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My dissertation examines how early modern metatheater enabled the Renaissance stage and its original audience to develop a complex and symbiotic relationship. Metatheater--by which I mean a particular mode of theatre, in which actors, playwrights, dramatic characters and/or (in particular) audiences express or share a perception of drama as a fictional and theatrical construct--pervaded Renaissance drama, not by simple happenstance but arising almost inevitably from the complex context within which it functioned. The early modern stage was a particularly conflicted forum, which monarchs and playwrights, town fathers and actors, censors and audiences, impresarios and anti-theatricalists, all strove to influence and control. The use of the metatheatrical mode allowed playwrights and players to better navigate this difficult, sometimes dangerous, space. In particular, the development of Renaissance metatheater derived from (and, simultaneously, affected) the unique nature of its original spectators, who practiced a much more actively engaged participation in the theater than is often recognized. Performers and playwrights regularly used metatheatricality to adapt to the needs and desires of their audience, and to elicit the intellectual and emotional responses they desired. My study utilizes a historically contextualized approach that emphasizes the material conditions under which Renaissance drama arose and functioned. It begins by examining the influence of the surrounding milieu on the Renaissance stage and its spectators, especially its facilitation of the development and use of metatheater. Then, via close readings of four plays--Kyd's The Spanish Tragedy, Shakespeare's Henry V and Antony and Cleopatra, and Beaumont's The Knight of the Burning Pestle--the dissertation indicates how varied and versatile early modern metatheater was, and how it responded to and influenced the nature of its audiences. My study demonstrates the centrality of metatheater to early modern theatrical practice, delineates its pervasive influence on the stage-audience relationship in Renaissance theaters, and underlines the influence of material conditions on the creation and dissemination of Elizabethan and Jacobean drama. / English

This paper explores the depiction and function of madness on the Renaissance stage, specifically its development as trope of the English revenge tragedy from its Elizabethan conception to its Jacobean advent through a representative engagement of Thomas Kyd’s The Spanish Tragedy, William Shakespeare’s Hamlet and John Webster’s The Duchess of Malfi. Madness in these plays selectively departs from popular conceptions and archetypal formulas to create an uncertain dramatic space which allows its sufferers to walk moral lines and liminal paths unavailable to the sane. “Madness” is responsible for and a response to vision; where the revenger is driven to the edge of madness by a lapse in morality only visible to him, madness provides a lens to correct the injustice. It is the tool that allows them to escape convention, decorum and even the law to rout a moral cancer, and, in this capacity, is enabling rather than disabling.

As lacunas nos processos de comunicação entre as personagens dramáticas de Anton Tchékhov (1860-1904) apresentam-se como um traço básico e definitivo de sua poética. A análise dos processos comunicativos entre as personagens das quatro principais peças do autor - A gaivota (1896), O tio Vânia (1897), As três irmãs (1900) e O jardim das cerejeiras (1904) - elucida a criação de um novo paradigma artístico em seu sistema dramático, cujas inovações marcaram profundamente todo o teatro do século XX e exercem enorme influência até os dias de hoje. O presente trabalho apresenta um recorte das obras selecionadas em relação ao contexto russo da época, evidenciando inquietações que anunciavam transformações profundas na sociedade. Neste intuito, retoma a teoria dos gêneros literários e suas principais críticas, que realçaram a importância da relação entre os gêneros e o momento histórico em que se consolidavam; assim, adquire relevo nas análises o conceito de \"romantização\" dos gêneros proposto pelo filósofo e teórico literário russo Mikhail Bakhtin (1895-1975), a partir da ideia de \"supremacia\" do único gênero em devir. Com a emersão de elementos épicos e líricos na dramaturgia tchekhoviana, observa-se como o diálogo, forma do gênero dramático por excelência, motor das ações que impulsionam o avanço do enredo no sistema dramático tradicional, tem sua unidade enfraquecida, fazendo com que o drama tchekhoviano necessite da encenação para realizar-se plenamente. O \"invisível\" e o \"indizível\", aquilo que subjaz às réplicas, que está latente justamente nas lacunas dos processos comunicativos entre as personagens, torna-se vital a este novo teatro, que acolhe e conta com a imaginação de leitores/espectadores. / The gaps in the communication processes between the dramatic characters of Anton Chekhov (1869-1904) consist on a basic and definite trait of the author\'s dramatic poetics. The analysis of the communication processes of four of Chekhov\'s major plays - The seagull (1896), Uncle Vanya (1897), Three sisters (1900) and The cherry orchard (1904) - elucidate the creation of a new artistic paradigm in the author\'s dramatic system, the innovations of which deeply affected the twentieth century theatre and have exerted a major influence until today. The study approaches the selected plays firstly considering the Russian context of the period, highlighting historical transformations that were already on course. Secondly, it examines the literary genres theory, as well as the most important criticism it suffered. The concepts developed by the Russian philosopher and literary critic Mikhail Bakhtin (1895-1975), which took into account the relationship between the literary genres and the historical moments when they were being shaped, acquire great importance in our analysis. Specially the notion of the novel as a contemporary genre, which embraces and affects all the other genres. After clarifying this influence by identifying the presence of epic and lyric elements in Chekhov\'s plays, we observe how the dialogue, the traditional form of the dramatic genre, motor of the actions that push the plot forward, has its unit weakened. As a consequence, chekhovian drama needs staging to be fully achieved: what is not visible and cannot be reduced to words, what is latent in the gaps of communication, underlying the characters\' speeches, become vital to this new theatre, which welcomes and counts on the imagination of its audience.

As lacunas nos processos de comunicação entre as personagens dramáticas de Anton Tchékhov (1860-1904) apresentam-se como um traço básico e definitivo de sua poética. A análise dos processos comunicativos entre as personagens das quatro principais peças do autor - A gaivota (1896), O tio Vânia (1897), As três irmãs (1900) e O jardim das cerejeiras (1904) - elucida a criação de um novo paradigma artístico em seu sistema dramático, cujas inovações marcaram profundamente todo o teatro do século XX e exercem enorme influência até os dias de hoje. O presente trabalho apresenta um recorte das obras selecionadas em relação ao contexto russo da época, evidenciando inquietações que anunciavam transformações profundas na sociedade. Neste intuito, retoma a teoria dos gêneros literários e suas principais críticas, que realçaram a importância da relação entre os gêneros e o momento histórico em que se consolidavam; assim, adquire relevo nas análises o conceito de \"romantização\" dos gêneros proposto pelo filósofo e teórico literário russo Mikhail Bakhtin (1895-1975), a partir da ideia de \"supremacia\" do único gênero em devir. Com a emersão de elementos épicos e líricos na dramaturgia tchekhoviana, observa-se como o diálogo, forma do gênero dramático por excelência, motor das ações que impulsionam o avanço do enredo no sistema dramático tradicional, tem sua unidade enfraquecida, fazendo com que o drama tchekhoviano necessite da encenação para realizar-se plenamente. O \"invisível\" e o \"indizível\", aquilo que subjaz às réplicas, que está latente justamente nas lacunas dos processos comunicativos entre as personagens, torna-se vital a este novo teatro, que acolhe e conta com a imaginação de leitores/espectadores. / The gaps in the communication processes between the dramatic characters of Anton Chekhov (1869-1904) consist on a basic and definite trait of the author\'s dramatic poetics. The analysis of the communication processes of four of Chekhov\'s major plays - The seagull (1896), Uncle Vanya (1897), Three sisters (1900) and The cherry orchard (1904) - elucidate the creation of a new artistic paradigm in the author\'s dramatic system, the innovations of which deeply affected the twentieth century theatre and have exerted a major influence until today. The study approaches the selected plays firstly considering the Russian context of the period, highlighting historical transformations that were already on course. Secondly, it examines the literary genres theory, as well as the most important criticism it suffered. The concepts developed by the Russian philosopher and literary critic Mikhail Bakhtin (1895-1975), which took into account the relationship between the literary genres and the historical moments when they were being shaped, acquire great importance in our analysis. Specially the notion of the novel as a contemporary genre, which embraces and affects all the other genres. After clarifying this influence by identifying the presence of epic and lyric elements in Chekhov\'s plays, we observe how the dialogue, the traditional form of the dramatic genre, motor of the actions that push the plot forward, has its unit weakened. As a consequence, chekhovian drama needs staging to be fully achieved: what is not visible and cannot be reduced to words, what is latent in the gaps of communication, underlying the characters\' speeches, become vital to this new theatre, which welcomes and counts on the imagination of its audience.

Orientador: Alcides Cardoso dos Santos / Banca: Iná Camargo Costa / Banca: Maria Clara Bonetti Paro / Resumo: A obra de arte dramática, diferentemente de outras formas artístico-literárias, é a que de forma mais prática e imediata estabelece uma relação entre seu realizador e o público ao qual ela é destinada. Contudo, o drama moderno, produzido a partir do final do século XIX, passou por uma série de crises e adaptações quanto à forma e ao conteúdo, decorrentes de várias mudanças ocorridas nos mais diversos setores da sociedade. Edward Albee é um dos maiores dramaturgos norte-americanos da segunda metade do séc. XX. Seguindo uma tradição que produziria grandes talentos como Eugene O'Neill, Tennessee Williams e Arthur Miller, o novo autor surge em 1958 com seu texto, The Zoo Story, associado ao Teatro do Absurdo. A peça de forma minimalista põe em cena dois bancos de praça e duas personagens: Peter que é a própria personificação do self made man, já que está enjaulado aos ideais e aos valores burgueses de vida, e Jerry o outsider ou o transeunte permanente que não se insere nos padrões, no código moral e de valores socialmente estabelecidos. Entretanto, ou por isso mesmo, possui uma capacidade reflexiva extremamente aguçada. O objetivo é tratar de um aspecto da peça - a questão da absurvidade e da liberdade, como formas de transcender a angústia existencial e a vida sem significado em um contexto destituído de símbolos metafísicos. Analisar-se-ão os elementos relacionados a estes tópicos bem como o modo que servem de instrumento para o esvaziamento da ideologia burguesa, que culmina na crítica ácida que Edward Albee desfere ao American way of life. / Abstract: Dramatic art, differently from other literacy-artistic forms, is the one that most practically and immediately establishes a relationship between its producer and the audience it is created for. However, modern drama, produced since the end of nineteenth century, has gone through many crises and adaptations in its form and content, originated from many changes occured in the various instances of society. Edward Albee is one of the major American playwrights of the second half of the twentieth century. Following a tradition which produced gifted authors such as Eugene O'Neill, Tennessee Williams and Arthur Miller, the new author appears with his play The Zoo Story in 1958, associated to the Theater of the Absurd. The play, in a minimalist way, stages two park benches and two characters: Peter, the personification of the self made man, encaged in the bourgeois ideals and values of life; and Jerry, the outsider or the permanent transient who does not fill in the patterns, in the moral code or the established social values. However, or because of this, he has a sharpened reflexive ability. The aim of our search is to treat one aspect of the play - absurdity and freedom - a means of transceding existential anguish and life without meaning in a context deprived of metaphysical symbols. We intend to analyze elements related to these topics, as well as the way they function as instruments for the emptying bourgeois ideology which, ends up the sour criticism Albee aims at the American way of life. / Mestre

Made available in DSpace on 2015-09-25T12:19:30Z (GMT). No. of bitstreams: 1 Newton de Castro Pontes.pdf: 799491 bytes, checksum: ad3dc915bb4adc44a16fd38f0b703dc1 (MD5) Previous issue date: 2010-02-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper considers the feasibility of applying the concepts of unfinished forms and romancization (proposed by Mikhail Bakhtin) to two literary forms (the modern short story and [modern] drama in one act), as well to verify the usefulness of the concept to the analysis of works of modern authors that are framed in these forms - in our case, the short stories, Onde estivestes de noite and Seco estudo de cavalos , by Clarice Lispector, and the oneact plays Talk to me like the rain and let me listen and The lady of larkspur lotion by Tennessee Williams. We tried thus problematizing the theories about the short story most used by the critical fortune (especially those by Poe, Cortázar and Piglia), arguing their applicability in a modern short story, while we verified the particular structure of the one-act play, considering its development within the dramatic genre and its relationship with the short story. Finally, we intend to establish the contribution of Clarice Lispector and Tennessee Williams in the questioning of traditional forms of short story and drama. / Este trabalho busca considerar a viabilidade da aplicação das noções de formas inacabadas e romancização (propostas por Mikhail Bakhtin) a duas formas literárias (o conto literário moderno e o drama [moderno] em um ato), assim como de verificar a utilidade do conceito à análise de obras de autores modernos que estejam enquadradas nestas formas no nosso caso, os contos Onde estivestes de noite e Seco estudo de cavalos , de Clarice Lispector, e as peças em um ato Fala comigo doce como a chuva [ Talk to me like the rain and let me listen ] e A dama de Bergamota [ The lady of larkspur lotion ], de Tennessee Williams. Tentamos, assim, problematizar as teorias do conto mais aceitas pela fortuna crítica (em especial as de Poe, Cortázar e Piglia), argüindo sua aplicabilidade na forma moderna do conto, ao mesmo tempo em que verificamos as particularidades estruturais do drama em um ato, considerando seu desenvolvimento no seio do gênero dramático e suas relações com a narrativa curta. Por fim, é nossa intenção estabelecer a contribuição de Clarice Lispector e de Tennessee Williams no questionamento das formas tradicionais do conto e do drama.

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<p>The longstanding relationship between honour and violence has obvious martial and chivalric overtones. The prevalence of the duel in early modern England points to the developing performativity and growing symbolic meaning of violence during the period, a codified violence that relied heavily on hierarchical guidelines. The duel helped to stabilize social notions of rank and masculinity, and became a means of culturally validating masculinity and reifying honour codes. This thesis frames a study of violence and its relationship to honour and masculine identity through analysis of dramatized scenes involving masculine honour in three of Shakespeare’s plays – <em>Twelfth Night</em>, <em>Henry V</em>, and <em>Hamlet</em> – with a concurrent investigation of contemporary policies and essays on civility and honour. I examine instances of public violence that directly relate to private or personal concepts of honour, as well as the ways in which honour is conceived of and transmitted both linearly, through generations, and horizontally through discourses of national or social honour to one’s duty. This study contributes to a sense of honour as a dynamic and omnipresent discourse in the early modern era, one that structured and dictated the lives of the Elizabethan aristocracy.</p> / Master of Arts (MA)

Das Hauptziel der Arbeit ist die Rekonstruktion der sozialen und kulturellen Rahmenbedingungen, unter denen dramatische Stücke zwischen Shakespeares Tod im Jahre 1616 und der Schließung der Theater im Jahre 1642 produziert wurden. Mithilfe einer Vielfalt zeitgenössischer Quellen erfolgt eine Rekonstruktion des historischen Kontextes aus zeitgenössischer Sicht. Die Arbeit analysiert wer die Menschen waren, für die Shakespeares Nachfolger ihre Stücke für die öffentlichen und privaten Bühnen Londons schrieben. Des Weiteren stellt die Arbeit dar, wie der Gang ins Theater in einer bisher von der Forschung nur wenig beachteten Epoche aussah und zeigt auf, wer genau in diesen Jahren ins Theater ging und wie diese Zuschauer und ihre Erwartungen an die Bühne durch eine Vielzahl externer und stetig wechselnder kultureller, politischer und sozialer Faktoren (z.B. Bärenhatzen, Prostitution, Hinrichtungen etc.) beeinflusst wurden. Zudem liegt ein weiteres Hauptaugenmerk der Arbeit darauf, wie die drei Autoren John Ford, Richard Brome und James Shirley in den Prologen und Epilogen zu ihren Stücken die Gegenwart der Zuschauer thematisiert und die Entwicklung des frühneuzeitlichen Theaters metadramatisch und selbstreflexiv angesprochen haben.