Submitted by ILDA MARIA DE ANDRADE (ilda_andrade@hotmail.com) on 2018-08-01T04:12:30Z No. of bitstreams: 1 ILDA DISSERTAÇÃO HOMOLOGAÇÃO.pdf: 3971577 bytes, checksum: 7db475b445e2d11b0bbfd0dd066208ff (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-08-02T20:26:35Z (GMT) No. of bitstreams: 1 andrade_im_me_ia.pdf: 3971577 bytes, checksum: 7db475b445e2d11b0bbfd0dd066208ff (MD5) / Made available in DSpace on 2018-08-02T20:26:35Z (GMT). No. of bitstreams: 1 andrade_im_me_ia.pdf: 3971577 bytes, checksum: 7db475b445e2d11b0bbfd0dd066208ff (MD5) Previous issue date: 2018-06-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta pesquisa nos propomos a analisar, de modo exploratório, as nove aulas ministradas por Grotowski no Collège de France, entre os anos de 1997 e 1998, dentro do curso A linhagem orgânica no teatro e dentro do ritual. Tendo a questão da organicidade como lente, trabalhamos numa perspectiva de buscar compreender os processos e as noções trazidas por Grotowski, através do estudo e da análise desse material, em associação à trabalhos desenvolvidos por estudiosos de suas obras. Por se tratarem de últimas formulações, as aulas ministradas no Collège de France são valiosas para o entendimento do que foi o trabalho, pesquisa e a vida do artista polonês. / In this research we propose to analyze, in an exploratory way, the nine classes taught by Grotowski in the Collège de France, between 1997 and 1998, within the course The organic lineage in the theater and within the ritual. Taking the question of organicity as a lens, we work on a perspective of seeking to understand the processes and notions brought by Grotowski, through the study and analysis of this material, in association with the works developed by scholars of his works. Because they are the latest formulations, the classes taught at the Collège de France are valuable for understanding the work, research and life of the Polish artist.

Submitted by Thiago Miguel Lopes Ribeiro Cunha Sabino null (miguelyaacov@gmail.com) on 2016-10-25T22:20:00Z No. of bitstreams: 1 THIAGO_FINAL com ficha.pdf: 2004598 bytes, checksum: 467f9774e7faf3b12e7a0f29b69218f7 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-11-03T16:13:15Z (GMT) No. of bitstreams: 1 sabino_tmlrc_me_ia_par.pdf: 549209 bytes, checksum: cf448cde87e8ab9ebc00ea104fcf0314 (MD5) / Made available in DSpace on 2016-11-03T16:13:15Z (GMT). No. of bitstreams: 1 sabino_tmlrc_me_ia_par.pdf: 549209 bytes, checksum: cf448cde87e8ab9ebc00ea104fcf0314 (MD5) Previous issue date: 2016-06-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O percurso artístico de Jerzy Grotowski é marcado pela constante transformação e revisão de procedimentos. Ainda na fase em que o artista dedicou-se à elaboração de espetáculos, pode-se identificar esse movimento. Contudo, apesar de transformações e rupturas, é possível encontrar certas constantes. Frequentemente, Grotowski buscou aproximar seu trabalho artístico a questões ligadas ao ritual. Ao adotar, como perspectiva de análise, as temáticas da espiritualidade e do ritual, a pesquisa visa a encontrar as continuidades sob as rupturas em alguns processos de espetáculos de Grotowski. Pautado em Pierre Hadot e Michel Foucault, o trabalho utiliza a noção de espiritualidade em sentido amplo, não restrito a religião. A partir de Victor Turner e Richard Schechner, a pesquisa propõe refletir sobre as relações e as fricções entre cena e ritual nas propostas de Grotowski. Para a compreensão dos trabalhos do artista, além da análise dos textos dele próprio, o estudo embasa-se na pesquisa de Tatiana Motta Lima sobre as "palavras praticadas" do encenador. / The artistic path of Jerzy Grotowski is marked for constant transformation and revision of procedures. Even in the moment that the artist devoted his work to creation of performances, it is possible to identify this movement. However, despite of changes and ruptures, it can be found certain constants. Frequently, Grotowski tried to approximate his artist work to issues related to ritual. Adopting as analytical perspective the themes of spirituality and ritual, this research seeks to find the continuities behind the ruptures in some Grotowski‘s performances. Based in Pierre Hadot and Michel Foucault, the work uses the notion of spirituality in broad sense, not restricted to the religion. From Victor Turner and Richard Schechner, the research proposes to discuss about the relationship and the frictions between scene and ritual in Grotowski‘s proposals. In order to comprehend his works, beyond of the analysis of Grotowski‘s texts, this study was based on the research of Tatiana Motta Lima, about the "Palavras praticadas" of Polish director.

Cette étude aborde le thème de la quête de vérité menée par l’acteur. Partant du « paradoxe de l’acteur » qui met en lumière la tension qui se joue entre Forme et Spontanéité, ainsi que sa difficulté à être simultanément artiste et œuvre d’art. Or une recherche comparative sur le théâtre Occidental/Oriental, et d’autres sources telles que les pensées de Georges Gurdjieff et de François Delsarte nous ont conduit à considérer le travail du comédien d’un point de vue trinitaire, en prenant en compte les trois éléments essentiels que sont son corps, son émotion et son esprit. La quête de vérité que mène l’acteur tout au long de sa vie doit s’enraciner dans une compréhension de sa propre nature trinitaire et d’un éventuel manque d’harmonie qui peut résulter dans des comportements automatiques et stéréotypés. Cette vision nous a servi de base pour mener une étude de la pensée de certains grands réformateurs du théâtre du XXe siècle. Ainsi, les méthodes de Jerzy Grotowski et d’Etienne Decroux sont analysées à partir des approches de l’organicité et de l'artificialité selon la perspective de Grotowski. Notre but est de trouver une possible complémentarité entre les travaux de ces deux investigateurs, dans la quête de l’équilibre du trinôme corps-émotion-esprit. Finalement, l’acteur doit cultiver simultanément ses trois centres pour unifier le créateur, l’artisan et la matière de son œuvre, et retrouver ainsi sa vraie Présence sur scène. / This study begins with the actor’s quest for truth. Starting from the « actor’s paradox » which shines light on the tension that plays between Form and Spontaneity, and the difficulty of being simultaneously artist and work of art. A comparative research of Occidental/Oriental theatre, and other sources such as the thoughts of George Gurdjieff and François Delsarte led us to consider the work of the actor from the point of Trinitarian view, taking into account the three essential elements that are his body, his emotion and his mind. The quest for the truth that drives the actor has to begin with the comprehension of his own nature of this human trinity; before the understanding of its fragmentation, that is, the lack of harmony that can exist between these three principle functions and the danger of falling into automatic and stereotypic behaviors and reactions. This study allows us to observe the thought of certain great theatre reformers of the 20th century. Therefore, methods of Jerzy Grotowski and Etienne Decroux are analyzed using approaches of organicity and artificiality from the perspective of Grotowski. Our objective is to find a possible complementarity between the works of these two researchers in the quest for balance of the trinity body/emotion/intellect. Finally, the actor must simultaneously cultivate the three centers in order to unify the creator, the artisan and the matter of his work, and find his true presence on stage.

[pt] A partir de uma perspectiva transdisciplinar entre os estudos de literatura e os estudos teatrais, a presente dissertação investiga a última fase da trajetória artística de Jerzy Grotowski (1933-1999), a Arte como Veículo, criada com a fundação em Pontedera, na Itália, do Workcenter of Jerzy Grotowski (1986), posteriormente rebatizado de Workcenter of Jerzy Grotowski and Thomas Richards (1996). Neste âmbito, a pesquisa propõe um estudo da Action The Living Room (Richards: 2008-), obra da Arte como Veículo, baseada na prática com os cantos de tradição e com as ações físicas estruturadas. Ao ingressar numa escrita do corpo atravessada pela memória reconstruída - falhada - projetada - imaginada da própria autora enquanto atriz no Master Course ministrado pelo Workcenter (2014), este trabalho oferece um modelo de análise estético-crítico, que acentua a investigação e experimentação de conceitos de teatro performativo (Fischer-Lichte: 2004) e teatro pós-dramático (Lehmann: 1999), articulados com noções de performance e ritual (Schechner: 2003) em tensão com a Arte como Veículo, através de The Living Room. Neste contexto, a dissertação se configura igualmente como um experimento literário fundado no deslocamento da palavra no espaço enfatizando escritas outras, inseridas visual, plástica, tátil e auditivamente, no interior de um sistema literário- artístico contemporâneo experimental. / [fr] À partir d une perspective transdisciplinaire entre les études de littérature et les études théâtrales, ce mémoire de Master réfléchit sur la dernière phase de la trajectoire artistique de Jerzy Grotowski (1933-1999), l Art comme Véhicule, créée avec la fondation du Workcenter of Jerzy Grotowski (1986) à Pontedera (Italie), rebaptisé par la suite Workcenter of Jerzy Grotowski and Thomas Richards (1996). À cet égard, la recherche propose une étude de l Action The Living Room (Richards: 2008-), l oeuvre de l Art comme Véhicule, basée sur la pratique avec les chants de tradition et les actions physiques structurées. Ce travail, tout en rejoignant une écriture du corps traversée par la mémoire reconstruite – faillée – projetée – imaginée de l auteur elle-même en tant qu actrice au Master Course du Workcenter (2014), offre un modèle d analyse esthétique-critique, qui met en relief la recherche et expérimentation des concepts de théâtre performatif (Fischer-Lichte: 2004) et de théâtre postdramatique (Lehmann: 1999). Ces concepts sont articulés à leur tour à des notions de performance et rituel (Schechner: 2003) en tension avec l Art comme Véhicule, à travers The Living Room. Dans ce contexte, cette recherche se configure également comme une expérimentation littéraire fondée sur le déplacement des mots dans l espace soulignant d autres écritures, visuellement, plastiquement, tactilement, auditivement insérées à l intérieur d un système littéraire-artistique expérimental contemporain.

Com esse trabalho, investiga-se a noção de técnica em relação à função artística do ator, visando à ampliação do conhecimento sobre processos de ensino/aprendizagem da voz no teatro, principalmente, por meio do estudo da obra Freeing the Natural Voice, de Kristin Linklater comparando-a com as publicações de Jerzy Grotowski, referentes ao período de seu trabalho de 1965 a 1969. Entende-se \"o ator\" como um \"corpo que age em cena\". Por meio da elaboração da noção de \"corpo\" e \"voz\", em relação com o ambiente sociocultural, a técnica do ator é concebida como uma \"técnica corporal de transmissão\". Essa concepção ilumina a investigação e a comparação entre o pensamento de Linklater e Grotowski, inclusive as ideias-chave como a \"voz natural\", a \"organicidade\" e a \"via negativa\". O estudo possibilita a exposição da obra de Linklater, ainda pouca conhecida no Brasil, bem como a criação de novos processos para o ensino-aprendizagem da técnica vocal no teatro. / This work investigates the notion of technique in relation to the artistic function of the actor with a view to broaden knowledge about processes for teaching/learning voice for the theatre, principally through a study of the book Freeing the Natural Voice, by Kristin Linklater, in comparison with the publications of Jerzy Grotowski, that refer to the period of his work between 1965 e 1969. \"The actor\" is understood as \"a body that acts in a scenic space\" and, through the elaboration of the notion of \"body\" and \"voice\" in relation to the sociocultural environment, the \"actor\'s technique\" is conceived as \"a body transmission technique\". This conception illuminates the comparison of Linklater and Grotowski, including key ideas such as \"the natural voice\", \"organicity\" and the \"via negativa\". The study makes possible the exposition of Linklater\'s work in Brasil, where she is still little known, as well as the creation of new processes for the teaching/learning of vocal technique for the theatre.

Com esse trabalho, investiga-se a noção de técnica em relação à função artística do ator, visando à ampliação do conhecimento sobre processos de ensino/aprendizagem da voz no teatro, principalmente, por meio do estudo da obra Freeing the Natural Voice, de Kristin Linklater comparando-a com as publicações de Jerzy Grotowski, referentes ao período de seu trabalho de 1965 a 1969. Entende-se \"o ator\" como um \"corpo que age em cena\". Por meio da elaboração da noção de \"corpo\" e \"voz\", em relação com o ambiente sociocultural, a técnica do ator é concebida como uma \"técnica corporal de transmissão\". Essa concepção ilumina a investigação e a comparação entre o pensamento de Linklater e Grotowski, inclusive as ideias-chave como a \"voz natural\", a \"organicidade\" e a \"via negativa\". O estudo possibilita a exposição da obra de Linklater, ainda pouca conhecida no Brasil, bem como a criação de novos processos para o ensino-aprendizagem da técnica vocal no teatro. / This work investigates the notion of technique in relation to the artistic function of the actor with a view to broaden knowledge about processes for teaching/learning voice for the theatre, principally through a study of the book Freeing the Natural Voice, by Kristin Linklater, in comparison with the publications of Jerzy Grotowski, that refer to the period of his work between 1965 e 1969. \"The actor\" is understood as \"a body that acts in a scenic space\" and, through the elaboration of the notion of \"body\" and \"voice\" in relation to the sociocultural environment, the \"actor\'s technique\" is conceived as \"a body transmission technique\". This conception illuminates the comparison of Linklater and Grotowski, including key ideas such as \"the natural voice\", \"organicity\" and the \"via negativa\". The study makes possible the exposition of Linklater\'s work in Brasil, where she is still little known, as well as the creation of new processes for the teaching/learning of vocal technique for the theatre.

Als anys seixanta sorgeix un teatre profundament transgressor, que abandona els edificis convencionals a la recerca de llocs buits, pobres, flexibles. Rere aquesta actitud hi ha una crítica a la societat del moment, considerada elitista, alienadora i passiva. Gran part dels arguments que caracteritzaven el teatre fins aleshores perden la seva validesa. El concepte d'espectacle és substituït pel de ritual; el d'espectador, pel de participant; el d'entreteniment, pel de compromís. El teatre s'immisceix en l'agitada vida política, social i espiritual d'una dècada revolucionària. Finalment, i amb mig segle de retard en relació amb les altres arts, el teatre agafa el relleu de les avantguardes teatrals i entra en la modernitat.L'estudi del recorregut artístic de Peter Brook, Jerzy Grotowski fundador del Teatre Laboratori i la parella Julian Beck i Judith Malina fundadors del Living Theatre ens permet analitzar l'intrincat context dels seixanta en països com França, Anglaterra, Itàlia o Polònia. Es tracta de directors revolucionaris i alhora interessats pel sagrat, creadors d'un teatre ritual que sacseja els espectadors i els demana una implicació autèntica.A la introducció de la tesi ens preguntem per la permanència del sagrat en el teatre dels seixanta. Resseguint la biografia dels nostres directors, hi descobrim un profund coneixement de les tradicions religioses i una voluntat d'adaptar els seus principis i les seves tècniques psicofísiques al teatre. El teatre es mostra així com un receptacle laic de rituals que pertanyien a les religions. En el desig de regenerar-lo, la gent del teatre reclama una litúrgia col·lectiva capaç d'apropar actors i espectadors en un acte total. Volent unir l'art i la vida, directors i actors s'aïllen en petites comunitats per experimentar unes relacions humanes vertaderes i inventar nous processos de creació.La primera part de la tesi, més panoràmica, situa el teatre dins els corrents de pensament i els moviments artístics de l'època. Mentre els antropòlegs i sociòlegs constaten un retorn de la festa i la ritualitat, els estudiants es revolten pels carrers de París. El Maig del 68 marca un abans i un després també en el teatre: abandonant les obres dramàtiques, el vestuari especial, les escenografies i fins i tot els edificis, el teatre surt al carrer, es desteatralitza i es revesteix de ritualitat. Aquest rebuig de les institucions i les convencions té paral·lelismes amb el land art, l'arte povera, els happenings o el body art, sintonitzant també amb els situacionistes, el guerrilla theatre o el street theatre.La segona part de la tesi incideix sobre la ritualitat del teatre dels seixanta i l'espai que se'n deriva. Analitzant el nou paper atorgat a l'actor, el director i el públic, hi descobrim un mateix procés de despullament, de renúncia a les tècniques apreses i eliminació dels obstacles personals. El teatre respon així a una via negativa que cerca la seva purificació i un retorn a l'essencialitat. Les mediacions escèniques, massa mundanes, esdevenen obstacles a la trobada viva entre actors i espectadors. Ara importa l'element humà, el sacrifici de l'actor que regenera tota la comunitat, el ritual que aplega i connecta amb un passat compartit. El teatre es converteix en una realitat molt més corporal, cinètica, dependent de l'actor.L'espai d'aquest teatre passa a definir-se a partir dels moviments, les dinàmiques i les relacions que s'estableixen en escena. No depèn ja exclusivament de l'arquitectura ni de l'escenografia, sinó fonamentalment d'un ordre humà on compten les distàncies, les orientacions, les fronteres, la configuració i disposició de tots els participants. En certa manera, es tracta d'un espai sagrat que cal descobrir i potenciar. Un espai ritual, consagrat en cada actuació. Un espai real, que no preten simular res. Un espai simbòlic, que recupera les formes geomètriques primordials. Un espai unitari, sense barreres de cap tipus. Un espai buit, expectant, disponible. / There emerged in the nineteen sixties a deeply defiant theatre that deserted conventional buildings in search of empty, poor but flexible places. Behind this attitude there was a critique of the society of the times, that was considered to be elitist, hostile and passive. The majority of the scripts that characterised theatre up to that moment became obsolete. The concept of performance was substituted by ritual, spectator by participant, entertainment by compromise. Theatre became mixed up in the restless political, social and spiritual life of a revolutionary decade. Finally, half a century later than other arts, theatre seized the prominence of the theatrical vanguards and entered modernity.The study of the artistic careers of Peter Brook, Jerzy Grotowski - founder of the Teatr Laboratorium - and the couple Julian Beck and Judith Malina - founders of the Living Theatre - provides an opportunity to analyse the intricate context of the sixties in France, England, Italy or Poland. It involved revolutionary directors who were simultaneously interested in the sacred, creators of a theatre ritual that perturbed spectators and required their authentic participation. In the introduction to the thesis, we question the permanence of the sacred in sixties theatre. Revisiting the biography of our directors, we discover their knowledge of religious traditions and their desire to adapt their psycho-physical techniques to theatre. Theatre thus presented itself as a lay performance of rituals that belonged to religions. In the desire to regenerate it, theatre people sought after a collective liturgy capable of bringing actors and spectators together. With a desire to unite art and life, directors and actors isolated themselves in small communities to test true human relations and invent new creative processes.The first part of the thesis is an overview, locating theatre in the artistic thought and movements of the time. While anthropologists and sociologists were proclaiming the return of feast and ritual, students were revolting on the streets of Paris. May 68 marked the before and after of theatre too, by forsaking dramatic composition, special costumes, stage backdrops and accessories and even the theatre buildings. Theatre took to the street, shed its conventional theatrical hallmarks and overlaid itself with rituality. This rejection of institutions and conventions has affinities to land art, arte povera, happenings or body art, and remains in tune also with the situationists, guerrilla theatre or street theatre.The second part of the thesis focuses on the rituality of the theatre of the sixties and its ensuing space. Analysing the new role given to the actor, the director and the public, we discover a same process of deprivation, of rejection of learned techniques and of elimination of personal obstacles. The theatre thus responded to a via negativa that sought its purification and a return to the essential. The scenic mediations, that were far too mundane, became converted into obstacles in the living encounter between actors and spectators. Now what mattered was the human element, the sacrifice of the actor that regenerated a whole community, the ritual that congregates and connects with a shared past. Theatre became a more corporal reality, kinetic, and dependent upon the actor.The space of this theatre came to be defined out of the movements, the dynamics and the relations that were established on stage. It no longer depended upon architecture or scenery except that of a human order where distances, orientations, borders, configurations and the dispositions of all the participants counted. To a certain extent, it was a sacred place that needed to be discovered and strengthened. A space of ritual, consecrated at each performance. A real space, that did not try to simulate anything. A symbolic space, that revived basic geometrical forms. A unitary space, without barriers of any type. An empty space, eager and available.

190f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-03-27T15:09:04Z No. of bitstreams: 1 Serrano%20dissertacao.pdf: 2449771 bytes, checksum: 8f2f031e3e7e5b7ec9a30d5dc125c4d0 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-10T13:46:20Z (GMT) No. of bitstreams: 1 Serrano%20dissertacao.pdf: 2449771 bytes, checksum: 8f2f031e3e7e5b7ec9a30d5dc125c4d0 (MD5) / Made available in DSpace on 2013-04-10T13:46:20Z (GMT). No. of bitstreams: 1 Serrano%20dissertacao.pdf: 2449771 bytes, checksum: 8f2f031e3e7e5b7ec9a30d5dc125c4d0 (MD5) Previous issue date: 2011 / Este trabalho investiga o percurso entre treinamento psicofísico e construção cênica pela via das ações físicas. Estabelece a tríade movimento, fluxo e desordem como elementos norteadores da investigação que se focou na tentativa de desvelar e articular uma poética pessoal do atuante a partir das experiências registradas no meu corpo-memória-vida. Através de um processo criativo solo que teve como ponto de partida o corpo em movimento no espaço, foi possível reconhecer princípios e procedimentos que balizam a minha abordagem do treinamento psicofísico e encontrar o fluxo (qualidade de atenção) no movimento como principal eixo do meu trabalho. A busca por uma especificidade poética através de um processo de individuação e singularização de procedimentos e princípios na experiência solo, levou a descoberta do ‘contato’ como elemento orgânico necessário à verticalização do processo e compreensão do percurso criativo vivenciado. Em diálogo com Konstantin Stanislávski (1863 - 1938) e Jerzy Grotowski (1933 - 1999), mestres da tradição teatral européia do século XX, tornou-se possível revelar a experiência singular e tecer relações que me levaram ao princípio das ações físicas como estrutura no trabalho do ator em fluxo. / Salvador

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