Submitted by Fernanda Rodrigues de Lima (fernanda.rlima@ufpe.br) on 2018-10-08T22:33:27Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Ingrid Fernanda Rodrigues.pdf: 3674165 bytes, checksum: 4d17a2ad7e3eea550702617423eda311 (MD5) / Approved for entry into archive by Alice Araujo (alice.caraujo@ufpe.br) on 2018-11-22T17:37:00Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Ingrid Fernanda Rodrigues.pdf: 3674165 bytes, checksum: 4d17a2ad7e3eea550702617423eda311 (MD5) / Made available in DSpace on 2018-11-22T17:37:00Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Ingrid Fernanda Rodrigues.pdf: 3674165 bytes, checksum: 4d17a2ad7e3eea550702617423eda311 (MD5) Previous issue date: 2015-03-12 / CAPES / O Romantismo brasileiro foi uma era de reconhecimento da identidade nacional e a libertação criativa de vários artistas brasileiros. Na literatura, José de Alencar e seu índio Peri, anunciavam ao mundo um selvagem brasileiro com a bravura de qualquer homem branco civilizado. Na música, o mesmo Pery, representado na ópera de Carlos Gomes tornou-se símbolo da “selvageria” e talento musical do Brasil. Essa “Selvageria” aqui representada não está ligada ao primitivo ou ao incivilizado, nos referimos a busca do homem romântico brasileiro as suas próprias raízes, a exclusão do racionalismo copista, em virtude da espontaneidade dos afetos que libertam o que há de mais verdadeiro no homem. Trazemos também análise do libreto da ópera genuinamente Brasileiro, Noite de São João, que sintetiza figuras do nosso folclore e tem a leveza do amor romântico puro e inocente. Utilizando o romance O Selvagem da ópera, de Rubem Fonseca como roteiro, traçamos um paralelo criativo entre música e literatura como artes irmãs na criação da ópera Il Guarany. E um paralelo entre o próprio Peri/Pery um com a liberdade de criação literária e o outro com a responsabilidade dos palcos ao redor do mundo. Reacendendo o mito do “selvagem brasileiro”, com exemplo na literatura modernista do insurgente Macunaíma, este trabalho é um estudo sobre a identidade nacional durante o romantismo, a recusa da cópia, a liberdade criativa e a formação do caráter do povo brasileiro através da literatura e da ópera como gênero híbrido e transcendental. / The Brazilian Romanticism was an era of recognition of national identity and the creative release of several Brazilian artists. In the literature, José de Alencar and his Indian Peri, announced to the world a Brazilian wild with the bravery of any civilized white man. In music, the same Pery, represented in the opera of Carlos Gomes became a symbol of "savagery" and musical talent of Brazil. This "Savagery" represented here is not linked to the primitive or uncivilized, refers to the pursuit of Brazilian romantic man their own roots, deleting the copyist rationalism, because of the spontaneity of affection releasing what is most true in man. Also brings analysis of genuinely Brazilian opera libretto, Noite de São João, which summarizes figures of our folklore and has the lightness of romantic pure and innocent love. Using the novel O Selvagem da ópera, of Rubem Fonseca as the script, we draw a parallel between creative music and literature as sister arts in the creation of the opera Il Guarany. And a parallel between Peri / Pery the first one with freedom of literary creation and the other with the responsibility of stages around the world. Reigniting the myth of the "Brazilian wild" with example in modernist literature of Macunaíma insurgent, this work is a study on national identity during the romanticism, the refusal of the copy, the creative freedom and the formation of the character of the Brazilian people through literature and opera as hybrid and transcendental genre.

Magíster en artes con mención en dirección teatral / La tesis Principios de la construcción escénica contemporánea. Pesquisando un modelo de dirección en torno al Libreto Visual aborda la temática de construcción escénica desde disparadores distintos al texto dramático. Es así como en primera instancia se hace un paneo histórico relativo a como fue cambiando el paradigma relativo al uso y lugar del texto escrito en el arte escénico, y en consecuencia de los roles del dramaturgo, actor, director y espectador circunscritos al ámbito de lo teatral . Posterior a esto, en el segundo capítulo, nos enfocamos en los cinco directores que, según la investigación, simbolizan los máximos representantes de esta práctica escénica que cuestiona los principios estéticos y conceptuales impuestos durante el siglo XIX . Es así como a partir de las poéticas de Kantor, Grotowski, Brook, Barba y Wilson, se levantan cinco principios básicos de una tendencia de la dirección teatral, que se sustenta en la idea de concebir al director como autor. Finalmente, en el tercer capítulo, se revisa los aciertos y desaciertos de dichos principios a la luz de los resultados obtenidos en el proceso práctico.

We compare the features of drama and libretto, based on the text The Makropulos Affair by Karel Čapek (drama) and Leoš Janáček (libretto). We would like to show not only common dramatic features, but also the specific librettist features, which Janáček used by transformation Čapek's drama into opera libretto. We demonstrated, that dramatic features are in libretto at the level of structure and the specific librettist features are at the level of story, single figures and its constellation. The analysis confirmed the preliminary hypotheses.

TITLE: Literature und Music: Woyzeck and Wozzeck. Alban Berg's Musical Adaptation of the Drama by Georg Büchner. SUMMARY: This thesis deals with a musical adaptation of the opera Wozzeck by the composer Alban Berg in the context of its literary model. The theoretical part offers an overview of the most important information and data about the authors and the origin of their works, based on the relevant sources. In the practical part, the principal emphasis is put on the libretto, specifically on formal and language similarities and differences detected in the text and their impact on the content and message of the work. Another focus is on musical language and its essential features, especially on the treatment of the voice, instrumentation and motives in the opera. The attention is also paid to the occurrence of autobiographical elements and critical reviews of the work. KEYWORDS: opera, drama, Woyzeck, Wozzeck, Alban Berg, Karl Emil Franzos, libretto, scenes, elision, alteration, literary model

This thesis deals with a comparatice analysis, where there are original literary productions (proses, dramas), that were then used for creating librettos of operas productions. The thesis focus on opera performances presented on stages of South Bohemian Theatre in last few years, and also belongs to canon of tradition of world's opera. The analysis is following the way of adaptation of the original piece, it means the conversion of the production, originally defined for a quiet reading, into the genre based on performing and accented his performance's nature. The thesis follows conventional and inventive characters by original literary production, and also by opera's text "adaptation". The thesis specifically follows the relationship of these productions: Victorien Sardou: Tosca and Giacommo Puccini: Tosca; Prosper Mérimée: Carmen and Georges Bizet: Carmen; Pierre - Augustin Caron de Beaumarchais: The Marriage of Figaro and Wolfgang Amadeus Mozart: The Marriage of Figaro; Antonio García Gutiérrez: Il Trovatore and Giuseppe Verdi: Il Trovatore; and also the productions without the original literar artwork: Giuseppe Verdi: Aida and Antonín Dvořák: Rusalka.

[pt] Esta tese é um trabalho teórico-prático sobre a tradução vocal para o português dos números musicais da ópera Porgy and Bess, de George Gershwin, sobre libreto de DuBose Heyward e letras de DuBose e Ira Gershwin. Aqui a tradução vocal é entendida como aquela destinada ao canto. Portanto, as traduções estão organizadas e editadas em partituras de redução da ópera, isto é, vocal(ais) e piano. Somam-se a esse núcleo da tese dois capítulos. Um teórico, em que são discutidas as principais tendências do recente campo de estudos sobre a tradução de ópera, e outro de comentários sobre a tradução realizada. / [en] This thesis is a theoretical-practical work on the vocal translation into Portuguese of the musical numbers from George Gershwin s opera Porgy and Bess, with libretto by DuBose Heyward and lyrics by DuBose and Ira Gershwin. Here vocal translation is understood as that intended for singing. Therefore, the translations are arranged and edited into reduction scores of the opera, that is, vocal(ls) and piano. Added to this core of the thesis are two chapters. One is theoretical, in which the main trends of the recent field of studies on opera translation are discussed, and the other is a commentary on the translation performed.

Made available in DSpace on 2016-04-28T19:59:02Z (GMT). No. of bitstreams: 1 LCL - Margareth Ramos Teixeira Miyamoto.pdf: 338981 bytes, checksum: d93bee4f5323f9e5969e89b3e130d15e (MD5) Previous issue date: 2006-11-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study has the aim of investigating the opera's representation in D. Casmurro's speech, as an I mask, which unroll itself in three personas: Casmurro as an author, narrator and as a character, Bentinho. This expansion creates a correlation with the operistic tripartite structure, whose authorship is shared among the playwriter, the librettist and the musician, besides, it appears in the novel in chapters VIII - It's time , IX - The Opera and X Accepted the Theory , in which the narrator approches his life to an operistic spectacle. This operistic drama element in DC's structure, has been the target not only for the critics as we´ll see in chapter 2, but also for composers like João Gomes Jr., who had transformed DC in a theater show. The music score belongs to him, but the libretto was written by Antonio Picarollo, which could be found in the music section of Rio de janeiro's nacional library. To reach our goal and to be able of demonstrating the operistic scene built by the casmurro-author, we started with Machado de Assis' experience in the theater, trying to show to our reader how the author experienced his life that later he wrote in the novel. In chapter 2, we will recuperate the literary censorious' voice, because they analysed the opera that appears inside the novel, giving a special view of the methaphor and alegory that could be seen in DC. In chapter 3, the central focus will be the opera, its parts and relations with DC, showing how the overture, arias, intermezzos, preludes and leitmotifs are written in the narrative. Finally in chapter 4, our target will be to analyse the operistic mask inside the novel's speech through Casmurro's tripartite performance as long as a playwriter, librettist and musician / Este estudo tem por objetivo investigar a representação da ópera no discurso de D.Casmurro, como máscara de um eu , que se desdobra em três personas: a do autor-casmurro, a do narrador e a da personagem Bentinho. Tal desdobramento cria uma correlação com a estrutura tripartite do gênero operístico, cuja autoria, também se divide entre o dramaturgo, o libretista e o músico, além de surgir no romance nos capítulos VIII ( É tempo ), IX ( A Ópera ) e X ( Aceito a teoria ), nos quais o narrador aproxima sua vida de um espetáculo operístico. Esse elemento dramático-operístico na estrutura de DC tem sido alvo não só de posicionamentos críticos, como os que abordaremos no capítulo 2 desta dissertação, mas também de versões operísticas do romance para o palco, como ocorreu em 1922, quando o compositor paulista João Gomes Jr. elaborou a partitura da primeira montagem operística de DC com libreto em italiano de Antonio Piccarollo, que pode ser encontrado na secção de música da Biblioteca Nacional do Rio de Janeiro. Para atingirmos a meta de demonstrar o cenário operístico construído pelo autor-narrador Casmurro, partindo da experiência de Machado de Assis no teatro, procurando mostrar ao leitor como o autor vivenciou o que mais tarde passaria para o romance. No capítulo 2, recuperaremos a voz da crítica literária que analisou a inserção da ópera na narrativa do ponto de vista metafórico-alegórico. No capítulo 3, o foco central será a ópera, suas partes e correlações com DC, mostrando o modo como se inscrevem no romance a abertura, as árias, os intermezzos, os prelúdios e os motivos condutores da partitura. Finalmente, no capítulo 4, nos concentraremos na análise da máscara operística do discurso romanesco por meio da atuação tripartite do casmurro enquanto dramaturgo, libretista e músico

The topic of this dissertation thesis is editing the first extant part of the manuscript theatralia titled Scenarien-Buch des Hochfürstlichen Anhalt-Köthen Pleßschen Hoftheaters, written by Václav Thám (1765-1816?), a Czech actor, dramatist, dramaturge and a translator. This manuscript was written in the historical Kurrent script (Kurrentschrift), and originated between 1805 and 1806, during the period when Thám's life still has not been explored very much. Those days Thám had a theatre engagement in the service of the Prince Ferdinand Friedrich of Anhalt-Köthen in the town of Pless situated in the region of the Prussian enclave of Silesia, today's Poland. Thám recorded in the manuscript theatre approaches to dramatic and musical dramatic pieces which the Prince's ensemble played on the castle theatre stage in Pless and during its travel through the towns of Prussian Silesia. By comparing the manuscript and period printed editions of recorded theatre titles, the edition is attempting to bring closer how the performances presented by the Prince's ensemble could look like and whether they involved considerable or small dramaturgic deviations, and what kind. It is also trying to examine whether Thám used only one printed edition with one version of the dramatic text or libretto, or whether he used...