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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação Método Pocha: Práticas de Ensino em Performance para Cruzadores de Fronteiras é uma reflexão sobre possibilidades educativas em performance art. Pesquisa que tem como enfoque o Método Pocha metodologia de ensino em performance desenvolvida pelo coletivo La Pocha Nostra. Nesse sentido, busca-se identificar as propostas metodológicas, procedimentos, temáticas, apontamentos conceituais que sustentam as práticas pedagógicas do La Pocha Nostra, e investigar o processo formativo/educativo por vias da arte da performance. O recorte da presente abordagem prioriza performances que habitem interstícios e espaços fronteiriços. Compreende o performer como um cronista do seu tempo/espaço, que reflete e problematiza os fluxos, formações e composições contemporâneas. As práticas, procedimentos e conceitos desenvolvidos nos programas performativos do coletivo La Pocha Nostra são pensados no contexto da pesquisa enquanto modo de descolonizar nossos corpos e criar complicações em torno de representações vigentes, ampliando noções de identidade e diferença em seu lugar de trânsito: o corpo / This dissertation Method Pocha - Teaching Practices in Performance for Border Crossers - is a reflection on educational possibilities in performance art . Research that has as focus the ' Pocha Method' - performance in teaching methodology developed by the collective La Pocha Nostra . In this sense we seek to identify the methodological proposals , procedures, thematic , conceptual notes that support the pedagogical practices of La Pocha Nostra , and investigate the training / education process by way of performance art. The outline of this approach prioritizes performances that inhabit interstices and border areas. Understands the performer as a chronicler of his time / space that reflects and discusses flows formations and contemporary compositions. Practices, procedures and concepts developed in performative programs La Pocha Nostra collective are thought in the context of research as a way to decolonize our bodies and create complications around existing representations , expanding notions of identity and difference instead of transit: the body

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2012 / Made available in DSpace on 2013-06-25T18:46:31Z (GMT). No. of bitstreams: 1 313102.pdf: 1045303 bytes, checksum: 0e6281ca61a90e722749f7146459f93e (MD5) / Em fevereiro de 1965, sobre o palco do show Opinião, ganhava espaço no cenário artístico nacional Maria Bethânia Telles Vianna Veloso. O espetáculo, que tivera estreia em dezembro do ano anterior, tinha em seu elenco João do Vale, Zé Keti e Nara Leão, depois substituída por Bethânia. Até então desconhecida no eixo Rio-São Paulo, a artista consagrou o ato inaugural de sua carreira aos dezessete anos com a interpretação de Carcará naquela que viria a ser considerada a primeira manifestação de protesto após a instauração do regime militar. A canção, que já fazia parte do roteiro e que era antes interpretada por Nara, ganhou o status de música engajada com a força dramática da interpretação de Bethânia, fazendo-a, à época, um símbolo de resistência ao golpe. A assinatura conferida pela artista à música fez nascer, ao mesmo tempo, o Carcará de Maria Bethânia e a Maria Bethânia de Carcará, por intermédio de um elemento apto a trazer à tona uma instância semântica que o texto escrito oculta, gerando a resignificação da obra. Reside no âmbito da performance a capacidade de grafar pela voz e pelo corpo o registro de uma sintaxe expressiva que extrapola os limites da escritura. O presente trabalho objetiva analisar a cena poética de Maria Bethânia em Carcará à luz dos elementos que compõem o ato performático e da conjuntura na qual ele foi executado. A apreensão dos signos contidos nessa dimensão permite trazer para a esfera da Literatura aquilo que, embora não esteja contido no texto escrito, faz parte do caráter literário da obra e se inscreve na seara da performance.<br> / Abstract : In February 1965, on the stage of the Opinião spectacle, Maria Bethania Vianna Telles Veloso appeared in the national art scene. The show, which had debut in December of last year, had in its cast João do Vale, Zé Keti e Nara Leão, replaced by Bethania. Until then unknown in the Rio-Sao Paulo axis, the artist has made the inaugural act of his career at seventeen years with the interpretation of Carcará in what would be considered the first protest's manifestation after the military rule establishment. The song, which was part of the script and before that was interpreted by Nara, gained the status of music engaged with the dramatic power of Bethania's interpretation and do the artist at the time a symbol of resistance to the coup. The signature given by the artist to the music created at the same time the Maria Bethania's Carcará and the Carcará's Maria Bethânia, through an element able to bring up an instance semantics hidden in the writing text, creating a reinterpretation of the work. The ability to spell by the voice and the body the register about an expressive syntax that goes beyond the scripture limits is in the performance. This work aims to analyze the Maria Bethania performance in Carcará by the elements of this complex action and the situation in which it was executed. The seizure of the signs contained in this dimension allows to bring into the sphere of the Literature that which, although not contained in the written text, is part of the literary character of the work and register itself on the performance.

The teaching of Carl Czemy was influential in the first half of the nineteenth century. His Complete Theoretical and Practical Piano Forte School and its supplement, The Art ofPlaying the Ancient and Modern Piano Forte Works, are especially relevant to the performance of Beethoven's piano sonatas. Much of the information in this monumental treatise reveals how Beethoven would have performed his sonatas. His pedalling techniques, for example, are similar to those described in Czerny's treatise. Although The Art was published in 1846, some of the ideas in tl-ds book date back to Czemy's Haslinger II edition of the late 1820s, thereby showing a. certain consistency over a period of about twenty years. Most of Czemy's teaching on the performance of Beethoven's piano sonatas, hs recorded in his piano treatise, stem from Beethoven's own practice. However, he sometimes altered Beethoven's directions because he considered his solution to be better (such as the fingering. in the trio of Op. 2/l/iii), or because they did not conform to contemporary performing styles, or simply because they did not suit the more resonant pianos of his day.

This study adopts a twin approach to investigation of writers' motivation and method in translating, versionizing, and/or adapting into Scots plays from the historic repertoire of Continental European drama. First, it considers, through historical/critical research, the work ok, and statements by or about, selected writers representative by period of the development of a modern tradition in translating such plays for the Scottish stage from the 1940s through the 1990s. Second, it presents, through practice-as-research, self-reflective commentaries on two playscripts prepared as part of this study in order to allow self-recording and self-analysis of the process from the perspective of motivation and method. The playscripts are a version of Gerhart Hauptmann's Die Weber (The Weavers), and a co-translation of Carlo Goldoni's Le Baruffe Chiozzote (The Chioggian Squabbles; or, in this translation, The Chioggian Rammies).

This practice-based research is based around the creation of a triptych of performances entitled The Corbicula Cycle. The three performance pieces are: On The Edge, Through The Night and In The Shade. The aim of the practice is to take the supposedly ‘low’ artistic forms of the murder-mystery, Cinderella narrative, blackface minstrelsy and drag cabaret and interpenetrate them with theoretical content from postmodernism and identity politics whilst combining formal elements of dramatic writing and performance art practice. The emphasis of both the research and the research outcomes is a practical one. The DVDs and playscripts represent the core of the submission, with this thesis serving to support and contextualise the practice. Thus the contribution of this work is demonstrated not through new theoretical findings but through new artistic findings in the three performances. In terms of postmodernism, the research focuses on intertextuality; deconstruction; simulacra and simulation; split and shifting subjectivity; parody, pastiche, irony and the mixing of the genres. In relation to identity politics, the piece takes a postmodern view, covering cultural theories relating to gender, sexuality, class and race. The overarching objective in combining these different knowledge paradigms is to create a series of open, polysemantic texts which can be read in different ways by different viewers. Thus, it is hoped that the pieces can be shown successfully outside of an academic context and be open to readers other than an ‘expert-spectator’ audience of academics and artists. None of these artistic or theoretical constructions is innovative in itself. However, this research represents a modest contribution to knowledge through the subtly new ways it combines the paradigms of cultural theory, dramatic new writing and performance art with the generic artistic models of the murder-mystery, the Cinderella narrative, drag cabaret and blackface minstrelsy. It also provides substantial new insights through critical reflection upon process and products, exploring the play between artistic aims, principles of composition and audience response.

This thesis concentrates on investigation into the main preoccupations of five Scottish women playwrights in the last twenty years, with an emphasis on the ways in which they deal with the issues of gender identity. The study examines fifteen plays by five very different women authors in the context of modern feminist literary analysis. The main objective of the study is to show how Sue Glover, Liz Lochhead, Marcella Evaristi, Sharman Macdonald and Rona Munro – having come from different experiential perspectives – used recurring themes, imagery and discursive modes in exploring female identity. A further objective of the study is to open up and encourage new avenues for exploring female identity in the work of Scottish women playwrights. It also sets out to identify the common themes and imagery shared by these authors, and the ways in which they are expressed in language.

The thesis studies the female voice in the local culture in the post-devolution dramatic adaptations of the Scottish Makar Liz Lochhead. It acknowledges the dramatist’s idiosyncratic approach of fusing poetry and drama in order to question the new internationalist national model in Scotland resembling the main features of anti-colonial nationalisms post 1990s. Central to the thesis is the question of local female voice in the current national debate and whether and to what extent it problematizes the relation between feminism and nationalism in the new civic model introduced after devolution as an internationalist in Scotland. Lochhead’s idiosyncratic voice of a poet and dramatist is interpreted as a non-feminist and non-nationalist with a specific focus on individualised female dramatic representations. The complex semiotic interpretation of the constructed dramatic images by the playwright in her post-devolutionary adaptations of the classics shows a problematic reading of gender difference as cultural identity which appears with distorted features in the political revisions laden with self-satire. She applies metonymic use of female characterisation in order to reflect upon the changes in the cultural, political and linguistic climate, which results in a shift from a post-colonial dramatic discourse to a socio-linguistic one in the understanding of Robin Lakoff about a highly politicised and performative language and identity. The female voice in the local culture is frequently silenced and partially invisible, thus excluded from the political/national debate. However, Lochhead’s subject often re-asserts itself through silent resistance and body visibility to refer to the instability of male political voices and sometimes to ironize their lack of individual identity.

This thesis explores the theoretical and dramaturgical challenges faced by modern productions of the Oresteia with particular reference to two modern Royal National Theatre productions: Sir Peter Hall's (1981) and Katie Mitchell's (1999). It argues that to appreciate these challenges requires a detailed knowledge of the theatricality of the original text. In support of this position, this thesis contains a detailed analysis of Aeschylus' Agamemnon exploring how the playwright creates the play's world in text and performance. The discussion's focus concentrates on how theatrical space (seen, implied, and diegetic) constructs the world of the play. Concomitant in this discussion is an analysis of how Aeschylus invites the audience to decode the play's theatricality through its knowledge of epic literature and its own non-theatrical spatial environments and practices. To facilitate this understanding, the text and performance are explored with reference to political, domestic and ritual space. In considering these productions, the assumption of theatre reviews that productions can be described as adhering to either modernising or archeologically inspired staging practices is challenged. It is argued that modern productions should be analysed with reference to directorial, translator, and actor intentions. Through a methodology based on interviewing theatre practitioners, the productions of Hall and Mitchell are seen to be irreducibly modern, yet still maintain a relationship with Aeschylus. Hall's use of ancient staging conventions is seen to be a modern interpretation of the theatrical past, which aimed at communicating the foreignness of Aeschylus. In contract, Mitchell's use of modern staging techniques made the Oresteia familiar to a modern audience, but, by suggesting political, domestic, and ritual equivalents, still articulated with the ancient performance.