The Taming of the Shrew is an early comedy that exposes the oddities we take for granted: curious conventions, wild assumptions, gender roles, relationships, social status, fashion, and everything else we know so defectively. The given circumstances of the script and Petruchio are specific in choice, yet broad in interpretation. Petruchio, the catalyst behind Katherine’s character arc, needed to not only be believable in his ways, but likeable by the audience. This thesis examines the process required to successfully develop and bring to life the character of Petruchio to our modern audience. It includes historical background information on William Shakespeare and the origins of the play itself, Sanford Meisner’s Techniques (moment-to-moment analysis & actioning) and Konstantin Stanislavski’s system are included with the scored actor’s script, journals recorded by the actor to verify his victories and defeats during the six-week production process and critiques to support the success of the production.

The areas of study in the Proof thesis contain research on the play, the playwright, and the acting style utilized in the performance and character analysis. The acting style in this process focuses on the actor’s creative work in preparation of portraying a female character. This character is a controlling woman that is unable to manipulate others. By using relaxation techniques involving the Alexander Technique, the actor was able to transition into the character with honest emotions and motives. Finding similarities to the character by using personal relationships gave the actor the ability to discover connections with the character in portrayal. These connections are used to motivate the actor’s process in creating an authentic character. The results are found through the actor’s reflections and performances. The findings show discipline and routine in the actor’s process to portray the character.

Reproduction de : Thèse doctorat : Etudes théâtrales et esthétique : Lyon 2 : 2006. / Titre provenant de l'écran-titre. Bibliogr. Index.

Submitted by Pedro Henriques (phteatro@hotmail.com) on 2014-02-02T21:12:18Z No. of bitstreams: 1 Tese PH.pdf: 1468140 bytes, checksum: 37706d485c14481cf9bc57a824f5eace (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2014-02-03T11:47:34Z (GMT) No. of bitstreams: 1 Tese PH.pdf: 1468140 bytes, checksum: 37706d485c14481cf9bc57a824f5eace (MD5) / Made available in DSpace on 2014-02-03T11:47:35Z (GMT). No. of bitstreams: 1 Tese PH.pdf: 1468140 bytes, checksum: 37706d485c14481cf9bc57a824f5eace (MD5) / CAPES/MEC / Esta tese se justifica no âmbito do aprendizado do teatro, mais propriamente no ensino da interpretação teatral. O corpus desta pesquisa é o Sistema Stanislavski, principal método de formação de atores desenvolvido no século XX. A hipótese é a de que em contato direto com os ensinamentos éticos presentes nesse sistema de motivações psicofísicas, o sujeito desenvolve, como condição primaz de sua formação, a capacidade de avaliar, julgar e decidir. A tese parte de conceituações e noções fundamentais da Ética para suscitar uma reflexão sobre comportamentos e ações correntes na prática teatral. Em seguida, ressalta-se a representatividade de Constantin Stanislavski (1863-1938) no cenário teatral do século XX, bem como são expostos seus ensinamentos que preconizam, privilegiam e valorizam um trabalho coletivo eticamente experienciado. A tese levanta e analisa, então, sete princípios éticos defendidos pelo mestre russo, e comenta-lhes a pertinência e vigência no contexto de minhas práticas artísticas e docentes na universidade brasileira. A investigação se inscreve, portanto, em perspectivas práticas e teóricas que foram trabalhadas simultaneamente no decorrer da pesquisa. / ABSTRACT This dissertation addresses aspects of theatrical training, more specifically those related to acting. The corpus of this research is the Stanislavsky System, the main method of actor training developed in the twentieth century. The hypothesis is that, in direct contact with the ethical teachings of this system of psycho-physical motivations, the subject develops, as an essential condition of his/her formation, the ability to evaluate, judge and decide. The thesis draws upon fundamental concepts and notions of Ethics in order to reflect on theatrical practice. Moreover, it emphasizes both the importance of Constantin Stanislavsky (1863-1938) for the theater in the twentieth century and his teachings that advocate, prioritize and value a collective work ethically experienced. The dissertation identifies and then analyzes seven ethical principles defended by the Russian master and calls attention to their pertinence and validity in the context of my artistic and teaching practices within the Brazilian higher education. The investigation is thus inscribed into practical and theoretical perspectives that were interwoven in the research. Key-Words: Theatrical Practice. Stanislavsky. Training in acting. Moral and ethical aspects.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-08-17T21:27:16Z No. of bitstreams: 1 2017_MariaLúciadaSilvaRosa.pdf: 4243206 bytes, checksum: 191126ab1dcd272bbd44046f67baccd6 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-22T20:29:51Z (GMT) No. of bitstreams: 1 2017_MariaLúciadaSilvaRosa.pdf: 4243206 bytes, checksum: 191126ab1dcd272bbd44046f67baccd6 (MD5) / Made available in DSpace on 2017-09-22T20:29:51Z (GMT). No. of bitstreams: 1 2017_MariaLúciadaSilvaRosa.pdf: 4243206 bytes, checksum: 191126ab1dcd272bbd44046f67baccd6 (MD5) Previous issue date: 2017-09-22 / Neste trabalho de pesquisa procuro refletir sobre a minha experiência compartilhada com músicos/professores e estudantes de música, atores, bailarinos/dançarinos e iluminadores na criação de recitais cênicos no Centro de Educação Profissional Escola de Música de Brasília desde 2003. A partir da reconstrução de dois processos criativos: Recital Cênico “Soirée de Madame Claudine” (2011) e Recital Cênico “Au Jardin de Madame Pauline” (2012), analiso os principais procedimentos utilizados tendo como referencial teórico estudos de dramaturgia teatral, dramaturgia musical, e trabalhos que tratam da música em abordagens interartísticas. Os princípios de Constantin Stanislavski aplicados nos estúdios-ópera e de outros encenadores são tratados neste contexto para subsidiar discussões acerca das contribuições, desafios e potencialidades do trabalho em conjunto de músicos e atores em processos criativos. A metodologia utilizada para desenvolver a pesquisa baseou-se na revisão bibliográfica do tema proposto, em registros do meu acervo pessoal, em relatos próprios e relatos dos participantes dos processos criativos, professores colaboradores e diretores de ópera por meio de entrevistas. / In this research I intend to reflect about my experience together with musicians/teachers and music students, actors, ballet dancers, dancers in general and illuminators for the creation of scenic recitals in the Center of Professional Education - Music School of Brasilia since 2003. From the reconstruction of two creative processes: Scenic Recital: “Soirée de Madame Claudine” (2011) and Scenic Recital: “Au Jardin de Madame Pauline" (2012), I analyze the principal proceedings used as theoretical reference, studies of theatrical dramaturgy, musical dramaturgy and works that deal with music in interartistic approaches. The principles of Constantin Stanislavski applied in opera-studios and other directors are used in this context to discuss about the contributions, challenges and potentialities of the common work of musicians and actors in creative processes. The methodology used to develop the research was based in the bibliographical revision of the theme, in registers of my personal records and in interviews of collaborating teachers and directors of opera.

Orientador: Verônica Fabrini Machado de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T22:11:29Z (GMT). No. of bitstreams: 1 Otani_Daves_D.pdf: 3263077 bytes, checksum: b6e31bdd9d62b39a46f9ea95f66b1486 (MD5) Previous issue date: 2012 / Resumo: A presente pesquisa trabalha com a hipótese de que existe uma geratriz improvisacional espetacular (GIE) que, por meio de matrizes criativas definidas anteriormente e/ou encontradas durante o período inicial da montagem de um espetáculo teatral, proporciona que a improvisação, conduzida e provocada pelo tema do espetáculo, gere, ao mesmo tempo, precisão e abertura, rigor e risco. O período inicial marca o espetáculo de forma a dar-lhe uma pré-configuração, a estrutura enquanto um corpo a ser constantemente modelado, no entanto, sedimentado em uma matéria já pré-definida. Para investigar a hipótese, analiso o processo criativo e as apresentações públicas do espetáculo teatral "Primus" (adaptação do conto Comunicado a uma academia, de Franz Kafka) e, via a comparação, investigo ainda o processo criativo de "Mister K. e os artistas da fome" (adaptação do conto Um artista da fome, de F. Kafka) em busca de aprofundar a investigação e comprovar o fenômeno da GIE. Ambos os espetáculos são dirigidos por Verônica Fabrini e montados pelo grupo de pesquisa cênica "Boa Companhia", do qual participo como ator, desde sua formação, em 1992. É uma investigação participativa, do ator em diálogo com a encenação, do atuante que participa e, a partir de sua singularidade, compõe coletivamente. A reflexão toma como mote de partida os princípios conceituais do encenador e teórico russo C. Stanislavski, retrabalhados por E. Kusnet: improvisação como análise ativa, circunstancia propostas, objetivo da encenação, memória, ação interior e exterior, entre outros. Referencia ainda o trabalho aspectos do pensamento do filósofo G. Bachelard: imaginação material, potência do instante e intuição. O estudo conclui que a geratriz improvisacional espetacular de fato se caracteriza no trabalho da "Boa Companhia" / Abstract: The following research deals with the hypothesis that it does exist a spectacular improvisational generatrix (SIG) that, through a creative matrix previously defined and /or discovered during the theatrical initial stage, provides that the improvisation, conducted and provoked by the show's theme, generates at the same time precision and openness, rigor and risk. The initial period defines the show and gives it a pre-configuration to be worked - the structure as a body to be constantly shaped, however, settled in a pre-defined subject. To investigate that hypothesis, I do analyze the creative processes and public theatrical performances of the show "Primus" ( Franz Kafka tale's adaptation of "A report to an academy") and, by comparation, I do analyzed too the play "Mister K. e os artistas da fome" (Kafka tale's adaptation of "A hunger artist") both directed by Veronica Fabrini and performed by the scenic research group "Boa Companhia", in which I belong as an actor since it's foundation in 1992. It's a participatory investigation, a dialogue between actor and staging, of the actor that participates and forms the collective from its singularity. The reflexion begins with the russian theoretical Constantin Stanislavski's principles and theorical concepts, reworked by Eugenio Kusnet: improvisation as active analysis, event, given circumstances, staging objective, memory, inner and outer action. This work makes reference also to the philosopher Gaston Bachelard: material imagination, instant and intuition's power. The study concludes that the spectacular improvisational generatrix (SIG) in fact exists in Boa Companhia's performances and theatrical productions / Doutorado / Artes Cenicas / Doutor em Artes

Orientador: Marcio Aurelio Pires de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-01T06:20:25Z (GMT). No. of bitstreams: 1 Sanchez_LiciaMariaMorais_M.pdf: 7519806 bytes, checksum: 0eb7f7e06dc7fa1926ae5ae11531980e (MD5) Previous issue date: 2001 / Resumo: Este trabalho descreve a trajetória de uma experiência influenciada pela escola expressionista alemã, que culminou com a nossa convivência com a mais importante representante desta corrente no mundo contemporâneo atual, a criadora de teatro de dança Pina Bausch. Essa convivência nos mostrou caminhos que vieram enriquecer a fluência da nossa poética com um conseqüente fortalecimento da nossa identidade com projeção universal, permitindo-nos a realização de experiências tanto artísticas quanto pedagógicas e uma reflexão sobre a relação entre as práticas de Bausch e de Stanislavski / Abstract: The present work describes the unfolding of a personal experience - my own experience -, which was influenced by the Gennan Expressionist Dance School and culminated in a stint spent working with Pina Bausch, the creator of Dance Theater and the most important member of such school at the moment. This experience showed me new possibilities, which enriched the fluency of my poetics and strengthened my universal identity, therefore allowing me to have new artistic and pedagogical insights and to reflect about the practices of Pina Bausch and Stanislavski / Mestrado / Mestre em Artes Cênicas

Dans un théâtre subventionné en crise, l’acteur français se pense aujourd’hui comme un hyper-citoyen, lui qui fut si longtemps privé de citoyenneté. Tout l’enjeu contemporain de la parole de l’acteur s’incarne dans la quête, nostalgique et militante à la fois, de l’éthos et de la transcendance perdus dans le statut d’infâme. En rejaillissant sur l’existence de l’acteur, l’infamie a cristallisé des affects tenaces, passés dans l’inconscient collectif, modelant l’hexis des comédiens, influençant les pratiques scéniques. Elle a contribué à consolider certaines particularités françaises en matière de pédagogie du jeu, comme la défiance vis-à-vis de la méthode stanislavskienne et du monologue. A cet égard, la comparaison avec l’école de jeu anglaise est instructive. C’est au moment de la laïcisation de l’État, il y a cent ans, qu’un nouveau théâtre fait des choix éthiques et esthétiques encore largement opératoires aujourd’hui, et achève la conversion de l’acteur : d’ancien damné, il deviendra sauveur, missionné par l’État auprès d’une nation-public. Contrairement aux apparences, la mise en infamie de l’acteur a toujours cours. Avec la sécularisation de la société française, elle a quitté le champ métaphysique, pour investir le champ méta-économique. Elle prend sa source dans le rapport statutaire de l’acteur à l’État et impose son coût historique. Un véritable "Complexe d’infamie" de l’acteur est en effet à l’œuvre sur les scènes françaises, assorti d’un tabou de l’intériorité et d’un interdit d’adresse directe au public, agissant comme un grand Sur-moi actoral. Infâme parmi les infâmes, l’acteur alter-ethnique est un cas redoublé du "Complexe d’infamie". L’acteur français noir, en particulier, est un révélateur des contradictions affectant "visiblement" la condition esthétique du comédien et la citoyenneté républicaine. Dans le contexte du quadruplement du nombre des acteurs en France depuis 1980, ce "Complexe d’infamie" éclaire la nature de l’indécision de la pédagogie dramatique. Il gagnerait à être sublimé ou subverti avant toute tentative de refondation pédagogique. / At a time when subsidised theater is in crisis, the French actor, after being considered a second-rate citizen for such a long time, thinks of himself today as a super-citizen. The contemporary challenge of speech ("parole") of the actor is embodied in the quest, both nostalgic and militant, for ethos and transcendence, lost in the state of infamy. Rebounding on the existence of the actor, infamy has crystallised stubborn affects, slipped into the collective unconsciousness, shaping the hexis of actors and influencing stage practices. It has helped to consolidate French peculiarities in acting pedagogy, such as mistrust of the Stanislavski method and the monologue. In this respect, comparison with the English school of acting is informative. A hundred years ago, at the time of the secularisation of the State, a new theater made ethical and aesthetic choices, which are still largely operative today, and completed the conversion of the actor: formerly a damned soul, he has become a savior, sent by the State before a national audience. Contrary to appearances, the situation of infamy still exists. It is just that, with the secularisation of French society, the meta-economic field replaced the metaphysical one. Its roots can be found in the statutory relationship between the actor and the State and imposes its historical cost. A "Complex of infamy" for the actor is indeed present on the French stage, together with a taboo on interiority and a prohibition against directly addressing the public, representing a big actorly Super-ego. Infamous among the infamous, the alter-ethnic actor suffers from a doubled "Complex of infamy". The black French actor, in particular, is a mirror of the contradictions "visibly" affecting the aesthetic condition of the actor and republican citizenship. Given the context where the number of actors in France has quadrupled since 1980, this "Complex of infamy" points out the indecisive nature of teaching drama. It needs to be sublimated or subverted before ever attempting any educational reform.

Orientador: Eusebio Lobo da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T00:58:20Z (GMT). No. of bitstreams: 1 Tourinho_LigiaLosada_M.pdf: 414558 bytes, checksum: bf5cece53b4993791eb703fe94849dd6 (MD5) Previous issue date: 2004 / Resumo: Esta pesquisa apresenta um estudo sistemático sobre a construção da personagem nas Artes Cênicas, pelo prisma do movimento corporal, utilizando como principal suporte teórico e prático os estudos da Coreologia de Rudolf Von Laban e da Técnica de Stanislavski. Tomamos como base para a fundamentação teórica a idéia de o homem ser uma corporeidade, constituída pela Gestalt CORPO-MENTE-ESPÍRITO, presente nos estudos de Merleau-Ponty, nas consciências corporais e em todos aqueles que acreditam na indivisibilidade do ser humano. Levantamos a hipótese de que a relação de cada intérprete com seu corpo próprio interfere nas extensões de sua interpretação e da encenação em si. O desenvolvimento desta pesquisa se deu a partir da experimentação destes conceitos aplicados a dois tipos de propostas: um processo pedagógico de sistematização destas idéias e uma experimentação de construção de personagem, sob o ponto de vista do intérprete / Abstract: This research presents a study about the scenic construction of the character, based on body movement, and guided by the practical and theorical studies of Rudolf Von Laban choreology and Stanislavski tecnich. The foundation of this study was based on the idea of the man being an unit, as Gestalt BOBY-MIND-SPIRIT, which was present on Merleau-Ponty studies, in body consciousness and in the believe of the indivisibility of the human being. This project enquires the relation of each interpreter with his own body and how it interferes in the extension of his interpretation and in all the staging. The development of this research was based on these concepts, applied on two propositions: the pedagogic process of systematization of these ideas and the experimental on character construction, under the view of the performer / Mestrado / Artes / Mestre em Artes

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