Orientador: Sara Pereira Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:32:50Z (GMT). No. of bitstreams: 1 Dias_SolangeAparecida_M.pdf: 591855 bytes, checksum: a7ea566046fe5b6a694d172738ab7647 (MD5) Previous issue date: 2007 / Resumo: Esta dissertação visa resgatar o processo de escrita e encenação de Cantos Periféricos, do grupo Teatro da Conspiração, de Santo André, entre 2002 e 2004. Será analisado de como foi elaborado o texto a partir da observação e a pesquisa sobre roteiros de cinema e notícias do cotidiano de uma periferia, onde a desconstrução narrativa do enredo serviu como base. Também será analisado o processo de montagem do texto sob o ponto de vista de uma dramaturga-encenadora na sua relação com o ator, através dos workshops de criação, depoimentos pessoais, noções do teatro-dança e partituras de ações físicas. Pretendo com esse registro refletir sobre uma experimentação que serviu para compreensão dos procedimentos de uma montagem cênica, que teve como base tendências contemporâneas da linguagem, como a fragmentação e a descontinuidade. / Abstract: This dissertation ains on retrieving the writing and staging process of 'Cantos Periféricos' staged by Santo André group 'Teatro da Conspiração' between 2002 and 2004. It will analyze the text elaboration from observation and researching of movie scripts and news from everyday life at poor suburbs, where the narrative deconstruction of the plot served as base. It will also analyze the text elaboration process from the point of view of a playwright-theater director in her relation with the actor, by means of creation workshops, personal accounts, dance-theater basic knowledge and body action partituras. With this record, I intend to reveal the experimentation that served to the comprehension of scenic staging procedures and that was based on contemporary tendencies of language, as fragmentation and discontinuity. / Mestrado / Mestre em Artes

À la lecture de la Loi sur le droit d'auteur, il n'est pas clair que la mise en scène y soit protégée. C'est pourquoi nous nous questionnons sur la qualification juridique la plus adéquate pour la mise en scène. Le metteur en scène est-il un artiste-interprète ou un auteur? Après avoir étudié les caractéristiques artistiques des mises en scène, par types de productions et à la lumière de facteurs faisant varier la latitude du metteur en scène, nous étudions les différentes possibilités de qualification juridique de la mise en scène. Les possibilités sont vastes, car le metteur en scène évolue dans un cadre comprenant plusieurs intervenants. De plus, la mise en scène rencontre deux obstacles caractéristiques à sa qualification juridique en droit d'auteur: la fixation et l'originalité. Nous en venons à la conclusion que le metteur en scène est un auteur, car chacun des aspects de la mise en scène serait protégeable sous différentes qualifications juridiques. / Stage directions are not c1early protected under the current wording of the Copyright Law. This is why we wonder which legal qualification would be most appropriate. Is the stage director a performer or an author? We study the possibilities of legal qualification for stage direction, according to its artistic characteristics by production types, and considering the different factors which influence the Stage Director's liberty as well. The possibilities are vast since the Stage Director works in collaboration with several other intervening parties. Also, the Stage Director meets two typical obstacles: fixation and originality. We conclude that the Stage Director is an author because each and every aspect of the stage directions are copyrightable, under different legal qualifications.

À la lecture de la Loi sur le droit d'auteur, il n'est pas clair que la mise en scène y soit protégée. C'est pourquoi nous nous questionnons sur la qualification juridique la plus adéquate pour la mise en scène. Le metteur en scène est-il un artiste-interprète ou un auteur? Après avoir étudié les caractéristiques artistiques des mises en scène, par types de productions et à la lumière de facteurs faisant varier la latitude du metteur en scène, nous étudions les différentes possibilités de qualification juridique de la mise en scène. Les possibilités sont vastes, car le metteur en scène évolue dans un cadre comprenant plusieurs intervenants. De plus, la mise en scène rencontre deux obstacles caractéristiques à sa qualification juridique en droit d'auteur: la fixation et l'originalité. Nous en venons à la conclusion que le metteur en scène est un auteur, car chacun des aspects de la mise en scène serait protégeable sous différentes qualifications juridiques. / Stage directions are not c1early protected under the current wording of the Copyright Law. This is why we wonder which legal qualification would be most appropriate. Is the stage director a performer or an author? We study the possibilities of legal qualification for stage direction, according to its artistic characteristics by production types, and considering the different factors which influence the Stage Director's liberty as well. The possibilities are vast since the Stage Director works in collaboration with several other intervening parties. Also, the Stage Director meets two typical obstacles: fixation and originality. We conclude that the Stage Director is an author because each and every aspect of the stage directions are copyrightable, under different legal qualifications.