The evidence found through comparing and contrasting staging manuals strongly suggests that Massenet might have been involved in the staging of his operas. Several important differences, which include the implications of the use of a chair versus a bed in the final scene, are presented through a comparison of the final duet of Massenet's Opera Thaïs in a restaging from the livret de mise en scène F-Pbh T 8 (1) with the Metropolitan Opera's 2008 production. In addition, a probable date between the premiere in 1894 and the revision in 1898 for the livret de mise en scène F-Pbh T 8 (1) is deliberated. Three staging manuals for Thaïs are examined, which were found to contain the same information, and these findings are contrasted with four staging materials for Massenet's opera Manon and several other staging materials for works by various composers.

[pt] O presente estudo analisa a aplicação da temporização de animação japonesa para TV nos filmes brasileiros que a utilizaram como recurso estético. Buscou-se, para tanto, mapear as diferentes aplicações de temporização por diferentes estúdios, que fizeram escola. Inicialmente, foi estudada a aplicação da temporização nos filmes de longa-metragem realizados pelo estúdio de Walt Disney, passando pelos curta-metragens da UPA e chegando até o trabalho para TV de Osamu Tezuka. A pesquisa tem como conceitos norteadores a Aura de Walter Benjamin, Legitimidade e Performance de Jean-Francois Lyotard, o estudo da mise-en-scéne no cinema por David Bordwell, e a atualização deste conceito para animação por Maureen Furniss. Com base no estudo prévio da temporização descrito no presente trabalho, pôde-se analisar três obras brasileiras de animação representativas quanto à aplicação da temporização japonesa, a saber: Uma História de Amor e Fúria, de Luiz Bolognesi, O Menino e o Mundo, de Alê Abreu, e Menina, de Pedro Eboli. A análise dos filmes foi confrontada com as informações obtidas em entrevistas semi-estruturadas feita com os autores, a fim de conseguir um quadro mais completo do uso da temporização japonesa nesses filmes, das intenções nessas aplicações e dos resultados obtidos. / [en] This study analyzes the applications of Japanese s TV animation timing in the Brazilian films that used it as a aesthetic tool. In order to do so, it was researched the different applications of timing from the Disney movies to UPA and Osamu Tezuka s TV series. The research has as a guilding concepts the Walter Benjamin s Aura, Lagitimacy and Performance of Jean-François Lyotard, the study of mise-en-scène in the cinema by David Bordwell, and the updating of this concept for animation by Maureen Furniss. Based on the previous study of the timing, it was possible to analyze three representative Brazilian animation movies regarding the application of Japanese timing, namely: Rio 2096, by Luiz Bolognesi, The Boy and the World, by Alê Abreu, and Menina, by Pedro Eboli. The analysis of the films was compared with the information obteained in semistructured interviews with the authors, in order to obtain a more complete picture of the use of the Japanese timing in these works, the intentions in these applications and the results.

This qualitative study aims to explore, from a cognitive perspective, the influence visuals have on conveying the game's narrative and how this engages the player. The focus being to further the understanding of how both visuals and narrative affect the overall experience. Motivated by the underrepresentation of visuals and narrative studies within game research. At the centre of the study is a thematic analysis of qualitative data collected from face to face interviews in a home and school environment, where players shared memorable moments experienced while playing a game. The interviews were complemented by data from popular forums, with the same focus. Helping the analysis of the data were cognitive theories into how our minds process and interpret information, an analysis which resulted in five main themes with corresponding code, which represented what appeared central for the creation of the memorable moment. There were, however, always more than one element within the game which provided and engaged the player in the narrative construction of the memorable moment, which served to highlight the importance of considering all aspects of the design, as all affected our meaning making. Central to engaging the player's narrative construction was the intrinsic motivation of curiosity, in tangent with our desire to learn. Exactly how different visuals elements affected the player's narrative construction did not become apparent during the analysis, as a fine line existed between what element provided for different memorable moments. Most notably was that all of the themes and codes could be tied back to engagement, as all of them served to engage the player's meaning making. A discovery that in turn, lead to the creation of a framework for future studies, which, while supported by cognitive theories, aims to enable the discovery of what and how different aspects engage the player in the experience. / Målet med denna kvalitativa studie är att, utifrån ett kognitivt perspektiv, utforska inflytande det visuella har på att förmedla spelets narrativ och hur detta engagerar spelaren i upplevelsen. Fokuset är att utveckla förståelsen för hur det visuella och narrativet påverkar den övergripande upplevelsen, vilket är motiverat av underrepresentationen av studier med fokus på det visuella och narrativet inom spelforskning. I centrum av studien är en tematisk analys av den kvalitativa data som samlats in från intervjuer i en hem och skolmiljö, där deltagarna delade minnesvärda stunder från när de spelade spel. Intervjuerna kompletterades med data från populära forum med samma fokus. Kognitiva teorier om hur man bearbetar och tolkar information, fick ge stöd till analysen av spelarnas meningsskapande som resulterade i fem huvudteman med motsvarande koder, som representerade det som framstod som det centrala i skapandet av de minnesvärda stunderna. Det fanns dock alltid mer än ett element i spelet som bidrog och engagerade spelaren i den narrativa konstruktionen av det minnesvärda ögonblicket, vilket lyfter fram vikten av att uppmärksamma alla aspekter av designen, eftersom alla påverkade meningsskapandet. Centralt för att engagera spelarnas narrativa konstruktion var vår inre motivation av nyfikenhet, i kombination med vår vilja att lära oss. Exakt hur de olika visuella elementen påverkade spelarens narrativa konstruktion framkom dock inte under analysen, eftersom gränsen mellan vilka element som bidrog med de olika minnesvärda stunderna, var hårfin. Det tydligaste exemplet av detta är att alla teman och koderna kunde knytas tillbaka till engagemang, eftersom alla bidrog till att engagera spelaren meningsskapande. En upptäckt som i sin tur ledde till skapandet av ett ramverk för framtida studier, som vars mål är, med stöd av kognitiva teorier, att möjliggöra upptäckten av hur de olika aspekterna engagerar spelaren i upplevelsen.

Esta tese se mostra como um estudo sobre a natureza da relação entre o fora de campo e a mise-en-scène no contexto do Novíssimo Cinema Brasileiro. Tendo como base para um estudo de caso a experiência cinematográfica do diretor mineiro André Novais, nosso intuito foi o de compreender, nos termos de um plano de imanência, os movimentos que amparam as discussões sobre as encenações e seu fora de campo. Para aprofundarmos o pensamento sobre uma dada indissociabilidade entre as instâncias do fora de campo e da mise-en-scène nos filmes de Novais, aplicamos a ideia da dobra, que, atualizada por Deleuze, opera na coexistência entre o dentro e o fora ao problematizar um espaço que se configura indiscernível. A partir daí, investimos na tese dos desenquadramentos, trazida por Deleuze no livro A Imagem Movimento (2009), e suas reverberações em relação às dimensões relativa e absoluta do fora de campo. Torna-se, portanto, necessário aproximar tais aspectos a determinadas concepções formais atreladas aos filmes que estudamos. É então que apostamos em figuras de linguagem, como as metonímias e as dimensões intertextuais e paratextuais, para atestar a presença de um fora de campo relativo, que nos traz exemplos mais concretos e aplicações mais diretas em relação ao espaço fílmico, e refletimos sobre as desnaturalizações e as indecidibilidades para pensar a porção de uma dimensão absoluta do fora de campo, esta mais ligada a uma duração do todo do universo e a um discurso indireto livre. Cabe assinalar que o estudo de caso aplicado à filmografia de André Novais é inserido em um contexto cinematográfico específico: o Novíssimo Cinema Brasileiro. Torna-se, assim, fundamental estabelecermos uma discussão sobre as particularidades de suas concepções estéticas e de mise-en-scène. Na esteira desse movimento, chegamos à compreensão do aspecto documental que invade tal contexto cinematográfico e que é problematizado a partir do deslocamento de um real representado para a sua realização no âmbito simbólico. A partir das teorias lançadas por Bazin, Metz, Badiou e Zizek, chegamos a um real entendido como fantasma, e não como referente. Ao alcançarmos o cerne de uma linguagem aplicada a determinadas formas fílmicas, encontramos a expressão de uma encenação desdramatizada, ligada aos aspectos minimalistas e hiper-reais e à produção de personagens da recusa, enfatizados a partir da incapacidade de adequação às identidades e aos modelos. Tais variáveis nos ajudam a refletir não só sobre as particularidades de uma mise-en-scène, mas também sobre os movimentos disruptivos e desconstrutivos do cinema. / This doctoral thesis studies the nature of the relationship between the out-of-field and the mise-en-scène in the context of the Newest Brazilian Cinema (Novíssimo Cinema Brasileiro). Taking the mineiro director André Novais’ cinematographic experience as foundation for a case study, we aimed to understand, in terms of a plane of immanence, the movements supporting the discussion about staging and its respective out-of-field. In order to deepen our thoughts on a certain inseparability between the out-of-field and the mise-en-scène in Novais' movies, we adopt the concept of “fold”, which, updated by Deleuze, establishes itself in the coexistence between inside and outside, while problematizing an indiscernible space. Thereon, we address the thesis of the unframing, brought forward by Deleuze in his book The Movement-Image (2009), and its reverberations around the relative and the absolute aspects of the out-of-field. It was therefore imperative to approach such aspects in relation to certain formal conceptions attached to the movies we study. That is where we employ figures of speech such as the metonymy and the intertextual/paratextual dimmensions, so that we were able to attest to the presence of a relative out-of-field, which brings us many concrete examples and direct applications in relation to the filmic space. Furthermore, we also considered denaturalizations and undecidabilities to conceive an absolute dimmension of the out-of-field, associated with the free indirect discourse and with a duration which is immanent to the whole universe. We should point out that the case study about André Novais’ filmography inserts itself in a specific cinematographic context: the Newest Brazilian Cinema. It was thus fundamental that we stablished a debate about the peculiarities of its mise-en-scène and its aesthetic conceptions. Approaching this movement, we reach an understanding about the documentary aspect which overruns such cinematographic context and which is examined as through the displacement of a represented “Real” up to a realization in the symbolic realm. Aimed with theories laid by authors such as Bazin, Metz, Badiou and Zizek, we end up conceiving the Real as ghost, instead of referent. Achieving the kernel of a language applied to certain filmic forms, we discover the expression of a de-dramatized staging, characterized by minimalist and hiper-realist aspects and by the production of “refusal characters”, unable to conform themselves to predefined identities and models. Such variables help us reflect not only upon mise-en-scène peculiarities, but also upon disruptive and deconstructive cinema movements.

Cette recherche questionne les mécanismes scénographiques de l'Architecture émotionnelle au niveau de leur conception (ambiantale, spatio-temporelle) et de leur perception (érosion, métamorphoses). Concentrée sur sept oeuvres mexicaines de Luis Barragan (entre 1940 et 1980), elle interroge la pertinence d'un héritage des principes de composition et du processus de conception de l'Architecture émotionnelle pour un projet contemporain alternatif. L'hypothèse générale est que pour travailler sur les émotions du visiteur, l'Architecture émotionnelle s'assure de sa participation consciente et inconsciente, le transforme en acteur en anticipant (provoquant) ses mouvements et lui offre un territoire de liberté. Deux questions se posent alors : 1) quelles sont les modalités spatiales de l'implication sensible du visiteur ? 2) dans quelle mesure le scénario processionnel imaginé par Barragan fonctionne-t-il toujours aujourd'hui et pourquoi ? Les résultats de la recherche sont triples. Au niveau théorique, ils contribuent d'une part à la connaissance de l'œuvre de Luis Barragan et d'autre part à la problématique de la conception et de la perception des ambiances. Au niveau pratique, ils révèlent des principes de composition scénographique et établissent une typologie d'ambiants qui constitueront une aide à la conception afin de mieux intégrer l'homme dans sa dimension sensible dans un projet futur alternatif.

Denna uppsats är en narratologisk analys av berättarstrukturen inom filmen Stranger than fiction. Uppsatsen inleder med en terminologi samt en teoridel kring vad som är berättarstruktur. Utifrån detta analyserar jag filmen för att grundläggande redogöra kring hur den är berättad genom att först beskriva filmens totala fabula för att sedan analysera vad som egentligen förmedlas och på så sätt även komma fram till en slutsats kring filmens totala berättarstruktur. Resultatet visar på att Stranger than fiction är berättad genom flertalet olika nivåer som visar på två olika berättare inom två olika diegeser som förmedlas genom samma berättare. Detta resultat leder till en tematisk diskussion ett postmodernt ontologiskt syfte som genom filmens komplicerade narratologiska struktur försöker förmedla budskapet ”lev det liv du vill ha” samt ”livet blir viktigt först när döden gör sig synlig.

Esta tese se mostra como um estudo sobre a natureza da relação entre o fora de campo e a mise-en-scène no contexto do Novíssimo Cinema Brasileiro. Tendo como base para um estudo de caso a experiência cinematográfica do diretor mineiro André Novais, nosso intuito foi o de compreender, nos termos de um plano de imanência, os movimentos que amparam as discussões sobre as encenações e seu fora de campo. Para aprofundarmos o pensamento sobre uma dada indissociabilidade entre as instâncias do fora de campo e da mise-en-scène nos filmes de Novais, aplicamos a ideia da dobra, que, atualizada por Deleuze, opera na coexistência entre o dentro e o fora ao problematizar um espaço que se configura indiscernível. A partir daí, investimos na tese dos desenquadramentos, trazida por Deleuze no livro A Imagem Movimento (2009), e suas reverberações em relação às dimensões relativa e absoluta do fora de campo. Torna-se, portanto, necessário aproximar tais aspectos a determinadas concepções formais atreladas aos filmes que estudamos. É então que apostamos em figuras de linguagem, como as metonímias e as dimensões intertextuais e paratextuais, para atestar a presença de um fora de campo relativo, que nos traz exemplos mais concretos e aplicações mais diretas em relação ao espaço fílmico, e refletimos sobre as desnaturalizações e as indecidibilidades para pensar a porção de uma dimensão absoluta do fora de campo, esta mais ligada a uma duração do todo do universo e a um discurso indireto livre. Cabe assinalar que o estudo de caso aplicado à filmografia de André Novais é inserido em um contexto cinematográfico específico: o Novíssimo Cinema Brasileiro. Torna-se, assim, fundamental estabelecermos uma discussão sobre as particularidades de suas concepções estéticas e de mise-en-scène. Na esteira desse movimento, chegamos à compreensão do aspecto documental que invade tal contexto cinematográfico e que é problematizado a partir do deslocamento de um real representado para a sua realização no âmbito simbólico. A partir das teorias lançadas por Bazin, Metz, Badiou e Zizek, chegamos a um real entendido como fantasma, e não como referente. Ao alcançarmos o cerne de uma linguagem aplicada a determinadas formas fílmicas, encontramos a expressão de uma encenação desdramatizada, ligada aos aspectos minimalistas e hiper-reais e à produção de personagens da recusa, enfatizados a partir da incapacidade de adequação às identidades e aos modelos. Tais variáveis nos ajudam a refletir não só sobre as particularidades de uma mise-en-scène, mas também sobre os movimentos disruptivos e desconstrutivos do cinema. / This doctoral thesis studies the nature of the relationship between the out-of-field and the mise-en-scène in the context of the Newest Brazilian Cinema (Novíssimo Cinema Brasileiro). Taking the mineiro director André Novais’ cinematographic experience as foundation for a case study, we aimed to understand, in terms of a plane of immanence, the movements supporting the discussion about staging and its respective out-of-field. In order to deepen our thoughts on a certain inseparability between the out-of-field and the mise-en-scène in Novais' movies, we adopt the concept of “fold”, which, updated by Deleuze, establishes itself in the coexistence between inside and outside, while problematizing an indiscernible space. Thereon, we address the thesis of the unframing, brought forward by Deleuze in his book The Movement-Image (2009), and its reverberations around the relative and the absolute aspects of the out-of-field. It was therefore imperative to approach such aspects in relation to certain formal conceptions attached to the movies we study. That is where we employ figures of speech such as the metonymy and the intertextual/paratextual dimmensions, so that we were able to attest to the presence of a relative out-of-field, which brings us many concrete examples and direct applications in relation to the filmic space. Furthermore, we also considered denaturalizations and undecidabilities to conceive an absolute dimmension of the out-of-field, associated with the free indirect discourse and with a duration which is immanent to the whole universe. We should point out that the case study about André Novais’ filmography inserts itself in a specific cinematographic context: the Newest Brazilian Cinema. It was thus fundamental that we stablished a debate about the peculiarities of its mise-en-scène and its aesthetic conceptions. Approaching this movement, we reach an understanding about the documentary aspect which overruns such cinematographic context and which is examined as through the displacement of a represented “Real” up to a realization in the symbolic realm. Aimed with theories laid by authors such as Bazin, Metz, Badiou and Zizek, we end up conceiving the Real as ghost, instead of referent. Achieving the kernel of a language applied to certain filmic forms, we discover the expression of a de-dramatized staging, characterized by minimalist and hiper-realist aspects and by the production of “refusal characters”, unable to conform themselves to predefined identities and models. Such variables help us reflect not only upon mise-en-scène peculiarities, but also upon disruptive and deconstructive cinema movements.

La libre diffusion de modèles 3D de qualité ainsi que la mise à disposition de nombreux moyens facilitant la création de contenus animés ont permis de populariser la production d'oeuvres cinématographiques 3D.A l'heure actuelle, on peut cependant observer un manque important d'outils permettant de traiter la cinématographie (placement des caméras pour l'enregistrement des plans) et d'effectuer le montage de tels contenus (sélection des plans et transitions entre caméras). La création d'un film nécessite la connaissance d'un grand nombre de règles et de conventions.La plupart des systèmes d'animation ne disposant pas de ces connaissances, le besoin de méthodes automatiques qui pourraient, au moins partiellement, assister l'utilisateur dans son entreprise créative, se fait de plus en plus ressentir. A travers cette thèse, nous abordons à la fois la gestion automatique de la cinématographie ainsi que le montage des plans générés.L'utilisation de caméras pour retranscrire les actions et événements se déroulant au sein d'un environnement dynamique est une préoccupation importante de beaucoup d'applications graphiques. Dans le contexte de la simulation de foule, nous présentons une nouvelle approche qui aborde le contrôle simultané de plusieurs caméras filmant un groupe de cibles. Nous proposons un système se reposant sur le modèle de "comportements guidées" développé par Reynolds. Celui-ci permet de contrôler et coordonner localement un ensemble de caméras évoluant dans un environnement afin de filmer les différents événements s'y déroulant.Le montage d'un film est une tache particulièrement complexe et méticuleuse qui nécessite de profondes connaissances du domaine. L'automatisation de cette tache requiert donc la formalisation de cette expertise. En utilisant la méthode de montage linéaire - ou "continuity editing" ; il s'agit de la technique de montage la plus utilisée - comme référence pour l'évaluation du montage, nous présentons une nouvelle approche au montage automatique d'animations 3D se reposant sur une méthode d'optimisation. En s'appuyant sur une hypothèse semi-Markovienne, notre méthode utilise la programmation dynamique afin de calculer efficacement les solutions.A partir de notre première contribution, nous proposons ensuite une nouvelle approche à la création de "replay" cinématiques qui utilise à la fois les informations narratives et géométriques extraites du jeu pour automatiquement calculer la trajectoire de la caméra. En combinant ce système avec notre framework de montage, notre solution génère rapidement les replay de sessions de jeu.Enfin, en prenant inspiration de pratiques couramment utilisées dans l'industrie du cinéma, nous proposons une nouvelle approche à la planification de mouvements de caméra. Notre solution assure le réalisme des trajectoires en contraignant les caméras sur des rails virtuels. La position et l'orientation de la caméra sont optimisées dans le temps le long du rail pour satisfaire différentes propriétés visuelles. Les plans générés sont ensuite envoyés à notre framework de montage qui génère alors la séquence cinématographique. / The wide availability of high-resolution 3D models and the facility to create new geometrical and animated content, using low-cost input devices, open to many the possibility of becoming digital 3D storytellers. To date there is however a clear lack of accessible tools to easily create the cinematography (positioning and moving the cameras to create shots) and perform the editing of such stories (selecting appropriate cuts between the shots created by the cameras). Creating a movie requires the knowledge of a significant amount of empirical rules and established conventions. Most 3D animation packages do not encompass this expertise, calling the need for automatic approaches that would, at least partially, support users in their creative process. In this thesis we address both challenges of automating cinematography and editing in virtual environments.Using cameras to convey events and actions in dynamic environments is a major concern in many CG applications.In the context of crowd simulation, we present a novel approach to address the challenge of controlling multiple cameras tracking groups of targets. In this first contribution we propose a system that relies on Reynolds' model of steering behaviors to control and locally coordinate a collection of autonomous camera agents evolving in the dynamic 3D environments to shot multi-scale events.Editing a movie is a complex and tedious endeavor that requires a lot of expertise in the field. Therefore, automating the process calls for a formalization of this knowledge. Using continuity editing -- the predominant style of editing -- as a benchmark for evaluating edits, we introduce a novel optimization-based approach for automatically creating well-edited movies from a 3D animation. We propose an efficient solution through dynamic programming, by relying on a plausible semi-Markov assumption.Building upon our first contribution we then propose a novel importance-driven approach to cinematic replay that exploits both the narrative and geometric information in games to automatically compute camera paths. Combined with our editing framework, our solution generates coherent cinematic replays of game sessions.Finally, drawing inspiration from standard practices in the movie industry, we introduce a novel approach to camera path planning. This solution ensures realistic trajectories by constraining camera motion on a virtual rail. The camera position and orientation are optimized in time along the rail to best satisfy visual properties. The computed shots constitute relevant inputs for the editing framework which then generates compelling cinematographic content.

Esta tese se mostra como um estudo sobre a natureza da relação entre o fora de campo e a mise-en-scène no contexto do Novíssimo Cinema Brasileiro. Tendo como base para um estudo de caso a experiência cinematográfica do diretor mineiro André Novais, nosso intuito foi o de compreender, nos termos de um plano de imanência, os movimentos que amparam as discussões sobre as encenações e seu fora de campo. Para aprofundarmos o pensamento sobre uma dada indissociabilidade entre as instâncias do fora de campo e da mise-en-scène nos filmes de Novais, aplicamos a ideia da dobra, que, atualizada por Deleuze, opera na coexistência entre o dentro e o fora ao problematizar um espaço que se configura indiscernível. A partir daí, investimos na tese dos desenquadramentos, trazida por Deleuze no livro A Imagem Movimento (2009), e suas reverberações em relação às dimensões relativa e absoluta do fora de campo. Torna-se, portanto, necessário aproximar tais aspectos a determinadas concepções formais atreladas aos filmes que estudamos. É então que apostamos em figuras de linguagem, como as metonímias e as dimensões intertextuais e paratextuais, para atestar a presença de um fora de campo relativo, que nos traz exemplos mais concretos e aplicações mais diretas em relação ao espaço fílmico, e refletimos sobre as desnaturalizações e as indecidibilidades para pensar a porção de uma dimensão absoluta do fora de campo, esta mais ligada a uma duração do todo do universo e a um discurso indireto livre. Cabe assinalar que o estudo de caso aplicado à filmografia de André Novais é inserido em um contexto cinematográfico específico: o Novíssimo Cinema Brasileiro. Torna-se, assim, fundamental estabelecermos uma discussão sobre as particularidades de suas concepções estéticas e de mise-en-scène. Na esteira desse movimento, chegamos à compreensão do aspecto documental que invade tal contexto cinematográfico e que é problematizado a partir do deslocamento de um real representado para a sua realização no âmbito simbólico. A partir das teorias lançadas por Bazin, Metz, Badiou e Zizek, chegamos a um real entendido como fantasma, e não como referente. Ao alcançarmos o cerne de uma linguagem aplicada a determinadas formas fílmicas, encontramos a expressão de uma encenação desdramatizada, ligada aos aspectos minimalistas e hiper-reais e à produção de personagens da recusa, enfatizados a partir da incapacidade de adequação às identidades e aos modelos. Tais variáveis nos ajudam a refletir não só sobre as particularidades de uma mise-en-scène, mas também sobre os movimentos disruptivos e desconstrutivos do cinema. / This doctoral thesis studies the nature of the relationship between the out-of-field and the mise-en-scène in the context of the Newest Brazilian Cinema (Novíssimo Cinema Brasileiro). Taking the mineiro director André Novais’ cinematographic experience as foundation for a case study, we aimed to understand, in terms of a plane of immanence, the movements supporting the discussion about staging and its respective out-of-field. In order to deepen our thoughts on a certain inseparability between the out-of-field and the mise-en-scène in Novais' movies, we adopt the concept of “fold”, which, updated by Deleuze, establishes itself in the coexistence between inside and outside, while problematizing an indiscernible space. Thereon, we address the thesis of the unframing, brought forward by Deleuze in his book The Movement-Image (2009), and its reverberations around the relative and the absolute aspects of the out-of-field. It was therefore imperative to approach such aspects in relation to certain formal conceptions attached to the movies we study. That is where we employ figures of speech such as the metonymy and the intertextual/paratextual dimmensions, so that we were able to attest to the presence of a relative out-of-field, which brings us many concrete examples and direct applications in relation to the filmic space. Furthermore, we also considered denaturalizations and undecidabilities to conceive an absolute dimmension of the out-of-field, associated with the free indirect discourse and with a duration which is immanent to the whole universe. We should point out that the case study about André Novais’ filmography inserts itself in a specific cinematographic context: the Newest Brazilian Cinema. It was thus fundamental that we stablished a debate about the peculiarities of its mise-en-scène and its aesthetic conceptions. Approaching this movement, we reach an understanding about the documentary aspect which overruns such cinematographic context and which is examined as through the displacement of a represented “Real” up to a realization in the symbolic realm. Aimed with theories laid by authors such as Bazin, Metz, Badiou and Zizek, we end up conceiving the Real as ghost, instead of referent. Achieving the kernel of a language applied to certain filmic forms, we discover the expression of a de-dramatized staging, characterized by minimalist and hiper-realist aspects and by the production of “refusal characters”, unable to conform themselves to predefined identities and models. Such variables help us reflect not only upon mise-en-scène peculiarities, but also upon disruptive and deconstructive cinema movements.

The objective of this thesis is to examine the impact audiences have on the director’s process of creating a mise-en-scène and to understand the ways in which we might begin to understand and articulate such impact. I argue that the influence audiences have on theatre directors' mise-en-scenes have been ambiguous, and therefore there is a lack in a systematic approach to theatre-making. Through a detailed investigation on the arbitrary methods employed by a selected group of theatre directors, I propose that a communicative approach in capturing audiences’ expectations is necessary in shaping mise-en-scenes, directly and indirectly. More specifically, this thesis makes explicit these cognitive processes through a technical investigation, a mechanism which I propose and have graphically represented that can be used to harness the impact audiences have on theatre-making. In this thesis, the historical role and influence of the audience is discussed in Chapter One. This is followed by focusing on different of aspects of the audience, such as the attraction and captivation of audience, reception and perception of audience, and audience and culture. In Chapter Two there are two sections to define dramaturgy and mise-en-scène. I also argue that there are three key points in the communication between the audience and the theatre group: (i) audience pleasure, (ii) deadness, and (iii) distance. I present a diagram in order to suggest the relationship between the director, audience and mise-en-scène with an emphasis on their pathways in receiving audiences’ expectations. The diagram is developed throughout the thesis. In Chapter Three the study is motivated primarily by the individual styles and mise-en-scenes of Augusto Boal, Eugenio Barba, Peter Brook and Robert Lepage. Here I explore specifically the ways in which they have imagined, created, and performed mise-en-scenes, and the role audiences play in impacting their mise-en-scenes. Chapter Four is based on three case studies with the final suggested diagram at the end. As part of my research, I created and examined three case studies to support the hypothesis that audiences have an important impact on directors’ mise-en-scenes, i.e. how and why the director controls and manipulates theatrical elements. In conclusion, four main pathways for receiving audiences’ expectations are suggested.