Les processus de la mise en scène reposent nécessairement sur une réalité humaine complexe, faite de dialogues et de rapports de force en constante redéfinition. Afin de les théoriser, plusieurs travaux ont institué en corpus les documents produits en cours de réunion ou de répétition, pour leur appliquer les méthodes issues de la génétique des textes. Or le transfert s’avère problématique : vestiges lacunaires, ces supports ne sauraient témoigner à eux seuls de la vie organique et polyphonique de la mise en scène en gestation. Une première solution consiste à opter pour une approche radicalement intermédiale des archives d’un spectacle : dans la mesure où la mise en scène fait interagir plusieurs disciplines artistiques, pourquoi ne pas la penser en confrontant activement les différents media générés lors de son élaboration ? Complémentaire de la première, une seconde proposition suppose que le chercheur s’implique dans une observation in vivo de réunions et de répétitions afin de disposer d’une matière plus complète. À cette clarification épistémologique succède un essai de théorisation des processus de la création scénique. Il apparaît tout d’abord que l’espace de travail est aussi bien un contenant physique de la recherche des artistes qu’un catalyseur : c’est en se l’appropriant à plusieurs qu’un groupe de collaborateurs donne corps à la mise en scène. L’espace de création révèle par là même une dimension polyphonique que l’on retrouve sur le plan du temps : dans la mesure où il engage un ensemble d’artistes, un processus ne possède pas de linéarité chronologique homogène ; il se compose d’une multitude de temporalités propres à chacun des répétants, qu’il s’agit de faire converger pour élaborer un spectacle commun à tous. Les processus de la mise en scène se caractérisent ainsi par leur dimension fondamentalement sociale. Réunie dans un espace-temps donné, la petite société formée autour du metteur obéit à un mode de création dialogique, où les propositions des uns et des autres s’agrègent pour former un discours foisonnant dont la force et l’unité sont garanties par une instance surplombante. / A complex human reality, based on dialogues as well as power relations which are permanently being redefined, is at the heart of the process of performance creation. So as to theorize such processes, several studies have been building a corpus compiling the documents which are produced during meetings or rehearsals. However, such a transfer has proven questionable : as it is made of incomplete traces, such material is necessarily too incomplete to bespeak of the organic and polyphonic life of a performance in gestation. A first solution is to elect a decidedly intermedial approach of a performance’s archives : since various artistic disciplines interact in the process of a performance’s production, one may analyze it by actively comparing and contrasting the different media which are generated during its elaboration. As a complement to the first proposal, a second approach will lead the researcher to get involved into an in vivo observation of meetings and rehearsals so as to have at his disposal a more comprehensive research material. This epistemological clarification paves the way for an attempt to theorize the processes of stage creation. First, it appears that the stage or work space is as much of a physical receptacle for the artists’ research as it is a catalyst : it is in the course of getting to own this space collectively that a group of collaborators gives substance to the production. The creative space thus reveals a polyphonic dimension which is also true regarding time : since it involves an ensemble of artists, a creative process has no uniform chronological linearity ; it comprises a whole array of relations to time which are specific to each of the participants, and one has to bring these temporalities together to give birth to a performance that belongs to all. There is therefore a fundamentally social dimension to any staging process. As it is gathered in a given space and time, the small society which is formed around the stage director has to follow a creative process based on dialogue, where the suggestions of the different individuals coalesce to produce a prolific discourse whose strength and unity are guaranteed by the presence of the director.

No desenvolvimento deste trabalho foram analisados conceitos e propostas visando evidenciar a possibilidade de mudanças tecnológicas para favorecer o crescimento sócio-econômico da região do nordeste do Brasil. Sobre ela ainda paira um conceito pré-estabelecido: trata-se de região sem possibilidade de prover suas próprias necessidades. É preciso reverter esta situação com a melhoria das condições de vida dos habitantes do sertão nordestino por meio da implementação das idéias como as relacionadas ao reflorestamento e ao desenvolvimento sustentável. A presente proposta tem como foco a utilização das espécies de madeiras do nordeste, abrangendo as que resistem à prolongada estiagem da região. São sugeridos os procedimentos para a fabricação de chapas de partículas com matéria prima das espécies: Angico (Anadenanthera macrocarpa), Algaroba (Prosopis juliflora) e Jurema Preta (Mimosa tenuiflora), todas freqüentes na região nordeste do Brasil. Também são apresentados os resultados das propriedades físicas e mecânicas: densidade, inchamento, absorção, intemperismo artificial, resistência à tração paralela às faces; módulo de ruptura, limite de proporcionalidade e módulo de elasticidade na flexão estática, e arrancamento de parafusos. Os ensaios foram realizados segundo as recomendações do documento normativo 1037:1996, da ASTM. Os resultados foram comparados com as propriedades das chapas usualmente comercializadas, obtendo-se valores altamente satisfatórios. / In the development of this work, concepts were analyzed and proposed seeking to evidence the possibility of technological changes for the socio-economic growth of the Brazilian northeast region. It still hovers a pré-established concept about Brazilian northeast: it is treated as an area without possibility of providing its own needs. It is necessary to revert this situation with the improvement of its life conditions through the execution of the ideas as the related to the reforestation and to the maintainable development. The present proposal has as focus the use of northeast wood species, embracing the ones that resist prolonged drought of the area. Procedures are suggested to the production of particleboard with the species: Angico (Anadenanthera macrocarpa), Algaroba (Prosopis juliflora) and Juremapreta (Mimosa tenuiflora), all frequent in the northeast area of Brazil. The results of the physical and mechanical properties are also presented: density, thickness swelling, absorption, artificial weathering, natural weathering, tension parallel to surface, tension perpendicular to surface, modulus of rupture, proportionality limit and modulus of elasticity in the static bending, and nail-head withdrawal test. The rehearsals were accomplished according to the recommendations of the normative document: 1037/1996, ASTM. The results were compared with the properties of the usually marketed boards, and high satisfactory values were obtained.

No desenvolvimento deste trabalho foram analisados conceitos e propostas visando evidenciar a possibilidade de mudanças tecnológicas para favorecer o crescimento sócio-econômico da região do nordeste do Brasil. Sobre ela ainda paira um conceito pré-estabelecido: trata-se de região sem possibilidade de prover suas próprias necessidades. É preciso reverter esta situação com a melhoria das condições de vida dos habitantes do sertão nordestino por meio da implementação das idéias como as relacionadas ao reflorestamento e ao desenvolvimento sustentável. A presente proposta tem como foco a utilização das espécies de madeiras do nordeste, abrangendo as que resistem à prolongada estiagem da região. São sugeridos os procedimentos para a fabricação de chapas de partículas com matéria prima das espécies: Angico (Anadenanthera macrocarpa), Algaroba (Prosopis juliflora) e Jurema Preta (Mimosa tenuiflora), todas freqüentes na região nordeste do Brasil. Também são apresentados os resultados das propriedades físicas e mecânicas: densidade, inchamento, absorção, intemperismo artificial, resistência à tração paralela às faces; módulo de ruptura, limite de proporcionalidade e módulo de elasticidade na flexão estática, e arrancamento de parafusos. Os ensaios foram realizados segundo as recomendações do documento normativo 1037:1996, da ASTM. Os resultados foram comparados com as propriedades das chapas usualmente comercializadas, obtendo-se valores altamente satisfatórios. / In the development of this work, concepts were analyzed and proposed seeking to evidence the possibility of technological changes for the socio-economic growth of the Brazilian northeast region. It still hovers a pré-established concept about Brazilian northeast: it is treated as an area without possibility of providing its own needs. It is necessary to revert this situation with the improvement of its life conditions through the execution of the ideas as the related to the reforestation and to the maintainable development. The present proposal has as focus the use of northeast wood species, embracing the ones that resist prolonged drought of the area. Procedures are suggested to the production of particleboard with the species: Angico (Anadenanthera macrocarpa), Algaroba (Prosopis juliflora) and Juremapreta (Mimosa tenuiflora), all frequent in the northeast area of Brazil. The results of the physical and mechanical properties are also presented: density, thickness swelling, absorption, artificial weathering, natural weathering, tension parallel to surface, tension perpendicular to surface, modulus of rupture, proportionality limit and modulus of elasticity in the static bending, and nail-head withdrawal test. The rehearsals were accomplished according to the recommendations of the normative document: 1037/1996, ASTM. The results were compared with the properties of the usually marketed boards, and high satisfactory values were obtained.

This thesis project explores Chicana feminist Gloria Anzaldúa's notion of a new mestiza consciousness, in which the marginalized ethnic American woman transcends her Otherness, breaks down the borders between her different identities, and creates a Thirdspace. Through the rehearsal and performance process, three ethnic American women employed Robert Scholes' model of textuality-the consumption and production of texts-as a framework to construct a new mestiza consciousness, and create a Thirdspace. The project set to determine what strategies were significant rehearsal techniques for encouraging the cast members to exercise textual power and claim a new mestiza identity, a Thirdspace. The results reveal four overarching factors involved in assuming textual power through rehearsal and performance in the production-building trust, having appropriate skills, assuming ownership and responsibility, and overcoming performance anxiety. The discussion addresses the direct link between Thirdspace and Scholes' notion of production of original texts.

The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

<p>Позоришни редитељ Боривоје Ханауска незаобилазан је у проучавању делатности Српског народног позоришта у периоду после Другог светског рата. Ханауска је од 1945. до 1967. (са прекидом од 1948. до 1952) у Српском народном позоришту режирао тридесет представа. Овај рад приказуке редитељски рад<br />Боривоја Ханауске у СНП, једног од најзначајнијих редитеља СНП-а, и на најбољи<br />начин показује његовог значај и допринос развоју режије у српском послератном<br />позоришту. Методи истраживања били су историјски, театролошки, реконструкција и<br />анализа свих тридесет представа које је Ханауска режирао у СНП, као и синтеза<br />добијених резултата. Овај рад на основу доступне грађе обухвата сваки сегмент<br />његовог рада на представи. У раду му је био важан сваки детаљ представе, залагао да домаћи драмски текст буде што више присутан на сцени, да се са сцене чује домаћи текст, а посебно је водио рачуна о визуелном аспекту. Један је од зачетника новог приступа драмској режији. Из сваке његове представе, у мањој или већој мери, излазила је поетичност, коју је носио дубоко у себи. Рад је илустрован палкатима и фотографијама из представа, а доноси и попис свих представа које је режирао са пописом свих актера, бројем извођења у СНП и на гостовању, као и бројем гледалаца.</p> / <p>Pozorišni reditelj Borivoje Hanauska nezaobilazan je u proučavanju delatnosti Srpskog narodnog pozorišta u periodu posle Drugog svetskog rata. Hanauska je od 1945. do 1967. (sa prekidom od 1948. do 1952) u Srpskom narodnom pozorištu režirao trideset predstava. Ovaj rad prikazuke rediteljski rad<br />Borivoja Hanauske u SNP, jednog od najznačajnijih reditelja SNP-a, i na najbolji<br />način pokazuje njegovog značaj i doprinos razvoju režije u srpskom posleratnom<br />pozorištu. Metodi istraživanja bili su istorijski, teatrološki, rekonstrukcija i<br />analiza svih trideset predstava koje je Hanauska režirao u SNP, kao i sinteza<br />dobijenih rezultata. Ovaj rad na osnovu dostupne građe obuhvata svaki segment<br />njegovog rada na predstavi. U radu mu je bio važan svaki detalj predstave, zalagao da domaći dramski tekst bude što više prisutan na sceni, da se sa scene čuje domaći tekst, a posebno je vodio računa o vizuelnom aspektu. Jedan je od začetnika novog pristupa dramskoj režiji. Iz svake njegove predstave, u manjoj ili većoj meri, izlazila je poetičnost, koju je nosio duboko u sebi. Rad je ilustrovan palkatima i fotografijama iz predstava, a donosi i popis svih predstava koje je režirao sa popisom svih aktera, brojem izvođenja u SNP i na gostovanju, kao i brojem gledalaca.</p> / <p>The theatre director Borivoje Hanausca is an unavoidable figure in the study of the Serbian National Theatre (SNP) activities in the period after the Second World War. Hanausca directed thirty plays in the Serbian National Theatre from 1945-1967(with a break from 1948-1952). This study describes the work of the theatre director Borivoje Hanausca in the Serbian National Theatre being one of the most significant directors in it and in the best way presents his contribution to the development of directing in the Serbian post-war theatre. The research methods in this work are historical and<br />theatrical; reconstruction and analysis of all the thirty plays Hanausca directed in the Serbian National Theatre as well as the synthesis of the results that were obtained. This study includes each part of his work in his plays, on the basis of the material which was available. He considered every single detail of his plays important; he supported Serbian plays to be both present and heard from the stage as much as possible and he particularly took care of visual aspects. He is one of the<br />creators of the new approach to theatre play directing. Poetics he had deep within himself came out and was present, more or less, in his plays. This work is illustrated with posters and photographs from his plays and there is a list of all plays he directed and the names of all the people involved in the performances, the number of performances in the Serbian National Theatre and performed on tour, as well as the number of audiences.</p>