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L’identité du personnage théâtral ou opératique se révèle difficilement. Cette figure fictive est d’abord une créature de mots et/ou de notes : l’auteur ou le librettiste parsèment sa partition textuelle ou musicale d’indices qui permettent de dessiner ses contours. Cette thèse vise à découvrir la silhouette de papier du personnage ainsi décomposé. Pour exister, ce personnage doit également être porteur d’une vie scénique, c’est-à-dire jouer ; ce jeu, moteur de l’action et révélateur des désirs des protagonistes de l’intrigue, permet de dévoiler son « Je ».Pour assouvir son désir, le personnage, l’« Un », se trouve alors confronté au cours du jeu à l’« Autre », opposant ou adjuvant ; il doit imposer son désir, sa voix et faire entendre sa « contre-voix » face à la masse ou à la horde. Le personnage est celui qui se distingue au point de devenir pour l’Autre une créature étrange qui détonne, un étranger, et parfois même un animal ou un monstre, celui dont on se méfie, objet d’incompréhension, de fascination, de répulsion ou d’attraction.Enfin, nous envisageons le personnage, comme objet scénique malléable, transformable, morcelable, sujet à toutes les métamorphoses : l’auteur et l’acteur ou le chanteur s’unissent et conjuguent leurs efforts pour donner souffle et vie à ce personnage-objet. Sur scène, cette marionnette de l’interprète est soumise à évolution, transformation, déplacement, interprétation, et appropriation. / The stage character's identity is not clearly defined. The author, or librettist, sprinkles his textual or musical score with clues that allow us to shape this note and word-made creature. My goal here is to discover the paper outline of this split up character. In order to exist, the character must also act; this acting enables us to see the subtle wills and deep desires of other protagonists on stage, in other words: to bring out the "I" in each character.During the play, the character in itself, the "one", will be confronted to the "other", be it an adjuvant or opponent. He must impose his wills, his voice to the "other", but he must also be heard and understood by the crowd. For the others, a stage character has this specificity to become another: a strange creature who sounds different like a foreigner, and sometimes like an animal or a monster. Between misunderstanding and fascination, the audience can be repelled or attracted by it.At last, we consider a stage character as a malleable and dividable object, capable of many changes. The author and the actor or singer need to gather and combine their talents to bring this "object-character" to life. On stage, the performer, that is to say the interpreter's puppet, is subjected to evolution, constant changes, movement, different interpretations, and appropriation.

A primeira parte da tese investiga os deslocamentos da narrativa na obra de Luís Alberto de Abreu, em elementos de suas peças teatrais, em seus roteiros de cinema e nas implicações de processos em dinâmica coletiva de criação. Partindo de sua ideia de uma restauração da narrativa épica e com características orais no âmbito do teatro, este trabalho analisa a narratividade como criadora de imagens no personagem narrador, na \"imagem cheia\" dos roteiros e na configuração mais recente de um narrador em trânsito, distante da configuração de personagem como uma individualidade. Visando oferecer um campo teórico-prático de discussão às questões da narratividade e das relações criativas entre atores e dramaturgo em processo de criação teatral de dinâmica coletiva, a segunda parte da tese trata da realização de um laboratório de criação entre dramaturga e atores. Nele, foram desenvolvidos quatro eixos propositivos de criação dramatúrgica, de acordo com o ponto de partida e diferentes procedimentos: a lei do material, o território de criação dos atores, as composições da dramaturga e (Contra) dispositivos dramatúrgicos. Por fim, à luz das experiências do laboratório, configura uma ideia de cartografia que tem principalmente no dramaturgo aquele que rascunha e traceja mapas, aproximando sua ação criativa do gesto primordial do narrador. / The first part of the thesis investigates the narrative shifts in the work of Luis Alberto de Abreu, in elements of his plays and in his film scripts and the implications of the processes in the dynamics of the collective creation. Departing from his idea of restoration of the epic narrative and with oral characteristics of the theater, this part of the thesis analyzes the narrativity as the creator of images upon the narrator, in the \"full picture\" of the scripts and upon the newest configuration of a narrator in process, distant from the configuration of the character as an individual. Aiming at offering a theoretical and practical field of discussion to the questions of narrativity and the creative relationships between actors and playwright in a process of collective dynamics of theatrical creation, the second part of the thesis deals with the realization of a creative laboratory between playwright and actors. In this, four propositional axis for dramaturgical creation were developed according to the starting point and different procedures: the law of the material, the territory of creation of the actors, the compositions of the playwright and dramaturgical (counter) devices. Finally, in the light of the laboratory experiments, an idea of cartography begins to set up that has mainly playwright who drafts and outlines maps, bringing together his creative action of the primordial gesture of the narrator.

The purpose of this study was to explore the nature of cognitive and emotional processes during the three reflective stages of the experiential learning cycle of experiential activities using written debriefings. The study examined three written debriefings from five senior-level undergraduate management students enrolled in a business management course. The debriefings consisted of four to five free-response questions modeled after Kolb’s experiential learning cycle: concrete experience, reflective observation, abstract conceptualization, and active experimentation. The study triangulated results using two qualitative methods, a grounded theory analysis and a content analysis. In the grounded theory analysis, two process maps were developed from the debriefings. A learning process map identified four stages of learning: introduction, mental rehearsal, abstraction, and priming. A group process map identified four stages of group experiential activities: problem-solving, consensus building, reactions, and resolution. The group decision-making process was seen to follow four paths: agreement, teamwork, conflict or confusion. A possible moderating variable, prior group affiliation, affected the persistence of the groups in finding satisfactory solutions when encountering conflict, or confusion. Six themes emerged from the grounded analysis: iterative reflection, richness of connections, attachment of personal reactions, role of writing in debriefings, fluid group development, and the role of affiliation. In the content analysis, three raters coded the debriefings using seven variables: content, process, connections, context, affect, relevance, and intent. Growth was seen between the first half and second half of debriefings for all variables, and the presence and intensity of variables was highest for all variables except content during the last stage of the experiential learning cycle, active experimentation. The amount of content present in debriefings was highest during the third stage, abstract conceptualization. The results of this study may provide insight into the mental processes that occur in written reflection and help instructors design experiential learning debriefings.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 59-61).

Les troubles du sommeil en général et les cauchemars en particulier sont souvent associés aux troubles psychopathologiques et physiques. Ils font partie des plus importantes et fréquentes plaintes rapportées par les patients souffrant de trouble stress post-traumatique et leurs liens avec la sévérité de ce dernier se précisent de plus en plus. L’objectif général de notre thèse est d’apporter des précisions sur les aspects cliniques, psychopathologiques et psychophysiologiques concernant les cauchemars dans le contexte particulier et spécifique du trouble stress post-traumatique, et de préciser les apports thérapeutiques d’un traitement centré sur les cauchemars à travers une étude de cas. Pour ce faire, nous avons choisi de procéder à des évaluations psychopathologiques au moyen d’auto-questionnaires (IES-R, HAD, PSQI, PSQI-A, NDQ et DES), d’entretiens structurés (MINI et CAPS) et d’enregistrements psychophysiologiques sur un échantillon de 21 patients souffrant de cauchemars dans un contexte de TSPT, hospitalisés dans une unité de soins spécialisés en psychotraumatologie et une évaluation d’un suivi thérapeutique d'un patient reçu dans un centre de soin spécialisé à Paris. Les principaux résultats de notre recherche montrent que la sévérité du TSPT est très fortement et positivement associée à la sévérité des cauchemars post-traumatiques et soulignent que la détresse liée aux cauchemars explique mieux la sévérité du TSPT que la fréquence des cauchemars. Nos résultats ont également permis de vérifier ce qui a été rapporté dans la littérature scientifique, à savoir la présence d’importantes comorbidités. En revanche, pour ce qui est des évaluations psychophysiologiques du sommeil, aucun élément pertinent ne ressort de l’analyse des enregistrements polysomnographiques, et aucun des paramètres étudiés n’a été corrélé ni avec la fréquence des cauchemars, ni avec la détresse liée aux cauchemars. Enfin, l’étude de cas a permis d’évaluer les bénéfices thérapeutiques attendus d’un nouveau traitement psychothérapeutique centré sur les cauchemars, dont les résultats montrent une réduction significative de la sévérité des cauchemars, accompagnée d’une réduction de la sévérité du TSPT ainsi qu’une amélioration proportionnelle de la qualité du sommeil. En conclusion, les résultats de notre recherche convergent avec ceux retrouvés dans des études antérieures et soulignent l’importance clinique et psychopathologiques des cauchemars et leur implication dans la sévérité du trouble stress post-traumatique. / Sleep disorders in general and nightmares in particular are often associated with psychopathological and physical disorders. They are among the largest and the most frequent complaints reported by patients with PTSD and their links with the severity are now more specified. The overall objectives of this thesis are to shed light on the clinical, psychopathological and psychophysiological aspects of nightmares in the specific context of PTSD, and also to clarify the therapeutic contributions of nightmares centered treatment through a case study. In order to achieve these objectives, a sample of 21 patients suffering from posttraumatic nightmares and hospitalized in a specialized psychotraumatology unit of care were assessed using self-administered questionnaires (IES-R, HAD, PSQI, PSQI-A, NDQ and DES), structured interviews (MINI and the CAPS) and psychophysiological recordings. In parallel, another patient coming from a specialized psychotraumatology center in Paris was carefully monitored in regards of his therapeutic evolution while receiving the Imagery Rehearsal Therapy program on an individual basis. The main results of this research show that the severity of PTSD is strongly and positively associated with the severity of post-traumatic nightmares and that the distress related to nightmares better explains the severity of PTSD that the frequency of nightmares does. The results also confirmed what has been reported in the scientific literature, namely the presence of significant comorbidities. However and in terms of psychophysiological assessments of sleep, no significant results were found in the analysis of polysomnographic recordings, and none of the studied parameters were correlated with the frequency and/or the distress related to nightmares. Finally, the case study was successfully used to evaluate the expected therapeutic benefits of a relatively new psychotherapeutic treatment focusing on nightmares and the results show a significant reduction in the severity of nightmares, accompanied by a reduction in the severity of PTSD and a proportional improvement in sleep quality. In conclusion, the results of this research are consistent with those found in previous studies and underscore the clinical and psychopathological importance nightmares and their involvement in the severity of PTSD

xv, 166 p. : col. ill. / The purpose of this study was to investigate the frequency and the time that middle and high school orchestra directors engaged in seven specific teaching behaviors in a rehearsal setting. Of particular interest was the amount of time orchestra directors engaged in conceptual teaching behaviors operationally defined as verbal behaviors of orchestra directors in which they attempt to make students aware of, have an understanding of, and/or be able to transfer any musical concept. Participants ( N = 12) were full-time middle and high school orchestra directors teaching in Washington, Oregon, or California. Each participant submitted a video recording of two regular orchestra rehearsals. Video recordings of participants were divided into 20-minute segments and randomly selected for observation of seven specific and operationally defined teaching behaviors: (a) nonmusical behavior, (b) nonverbal instruction (direction), (c) verbal instruction (direction), (d) noninteractive listening, (e) nonverbal feedback, (f) verbal feedback, and (g) conceptual teaching. These seven teaching behaviors were analyzed using the Simple Computer Recording Interface for Behavioral Evaluation (SCRIBE) of Duke and Stammen (2007). The data were reported in the form of the frequency with which each behavior occurred, the average time for each behavior expressed in minutes and seconds, and the percentage of time used on each behavior. Findings on conceptual teaching were reported. The results indicated that, on average, orchestra directors spent slightly more than 5% of the observed rehearsal time on conceptual teaching. Most of the instructional time was used on nonverbal instruction (28.15%) and verbal instruction (27.76%). Orchestra directors observed in this study used the least amount of time (2.42%) on nonverbal feedback. The most concerning finding of the study was the time orchestra directors used on nonmusical behaviors (14.70%), and the most interesting finding of the study was that middle school orchestra directors used twice as much time (7.40%) as high school orchestra directors (3.21%) on conceptual teaching. The findings of this study provided suggestions for future research and implications for music educators. / Committee in charge: Dr. Frank Diaz, Chair; Dr. Phyllis Paul, Member; Dr. Eric Wiltshire, Member; Dr. Leslie Straka, Member; Dr. Julie Hessler, Outside Member

Jag har under projektets gång studerat in fem renässansstycken för klassisk gitarr utan att ta hjälp av instrumentet vid instuderingsprocessen och analyserat resultatet utifrån ett hermaneutiskt perspektiv. Instuderingen av styckena har skett helt mentalt genom en kombination av två olika metoder för mental instudering baserat på Giesking och Liemers (1972) Visualizarion och en metod som Pujol (1983) presenterat som jag i denna studie väljer att kalla för Praktiskt Föreställande. Syftet är att se hur väl jag kan studera in ett stycke helt utan instrument i handen och att utforska hur den mentala instuderingsprocessen utvecklas under projektets gång i takt med att jag lär mig mer om metoderna genom att använda dem. Under den fem veckor långa studien förde jag loggbok där jag reflekterade och redovisade för mina instuderingstillfällen samt spelade in uppspelet av vart stycke med video och ljud. Varje instuderingsperiod á en vecka ledde till en utveckling av metoderna. I resultatet presenterar jag hur min användning av de båda metoderna gradvis utvecklas och hur det klingande resultatet i sin tur förbättras av den mentala förberedelsen. I diskussionskapitlet ställs mitt resultat mot mitt teoretiska perspektiv samt relevant litteratur och tidigare forskning inom området.   Nyckelord: gitarr, mental träning, visualisering, observationsstudie, notläsning, prima vista, hermeneutik / I have during this project studied five renaissance pieces for classical guitar without the help of my instrument while studying them and analyzed the results from a hermeneutical point of view. The studying of the pieces has been a completely mental process and a combination of two methods for mental rehearsal that have been used based on Giesking and Liemers (1972) Visualization and a method presented by Pujol (1983) that I during this study will call Practical Imagery. The intention is to explore how the process of mental rehearsal will evolve during the project as I learn more about the methods by using them. During the five-week long study I wrote a journal used for me to reflect and present the process of studying the pieces and recorded each performance with video and audio. Each period lead to me evolving the use of the methods. In the results I present how the use of both methods lead to them both gradually evolved and how the performance was affected by the mental training. In the discussion chapter I compare the results to my theoretical perspective, relevant literature and former research within the subject matter.   Keywords: guitar, mental rehearsal, visualization, observational study, reading sheet music, sight reading, hermeneutics

Made available in DSpace on 2014-12-17T14:00:20Z (GMT). No. of bitstreams: 1 LuizRGM_DISSERT.pdf: 2125349 bytes, checksum: d2e98437e162e25597b810494d3aeef6 (MD5) Previous issue date: 2014-02-24 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This research aims to investigate how the stage lighting can be articulated in the creation of theater actor process. To we reach this reflection, it is necessary to understand the space of the rehearsal room, where the actor works as a place where their function receives influences of other artists who are creating the spectacle.Collaborative processes are analyzed three Cia de Teatro Engenharia C?nica: Irremedi?vel, 2007; Doralinas e Marias , 2009; O Menino Fot?grafo, 2011, aiming to understand the collaborative theater potentializes, the intersection and the exchange of experiences in the rehearsal room, collaborating actively for the training of persons involved in creating the show. The research proposes an investigation of how the creative process of stage lighting is gaining ground in the rehearsal room in the language of theater directing, showing mainly how is your "co-evolutionary" creation with the creative process of the actor / A presente pesquisa tem como foco principal, investigar como a ilumina??o c?nica pode ser articulada no processo de cria??o do ator de teatro. Para chegarmos a essa reflex?o, se faz necess?rio compreendermos o espa?o da sala de ensaio, no qual o ator trabalha, como um lugar em que sua forma??o, recebe influ?ncias dos demais artistas, que est?o tamb?m criando o espet?culo. S?o analisados tr?s processos colaborativos da Cia. de Teatro Engenharia C?nica: Irremedi?vel , Doralinas e Marias e O Menino Fot?grafo , com intuito de compreendermos que o teatro colaborativo potencializa o cruzamento e a troca de experi?ncias na sala de ensaio, colaborando ativamente para a forma??o dos sujeitos envolvidos na cria??o do espet?culo. A pesquisa prop?e uma investiga??o de como o processo criativo da ilumina??o c?nica ganhou espa?o na sala de ensaio na linguagem da encena??o teatral, evidenciando principalmente sua cria??o co-evolutiva com o processo criativo do ator