FELIX, Antônio Gilvamberto Freitas. Cenas em vestígios: rastros de memórias do teatro na escola. 2016. 171f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação Profissional em Artes, Fortaleza (CE), 2016. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-11-18T12:05:24Z No. of bitstreams: 1 2016_dis_agffelix.pdf: 4034596 bytes, checksum: 290295482a4d1d6e56cfd3d29b746aac (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-11-18T12:16:29Z (GMT) No. of bitstreams: 1 2016_dis_agffelix.pdf: 4034596 bytes, checksum: 290295482a4d1d6e56cfd3d29b746aac (MD5) / Made available in DSpace on 2016-11-18T12:16:29Z (GMT). No. of bitstreams: 1 2016_dis_agffelix.pdf: 4034596 bytes, checksum: 290295482a4d1d6e56cfd3d29b746aac (MD5) Previous issue date: 2016 / Scenes Traces: Traces of Memories Theatre School is a research developed at EMEIEF MrJosé Martins Rodrigues which took place a scenic research that questions the triad of memory, school and theater. First considering the concepts of Nora (1993) on memory and how they could be applied in the construction scene in the school environment, this research also converses with Salles (2013) and their perceptions about the creation process. Investigating the preparation, experimentation, building scenes performed stimulated by memories of the students at school, resulted in a play called Rastro, which discusses the issues of individual and collective memories of students, realizing that man investigates the past, to understand the present and plan for the future, knowing who we were, who we are influencing and driving who will be. The process of theatrical creation through memories reveals and highlights educational and creative potential in this way is still pointed to the reverberation and the impact of this process of creating the students and school. / Cenas em vestígios: rastros de memórias do teatro na escola é uma pesquisa desenvolvida na Escola Municipal de Educação Infantil e Ensino Fundamental Deputado José Martins Rodrigues, onde se realizou uma investigação cênica que problematiza a tríade: memória, escola e teatro. Considerando primeiramente os conceitos de Nora (1993) sobre memória e como poderiam se aplicar dentro da construção de cena no ambiente escolar, esta pesquisa também dialoga com Salles (2013) e suas percepções acerca do processo de criação. Investigando a preparação, experimentação, construção de cenas realizadas e estimuladas pelas memórias dos alunos na escola, resultou em um espetáculo teatral denominado Rastro, que problematiza as questões referentes às memórias individuais e coletivas dos alunos, percebendo que o ser humano investiga o passado, para compreender o presente e projetar o futuro, conhecendo quem fomos, influenciando quem somos e impulsionando quem seremos. O processo de criação teatral através de memórias revela e evidencia potencialidades pedagógicas e criativas. Dessa maneira, aponta-se ainda a reverberação e o impacto deste processo de criação nos alunos e na escola.

nÃo hà / Cenas em vestÃgios: rastros de memÃrias do teatro na escola à uma pesquisa desenvolvida na Escola Municipal de EducaÃÃo Infantil e Ensino Fundamental Deputado Josà Martins Rodrigues, onde se realizou uma investigaÃÃo cÃnica que problematiza a trÃade: memÃria, escola e teatro. Considerando primeiramente os conceitos de Nora (1993) sobre memÃria e como poderiam se aplicar dentro da construÃÃo de cena no ambiente escolar, esta pesquisa tambÃm dialoga com Salles (2013) e suas percepÃÃes acerca do processo de criaÃÃo. Investigando a preparaÃÃo, experimentaÃÃo, construÃÃo de cenas realizadas e estimuladas pelas memÃrias dos alunos na escola, resultou em um espetÃculo teatral denominado Rastro, que problematiza as questÃes referentes Ãs memÃrias individuais e coletivas dos alunos, percebendo que o ser humano investiga o passado, para compreender o presente e projetar o futuro, conhecendo quem fomos, influenciando quem somos e impulsionando quem seremos. O processo de criaÃÃo teatral atravÃs de memÃrias revela e evidencia potencialidades pedagÃgicas e criativas. Dessa maneira, aponta-se ainda a reverberaÃÃo e o impacto deste processo de criaÃÃo nos alunos e na escola. / Scenes Traces: Traces of Memories Theatre School is a research developed at EMEIEF MrJosà Martins Rodrigues which took place a scenic research that questions the triad of memory, school and theater. First considering the concepts of Nora (1993) on memory and how they could be applied in the construction scene in the school environment, this research also converses with Salles (2013) and their perceptions about the creation process. Investigating the preparation, experimentation, building scenes performed stimulated by memories of the students at school, resulted in a play called Rastro, which discusses the issues of individual and collective memories of students, realizing that man investigates the past, to understand the present and plan for the future, knowing who we were, who we are influencing and driving who will be. The process of theatrical creation through memories reveals and highlights educational and creative potential in this way is still pointed to the reverberation and the impact of this process of creating the students and school.

This dissertation examines theatre and film in Ireland between 1988 and 2005, focusing on the plays of Sebastian Barry and Marina Carr, as well as a select group of films from this period. Employing a method of analysis that couples close-readings with attention to socio-cultural context, aesthetic form, and issues of representation, the dissertation demonstrates how theatre and film work to complicate conventional Irish historical narratives and thereby encourages a reassessment of contemporary constructs of Irish identity. The introduction provides a contextual framework for significant contemporaneous social, cultural and economic changes in Ireland, and includes a case study of ‘The Spire,’ a monument unveiled on Dublin’s central boulevard in 2003, which I argue is the architectural metonym for the transitional nature of Celtic Tiger Ireland. The case study explores the aesthetics of the monument, as well as the politicised public debate that ensued, and thereby provides a snapshot of issues relevant to the readings pursued in dissertation’s remaining chapters. The discussion of Sebastian Barry’s ‘family plays’ reveals the playwright’s effort to refuse traditional binary conceptions of identity and to proffer, instead, a dramatic landscape that similarly refuses to allow conflict to dominate. Barry’s use of a non-conflictual dramatic form supports his narrative interest in compassion and peaceful resolution, and provides a model for living with otherness that could prove useful in an increasingly diverse and globalised Ireland. Marina Carr’s plays share Barry’s desire to represent aspects of Irish character anew, but they also dramatise how cultural transitions are difficult and never linear, and how the conventional pull of memory and the past has a residual presence in the ‘new’ Ireland. Taken together, these chapters reveal Barry’s hopefulness as an antidote to Carr’s tragic endings. The final chapter provides close readings of several ‘Celtic Tiger’ films, arguing that the representation of landscape is the key lens through which Irish film communicates shifting images of Irish identity. A cycle of films from the first years of the new millennium ekes out a space for new modes of representation through a critical dialogue with major tropes in Irish film history.

This dissertation examines theatre and film in Ireland between 1988 and 2005, focusing on the plays of Sebastian Barry and Marina Carr, as well as a select group of films from this period. Employing a method of analysis that couples close-readings with attention to socio-cultural context, aesthetic form, and issues of representation, the dissertation demonstrates how theatre and film work to complicate conventional Irish historical narratives and thereby encourages a reassessment of contemporary constructs of Irish identity. The introduction provides a contextual framework for significant contemporaneous social, cultural and economic changes in Ireland, and includes a case study of ‘The Spire,’ a monument unveiled on Dublin’s central boulevard in 2003, which I argue is the architectural metonym for the transitional nature of Celtic Tiger Ireland. The case study explores the aesthetics of the monument, as well as the politicised public debate that ensued, and thereby provides a snapshot of issues relevant to the readings pursued in dissertation’s remaining chapters. The discussion of Sebastian Barry’s ‘family plays’ reveals the playwright’s effort to refuse traditional binary conceptions of identity and to proffer, instead, a dramatic landscape that similarly refuses to allow conflict to dominate. Barry’s use of a non-conflictual dramatic form supports his narrative interest in compassion and peaceful resolution, and provides a model for living with otherness that could prove useful in an increasingly diverse and globalised Ireland. Marina Carr’s plays share Barry’s desire to represent aspects of Irish character anew, but they also dramatise how cultural transitions are difficult and never linear, and how the conventional pull of memory and the past has a residual presence in the ‘new’ Ireland. Taken together, these chapters reveal Barry’s hopefulness as an antidote to Carr’s tragic endings. The final chapter provides close readings of several ‘Celtic Tiger’ films, arguing that the representation of landscape is the key lens through which Irish film communicates shifting images of Irish identity. A cycle of films from the first years of the new millennium ekes out a space for new modes of representation through a critical dialogue with major tropes in Irish film history.