This project explores the phenomenon of National Theater in both Argentina and Mexico, specifically reevaluating the former's exemplarity and the latter's "failure." I propose that Fernando Ortiz's notion of contrapunteo is useful when thinking about the tensions found in National Theater, and I deploy this understanding to argue that, contrary to critical opinion, the "frivolous" Mexican theater scene was a key factor in the Mexican Revolution. / Romance Languages and Literatures

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-07-04T19:40:10Z No. of bitstreams: 1 raquelbarrososilva.pdf: 7437911 bytes, checksum: 0b259290e31810b9b6f11d1ede6e2e90 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-08T13:54:56Z (GMT) No. of bitstreams: 1 raquelbarrososilva.pdf: 7437911 bytes, checksum: 0b259290e31810b9b6f11d1ede6e2e90 (MD5) / Made available in DSpace on 2017-08-08T13:54:56Z (GMT). No. of bitstreams: 1 raquelbarrososilva.pdf: 7437911 bytes, checksum: 0b259290e31810b9b6f11d1ede6e2e90 (MD5) Previous issue date: 2016-04-18 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O empenho para a construção de um “teatro nacional” na capital do Império do Brasil contou com o esforço de muitos homens de letras, em especial dos dramaturgos adeptos da escola romântica e realista. A partir da década de 1860, quando do advento dos gêneros do teatro ligeiro no Brasil, e especialmente no início da década de 1870 quando houve a fixação desses gêneros em nossos palcos, o ideal de “teatro nacional” construído pelos representantes daquelas escolas foi sensivelmente abalado. O trabalho demonstra que as transformações no contexto social, econômico, cultural e político do Rio de Janeiro, entre o final da década de 1860 e começo da década de 1870, alteraram a própria definição do conceito de “teatro nacional”, tornando-o mais amplo e menos rigoroso, pois passaram a ser considerados “nacionais” espetáculos que, na década anterior não seriam aceitos como tal. Para compreendermos profundamente a reverberação de tais transformações contextuais no campo do teatro foi necessário nos debruçarmos sobre o cotidiano de uma das mais importantes companhias do período, e a mais representativa em relação a essa adoção dos gêneros ligeiros pelo mundo teatral carioca: a companhia teatral Phenix Dramática (1868-1891). Dialogando com os aportes fornecidos pela chamada História dos Conceitos e no campo metodológico, com a História Social, em especial História Social da Cultura, esta tese lança mão da imprensa periódica como principal fonte de pesquisa. Foram diretamente consultados 25 jornais, em sua maioria do Rio de Janeiro, entre os anos de 1821 (Diário do Rio de Janeiro) e 1889 (O Paiz). / The endeavor to the construction of a “National Theater” in the capital of the Empire of Brazil had the effort of many literate men, especially of playwrights who supported the Romantic and Realist schools. From the 1860s on, time of the advent of genres of Light Theater (Teatro Ligeiro) in Brazil, and especially in the early 1870s when these genres were established on our stages, the ideal of a “National Theater” built by the representatives of those schools were significantly unsettled. This work demonstrates that the transformations in the social, economic, cultural, and political context of Rio de Janeiro between the late 1860s and early 1870s changed the very definition of the “National Theater” concept, making it wider and less strict, because espectacles which, in the previous decade, would not be accepted as “National”, started being considered as such. In order to deeply understand the repercussion of such contextual changes in the field of drama, it was necessary thorough dedication to the everyday events of one of the most important theater companies of that time and the most representative one regarding the adoption of Light Theater Genres throughout the world of theater in Rio de Janeiro, Phenix Dramática theater company (1868 – 1891). Dialoguing with the contributions provided by the History of the Concepts and, in the methodology field, with the Social History, especially Social History of Culture, this thesis uses the periodic press as main source of research. Twenty-five newspapers were directly consulted, most of them in Rio de Janeiro, between 1821 (Diário do Rio de Janeiro) and 1889 (O Paiz).

Cette thèse s’intéresse au Théâtre National de Strasbourg durant la direction de Jean-Pierre Vincent (1975-1983). Dans une approche théorique, ce travail revient sur la remise en question de la décentralisation théâtrale et met en avant le contexte artistique, historique, social et politique qui a poussé Jean-Pierre Vincent et son collectif d’artistes à chercher une nouvelle façon d’aborder le théâtre. Tandis que certains mouvements investissent la rue, tels que le Happening ou le Bread and Puppet Theatre…, certains artistes comme Ariane Mnouchkine et Peter Brook se distinguent par une nouvelle approche expérimentale du théâtre qui met le spectateur au cœur de la recherche. Cette approche théorique nous permet de mieux cerner le contexte dans lequel évolue le TNS. En deuxième partie et en revenant sur cette période récente de l’histoire du TNS, ce travail s’interroge sur les notions de « théâtralité » et de « spectateur » à travers les créations « dans les murs » de Jean-Pierre Vincent et « hors les murs » d’André Engel. En nous concentrant sur les questions scénographiques et esthétiques, nous avons essayé de mettre en avant deux manières différentes et pourtant complémentaires d’interroger les codes théâtraux et, ce faisant, de pratiquer un théâtre profondément subversif et critique conduisant à reconsidérer le statut du spectateur, ainsi que ceux du scénographe et du metteur en scène. / The present thesis work is about the Strasbourg National Theater (TNS) under the direction of Jean-Pierre Vincent (1975-1983). In particular, the first part of the present research focuses, from a theoretical perspective, on issues related to the theatrical decentralization program and highlights the artistic, historic, socio-political context that guided Jean-Pierre Vincent and his collective of artists to consider and pioneer a new theatric approach. While several artistic movements were working on the street like Happening or Bread and Puppet Theatre…, others like Ariane Mnouchkine and Peter Brook were distinguished by a theatrical experimental approach involving the spectator in an innovative way. These theoretical perspectives illustrate the broader context in which TNS evolved. In this second part of this thesis, we investigate and discuss the “theatricality” and “spectator” notions throughout Jean-Pierre Vincent and André Engel creations (“dans les murs” and “hors les murs”). Moreover, by focusing on scenographic and aesthetic choices, we highlight two different, yet complementary, ways of questioning theatrical codes. Specifically, the practice of a subversive and critical theater led to a deep reconsideration of the status of the spectator, as well as those of the scenographer and the director.

The master thesis attempts to characterise the staging poetics of Miroslav Macháček, one of the most remarkable Czech theatre directors of the second half of the 20th century. Based on his stage works in the 70's and 80's at the National Theater, the author of this thesis attempts to make a reconstruction of all his productions of that period; and thus the detailed analysis of the more significant productions characteristic to the director's style is provided. In order to define the stagings, the author bases her research upon archival theater reviews and studies in particular periodicals, photographical materials from the productions and in some cases also audiovisual recordings. Furthermore, other sources include the director's correspondence, notes about his work and the memories of his contemporary witnesses. The thesis also focuses on the historical context and the conditions at the National Theater of that particular time, which influenced Macháček's activity there.