction cinématographique est la source d’une infinité de significations historiques, esthétiques, sociologiques et politiques. De Rear Window (Fenêtre sur cour, Alfred Hitchcock, 1954) à Far From Heaven (Loin du paradis, Todd Haynes, 2002), cette thèse observe la façon dont les cinéastes américains critiquent les effets de la télévision sur le spectateur et sur la société, en adoptant une approche poéticienne, sociologique et historienne. Existe-t-il, comme Marshall McLuhan semble le penser, une essence des médias, et par conséquent, une essence de la télévision ? Si cette dernière en a une, est-elle négative ? La télévision apparaît-elle comme un « médium froid » (McLuhan) aux yeux des cinéastes américains ? Les cinéastes utilisent-ils la télévision comme point de comparaison pour affirmer le caractère artistique du cinéma ? Les films de nombreux cinéastes sont analysés (parmi lesquels Douglas Sirk, Billy Wilder, John Carpenter, Richard Fleischer, Sidney Lumet et David Cronenberg) pour permettre une réflexion sur ces questions. En filmant la télévision, les cinéastes créent un phénomène d’hypermediacy (Jay David Bolter et Richard Grusin), où s’affrontent réflexivité et fascination pour le médium. / As well as an actor brings with him his whole history each time he appears on the screen, television’s presence in a movie generates an infinite source of historical, aesthetical, sociological and political meaning. From Rear Window (Alfred Hitchcock, 1954) to Far From Heaven (Todd Haynes, 2002), this thesis observes the way american directors criticize the effects of television on the spectator and on society, adopting an approach inspired by poetics, sociology and history. Is there, as Marshall McLuhan seems to think, an essence of medias, and consequently, an essence of television ? If so, is it negative ? Does television appear as a « cool medium » (McLuhan) in the American director’s eye ? Do directors use television as a comparing point to assert the artistical quality of cinema ? Many directors’ movies are analyzed (including Douglas Sirk, Billy Wilder, John Carpenter, Richard Fleischer, Sidney Lumet and David Cronenberg) to allow a reflection on those questions. By filming television, directors create a hypermediacy phenomenon (Jay David Bolter et Richard Grusin), where reflexivity faces a fascination for the medium.