Esta dissertação presta-se a oferecer considerações para um adensamento do quadro teórico que fomenta debates contemporâneos sobre formação docente para o ensino de inglês no Brasil, aprofundando-se na questão do jogo identidade/ alteridade, uma vez que considera que a presença das línguas estrangeiras na Educação Básica deve atender à necessidade atual de nossa sociedade de repensar temas tais como os efeitos da globalização sobre práticas interculturais. Recorrendo ao campo da Arte como fonte conceitual, o trabalho faz uma leitura de teorias do Teatro Pós-Dramático para tentar compreender quais são as precondições, no âmbito da construção da subjetividade através de aprendizagem pela técnica teatral, à efetivação de uma capacidade de deslocamento crítico do ser entre modelos de produção de conhecimento que, dentro do pensamento dualista pós-industrial, repelem-se mutualmente. Por meio de estudo bibliográfico, toma-se a união psicofísica como canal transversal para uma abordagem do percurso das forças afetivas sobre o ator e sua atuação, expandindo-se a problematização da relação do indivíduo com os procedimentos e técnicas do poder, ao se explorarem as formas pelas quais o emprego de diferentes sensibilidades impacta na constituição de espaços dissensuais de coexistência entre múltiplos paradigmas políticos. / This thesis looks into the question of identity/alterity with an aim to provide considerations that can broaden the theoretical framework currently fostering debates about teacher education for the teaching of English in Brazil, since it considers that the presence of foreign languages in formal education must meet the present need of our society to rethink topics such as the effects of globalization on intercultural practices. Through the use of Art as a conceptual source, the project proposes an interpretation of Post-Dramatic Theater theories within the scope of the construction of subjectivity through learning promoted by theatrical technique, in order to try and understand the preconditions to the accomplishment of a capacity for critical ontological movement between models of knowledge production that repel each other, according to dualist post-industrial thinking. By means of a bibliographical study, the psychophysical union is taken as a transversal channel for an approach to the trajectory of affective forces on the actor and his performance, expanding the problematization of the relation of the individual with the procedures and techniques of power, while exploring the manner in which the use of different sensibilities impacts on the constitution of dissensual spaces of coexistence between multiple political paradigms.

Le handicap est aujourd’hui de plus en plus présent dans le monde de l’art. Ce phénomène est le plus souvent analysé dans la perspective de l’Art thérapie, dans laquelle le théâtre est envisagé comme un outil thérapeutique au service du patient.Cette thèse s’ancre dans une perspective très différente : elle étudie la question de la visibilité du handicap mental via une approche esthétique et politique, inspirée du courant anglo-saxon des disabilty studies, dans lequel le handicap est notamment analysé comme un phénomène social et culturel. La première partie est consacrée à un historique de la mise en visibilité de l’anormalité en général, ˆ travers les phénomènes de foire et les cas pathologiques entre le XVIe et le XXe siècle, en Europe et aux États-Unis. Elle souligne que la visibilité de ce qui est aujourd’hui appelé handicap a toujours joué sur l’ambiguïté entre la présentation et la représentation. La deuxième partie se concentre sur le théâtre contemporain et analyse les conditions de mise en audibilité du handicap mental dans trois spectacles des années 2010 : Le Bizarre Incident du chien pendant la nuit mis en scène par P. Adrien, L’Empereur c’est moi mis en scène par V. Poirier et Rendez-vous gare de l’Est mis en scène par G. Vincent. Interprétées par des comédien.ne.s considéré.e.s comme valides, ces trois propositions artistiques prennent le handicap pour thème et le présentent sous la forme d’un partage d’expérience. Il y apparaît comme un écart à une norme sociale, qu’il contribue alors à mettre en question. La troisième partie est consacrée à des spectacles exclusivement interprétés par des comédien.ne.s en situation de handicap mental, dans lesquels celui-ci devient une ressource esthétique, tant au niveau de la dramaturgie, que du jeu d’acteur ou de la mise en scène. Des créations de la Compagnie de l’Oiseau-Mouche, de l’Atelier Catalyse et du Theater HORA, ainsi que les discours portés sur elles, sont ainsi analysées et comparées. / Disability is nowadays increasingly present in the art world. This phenomenon is usually analyzed in the context of art therapy, in which theater is used as a way to improve the patient’s health. This dissertation adopts a very different perspective: inspired by disability studies, in which disability is considered a social and cultural phenomenon, it focuses on the visibility of mental disability through an aesthetic and political lens. The first part is an historical contextualization of abnormality in general. It studies how the freaks and the pathological cases gained visibility between the 16th and the 20th century, in Europe and in the United States. It stresses that what is nowadays called Ôdisability’ was always represented rather than merely exhibited. The second part focuses on contemporary theater and examines how mental disability can be heard, through the analysis of three performances created in the 2010’s : The Curious Incident of the Dog in the Night-Time directed by par P. Adrien, I am the Emperor directed by V. Poirier et Meet me at East Train Station directed by par G. Vincent. Played by able actors and actresses, these performances take disability as a theme and show it as a sharing of experience. Disability is portrayed as a deviation from social norms, which it enables to question. The third part is devoted to performances entirely played by actors and actresses with mental disabilities, in which disability becomes an aesthetic resource regarding dramaturgy, playing and staging. Creations by La Compagnie de l’Oiseau-Mouche, Atelier Catalyse and the Theater HORA, as well as the discourse about these companies, are analyzed and compared to each other.

Submitted by FABIANA CAMPACCI FRÍSCIO null (fcfriscio@gmail.com) on 2016-08-04T00:03:04Z No. of bitstreams: 1 DISSERTAÇÃO_FABIANA_FRÍSCIO_VERSÃO_FINAL.pdf: 969329 bytes, checksum: 32cea43ea7a067bd241a5cf54f6ef2d7 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-05T18:46:52Z (GMT) No. of bitstreams: 1 friscio_fc_me_ia.pdf: 969329 bytes, checksum: 32cea43ea7a067bd241a5cf54f6ef2d7 (MD5) / Made available in DSpace on 2016-08-05T18:46:52Z (GMT). No. of bitstreams: 1 friscio_fc_me_ia.pdf: 969329 bytes, checksum: 32cea43ea7a067bd241a5cf54f6ef2d7 (MD5) Previous issue date: 2016-07-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa compartilha experiências de educação e na educação, sobretudo a pública. Foi baseada em experiências como professora de Artes, acumuladas durante dez anos junto às escolas municipais de São Paulo, com turmas de 6º a 9º ano do Ensino Fundamental II. Os preconceitos sofridos pelo Ensino da Arte ao longo dos anos e que ainda se encontram em diversas escolas tornam-se grandes obstáculos quando se tenta propor um ensino menos embrutecedor e voltado somente para o ponto de vista do professor. Para tanto, por meio de recortes da minha experiência como artista-educadora e o diálogo com os autores, reflito sobre uma prática docente emancipatória a partir da perspectiva do filósofo e professor Jacques Rancière e sua teoria sobre a igualdade das inteligências. O teatro pós-dramático e algumas de suas características, estudadas por Hans-Thies Lehmann traz contribuições para este debate na construção e reflexão sobre as potencialidades do ensino de teatro na escola pública contemporânea. À luz das ideias de Michel Foucault sobre a docilização dos corpos e as reflexões de Hakim Bey sobre as zonas autônomas temporárias (TAZ), discuto sobre a possibilidade de estabelecer outra relação entre educador e estudante, de modo que esta reflexão contribua para trazer à tona questões a respeito do pensar e do fazer a escola nos tempos de hoje, os modos de ser do educador e as possibilidades que cada relação traz no processo de construção do conhecimento, sem que haja, no entanto, a valoração de saberes baseada em hierarquias entre os participantes do processo. Este estudo trouxe um grande aprendizado, a importância de arriscar. De conhecer o espaço e a comunidade em que se está, saber sua dinâmica, e traçar estratégias e táticas para que se possa lutar de maneira coletiva e criativa. / This research shares educational experiences especially in public domain. It was based on experiences as a teacher of Arts, accumulated for ten years in the municipal schools of São Paulo, with groups of 6º to 9º years of elementary school II. Prejudice suffered by the Art of Education over the years and are still in various schools become major obstacles when trying to propose a less stultifying teaching and returned only to the teacher's point of view. Through “clippings” from my experience as an artist-educator and the dialogue with theoreticians, I reflect on emancipatory educational practices from the perspective of the philosopher and teacher Jacques Rancière and his theory of intelligences equality. The post-dramatic theater and some of its features, studied by Hans-Thies Lehmann brings contributions to this debate in the construction and reflection on theater educational potentialities in contemporary public schools. In the light of Michel Foucault's ideas on docile bodies and the reflections of Hakim Bey about temporary autonomous zones (TAZ), I discuss the possibility of establishing another relationship between educator and student, so that this reflection will help to bring up questions about the thinking and make the school in today's times, the ways of the educator and the possibilities that each relationship brings in the construction of knowledge, without, however, the valuation of knowledge based hierarchies between process participants. This study brought a great learning, the importance of risk. To know the area and the community in which you are, to know their dynamics and develop strategies and tactics so that we can fight collectively and creatively.

Esta dissertação presta-se a oferecer considerações para um adensamento do quadro teórico que fomenta debates contemporâneos sobre formação docente para o ensino de inglês no Brasil, aprofundando-se na questão do jogo identidade/ alteridade, uma vez que considera que a presença das línguas estrangeiras na Educação Básica deve atender à necessidade atual de nossa sociedade de repensar temas tais como os efeitos da globalização sobre práticas interculturais. Recorrendo ao campo da Arte como fonte conceitual, o trabalho faz uma leitura de teorias do Teatro Pós-Dramático para tentar compreender quais são as precondições, no âmbito da construção da subjetividade através de aprendizagem pela técnica teatral, à efetivação de uma capacidade de deslocamento crítico do ser entre modelos de produção de conhecimento que, dentro do pensamento dualista pós-industrial, repelem-se mutualmente. Por meio de estudo bibliográfico, toma-se a união psicofísica como canal transversal para uma abordagem do percurso das forças afetivas sobre o ator e sua atuação, expandindo-se a problematização da relação do indivíduo com os procedimentos e técnicas do poder, ao se explorarem as formas pelas quais o emprego de diferentes sensibilidades impacta na constituição de espaços dissensuais de coexistência entre múltiplos paradigmas políticos. / This thesis looks into the question of identity/alterity with an aim to provide considerations that can broaden the theoretical framework currently fostering debates about teacher education for the teaching of English in Brazil, since it considers that the presence of foreign languages in formal education must meet the present need of our society to rethink topics such as the effects of globalization on intercultural practices. Through the use of Art as a conceptual source, the project proposes an interpretation of Post-Dramatic Theater theories within the scope of the construction of subjectivity through learning promoted by theatrical technique, in order to try and understand the preconditions to the accomplishment of a capacity for critical ontological movement between models of knowledge production that repel each other, according to dualist post-industrial thinking. By means of a bibliographical study, the psychophysical union is taken as a transversal channel for an approach to the trajectory of affective forces on the actor and his performance, expanding the problematization of the relation of the individual with the procedures and techniques of power, while exploring the manner in which the use of different sensibilities impacts on the constitution of dissensual spaces of coexistence between multiple political paradigms.

Le sujet central de cette recherche est une investigation sur le statut de la fiction dans le théâtre occidental contemporain. En ligne avec les transformations sociales de son temps, les contours du théâtre ont perdu de leur netteté. En ce moment de mise en question radicale, la permanence, la mutation ou la disparition de la fiction est l’une des caractéristiques principales pour la reconfiguration de l’art théâtral. En diagnostiquant l’environnement de méfiance par rapport aux méthodes et résultats de la représentation, nous avons étudié ce nouveau lieu qu’occupe, ou peut occuper, la fiction théâtrale. Par le débat théorique et par l’analyse des expériences théâtrales des trois dernières décennies, nous avons identifié une préoccupation avec le réel et avec l’innovation formelle qui ne sont pas incompatibles avec un projet théâtral critique. / The main subject of this research is the investigation on the role of fiction in western contemporary theatre. In line with the social changes of our times, theatre has lost its clear definition. At a time of radical questioning, the mutation or disappearance of fiction is central in the discussions around the definition of theatrical art. To understand an environment of disbelief in methods and results of representation, we research into a potential new place that theatrical fiction occupies [or can occupy]. Through the theoretical debate and analysis of theatrical experiences of last the three decades, we identify a concern with the real, and formal innovations that are not incompatible with a critical theatrical project.

Made available in DSpace on 2016-04-27T17:26:54Z (GMT). No. of bitstreams: 1 Maria Silvia Altieri.pdf: 591978 bytes, checksum: 609657997da5bf6bfac4be4a45d8d521 (MD5) Previous issue date: 2010-10-20 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this dissertation is to study the concepts of baroque allegory and Brechtian break in the light of Benjamin's thought, in order to understand the closeness that these concepts establish between the fields of philosophy and theater art through the concept of Darstellung (presentation / exposure). The proximity between theater and philosophy in Benjamin's thought is therefore, the question that guides this research and our hypothesis is that the concept of Darstellung (presentation / exposure) is the key to the elucidation of this question. Moreover, the study of the concept of allegory will be conected to the analysis of contemporary theater, specifically the concept of post-dramatic. Allegory is the link of the union betwen German Baroque drama, Brechtian theater and post-dramatic theater. The present study is not based on a linear and diachronic historical chronology. This is the synchronic sense in which the cutting was done in reverse, to use the words of Walter Benjamin. The dissertation will follow the following breakdown: the cut in the first chapter will be the study of the concept of allegory of the German Baroque drama and of the spectacle of this drama, in the second chapter I will study the Brechtian concept of interruption and the spectacle of Brechtian theater, in the third chapter the focus will be the concept of post-dramatic theater and the spectacle of this theater. The axis of this analysis and of the three chapters will be the relationship between theater and Benjamin philosophy by the key concept of Darstelung. Finally, in the final considerations the consequences of this study will be analyzed in order to open issues that may expand the vision of theater and the relationship between theatrical art and philosophy to the contemporary perspective / O objetivo da presente dissertação é estudar os conceitos de alegoria barroca e interrupção brechtiana, à luz do pensamento benjaminiano, para compreender a proximidade que esses conceitos estabelecem entre os campos da filosofia e da arte teatral através do conceito da Darstellung (apresentação/exposição). A proximidade entre teatro e filosofia no pensamento benjaminiano é, portanto, a questão que norteia o presente trabalho e nossa hipótese é que o conceito da Darstellung (apresentação/exposição) seja a chave para a elucidação de tal questão. Além disso, o estudo do conceito de alegoria se relacionará à análise do teatro contemporâneo denominando de pós-dramático. A alegoria é o nexo que une drama barroco alemão, teatro brechtiano e teatro pós-dramático. O presente estudo não se baseia em uma cronologia histórica diacrônica e linear. Trata-se do sentido sincrônico, em que o recorte foi realizado a contrapelo, para usarmos a expressão de Walter Benjamin. A dissertação seguirá a seguinte divisão: no primeiro capítulo o recorte será o estudo do conceito de alegoria do drama barroco alemão e do espetáculo deste drama; no segundo capítulo estudarei o conceito de interrupção brechtiano e o espetáculo do teatro brechtiano; no terceiro capítulo o foco será o conceito de pós-dramático e o espetáculo deste teatro. O eixo de análise dos três capítulos será a relação entre teatro e filosofia benjaminiana pela chave do conceito de Darstellung. Por fim nas considerações finais serão analisadas as conseqüências deste estudo com o intuito de abrir questões que possam ampliar a visão do teatro e da relação entre a arte teatral e a filosofia para a perspectiva contemporânea

Made available in DSpace on 2014-12-17T14:00:12Z (GMT). No. of bitstreams: 1 RummeniggeMA_DISSERT.pdf: 3612032 bytes, checksum: c42f71cd4b369e67040d25834cf732bd (MD5) Previous issue date: 2011-04-29 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This work is the result of a personal uneasy about the form and development taken by contemporaneous theater concerning its relationship with other media to create new hybrid organisms and organizing itself through new possibilities, connections, as well as with different levels of arrangements in the construction of the scene. The purpose of this research is to study the connections between the scene and the media within the context of the formation of hybrid organism wich is the key element. That stands for an aesthetic characteristic of the post-dramatic condition of contemporary theatre in Brazil. Thus, this work will investigate the concept of visual landscapes within the context of Gerald Thomas Sievers work in Brazil in the period of the first decade of twenty-first century having the play Rainha Mentira (2007) (Queen Liar, 2007) as the main empirical object of analysis, discussion and application of the framework developed in the text / Esta disserta??o de mestrado ? fruto de uma inquieta??o pessoal sobre os rumos e a forma do teatro na contemporaneidade e a sua rela??o com as m?dias na forma??o de organismos h?bridos em termos gerais, e mais especificamente sobre como se organizam e se apresentam as poss?veis liga??es, e os diferentes n?veis de contato existentes entre elas na constru??o da cena. O objetivo da pesquisa ? estudar as liga??es entre cena e m?dia (proje??o de imagens) na forma??o de organismos h?bridos como sendo uma das caracter?sticas est?ticas da condi??o p?s-dram?tica do teatro contempor?neo no Brasil. Como estudo de caso, prop?e-se investigar o conceito de paisagens visuais no contexto da obra do encenador brasileiro Gerald Thomas Sievers, mais especificamente suas encena??es realizadas no Brasil no per?odo que compreende a primeira d?cada do s?culo XXI, sendo Rainha Mentira (2007) o objeto emp?rico de an?lise, aplica??o e discuss?o dos conceitos desenvolvidos no corpo do texto

(Anglicky) This diploma thesis conducts a survey of dramatic and theatre work of contemporary German dramatist and director Falk Richter (born 1969) in the context of German political theatre of 20th century, thus primarily Brecht and Piscator tradition. At the same time, the concepts of political and post-dramatic theatre are defined and elaborated. The work points out that the current political function of theatre and its chance to directly influence social reality is understood differently than in the case of both pre-war and post-war epic drama by Erwin Piscator and Bertolt Brecht, or in the documentary drama of the 1960s. The key goal of the thesis is to analyze and interpret chosen Richter's dramatic writings and mainly the project Trust, which was created in collaboration with Dutch choreographer Anouk van Dijk. The project can be perceived as a current form of Richter's poetry, which gradually deviates from the "drama" theatre and inclines to motion drama with dance and performance elements. It is showed how the authors deal with present social and personal issues, which are transformed into theatre expression, motion and dance. At last, the thesis examines in what consists the politics of this project.

This thesis presents the work of a contemporary German playwright Roland Schimmelpfennig in a wider context. In the main chapter, the author focuses on the analysis of five Schimmelpfennig's plays that have been performed also on Czech theatre stages. The analysis emphasizes the elements of a dramatic structure that Schimmelpfennig uses in an innovative way: epization of texts, unrealistic treatment of dramatic time, elements of magic realism etc. The author also pays attention to a general characteristic of a contemporary German-speaking theatre with respect to the topics that it deals with. A significant part of the work is devoted to classifying Roland Schimmelpfennig's work in the historical and theoretical context of a contemporary German-speaking theatre. A book called Die Rückkehr der Helden by a German author Nikolaus Frei, which questions some opinion on the recent development of theatre presented in a book Postdramatisches Theater by Hans Thiese Lehmann, has become a crucial source for this thesis. Nikolaus Frei copes with the question of animateness/inanimateness of theatre and by using extracts from particular dramatic texts by contemporary authors proves a possible continuity of mimesis, realistic acting and conflicts on the stage until the 21st century. In conclusion, it is possible...

[ES] Esta tesis pone el foco sobre las prácticas artísticas en las que el sonido y/o la música es fuente de creación dramática. Como anteriormente hemos defendido (desde el 2017 a lo largo de distintas publicaciones y participaciones en congresos), la propuesta de teatro musical experimental se presenta como categoría en desarrollo para designar esta praxis. Por lo tanto, en este estudio, se analiza el funcionamiento de la escucha en el teatro y la concepción del lenguaje sonoro o diseño de sonido subordinado a las técnicas aprendidas de escucha más la inclusión y evolución de la tecnología electrónica. Proponemos a partir de ello un marco de análisis para el estudio de estas propuestas que aplicamos en dos estudios de caso (con enfoques distintos): Stifters Dinge (2007) de Heiner Goebbels como revisión de la bibliografía que se ha ocupado de esta pieza en profundidad con perspectiva analítico-crítica; y El rumor del ruido (2017) de Onírica Mecánica y Pedro Guirao que analizaremos a partir de la puesta en escena y la recepción directa del espectáculo. Nuestro enfoque evidencia que el uso acertado o no de los diferentes recursos teatrales (desde medios tecnológicos lineales a los interactivos) fomenta la interacción y en consecuencia la inmersión sonora gracias al efecto technosublime en el hecho escénico musical experimental. / [CA] Aquesta tesi posa el focus sobre les pràctiques artístiques en què el so i/o la música és font de creació dramàtica. Com hem defensat anteriorment (des del 2017 al llarg de diferents publicacions i participacions en congressos), la proposta de teatre musical experimental es presenta com a categoria en desenvolupament per designar aquesta praxi. Per tant, en aquest estudi, s'analitza el funcionament de l'escolta al teatre i la concepció del llenguatge sonor o disseny de so subordinat a les tècniques apreses d'escolta més la inclusió i l'evolució de la tecnologia electrònica. Proposem a partir d'això un marc d'anàlisi per a l'estudi d'aquestes propostes que apliquem en dos estudis de cas (amb diferents enfocaments): Stifters Dinge (2007) de Heiner Goebbels com a revisió de la bibliografia que s'ha ocupat d'aquesta peça en profunditat amb perspectiva analiticocrítica; i El rumor del soroll (2017) d'Onírica Mecànica i Pedro Guirao que analitzarem a partir de la posada en escena i la recepció directa de l'espectacle. El nostre enfocament evidencia que l'ús encertat o no dels diferents recursos teatrals (des de mitjans tecnològics lineals als interactius) fomenta la interacció i, en conseqüència, la immersió sonora gràcies a l'efecte technosublime en el fet escènic musical experimental. / [EN] This thesis focuses on artistic practices in which sound and/or music is a source of dramatic creation. The proposal of experimental music theatre is presented as a developing category to designate this praxis as we have previously defended (since 2017 throughout different publications and participations in congresses). In this study we analyse the functioning of listening in theatre and the conception of sound language or sound design subordinated to the learned techniques of listening and the inclusion and evolution of electronic technology. From this we propose a framework of analysis for the study of these proposals, which we apply to two case studies with different approaches: Stifters Dinge (2007) by Heiner Goebbels as a critical review of the bibliography of this piece and from our perspective; and El rumor del ruido (2017) by Onírica Mecánica and Pedro Guirao that we will analyse from that of the staging and direct reception of the performance. Our approach shows that the successful or unsuccessful use of different theatrical resources (from linear to interactive technological media) encourages interaction and, consequently, sound immersion by the technosublime effect in the experimental musical performance. / Gracias a la Generalitat Valenciana por la beca para la contratación de personal investigador de carácter predoctoral en el año 2019 con referencia ACIF/2019/235 / Bernal Molina, A. (2023). Territorios sonoros en el teatro posdramático. El sonido como lenguaje conductor de la dramaturgia escénica [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/198568