Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Originally presented as Thesis (Ph. D.)--New York University, 1998. / Includes bibliographical references (p. 272-289).

Originally presented as Thesis (Ph. D.)--New York University, 1998. / Includes bibliographical references (p. 272-289).

Thesis--Cologne. / Includes bibliographical references (p. 274-297).

Esta dissertação apresenta uma abordagem sócio-histórica e tem como objeto gerador de reflexões o teatro de rua. Discute a tecnologia como mediadora de saberes, processos e fazeres humanos, trabalha o conceito de Certeau que pensa o espaço como lugar praticado e aborda os sujeitos como portadores de qualidades responsáveis e responsivas, pois considera que a existência do sujeito se dá, pelo contato, relação e resposta ao outro (a). Para pensar a tecnologia no teatro de rua, esta pesquisa apresenta a descrição de observações e a transcrição de entrevistas feitas com dois grupos de teatro de rua da cidade de Curitiba-PR. Dialoga com autores (as) da área da Tecnologia, do Teatro, dos Estudos CTS, da Lingüística, da Comunicação, Cultura, dentre outras áreas. As reflexões desta pesquisa têm como objetivo principal perceber e compreender as relações, processos e artes de fazer que geram poéticas, pensando a tecnologia como meio de ação, que liga processos e maneiras de fazer a pessoas. Outro objetivo é dar voz aos artistas que integram os grupos de teatro de rua pesquisados, para compreensão do objeto de pesquisa, mediados (as) pelo que os (as) próprios artistas enunciam via as materialidades apresentadas em cena. / This work presents a social-historical approach and it aims to reflect upon the street theater. This work discusses technology as a mediator of the knowledge, processes and human activities. It works with the Certeau’s principle that treats space as Practice’s Space and approaches the subjects as bearers of responsible and responsive qualities. Therefore, it considers the subjects existence as given by the relation or response to others. Aiming to think on technology on street theaters, this research presents observations and interview transcriptions performed with two street theater groups from Curitiba-PR. This work dialogues with Technology, Theater, Linguistics, Communication and Culture areas together with STS studies and other areas. This work’s main objective is to perceive and comprehend the relations, processes and performing art which generates poetics thinking technology as a mean of action, that connects processes and means of and ways to make people. Another objective is let the researched groups speak, aiming to understand the researched object mediated by these artists speech on the “materiality” presented in scene.

Esta dissertação apresenta uma abordagem sócio-histórica e tem como objeto gerador de reflexões o teatro de rua. Discute a tecnologia como mediadora de saberes, processos e fazeres humanos, trabalha o conceito de Certeau que pensa o espaço como lugar praticado e aborda os sujeitos como portadores de qualidades responsáveis e responsivas, pois considera que a existência do sujeito se dá, pelo contato, relação e resposta ao outro (a). Para pensar a tecnologia no teatro de rua, esta pesquisa apresenta a descrição de observações e a transcrição de entrevistas feitas com dois grupos de teatro de rua da cidade de Curitiba-PR. Dialoga com autores (as) da área da Tecnologia, do Teatro, dos Estudos CTS, da Lingüística, da Comunicação, Cultura, dentre outras áreas. As reflexões desta pesquisa têm como objetivo principal perceber e compreender as relações, processos e artes de fazer que geram poéticas, pensando a tecnologia como meio de ação, que liga processos e maneiras de fazer a pessoas. Outro objetivo é dar voz aos artistas que integram os grupos de teatro de rua pesquisados, para compreensão do objeto de pesquisa, mediados (as) pelo que os (as) próprios artistas enunciam via as materialidades apresentadas em cena. / This work presents a social-historical approach and it aims to reflect upon the street theater. This work discusses technology as a mediator of the knowledge, processes and human activities. It works with the Certeau’s principle that treats space as Practice’s Space and approaches the subjects as bearers of responsible and responsive qualities. Therefore, it considers the subjects existence as given by the relation or response to others. Aiming to think on technology on street theaters, this research presents observations and interview transcriptions performed with two street theater groups from Curitiba-PR. This work dialogues with Technology, Theater, Linguistics, Communication and Culture areas together with STS studies and other areas. This work’s main objective is to perceive and comprehend the relations, processes and performing art which generates poetics thinking technology as a mean of action, that connects processes and means of and ways to make people. Another objective is let the researched groups speak, aiming to understand the researched object mediated by these artists speech on the “materiality” presented in scene.

by Lam Wing Cheong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 138-146). / Some music examples in Chinese. / Abstract --- p.iv / List of Tables and Figures --- p.v / List of Music Examples --- p.vi / Maps of Hong Kong --- p.vii / Chapter Chapter One --- Introduction / Chapter 1.1 --- Definitions of Context and Customization --- p.1 / Chapter 1.2 --- Conceptual Framework --- p.2 / Chapter 1.3 --- The Field --- p.3 / Chapter 1.4 --- The Structure of Cantonese Operatic Song --- p.5 / Chapter 1.5 --- Source Materials and Methodology --- p.12 / Chapter 1.6 --- Scope and Limitations --- p.14 / Chapter 1.7 --- Translation and Transliteration --- p.16 / Chapter Chapter Two --- History of Street Performance and Cantonese Operatic Song Groups at Temple Street / Chapter 2.1 --- A brief history of Chinese street performance --- p.18 / Chapter 2.2 --- A brief history of street performance in Hong Kong --- p.22 / Chapter 2.3 --- The organization of the groups --- p.29 / Chapter 2.4 --- The financial system and its function --- p.31 / Chapter 2.5 --- Concluding Notes --- p.33 / Chapter Chapter Three --- "Performers, Performing Style, and Programming" / Chapter 3.1 --- From ambulatory to sedentary performers --- p.38 / Chapter 3.2 --- Performing style of the song groups --- p.39 / Chapter 3.3 --- The performance programming created by song groups --- p.41 / Chapter 3.4 --- Concluding notes --- p.45 / Chapter Chapter Four --- Roles and Functions of the Audience and the Interlocking Relationship between Audience and Performers / Chapter 4.1 --- Historical background --- p.48 / Chapter 4.2 --- The audience at Temple Street --- p.51 / Chapter 4.3 --- The interlocking relationship between audience and performers --- p.56 / Chapter 4.4 --- Concluding notes --- p.67 / Chapter Chapter Five --- Customization of Performance / Chapter 5.1 --- Customization of the instrumental section --- p.71 / Chapter 5.2 --- Customization of repertoire --- p.74 / Chapter 5.3 --- Concluding notes --- p.87 / Chapter Chapter Six --- Conclusion --- p.90 / Tables --- p.97 / Figures --- p.100 / Music Examples --- p.102 / Glossary --- p.129 / References --- p.138

In 1967 and 1968, members of the Youth International Party, also known as Yippies, created several mass street demonstrations to protest President Lyndon Baines Johnson’s handling of the United States’ military involvement in the war in Vietnam. The Yippies were a loose network of hippies, anti-war activists, and left-wing radicals committed to cultural and political change. This dissertation investigates how the Yippies used avant-garde theories of theatre and performance in their year of demonstrating against the Johnson administration. The Yippies receive little attention in most histories of American performance, and theatre remains on the margins of political and social histories of the 1960s; therefore this dissertation places performance and political archives side by side to create a new historical narrative of the Yippies and performance. The Yippies created their own networked participatory street performance form by drawing on the political philosophy of the New Left student movement, the organizational strategies of the anti-war movement, and the countercultural values of the hippies. They modified this performance form, which they termed “revolutionary actiontheater,” with performance theories drawn from New York’s avant-garde art world, the concept of guerrilla theatre outlined by R. G. Davis of the San Francisco Mime Troupe, and the notion of Theater of Cruelty created by Antonin Artaud. Using performance theory and cultural history as primary methodologies, this project traces the Yippies’ adoption of revolutionary action-theater with three examples: the 1967 “March on the Pentagon” where future Yippie leaders performed an exorcism ritual at the Pentagon; the 1968 “Grand Central Station Yip-In” event that advertised for the Yippie movement; and the 1968 “Festival of Life” at the National Democratic Convention in Chicago where the Yippies nominated a pig as presidential candidate. The final chapter on the recent phenomenon of flash mobs argues that the Yippies’ legacy lives on in this participatory street performance form, and suggests that revolutionary action-theater can still serve as a model for political action. / text

Orientador: Alexandre Luiz Mate / Banca: Marianna Monteiro / Banca: Francisco Cabral Alambert / Resumo: O objetivo deste trabalho foi investigar procedimentos de teatro político de rua a partir do estudo de encenações de dois coletivos artísticos da zona leste da cidade de São Paulo: Aliança Libertária Meio Ambiente (ALMA) e Dolores Boca Aberta Mecatrônica de Artes. Ambos os coletivos citados desenvolveram, ao longo de suas trajetórias, espetáculos teatrais criados e apresentados em espaços abertos e públicos, lugares ressignificados pelas encenações. O recorte da pesquisa encontra-se amparado, sobretudo, no relato e análise dos processos de criação e apresentação dos espetáculos A saga do menino diamante: uma ópera periférica, do coletivo Dolores, e Antes que a Terra fuja, do coletivo ALMA. Para desenvolvimento da pesquisa nos valemos dos conceitos estranhamento e gestus, na perspectiva brechtiana, e da contextualização crítica das experiências dos grupos, para evidenciar como as obras em foco interviram nos espaços de encenação, propondo não apenas a fruição estética, mas também formas de intervenção social, tanto pela transformação dos processos de apreensão do entorno, quanto pelas ações diretas, no cotidiano das comunidades / Abstract: This project examines political street theatre by focusing on the presentations made by two artistic groups: Aliança Libertária Meio Ambiente (ALMA) and Dolores Boca Aberta Mecatrônica de Artes. Over the course of their artistic trajectories, both groups have developed theatre performances that are performed in open public spaces, reinterpreting the spaces through this work. This research is primarily based on accounts and analysis of the processes of creation and presentation of two works: A saga do Menino Diamante: uma ópera periférica (The Saga of the Diamond Boy: An Opera from the Periphery), by the Dolores collective, and Antes que a Terra fuja (Before the Earth Flees), by the ALMA collective. For this research, I make use of the concepts of Verfremdungseffekt and gestus, as used by Brecht, and critical contextualization of the groups' experiences, in order to show how the works intervene in and transform the spaces where they are presented, proposing not just aesthetic enjoyment but also forms of social action, both in the process of understanding the surroundings as well as through direct actions in the daily life of communities / Mestre

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