Ce mémoire explore les territoires esthétiques de la culture populaire dans l’imaginaire carnavalisé du compositeur d’avant-garde Erik Satie (1866-1925). L’interprétation de l’arrière-texte de la poétique compositionnelle de Satie proposée par cette étude interroge le caractère iconoclaste des symboles associés à la scène des divertissements « légers ». Par les thèmes, genres, tropes et topoï qu’elle privilégie, l’œuvre musicale de Satie se situe au confluent du « savant » et du « vulgaire ». En portant un regard attentif aux créations « mineures » de Satie pour la scène populaire à Montmartre, ce travail cherche à définir les rapports antinomiques opposant les représentations, attitudes et valeurs promues par la culture « officielle » à l’attachement iconoclaste de Satie aux univers du « bas-social », du grotesque et de l’obscène. Les chahuts intempérants de Satie au cabaret artistique, au music-hall et au café-concert, au même titre que la revendication subversive par le compositeur des potentialités esthétiques offertes par le jeu et l’humour vernaculaires, prolongent le geste de résistance littéraire et artistique contre-culturel de la bohème fin-de-siècle. En visant une compréhension sémantique des enjeux discursifs qui accompagnent historiquement la représentation du populaire – cet « Autre » profanant, repoussoir de l’élite bourgeoise –, ce mémoire appréhende la portée démocratique du rire matérialiste populaire de Satie, principale figure tutélaire des premières avant-gardes modernistes parisiennes au tournant du XXe siècle. / This thesis aims to explore the aesthetic territories of popular culture within the avant-garde composer Erik Satie’s (1866-1925) carnavalized imagination. This study provides an interpretation of the subtext of Satie’s poetics of composition that questions the use of symbols associated with ‘light’ entertainment as means of protest. The themes, genres, tropes and topoï that Satie’s works invoke place them at the intersection of ‘learned’ and ‘vulgar’ culture. By paying close attention to Satie’s ‘minor’ works created for Montmartre’s popular establishments, this thesis seeks to define the antinomic relationship that opposes ‘official’ culture’s promoted representations, attitudes and values to Satie’s iconoclastic penchant for the imaginary spaces of the ‘low-class’, the grotesque and the obscene. Satie’s uproarious contributions to cabaret artistique, music-hall and café-concert, as well as the composer’s subversive exploration of the aesthetic potential of playfulness and vernacular humor, find echoes in the literary and artistic counter-cultural acts of resistance in Bohemian fin-de-siècle circles. Based on a semantic understanding of the discursive issues historically surrounding the representation of the popular as a degrading ‘Other’ by the wealthy bourgeois elite, this thesis appraises the democratic scope of Satie’s materialistic popular laughter, which serves as one of the main influences for the first Parisian modernist avant-garde movement at the turn of the twentieth century.

Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.

Made available in DSpace on 2016-04-27T19:31:22Z (GMT). No. of bitstreams: 1 Dissertacao NIRLENE NEPOMUCENO.pdf: 1745866 bytes, checksum: 150a4dae56efe46539196eaccdca7a04 (MD5) Previous issue date: 2006-06-27 / Fundação Ford / The objective of this dissertation is to catch organizations formed by black people between the last years of the 19th Century and the first decades of the 20th Century in Rio de Janeiro. Disregarded by the European immigrants in the post abolition period, the black man was forced to create his own identity and cultural reference. He became present in several places and urban activities. He discovered an alternative means of survival such as the entertainment world which started in Rio de Janeiro. There was a surprisiling predominance in show business of popular Brazilian black artists and other black artists from African Diaspora in Europe-The United States-Caribbean-Brazil circuit. This presence showed in an interweaving changing of contacts and tension. People influenced themselves, changed and broadcasted their own cultural products. Brazilian black artists used the amusement to expand discussions about important themes to all black people in the first decades after slavery ended / Esta dissertação procurou apreender formas de organização não institucionais da população negra no Rio de Janeiro, no período compreendido entre os últimos anos do século XIX e as três primeiras décadas do XX. Preterido pelo imigrante europeu no mundo do trabalho livre, o negro não se acomodou. Marcou sua presença em múltiplos espaços e afazeres urbanos, forçou brechas, movimentou-se de várias maneiras, inventando e conquistando lugares a partir de seus referenciais culturais de vida, criando alternativas de inserção que não foram reconhecidas pela lógica formal do trabalho moderno , como o mundo do entretenimento que começava a formar-se no Rio de Janeiro. Surpreendemos, nos palcos do espetáculo-negócio , uma presença predominantemente negra, reforçada por artistas afro-descendentes no que poderia ser chamado de circuitos Europa-Estados Unidos- Caribe-Brasil. Evidenciando entrelaçamentos e contínuos contatos, trocas e tensões entre diásporas negras de diferentes partes do mundo, que se influenciavam mutuamente, transformando e difundindo produtos culturais uns dos outros, artistas negros valeram-se do divertimento para ampliar discussões em torno de temas que afetavam diretamente o segmento negro da população nas décadas que se seguiram ao pós-abolição. Como grande expressão dessas dinâmicas de culturas negras acompanhamos a emergência, as relações e os enfrentamos de De Chocolat e a Companhia Negra de Revista no Rio de Janeiro, no período de 1926/27