A presente pesquisa analisa os dialogos de f i w o das peGas teatrais de Nelson Rod rig ues, especificamente suas tragedias cariocas, a fim de verificar como a lingua literaria pode mostrar exemplos significativos que tenderiam a nos lembrar a naturalidade dos dialogos produzidos em intera~oesfa ce a face. Essa analise sera enfocada sob a perspectiva da teoria da enuncia@o bakhtiana (2002), auxiliada pelos pressupostos da Sociolingiiistica lnteracional e pelas premissas da Analise da Conversa~io, de base etnometodologica. A linguagem do teatro de Nelson Rodrigues B diferente daquela que se praticava entso, e e senso comum que isso se deve a utiliza@o de vocabulario tipico da linguagem praticada correntemente el tambem, a estrutura gramatical corrente, caracterizada pelo emprego de estruturas que podern apresentar desvios gramaticais. Nossa tese versa sobre a questso do efeito de sentido de naturalidade que a linguagem teatral de Nelson Rodrigues cria, e, a partir da hipotese de que isso se deve mais ao trabalho com o discurso que propriarnente com a lingua. Essas peps teatrais s%o consideradas aqui nessa pesquisa nosso corpus de oralidade na escrita, jA que ao lerrnos tais textos, e assistirmos a algumas dessas peps, nos deparamos com dialogos ageis e dinamicos, que representam o discurso vivo. Partimos da hip6tese de que a linguagem teatral de Nelson Rodrigues apresentou-se inovadora para a epoca em que veio a luz porque o autor a construiu n3o somente sobre a representa@o da lingua correntemente praticada, em termos de l6xico e sintaxe, mas tambem sobre a irnita@o do discurso que ocasiona os enunciados efetivamente praticados. A metodologia utilizada 6 a da Anslise do Discurso, ja que partimos do exame das pqas teatrais para analisar as estrategias conversacionais. / The present research analyses the fiction dialogues of Nelson Rodrigues\' theatrical plays, Tragedias cariocas specifically, in order to verify how the literary language can exhibit significant examples to make us remember the spontaneity of dialogues produced in face-toface interactions. This analysis will be focused under the perspective of the theory of the Bakhtin (2002), assisted by the estimated International Sociolinguistics and by the Analysis of Conversation premises, with etno-methodological basis. The language of Nelson Rodrigues\' theatre is different from that one practiced before, and it is common sense this is due to the use of typical vocabulary of the language fluently practiced as well as the fluent grammatical structure, pointed out by the use of structures that may present grammatical deflections. Our thesis turns on the question of the effect of naturalness meaning created by the theatrical language of Nelson Rodrigues, and from the hypothesis that this is due to the work with the speech, more than properly with the language. These theatrical plays are considered here our corpus of verbality in the writing, since when reading such texts, and attending some of these parts, we come across agile and dynamic dialogues that represent the alive speech. We suppose that Nelson Rodrigues\' theatrical language was presented innovative for the time it has shown up to the lights, because the author has shaped it not only on the representation of the currently practiced language, in terms of lexicon and syntax, but also on the replication of speech that causes the effectively practiced verbalization. The used methodology is the Analysis of the Speech, as we start from the evaluation of theatrical plays to study the conversational strategies.

A exibição da peça teatral, ou da cena histórica, Um sarau no Paço de São Cristóvão, produzida por Paulo Setúbal a pedido da Liga das Senhoras Católicas de São Paulo, no Teatro Municipal em 1926, em duas apresentações, que se tornaram quatro devido ao sucesso de público nos apresenta uma grande interrogação: o que queria a elite cafeeira e republicana paulista com um elogio a figura da primeira imperatriz do Brasil, menos de quarenta anos após o fim do Império? Era um projeto de governo? Um projeto de país e de cultura? Era apenas diversão, já que os atores eram todos amadores e pertencentes às famílias da elite? Quais os possíveis significados deste espetáculo, que obteve muito sucesso de público e grande exposição na imprensa paulistana, para a História e a memória de São Paulo e do Brasil? / The theater play (or historical scene) Um sarau no Paço de São Cristóvão exhibition, produced by Paulo Setúbal as a request of the Catholic Ladies League of São Paulo, at Teatro Municipal de São Paulo in 1926, in two presentations, which became four due to the successful audience, proposes such a question: what was the objective of the republican coffee producing elite praising Brazils first empress figure, less than forty years after empire ending? Was it a project of government? Of country and of culture? Was it just an amusement considering the actors were non-professional and belonged to the families of the elite? Which can possibly mean this show, which were successful in audience and was widely covered by São Paulos press, to the History and to the memory of São Paulo and Brazil?

Identificação e reconstituição das preceptivas da prática cênica no século XVI italiano a partir da análise exegética do \"Tratado sobre as cenas\", pertencente à obra Da arquitetura e Perspectiva do arquiteto e preceptor bolonhês Sebastiano Serlio. O esquadrinhamento dos três gêneros de cenas antigos - tragédia, comédia e sátira -, normatizados por Serlio a partir do escrito vitruviano sobre arquitetura, tem em vista modificações e adequações consoantes à proposição da \"cena moderna\", cuja matéria baseia-se na pintura e na arquitetura, das quais se distingue ao compor assunto próprio às artes cênicas. A cena, perspectiva e tridimensional, ornada com relevos e materiais diversos, é caracterizada por volumes com os quais as personagens interagem, tornando-se espaço próprio à ação cênica, conveniente com o gênero e aparatos. Estendendo-se além da preceituação e confecção dos aparatos cênicos, amplia o ingenium arquitetônico, pela prescrição de ações corporais distintas na figura de personagens em movimento, qualificando matéria da representação cênica, mesmo que ainda não reconhecida como arte autônoma. / Identification and reconstitution of the precepts of stagecraft in the Italian sixteenth century, from the exegetical analysis of the \"Treaty on the scene\", belonging to the work Of architecture and perspective, of the bolognese architect and preceptor, Sebastiano Serlio. The scrutinizing of the three ancient genres of scenes - tragedy, comedy and satire - normalized by Serlio from Vitruvius writing about architecture, aim modifications and adaptations according to the proposition of the \'modern scene\', whose subject matter has its foundations in painting and architecture, from which it distinguishes itself by being proper subject to the performing arts. The scene, three-dimensional and perspective, adorned with reliefs and various materials, is characterized by volumes with which the characters interact, becoming appropriate space to stage action, convenient to the genre and apparatuses. Extending beyond the preception and confection of scenic devices, amplifies the architectural ingenium, by prescribing distinct corporal actions in the figure of characters in motion, qualifying it as matter of scenic representation, even if not yet recognized as autonomous art.

Thesis (M.F.A.)--Boston University

A presente pesquisa analisa os dialogos de f i w o das peGas teatrais de Nelson Rod rig ues, especificamente suas tragedias cariocas, a fim de verificar como a lingua literaria pode mostrar exemplos significativos que tenderiam a nos lembrar a naturalidade dos dialogos produzidos em intera~oesfa ce a face. Essa analise sera enfocada sob a perspectiva da teoria da enuncia@o bakhtiana (2002), auxiliada pelos pressupostos da Sociolingiiistica lnteracional e pelas premissas da Analise da Conversa~io, de base etnometodologica. A linguagem do teatro de Nelson Rodrigues B diferente daquela que se praticava entso, e e senso comum que isso se deve a utiliza@o de vocabulario tipico da linguagem praticada correntemente el tambem, a estrutura gramatical corrente, caracterizada pelo emprego de estruturas que podern apresentar desvios gramaticais. Nossa tese versa sobre a questso do efeito de sentido de naturalidade que a linguagem teatral de Nelson Rodrigues cria, e, a partir da hipotese de que isso se deve mais ao trabalho com o discurso que propriarnente com a lingua. Essas peps teatrais s%o consideradas aqui nessa pesquisa nosso corpus de oralidade na escrita, jA que ao lerrnos tais textos, e assistirmos a algumas dessas peps, nos deparamos com dialogos ageis e dinamicos, que representam o discurso vivo. Partimos da hip6tese de que a linguagem teatral de Nelson Rodrigues apresentou-se inovadora para a epoca em que veio a luz porque o autor a construiu n3o somente sobre a representa@o da lingua correntemente praticada, em termos de l6xico e sintaxe, mas tambem sobre a irnita@o do discurso que ocasiona os enunciados efetivamente praticados. A metodologia utilizada 6 a da Anslise do Discurso, ja que partimos do exame das pqas teatrais para analisar as estrategias conversacionais. / The present research analyses the fiction dialogues of Nelson Rodrigues\' theatrical plays, Tragedias cariocas specifically, in order to verify how the literary language can exhibit significant examples to make us remember the spontaneity of dialogues produced in face-toface interactions. This analysis will be focused under the perspective of the theory of the Bakhtin (2002), assisted by the estimated International Sociolinguistics and by the Analysis of Conversation premises, with etno-methodological basis. The language of Nelson Rodrigues\' theatre is different from that one practiced before, and it is common sense this is due to the use of typical vocabulary of the language fluently practiced as well as the fluent grammatical structure, pointed out by the use of structures that may present grammatical deflections. Our thesis turns on the question of the effect of naturalness meaning created by the theatrical language of Nelson Rodrigues, and from the hypothesis that this is due to the work with the speech, more than properly with the language. These theatrical plays are considered here our corpus of verbality in the writing, since when reading such texts, and attending some of these parts, we come across agile and dynamic dialogues that represent the alive speech. We suppose that Nelson Rodrigues\' theatrical language was presented innovative for the time it has shown up to the lights, because the author has shaped it not only on the representation of the currently practiced language, in terms of lexicon and syntax, but also on the replication of speech that causes the effectively practiced verbalization. The used methodology is the Analysis of the Speech, as we start from the evaluation of theatrical plays to study the conversational strategies.

Thesis (M.F.A.)--Boston University

No description available.

Recent policital, economical and social changes in Lithuania affected education tire. Today’s art activities are oriented not to an educator, but to those who are educated, therefore arts, music, theatre and other art subjects are reorganized towards humanism, activity and creative work.. During some last years many developed countries strengthen position of arts subjects in their educational school programs. Together with main subjects, arts and music students are taught theatre and dancing and it is quite clear. If we want to have harmonious, universal personality, we must pay attention to all kinds of education and cuenture. Arts (theatre, art, music, dancing) at school is a fine oasis in whick students can develop, show themselves, inrick themselves and others as we su in our practical work creatiwe work is most trained by theatre, because it includes all kinds of activity (drama, direction, acting, motion (pantomime), language, scenery, clothes, light, music, saund). At this time there are theatre studios at shool. There are theatre lessons at schools and all attention is concentraded to creative activity. There are a lot of students with special needs and social problems. In some highly developed countries, especially in North countries, the integration of the enabled began many years ago. The us A and Western countries estimate the results of integral and inclusive education one can see positive and negative sides, meanwhile in our country the reform is just... [to full text]

Children who have special needs face various problems. Most of them are not able to attend school, to participate in the social life, to be a part of the community, though they have equal rights as other members of the society. Children who learn together with disabled pupils have different view points on them. Many of these pupils have a wrong viewpoint about disabled children. Most healthy children reject the other person for his disability. As a result, it is important to create special atmosphere where disabled children could be safe and develop their own personality, while the community members could be able to see the disabled ones as full-fledge personalities. Drama (theatre) education gives an opportunity to expand one’s ���ego”, to express oneself on the stage as well as in every day life. It is conveyed in different ways: speech (intonation), movement sound and performance. The object of study is Adaptation of 7-11 year old disabled pupils in a theatre activity. The first part of the work discloses such children’s psychophysical abilities, the viewpoint of the society is revealed as well as steps of adaptation which are figured out in order to carry out a research. The second part of the work discloses special theatre education features for disabled children, the function of theatre therapy for personal development is marked. The third part reveals the dynamics of disabled children’s participation in theatre activities / performance, the analysis of the case is... [to full text]

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