Esta pesquisa analisa como são trabalhadas as influências dos diferentes estilos de teatro japonês na elaboração dos trajes de cena do Théâtre du Soleil, sob a direção de Ariane Mnouchkine nas produções de Ricardo II (1981), Henrique IV - parte um (1984) e Tambores sobre o dique (1999). São investigadas a história, os trajes, as máscaras e a maquiagem do teatro Nô, Kyogen, Kabuki e Bunraku, para estabelecer uma melhor análise dos espetáculos do Théâtre du Soleil, citados acima. É elaborado também, um pequeno manual com as modelagens e fotos da construção de um traje de cada um dos tipos de teatro japonês e dois conjuntos de trajes de cada espetáculo do Théâtre du Soleil. Busca-se com a análise destes espetáculos e o estudo dos seus trajes, juntamente com o estudo do teatro tradicional japonês, estabelecer um paralelo entre a cultura oriental e a ocidental. A elaboração dos moldes é importante para que seja possível visualizar como estas influências se materializam e para que parte da memória dos espetáculos possa ser registrada e facilmente reproduzida por aqueles que se interessem pelo tema. / This research analyses how the influence of Japanese theater is used in the elaboration of costume design at the Théâtre du Soleil, under the direction of Ariane Mnouchkine in the productions of Richard II (1981), Henry IV - Part one (1984) and Drums on the dike (1999). The history, costumes, masks and makeup of the Noh, Kyogen, Kabuki and Bunraku theater are investigated to establish a better analysis of the performances of Théâtre du Soleil, cited above. A small manual with patterns and photos of the construction of one costume from each type of Japanese theater and two sets of costumes from each show from the Théâtre du Soleil will be developed as well. With the analysis of the shows and the study of their costumes, and also the study of Japanese theater, we seek to establish a parallel between Eastern and Western cultures. The elaboration of the patterns is really important so that you can see how these influences were materialized and that part of the show\'s memory can be recorded and easily reproduced by those who are interested in the subject.

Esta pesquisa analisa como são trabalhadas as influências dos diferentes estilos de teatro japonês na elaboração dos trajes de cena do Théâtre du Soleil, sob a direção de Ariane Mnouchkine nas produções de Ricardo II (1981), Henrique IV - parte um (1984) e Tambores sobre o dique (1999). São investigadas a história, os trajes, as máscaras e a maquiagem do teatro Nô, Kyogen, Kabuki e Bunraku, para estabelecer uma melhor análise dos espetáculos do Théâtre du Soleil, citados acima. É elaborado também, um pequeno manual com as modelagens e fotos da construção de um traje de cada um dos tipos de teatro japonês e dois conjuntos de trajes de cada espetáculo do Théâtre du Soleil. Busca-se com a análise destes espetáculos e o estudo dos seus trajes, juntamente com o estudo do teatro tradicional japonês, estabelecer um paralelo entre a cultura oriental e a ocidental. A elaboração dos moldes é importante para que seja possível visualizar como estas influências se materializam e para que parte da memória dos espetáculos possa ser registrada e facilmente reproduzida por aqueles que se interessem pelo tema. / This research analyses how the influence of Japanese theater is used in the elaboration of costume design at the Théâtre du Soleil, under the direction of Ariane Mnouchkine in the productions of Richard II (1981), Henry IV - Part one (1984) and Drums on the dike (1999). The history, costumes, masks and makeup of the Noh, Kyogen, Kabuki and Bunraku theater are investigated to establish a better analysis of the performances of Théâtre du Soleil, cited above. A small manual with patterns and photos of the construction of one costume from each type of Japanese theater and two sets of costumes from each show from the Théâtre du Soleil will be developed as well. With the analysis of the shows and the study of their costumes, and also the study of Japanese theater, we seek to establish a parallel between Eastern and Western cultures. The elaboration of the patterns is really important so that you can see how these influences were materialized and that part of the show\'s memory can be recorded and easily reproduced by those who are interested in the subject.

Este trabalho tem por objeto de estudo a peça Macbeth une Tragédie de William Shakespeare comme elle est actuellement jouée au Théâtre du Soleil (2006), texto traduzido, adaptado e encenado por Ariane Mnouchkine, e investiga o processo criativo do Théâtre du Soleil no decurso da montagem, e os diversos elementos que compõem o espetáculo em cena, analizando a atualidade e a pertinência política do texto shakespeareano, e da encenação mnouchkiniana, na contemporaneirdade, e sua inserção no contexto histórico da prestigiosa companhia francesa, que se mantém como um coletivo de teatro, ativo e criativo, desde a sua fundação, em 1964. A dissertação propõe reflexões sobre o conceito arendtiano de banalidade do mal, e sua aplicação à encenação contemporânea de Macbeth, pelo Théâtre du Soleil. / This work aims to study the adaptation of the play Macbeth une Tragédie de William Shakespeare comme elle est actuellement jouée au Théâtre du Soleil (2006), translated and directed by Ariane Mnouchkine. It also investigates Théâtre du Soleils creative process during rehearsals, as well as the many elements which constitute the staging of the theatrical piece. This is achieved through the analysis of Shakespeares original play, its current political relevance and Mnouchkines stage version in our times. The piece is also considered with regards to the prestigious French companys history, a remarkably active and creative theatre group since its 1964 foundation. The dissertation finally reflects upon Théâtre du Soleils Macbeth contemporary stage version through Hannah Arendts concept of the banality of evil.

Este estudo elucida princípios e procedimentos que orientam a atuação de Jean-Jacques Lemêtre enquanto compositor no Théâtre Du Soleil. Apresenta depoimentos exclusivos do músico, de pesquisadores, funcionários e atores da trupe. Além disso, identifica os saberes e mecanismos por trás das atividades praticadas nos estágios que conduz, os jogos músico-teatrais, e as organiza em um fichário, que foi utilizado na verificação quanto a possibilidade e eficácia do emprego destes jogos em dinâmicas conduzidas por artistas e pedagogos, em um ambiente externo ao da companhia. / This study enlightens principles and guiding procedures of Jean-Jacques Lemêtre\'s performance as a composer at the Théâtre Du Soleil. It presents exclusive testimonies from the musician, researchers, staff and troupe actors. In addition, it identifies the knowledges and mechanisms behind the activities practiced in the stages guided by him, the musical-theatrical games, and organizes them in a binder, which was used to carry out a verification about the possibility and effectiveness of using these games in dynamics conducted by artists and pedagogues, in an environment outside the company.

Resumo Este trabalho tem por objetivo identificar e propor caminhos para aprimorar a relação criativa entre o compositor da música do teatro e o encenador. Em um primeiro momento ele ilustra o surgimento destes dois personagens, através de eventos que se entrelaçam, se contrapõe, ou mesmo se complementam. Em uma segunda parte, apresenta o estudo de uma relação criativa que permanece prolífica há mais de trinta e cinco anos em um dos mais destacados coletivos teatrais do século XX, o Théâtre Du Soleil: a parceria entre a encenadora Ariane Mnoucknine e o compositor Jean-Jacques Lemêtre (que colaborou pessoalmente e de maneira fundamental com este trabalho). Em uma terceira parte, apresenta a análise de quatro montagens teatrais nas quais tomei parte como compositor, provendo uma visão interna da relação criativa estabelecida com os diferentes encenadores em cada uma das ocasiões. Finalmente, introduz a hipótese da macro-harmonia da música do teatro - a ideia de considera-la um dos elementos integrantes e modificadores da encenação ao mesmo tempo em que é também integrada e modificada por ela - como uma possibilidade analítica e, consequentemente, representante de um possível campo no qual o compositor e o encenador possam dialogar durante o processo de criação teatral. / This study aims to identify and propose ways to enhance the creative relationship between music composer and stage director. At first it illustrates the emergence of these two characters, through events that intertwine, opposes, or even complement each other. In a second section discusses the study of a creative relationship that remains prolific for more than thirty-five years in one of the most theatrical collectives prominent in the twentieth century, the Théâtre Du Soleil: the partnership between stage director Ariane Mnoucknine and composer Jean-Jacques Lemêtre (who collaborated personally and in a fundamental way with this work). In a third section discusses the analysis of four stage productions in which I took part as a composer, providing insight into the creative relationship established with different directors on each occasion. Finally, we introduce the possibility of a macro-harmony of the theater music - the idea that it is one of the staging elements and modifiers at the same time is also integrated and modified by it - as an analytical possibility, and hence representative of a possible field in which the composer and the stage director can dialogue during the process of theater creation.

Resumo Este trabalho tem por objetivo identificar e propor caminhos para aprimorar a relação criativa entre o compositor da música do teatro e o encenador. Em um primeiro momento ele ilustra o surgimento destes dois personagens, através de eventos que se entrelaçam, se contrapõe, ou mesmo se complementam. Em uma segunda parte, apresenta o estudo de uma relação criativa que permanece prolífica há mais de trinta e cinco anos em um dos mais destacados coletivos teatrais do século XX, o Théâtre Du Soleil: a parceria entre a encenadora Ariane Mnoucknine e o compositor Jean-Jacques Lemêtre (que colaborou pessoalmente e de maneira fundamental com este trabalho). Em uma terceira parte, apresenta a análise de quatro montagens teatrais nas quais tomei parte como compositor, provendo uma visão interna da relação criativa estabelecida com os diferentes encenadores em cada uma das ocasiões. Finalmente, introduz a hipótese da macro-harmonia da música do teatro - a ideia de considera-la um dos elementos integrantes e modificadores da encenação ao mesmo tempo em que é também integrada e modificada por ela - como uma possibilidade analítica e, consequentemente, representante de um possível campo no qual o compositor e o encenador possam dialogar durante o processo de criação teatral. / This study aims to identify and propose ways to enhance the creative relationship between music composer and stage director. At first it illustrates the emergence of these two characters, through events that intertwine, opposes, or even complement each other. In a second section discusses the study of a creative relationship that remains prolific for more than thirty-five years in one of the most theatrical collectives prominent in the twentieth century, the Théâtre Du Soleil: the partnership between stage director Ariane Mnoucknine and composer Jean-Jacques Lemêtre (who collaborated personally and in a fundamental way with this work). In a third section discusses the analysis of four stage productions in which I took part as a composer, providing insight into the creative relationship established with different directors on each occasion. Finally, we introduce the possibility of a macro-harmony of the theater music - the idea that it is one of the staging elements and modifiers at the same time is also integrated and modified by it - as an analytical possibility, and hence representative of a possible field in which the composer and the stage director can dialogue during the process of theater creation.

Se focalisant sur les quatre spectacles montés dans les deux périodes où la conception orthodoxe de la révolution socialiste est remise en question par l’expansion du néo-libéralisme, cette thèse vise à révéler simultanément les diverses approches théâtrales et problématiques du mythe historique et leur lien indissociable avec les problèmes sociopolitiques de l’époque. Face à la démoralisation profonde chez les militants suite à la défaite politique du mouvement de Mai 68, le Théâtre du Soleil essaie de démystifier l’Histoire de la Révolution française pour s’interroger sur l’esprit révolutionnaire contemporain et sur le développement démocratique des temps modernes. Son diptyque révolutionnaire – 1789 et 1793 – dévoile non seulement la combativité commune entre les différentes générations engagées, mais perce également les problèmes cruciaux de ses actualités politiques. Contrairement à l’atmosphère commémorative et festive du bicentenaire de la Révolution française, Klaus Michael Grüber et Matthias Langhoff adoptent parallèlement une approche distanciée et problématique pour révéler les ambiguïtés entre la prise de conscience individuelle et l’engagement collectif, entre le dilemme existentiel d’un révolutionnaire désabusé et son idéal politique. La Mort de Danton et La Mission/ Au Perroquet vert font écho à la désorientation générale entraînée par la désintégration du bloc de l’Est vers la fin de l’année 1989. À travers ces quatre créations théâtrales, nous nous rapprochons des contradictions de l’humanité confrontée au sursaut historique pour surmonter les limites des révolutions passées et créer des nouvelles possibilités d’actions révolutionnaires futures. / This thesis focuses on four performances staged in two periods when the orthodox view of the socialist revolution was being challenged by the spread of neo-liberalism. In parallel, it aims to throw light on the various theatrical and theoretical approaches to the historical myth and their inextricable link with the sociopolitical problems of the age. In light of the deep sense of demoralisation felt by activists in the wake of the political defeat of the May 68 movement, the Théâtre du Soleil tries to demystify the history of the French Revolution to examine the contemporary revolutionary spirit and the growth of democracy in our modern age. In 1789 and 1793 it reveals the general sense of combativeness that pervaded all age groups, and turns the spotlight on the critical problems of current political issues. In contrast to the commemorative and festive atmosphere of the bicentennial of the French Revolution, Klaus Michael Grüber and Matthias Langhoff adopt a more objective, theoretical approach in order to reveal the ambiguities that exist between individual understanding and collective engagement, between the existential dilemma of disillusioned revolutionaries and their political ideals. Danton's Death and The Mission/The Green Cockatoo reflect the general sense of disorientation felt in the wake of the collapse of the Eastern bloc at the end of 1989. These four theatrical pieces allow us to gain an insight into the contradictions of humankind when confronted with momentous historical events in order to move beyond the limits of previous revolutions and create new possibilities for future revolutionary actions.

D’Esope, acteur romain, à Heath Ledger, star hollywoodienne, de nombreuses sources rapportent des cas d’acteurs « possédés » par leur personnage de méchant. Mythes sans fondement ? Elucubrations de spectateurs en quête de frissons, voire stratégie commerciale ? Peut-être, mais là n’est pas l’essentiel : qu’elles soient véritables ou fantasmées, le nombre et la constance de ces anecdotes au fil de l’histoire en montrent bien l’importance. Notre imaginaire de spectateur semble nourri de ces dérapages fantasmés, de ces histoires d’acteurs s’étant, selon l’expression consacrée, « perdus dans leur rôle » - parfois jusqu’à en mourir.Après s’être intéressé brièvement à certaines de ces anecdotes, à ce qu'elles révèlent de notre rapport à la scène, ce travail propose un renversement de perspective : il s’agit d’interroger la possibilité d’un risque de confusion entre acteur et personnage, non plus à travers le prisme du regard porté sur le comédien, mais en s’intéressant au vécu des acteurs eux-mêmes – en tentant de se dégager des projections fantasmatiques pour essayer de comprendre ce qui se passe, réellement, « dans la tête d’un comédien » devant incarner un personnage méchant. A cette fin, nous nous intéresserons au travail de l’acteur dans ce qu'il a de plus concret, de plus anodin en apparence, du maquillage au cœur qui bat, des douleurs de genoux aux bouffées de plaisir, des rituels d’avant-spectacle aux rires ou aux larmes d’après-spectacle, des tensions à la complicité entre partenaires. Nous plongerons pour cela dans le quotidien des acteurs du Théâtre du Soleil, à travers une vaste étude de terrain mêlant observations de répétitions et entretiens. / From Aesop, the Roman actor, to Heath Ledger, the Hollywood star, numerous sources report instances of actors “possessed” by the evil part they are playing. Groundless myth, wild speculation on the part of spectators in search of thrills, or even marketing strategy? Perhaps, but that is not what matters most: whether real or fantasized, the number and the consistency of these stories throughout history bear evidence of their importance. Our imagination as a spectator seems to feed on these fantasized slips, on these stories of actors who, as the saying goes, lost themselves in acting and sometimes even died from it. After paying brief attention to some of these stories and to what they reveal about our relationship to the stage, a reversal of perspective is proposed : the risk of confusion between the actor and the character he is playing is no longer investigated through the lens of one’s perception of the actor but through paying close attention to the personal experiences of the actors themselves – we try to evade fantasies by attempting to understand what is really occurring in the actors’ mind when playing an evil character- To this end, we analyze the actor’s work in its most concrete and seemingly most innocuous aspects, from making up to the beating heart, from knee pain to flashes of pleasure, from the rituals before going on stage to laughter and tears shed once the performance is over, from tension to complicity with the partnering actors. We slip into the everyday life of the Théâtre du Soleil company by means of a wide field study which combines observation of rehearsals and actors’ statements of their own experience.

The thesis deals with four plays written by French dramatist and theorist of feminism Hélène Cixous for the Parisian Théâtre du Soleil under the directorial guidance of Ariane Mnouchkine. The analysis focuses on three different perspectives - firstly on écriture feminine, defined in the 1970s by Cixous herself, secondly on exile studies, a field of literary criticism concerned with the writings of exiled authors and exile as a fundamental category of human existence, and lastly on the concept of orientalism developed in the 1970s by American literary historian of Palestinian origin Edward Said.