Les cérémonies d’ouverture et de clôture des Jeux Olympiques modernes (1896-2008) se composent d’un rituel et d’un spectacle, inspirées des Jeux Olympiques de l’Antiquité, des conceptions de Pierre de Coubertin ainsi que du contexte dans lesquelles elles évoluent au cours du XX e siècle.Pour dégager le sens de ces spectacles populaires, trois niveaux d’analyses sont indispensables.Dans un premier temps nous nous interrogerons sur le sens de la liturgie olympique, c’est à dire la dimension symbolique du rituel olympique. L’apport de l’Antiquité est à ce sujet essentiel.Dans un second temps, nous nous questionnerons sur l’impact de l’esthétique et la manière de mettre en scène ces spectacles. Les conceptions de Pierre de Coubertin, véritable connaisseur des mises en scène, est ici l’élément déterminant. Nous verrons également l’apport de théoriciens et d’artistes comme Maurice Pottecher ou René Morax et John Ruskin dans l’esthétique souhaitée par Coubertin.Enfin, dans un dernier point et pour mettre en perspective les deux première thématiques, nous nous intéresserons à la dimension dramaturgique de ces cérémonies pour voir que deux thèmes traversent l’ensemble des spectacles ; le culte à mystère et la science. / Opening and closing ceremonies of the modern Olympic Games (1896-2008) are made up of a ritual and a show, inspired by the Olympic Games of antiquity, conception of Pierre de Coubertin as well as of context in which they evolve in the course of XXth century.To clear the sense of these popular shows, three levels of analyses are necessary.At first, we will think about the sense of Olympic liturgy, that is symbolic dimension of the Olympic ritual. The essential subject in this case is the contribution of antiquity.In a second point, we will be questioned on the impact of the aesthetics and the way to stage these shows. Pierre de Coubertin's conceptions, in this case, is conciderated as the decisive element of the true expert of productions. Endeed, We will see the contribution of theoreticians and artists Maurice Pottecher or René Morax and John Ruskin in the desired aesthetics by Coubertin.Finally,in a last point, in order to put in perspective two previous themes, we will be interested in the dramaturgic dimension of these formalities to see that two topics cross all shows; worship with mystery and science.

Resumo: O objetivo desta pesquisa é abordar as potencialidades cênicas do corpo acrobata durante o início do século XX na Rússia. Para tanto, foram adotadas como referência as experimentações cênicas do encenador epedagogo Vsévolod Emilievitch Meierhold, consolidadas nas duas encenações de Mistério-Bufo (1918 e1921), dramaturgia de Vladímir Maiakóvski. No primeiro capítulo, Opensamento russo eodesejo do corpo acrobata: final do século XIX einício do XX, o intuito é contextualizar efundamentar aaproximação das artes circenses eteatrais na Rússia em tal período. O capítulo aborda opensamento russo eoideal de "novo homem", que encontrou sua expressão nas artes e na literatura. As atividades de Meierhold eMaiakóvski estão atreladas a essa conjuntura. No segundo capítulo, Ocorpo acrobata na pedagogia de V. E. Meierhold, oobjetivo é abordar o trabalho pedagógico meierholdiano nos anos que antecederam a Revolução de 1917, sob a ótica do processo de "cirquização" do teatro. Aobra de Meierhold apresenta um vasto material de investigação sobre oassunto eengendra não só transformações no espetáculo teatral como influencia diversos grupos eartistas do período. Por fim, no terceiro capítulo, A "cirquização" do teatro: Mistério-Bufo (1918 e1921), de Meierhold-Maiakóvski, procurou-se analisar acondição do corpo acrobata na obra enas encenações. Detecta-se nos espetáculos princípios eprocedimentos experimentados por Meierhold nos anos pré-revolucionários, bem como a apropriação eutilização de elementos circenses. Este trabalho revela que, na Rússia, grande parte dos artistas eintelectuais se voltou para as atividades circenses no início do século XX, já que nesse momento havia o desejo do "novo homem", o herói eslavo harmônico e belo. A destreza, o vigor e a audácia do acrobata casa perfeitamente com tal ideia e, não por acaso, os ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The scope of this work is to discuss the acrobatic body‟s scenic potentialities during the beginning of the 20th century in Russia. To this end, it was adopted as a reference the scenic experimentations from the theater director and educator Vsevolod Emilievitch Meyerhold, which are consolidated in both staging of Mistery-Bouffe (1918 and 1921), dramaturgy of Vladimir Mayakovsky. In the first chapter, The Russian thought and the desire of the acrobatic body: end of 19th century and beginning of 20th century, the purpose is to contextualize and base the approach of the circus and theater arts in Russia in the mentioned period. The chapter addresses the Russian thought and the "new man" ideal, which has found its expression in the arts and literature. The activities of Meyerhold and Mayakovsky are coupled to this conjuncture. The second chapter, The acrobatic body in the pedagogy of V. E. Meyerhold, the purpose is to address the meyerholdian pedagogical work during the years that precede the Russian Revolution of 1917, from the perspective of the "circus-becoming" theater. Meyerhold‟s play shows a vast material of research about the subject and engenders, not only transformations in the theatrical play, but it also influences various groups and artists from that age. Finally, in the third chapter, The "cirquization" of the theater: Mystery-Bouffe (1918 and 1921), of Meyerhold-Mayakovsky, it was attempted to analyze the acrobatic body condition in the play and staging. There are in the plays principles and procedures already experimented by Meyerhold during the pre-Revolutionary years, as well as the ownership and usage of circus elements. This work reveals that in Russia, the majority of artists and the intelligentsia were focused on the circus activities in the beginning of the 20th century, since in that moment there was the desire of a "new man", the harmonic and ... (Complete abstract click electronic access below) / Orientador: Mario Fernando Bolognesi / Coorientador: Maria Thais Lima Santos / Banca: Angela de Castro Reis / Banca: Lúcia Regina Vieira Romano / Mestre

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-14Bitstream added on 2014-06-13T18:49:08Z : No. of bitstreams: 1 ferreira_mfn_me_ia.pdf: 1519052 bytes, checksum: 1f3e287d5f56da812d7ec2580fd05f64 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O objetivo desta pesquisa é abordar as potencialidades cênicas do corpo acrobata durante o início do século XX na Rússia. Para tanto, foram adotadas como referência as experimentações cênicas do encenador epedagogo Vsévolod Emilievitch Meierhold, consolidadas nas duas encenações de Mistério-Bufo (1918 e1921), dramaturgia de Vladímir Maiakóvski. No primeiro capítulo, Opensamento russo eodesejo do corpo acrobata: final do século XIX einício do XX, o intuito é contextualizar efundamentar aaproximação das artes circenses eteatrais na Rússia em tal período. O capítulo aborda opensamento russo eoideal de “novo homem”, que encontrou sua expressão nas artes e na literatura. As atividades de Meierhold eMaiakóvski estão atreladas a essa conjuntura. No segundo capítulo, Ocorpo acrobata na pedagogia de V. E. Meierhold, oobjetivo é abordar o trabalho pedagógico meierholdiano nos anos que antecederam a Revolução de 1917, sob a ótica do processo de “cirquização” do teatro. Aobra de Meierhold apresenta um vasto material de investigação sobre oassunto eengendra não só transformações no espetáculo teatral como influencia diversos grupos eartistas do período. Por fim, no terceiro capítulo, A “cirquização” do teatro: Mistério-Bufo (1918 e1921), de Meierhold-Maiakóvski, procurou-se analisar acondição do corpo acrobata na obra enas encenações. Detecta-se nos espetáculos princípios eprocedimentos experimentados por Meierhold nos anos pré-revolucionários, bem como a apropriação eutilização de elementos circenses. Este trabalho revela que, na Rússia, grande parte dos artistas eintelectuais se voltou para as atividades circenses no início do século XX, já que nesse momento havia o desejo do “novo homem”, o herói eslavo harmônico e belo. A destreza, o vigor e a audácia do acrobata casa perfeitamente com tal ideia e, não por acaso, os... / The scope of this work is to discuss the acrobatic body‟s scenic potentialities during the beginning of the 20th century in Russia. To this end, it was adopted as a reference the scenic experimentations from the theater director and educator Vsevolod Emilievitch Meyerhold, which are consolidated in both staging of Mistery-Bouffe (1918 and 1921), dramaturgy of Vladimir Mayakovsky. In the first chapter, The Russian thought and the desire of the acrobatic body: end of 19th century and beginning of 20th century, the purpose is to contextualize and base the approach of the circus and theater arts in Russia in the mentioned period. The chapter addresses the Russian thought and the “new man” ideal, which has found its expression in the arts and literature. The activities of Meyerhold and Mayakovsky are coupled to this conjuncture. The second chapter, The acrobatic body in the pedagogy of V. E. Meyerhold, the purpose is to address the meyerholdian pedagogical work during the years that precede the Russian Revolution of 1917, from the perspective of the “circus-becoming” theater. Meyerhold‟s play shows a vast material of research about the subject and engenders, not only transformations in the theatrical play, but it also influences various groups and artists from that age. Finally, in the third chapter, The “cirquization” of the theater: Mystery-Bouffe (1918 and 1921), of Meyerhold-Mayakovsky, it was attempted to analyze the acrobatic body condition in the play and staging. There are in the plays principles and procedures already experimented by Meyerhold during the pre-Revolutionary years, as well as the ownership and usage of circus elements. This work reveals that in Russia, the majority of artists and the intelligentsia were focused on the circus activities in the beginning of the 20th century, since in that moment there was the desire of a “new man”, the harmonic and ... (Complete abstract click electronic access below)