Thesis (Ph. D.)--University of Sydney, 2002. / Title from title screen (viewed Apr. 24, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Performance Studies, Faculty of Arts. Degree awarded 2002; thesis submitted 2001. Includes bibliography. Also available in print form.

O Über-marionette é a proposta mais célebre e polêmica de Edward Gordon Craig. Ela parte de uma premissa inicial que sentencia à morte o ator, identificado como um empecilho para o desenvolvimento do teatro. Ao mesmo tempo se desenvolve positivamente em uma pedagogia, ainda que velada, em sua obra. Por isso decidimos denominar esta tese de \"Pedagogia da morte do ator\", compreendendo o paradoxo contido nesta expressão como uma elaboração característica do sistema intelectual de Gordon Craig. Ao criar uma representação imagética para uma crítica ao teatro de seu tempo, Craig formulava, simultaneamente, uma proposta, em forma alegórica, de um revolucionário projeto para o redimensionamento da arte teatral, como um todo. E apresentava uma pedagogia ainda inovadora baseada na relação entre o ator e o material inerte. Muito do longevo potencial revolucionário do Über-marionette, é devido à utilização metódica de algumas matérias-primas: A primeira delas é uma crítica incisiva sobre o trabalho do ator e sobre a prática teatral de um modo geral. A segunda a linguagem do Teatro de bonecos, e sua natureza evocativa de ritualidades e dialéticas. A terceira por uma proposta de redimensionamento das práticas e estéticas teatrais, pleiteando o renascimento da arte do ator e o surgimento da figura do Encenador teatral. A provocação do Über-marionette foi o ponto inicial de um diálogo entre Gordon Craig e Ananda Coomaraswamy, historiador de arte indiana. Essa interface com o Oriente sempre esteve presente no pensamento de Craig e encontrou em Coomaraswamy um interlocutor importante que o desafiou sobre a criação do Über-marionette e sua abordagem sobre a arte teatral oriental. A reação precavida de Craig em relação a trocas entre tradições inicia as reflexões sobre o tema do teatro intercultural e aponta suas idiossincrasias. Apresentamos o parentesco entre o Über-marionette e o ícone das artes cênicas hindus, o deus Shiva Nataraja e com o livro que regula a prática cênica tradicional na Índia, o Natya Shastra. Tomamos como exemplo prático para tentar avaliar concretamente esse embate dialógico o Kathakali, estilo de teatro clássico masculino do sul da índia. A partir daí, analisamos a tradição pedagógica indiana para a arte teatral (o sistema de gurus) que baseou a argumentação de Coomaraswamy para sua crítica à formação do Über-marionette. E avaliamos se o teatro Kathakali poderia configurar uma concretização da argumentação de Coomaraswamy. E se esta concretização responderia à demanda de Gordon Craig por um ator Über-marionette. Dentro dessa análise, observamos o processo de estilização e codificação formal proposta pelos teatros asiáticos e de marionetização de seus atores. Esse diálogo entre Gordon Craig e Coomaraswamy foi o prenúncio de uma complexa interface que até hoje se mostra recheada de idiossincrasias e de difícil emolduramento. Exemplificando a ciclicidade desta questão, resgatamos o embate entre Rustom Bharucha, crítico severo das tentativas de interculturalismo ocidental e Richard Schechner, um dos mentores das aproximações entre o teatro ocidental e as formas teatrais tradicionais do Oriente. / The Über - marionette is the most celebrated and controversial proposal of Edward Gordon Craig . It begins from an initial premise that sentenced the actor to death, identifying the actor as a hindrance to the development of the theater. At the same time develops positively into pedagogy, although hidden in his writings. We decided to call it \"Pedagogy of the death of the actor\", understanding the paradox contained in this expression as an intellectual characteristic of the Gordon Craig\'s system of thinking. By creating an imagistic representation for his critique to the theater of his time, Craig formulated simultaneously a proposal , in allegorical form , of a revolutionary design for the resizing of theater art as a whole. An innovative pedagogy based on the relationship between the actor and inert material. Much of the longevity of the Über-marionette\'s revolutionary potential is due to the methodical use of some raw materials: The first is an incisive critique of the work of the actor and the theater practice generally. The second one, the language of puppet theater, and its evocative nature of rituality and dialectical properties. The third one, a proposal for a complete reconstruction of the theatrical practice and aesthetics, claiming for a revival of the art of the actor and the emergence of the figure of Theatrical Stage Director. This interface with the East was always present in the thought of Craig and found in Coomaraswamy an important interlocutor who challenged him about his the Über-marionette and his approach on the eastern theater art. The cautious reaction from Craig regarding exchanges between traditions begins the investigations on the theme of intercultural theater and points out its idiosyncrasies. This thesis points out the relationship between the Über-marionette and the icon of the hindu performing arts, the god Shiva Nataraja, and the book that rules the practice of traditional scenic in India, the Natya Shastra. We take as a practical example to try to concretely evaluate this dialogical encounter, the Kathakali theater classic male style from southern India. Then, we analyze the pedagogical tradition for Indian theatrical art (Guru system) which supported Coomaraswamy\'s argument founding his critical to the creation f the Über - marionette. And we evaluate if the Kathakali theater could be seen as an embodiment of Coomaraswamy\'s argument. And if this embodiment answers Craig\'s demand for an actor Über - marionette. Within this analysis, we observe the asian theatre\'s process of formal stylization and codification of its scene and acting. This dialogue between Gordon Craig and Coomaraswamy was the precursor of a complex interface that even today presents its idiosyncrasies and difficult framing . Exemplifying the cyclicality of this issue, we redeemed the clash between Rustom Bharucha, harsh critic of Western attempts to Interculturalism and Richard Schechner , one of the mentors of the approaches between western theater and the traditional theater forms of the East.

O Über-marionette é a proposta mais célebre e polêmica de Edward Gordon Craig. Ela parte de uma premissa inicial que sentencia à morte o ator, identificado como um empecilho para o desenvolvimento do teatro. Ao mesmo tempo se desenvolve positivamente em uma pedagogia, ainda que velada, em sua obra. Por isso decidimos denominar esta tese de \"Pedagogia da morte do ator\", compreendendo o paradoxo contido nesta expressão como uma elaboração característica do sistema intelectual de Gordon Craig. Ao criar uma representação imagética para uma crítica ao teatro de seu tempo, Craig formulava, simultaneamente, uma proposta, em forma alegórica, de um revolucionário projeto para o redimensionamento da arte teatral, como um todo. E apresentava uma pedagogia ainda inovadora baseada na relação entre o ator e o material inerte. Muito do longevo potencial revolucionário do Über-marionette, é devido à utilização metódica de algumas matérias-primas: A primeira delas é uma crítica incisiva sobre o trabalho do ator e sobre a prática teatral de um modo geral. A segunda a linguagem do Teatro de bonecos, e sua natureza evocativa de ritualidades e dialéticas. A terceira por uma proposta de redimensionamento das práticas e estéticas teatrais, pleiteando o renascimento da arte do ator e o surgimento da figura do Encenador teatral. A provocação do Über-marionette foi o ponto inicial de um diálogo entre Gordon Craig e Ananda Coomaraswamy, historiador de arte indiana. Essa interface com o Oriente sempre esteve presente no pensamento de Craig e encontrou em Coomaraswamy um interlocutor importante que o desafiou sobre a criação do Über-marionette e sua abordagem sobre a arte teatral oriental. A reação precavida de Craig em relação a trocas entre tradições inicia as reflexões sobre o tema do teatro intercultural e aponta suas idiossincrasias. Apresentamos o parentesco entre o Über-marionette e o ícone das artes cênicas hindus, o deus Shiva Nataraja e com o livro que regula a prática cênica tradicional na Índia, o Natya Shastra. Tomamos como exemplo prático para tentar avaliar concretamente esse embate dialógico o Kathakali, estilo de teatro clássico masculino do sul da índia. A partir daí, analisamos a tradição pedagógica indiana para a arte teatral (o sistema de gurus) que baseou a argumentação de Coomaraswamy para sua crítica à formação do Über-marionette. E avaliamos se o teatro Kathakali poderia configurar uma concretização da argumentação de Coomaraswamy. E se esta concretização responderia à demanda de Gordon Craig por um ator Über-marionette. Dentro dessa análise, observamos o processo de estilização e codificação formal proposta pelos teatros asiáticos e de marionetização de seus atores. Esse diálogo entre Gordon Craig e Coomaraswamy foi o prenúncio de uma complexa interface que até hoje se mostra recheada de idiossincrasias e de difícil emolduramento. Exemplificando a ciclicidade desta questão, resgatamos o embate entre Rustom Bharucha, crítico severo das tentativas de interculturalismo ocidental e Richard Schechner, um dos mentores das aproximações entre o teatro ocidental e as formas teatrais tradicionais do Oriente. / The Über - marionette is the most celebrated and controversial proposal of Edward Gordon Craig . It begins from an initial premise that sentenced the actor to death, identifying the actor as a hindrance to the development of the theater. At the same time develops positively into pedagogy, although hidden in his writings. We decided to call it \"Pedagogy of the death of the actor\", understanding the paradox contained in this expression as an intellectual characteristic of the Gordon Craig\'s system of thinking. By creating an imagistic representation for his critique to the theater of his time, Craig formulated simultaneously a proposal , in allegorical form , of a revolutionary design for the resizing of theater art as a whole. An innovative pedagogy based on the relationship between the actor and inert material. Much of the longevity of the Über-marionette\'s revolutionary potential is due to the methodical use of some raw materials: The first is an incisive critique of the work of the actor and the theater practice generally. The second one, the language of puppet theater, and its evocative nature of rituality and dialectical properties. The third one, a proposal for a complete reconstruction of the theatrical practice and aesthetics, claiming for a revival of the art of the actor and the emergence of the figure of Theatrical Stage Director. This interface with the East was always present in the thought of Craig and found in Coomaraswamy an important interlocutor who challenged him about his the Über-marionette and his approach on the eastern theater art. The cautious reaction from Craig regarding exchanges between traditions begins the investigations on the theme of intercultural theater and points out its idiosyncrasies. This thesis points out the relationship between the Über-marionette and the icon of the hindu performing arts, the god Shiva Nataraja, and the book that rules the practice of traditional scenic in India, the Natya Shastra. We take as a practical example to try to concretely evaluate this dialogical encounter, the Kathakali theater classic male style from southern India. Then, we analyze the pedagogical tradition for Indian theatrical art (Guru system) which supported Coomaraswamy\'s argument founding his critical to the creation f the Über - marionette. And we evaluate if the Kathakali theater could be seen as an embodiment of Coomaraswamy\'s argument. And if this embodiment answers Craig\'s demand for an actor Über - marionette. Within this analysis, we observe the asian theatre\'s process of formal stylization and codification of its scene and acting. This dialogue between Gordon Craig and Coomaraswamy was the precursor of a complex interface that even today presents its idiosyncrasies and difficult framing . Exemplifying the cyclicality of this issue, we redeemed the clash between Rustom Bharucha, harsh critic of Western attempts to Interculturalism and Richard Schechner , one of the mentors of the approaches between western theater and the traditional theater forms of the East.

This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Respondents to interviews provide diverse descriptions of their interactions with performances according to their perceived membership to groups of popular spectators or elitist appreciators. They also identify dimensions of performance that may contribute to the development of their own performance competence and their subsequent transition from one group of onlookers to another. The influences that shape the diverse approaches of these groups and have been examined here include traditional Hindu aesthetics, religion, politics, caste structures and the changing shape of patronage, which is itself also a reflection of historical factors of governance. Kathakali is first presented as vignettes of performance that reflect different locations, venues, patronage and program choices. It is then situated in relation to extant, contiguous performance genres that have contributed to its development and/or often share its billing in traditional settings. The politics and aesthetics of the worlds of Kathakali are looked at not only in terms of their traditional, folkloric and classical development but also in contrast to more contemporary, secular and controversial dynamics that are impacting upon Kathakali today.

This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Respondents to interviews provide diverse descriptions of their interactions with performances according to their perceived membership to groups of popular spectators or elitist appreciators. They also identify dimensions of performance that may contribute to the development of their own performance competence and their subsequent transition from one group of onlookers to another. The influences that shape the diverse approaches of these groups and have been examined here include traditional Hindu aesthetics, religion, politics, caste structures and the changing shape of patronage, which is itself also a reflection of historical factors of governance. Kathakali is first presented as vignettes of performance that reflect different locations, venues, patronage and program choices. It is then situated in relation to extant, contiguous performance genres that have contributed to its development and/or often share its billing in traditional settings. The politics and aesthetics of the worlds of Kathakali are looked at not only in terms of their traditional, folkloric and classical development but also in contrast to more contemporary, secular and controversial dynamics that are impacting upon Kathakali today.

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